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This fame radically mutated Aerosmith's post-'80s sound, which with the help of professional songwriters (something the Steven Tyler-Joe Perry tandem rarely resorted to during their Toys in the Attic days) went from Permanent Vacation and Pump, both modern updates of their core sound, to full-blown, power-ballad cream puffery ("Amazing," "Cryin'," "Falling in Love (Is Hard on the Knees)," "Jaded," "Crazy," et al). Outside of maybe the Stones (but not really), no other classic-rock band has experienced as much teeny-bopper fandom so late in its career. They became global pop stars in the process, the culmination of which arrived with Super Bowl XXXV and their halftime romp with Britney, 'NSYNC and Mary J. Not only that, they charted far more hit singles in that time than they ever did in the '70s. Even Van Halen, with celebrity-obsessed frontman David Lee Roth, took this approach, which is why A Different Kind of Truth (which has yet to go gold here in the States) consists of songs initially sketched out in the '70s.Īerosmith, in stark contrast, sold a gazillion records throughout the '90s and early '00s. Rather, they now do what it is they do best: hard rock. It's a fact all of them seem to have come to terms with in recent years, seeing as how none of their new albums come burdened with platinum-stained ambitions (i.e. Heart, Rush and Van Halen haven't been actual pop stars since the early '90s, and they're not ever going to be again.
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Though these groups are considered Aerosmith's peers going back to the decade of feathered hair and roach clips, their respective careers stand apart from the Boston giants' own. Now it's Aerosmith's turn, with Music from Another Dimension!, the group's first collection of new material in 11 years. And back in February, a reunited Van Halen surprised everybody with the hard-riffing A Different Kind of Truth. Rush proved they're ageless with Clockwork Angels. Heart dropped yet another excellent full-length in Fanatic. ZZ Top teamed up with Rick Rubin for the hip-shaking La Futura. Then Tyler tries to climb a scale with a thin, croaking scream that's not quite self-parody and not quite pathetic, just fascinating.This year has been an outstanding one for classic rock. The ballad starts with a piano figure borrowed from Dream On before acquiring a chamber-music feel.
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One offering defies categorizing: the weirdly captivating Another Last Goodbye. Two fail to meet their potential: aimless rocker Legendary Child and overwrought ballad Tell Me. Three tracks are strictly filler: Beautiful, Freedom Fighter (with Perry on lead vocals, backed by Johnny Depp) and Something. Perry's guitar work comes off as punchier than Tyler's more rote and slightly worn vocals, and the lyrics throughout are lame. Thanks to a reunion with producer Jack Douglas, who worked on some of the band's best albums in the '70s and '80s, the classic Aerosmith sound is intact in both its rock and power ballad forms. Solid, but a notch below, are the Carrie Underwood-Tyler duet Can't Stop Loving You, where the twang doesn't quite mesh with the tang What Could Have Been Love, a poppy ballad that belongs on a summer chick-flick soundtrack the hard-boogeying Street Jesus and Luv XXX, with Julian Lennon on backing vocals. Prospects for radio airplay may be iffy (which says more about today's age-biased programmers than the quality of the music), but several numbers could (and have) become in-concert faves: Lover Alot, a balls-to-the-wall rocker built around Tom Hamilton's pounding bass line Joe Perry's seven-minute guitar showcase Out Go the Lights Oh Yeah, with its Jumpin' Jack Flash-like riffs and power ballads Closer and the Diane Warren-penned We All Fall Down, on which Steven Tyler offers a how-to to his former American Idol-ators. It's just 15 songs that this often-dysfunctional but always sturdy-sounding 42-year-old band will wedge in between the hits as it continues its Global Warming tour. Make no mistake, this is product, pure and simple.Īerosmith's Music From Another Dimension! (*** out of four, out Tuesday), the band's first studio album of original material since 2001's Just Push Play, isn't some laboriously constructed decade-in-the-making opus or, title notwithstanding, a daring artistic statement.