Aerosmith’s 10 best riffs
By Sergio Ariza
Aerosmith is the American hard rock band that has sold the most albums in the
world; above bands like Metallica, Bon
Jovi, Guns N 'Roses, Kiss and Van
Halen. Steven Tyler’s band were
formed in 1971 and reached a peak in the mid-70s with records like Toys In The Attic and Rocks. Their sound is a kind of mix
between the dirty swagger of the Stones
and the monolithic riffs of Led
Zeppelin, and that sound comes from a pair of guitarists composed by Joe Perry, the other half of the
'toxic twins’, and Brad Whitford,
the underdog of the group. These are 10 of our favourites from their extensive
career.
Walk
This Way
Toys In
The Attic prove that third time lucky was right for
Aerosmith, as after finishing all the material they had written in the early
days for their first two albums, they were in need of composing new material
and new influences appeared. Perry had fallen in love with the New Orleans funk
band The Meters, after one of his
idols, Jeff Beck, recommended it. During a sound test he began to fool around with
a 'riff' that reminded him of the band, when Tyler Heard it he went to the
drums and begin to develop it. This is how Walk
This Way came about, the song that was going to convert them (twice) into
stars. The first in the 70s, and the second in the mid-80s when, at the
suggestion of Rick Rubin, Run DMC made a version with Joe Perry
and Steven Tyler, becoming the first ‘rap song for a rock audience’ and the
triumphant return of Aerosmith after years of decline.
Sweet
Emotion
Toys in
the Attic was full of great songs, starting with the
song that opened this list, the title track, with another furious 'riff' by
Perry, and Sweet Emotion, where the
guitarist uses a Talk Box at the beginning before returning to give another
monumental riff on which Perry sings. Best of all, that riff is not even the
best of the song, a place that is occupied by the instrumental that leads back
to the chorus. The closest that Perry has ever been to Jimmy Page; although live, he tends
to opt for a Stratocaster instead of his beloved Les Paul.
Toys In
The Attic
The song that gave its title to one of the
band’s best albums opens with another one of those unstoppable riffs but, as it
advances, Perry adds another that is equally addictive. It is one of the best
examples of how well Perry and Whitford combined together on the six strings,
achieving an incredible sound with Ampeg and Music Man amplifiers. Years later,
a group as distant as R.E.M. would
pay tribute to them with a version that was in their live repertoire for years.
Back In
The Saddle
A threatening start on a drone beat rhythm gives
way to an incredible riff written by Joe Perry on a Fender Bass VI, while
Whitford takes care of the lead guitar and Tyler shrieks, delighted to be back
in the saddle (it seems clear that he is not talking about a horse ) again. It
may be the best example of Perry's funk and the best possible start to another
of their essential records, Rocks.
Draw
The Line
Another indisputable classic, with Perry using
a Dan Armstrong Lucite for his spectacular work with the 'slide'. It is the
song that opened, and gave title, to the last great album of their classic
stage, the one in which the 'toxic twins', at the top of their game (and their
addictions), delivered 90% of the songs on this list.
Mama Kin
Focused on a powerful and simple chord riff, Mama Kin proves that Tyler and company
also liked the filth and rawness of Johnny Thunders and the New York Dolls. The singer was so
convinced of the possibilities of the song that he had Ma 'Kin (his arm was so
small that the full title did not fit) tattooed on his arm. Time proved him
right and in 1986 a group of ragtags from Los Angeles made a live version. A
year later, after the appearance of Appetite
For Destruction, they became the best possible heirs of those of Perry and
Tyler and claimed their title as the best rock band of the decade - they were
Guns' N'Roses and, in a whim of fate, their guitarist Slash would end up with Joe Perry’s
beloved Les Paul Standard 59 in his hands (although years later, in a gesture
that enlarges him, he would return it for his 50th birthday).
Same
Old Song and Dance
Another great riff recorded in the memory of
all lovers of classic rock; Same Old Song
and Dance is the best song on their
second album, Get Your Wings. It is
also one of the first examples of collaboration in writing between Tyler and
Perry; the 'toxic twins' would continue to make classics for the rest of the decade.
Last Child
Many forget that in Aerosmith there is another
excellent guitarist beyond Joe Perry. This is one of the best songs of that
'other', the great Brad Whitford. The song starts as a mid tempo but soon
transforms into another one of those funk rocks so to the liking of the band,
the interaction of the two guitarists is spectacular, with a riff that makes it
impossible not to dance, or to walk, in that particular way. For the cherry on
top Whitford is on fire with his Les Paul in the excellent solo.
Nobody's
Fault
If you happen to be one of the favourite songs
of people like Slash, James Hetfield
of Metallica or Kurt Cobain, you are,
beyond doubt, a great song. This is the case with Nobody's Fault composed by Brad Whitford in collaboration with
Tyler. No wonder that many consider Whitford the great hero in the shadow of
the band; here he gives them one of his heaviest and strongest riffs, although
the one that shines at the end with a solo with a lot of wah is that of Perry.
Love in
an Elevator
After their commercial resurrection, thanks to
Walk This Way by Run DMC, Aerosmith
did not take long to return on their own to the charts, and in 1987 Permanent Vacation arrived, which
included Dude (Looks Like a Lady);
but the real artistic resurrection would come in 1989 with Pump and songs like Love in
an Elevator, in which Perry showed that he had not forgotten how to build
gigantic riffs and develop them with his Les Paul.