Toys in the Attic (1975)
Aerosmith
Out-and-out children
of the '70s. A loud and raunchy band of rockers hell-bent on living the rock 'n' roll life to its ultimate
consequences, swimming in a sea of alcohol and taking any illegal substance
that they chanced to come across along the way. Halfway through the decade and
with only two records to their name, the band had already earned themselves a
reputation as the bad boys of rock but reckoned they still had something to say.
Their only major problem was how to shake off their Rolling Stones flunkies image and blaze their own trail.
Aerosmith's third attempt at fame met with great success, despite the fact that
they had done nothing to curb their addictions. This was one of the many
magical albums that were released in 1975, a year in which Pink Floyd Wished We Were
Here, Led Zeppelin sprayed us
with their, Physical Graffitti; Bob Dylan found Blood on the Tracks; Born
Springsteen, declared himself Born
to Run; Queen went to the Opera
and Patti Smith rode out with her Horses. A tough year to make it big in!
But make it big
they most certainly did. And then some. The band exploded onto the music scene
with their explicitly sexual rock songs and riotous revelry. Behaviour that scandalised the squeaky clean
American middle class but worked wonders to keep them in the public spotlight.
They weren't the first to mix such blatant unruliness with their music, but
they were the first to make it all so much fun, guaranteeing their public the
time of their lives in concert. They had learnt the basics from The New York Dolls and Mott the Hoople, but took the concept
to a whole new level.
The band also
knew how to dirty their sound just enough to give it a hint of metal without actually getting there.
They still had an air of the Stones about them and continued to be disciples of
the Rhythm and Blues sound. The same
ambiguous sexuality that was a part of their image was soon to be found in
their music - somewhere in between Led
Zeppelin and their British alter egos. After much touring and two albums
that had received a lukewarm reception, Toys
in the Attic proved to be the magic formula they were looking for: it
sounded dirty, but it smelled clean.
Aerosmith was (and is) a two-man band. Steven Tyler made it clear that he was no Mick Jagger rip-off and showed himself to be a master of the
ballads, able to melt the coldest of hearts with his dulcet tones, even if they
were combined with a seemingly never-ending stream of obscenities. These were
the golden days before the drugs took their toll and they could get through a
set without anybody collapsing on stage. Behind him, or to be more precise,
rubbing shoulders with him, was Joe
Perry, in control of the musical proceedings with his legendary guitar
riffs such as those hammered out in Walk
this Way and Sweet Emotion - two
songs which have now earned themselves R'n'R
anthem status. Brad Whitford, Joey Kramer and Tom Hamilton have always been there to back them up (in all senses
of the expression), making sure that everything goes along smoothly, faithfully
keeping up with the antics of their two charismatic leaders.
Some of the
songs in Toys in the Attic are today
revered as classic rock - Big ten Inch Record and No more No more being fine examples.
Things don't really get heavy until Round
and Round, almost at the end of the album. Perhaps the quintessential
essence of Aerosmith, that crazy mix
that kept them flying high in the upper echelons of rockdom until not so long
ago, is to be found in the album's title track, snappy and playful, with Perry strutting his stuff from the very
first chord.