Pump

A resounding rejection from my nervous system. Can't account for why

I can assure you, I would have been just fine had I died without listening to this album first.

Bon, on ne va pas tourner autour du pot pendant cent sept ans, on va crever l'abcès, je n’ai jamais entretenu une passion dévorante pour Aerosmith. D'ailleurs, quand je repense à Toys in the Attic ou à Rocks, je me rappelle surtout d’une écoute polie, le cul posé entre deux chaises, partagé entre le respect poli qu’on doit à une mécanique hard rock bien huilée des années soixante-dix et un profond sentiment d’ennui tiède. C’était correct, ça s’écoutait sans déplaisir, mais on était quand même à des années-lumière de l’extase mystique promise par les exégètes du riff graisseux. Ces deux-là valaient un honnête 3 sur 5 dans mon carnet de bord : la moyenne syndicale, le genre de note qu’on attribue à un travail d’artisan qui fait le boulot sans jamais parvenir à vous hérisser le moindre poil sur les bras ni à faire monter le palpitant. Alors quand je me suis enfin décidé à caler Pump sur la platine pour combler les trous de ma culture et voir ce que le monstre rescapé des cures de désintoxication avait réellement dans le ventre en cette glorieuse année 1989, je m’attendais au moins à un sursaut d’orgueil d’anciens combattants revenus de l'enfer. Quelle désillusion car non seulement le compte n’y est pas, mais on dégringole d’un étage supplémentaire dans le gouffre de la déception, récoltant un pathétique deux sur cinq qui récompense une véritable régression artistique. Le premier problème, et sans doute le plus grotesque, saute immédiatement aux oreilles : c’est l’abîme terrifiant qui sépare l’âge civil de ces mecs et la maturité de ce qu’ils nous déversent dans les tympans. À l’époque de la conception de Pump, Steven Tyler et Joe Perry ont franchi allègrement le cap de la quarantaine. Quarante balais bien tassés, une bonne décennie et demie passée à s’exploser les narines, à dilapider des fortunes en poudreuse, à s’étriper dans les loges, à frôler la morgue avant de se faire repêcher par le grand capital hollywoodien et la clinique de Betty Ford. Avec un tel bagage, une telle trajectoire de cabossés du rock’n’roll, on est en droit d’espérer un minimum de bouteille, une rage de survivants ou au moins une pointe de noirceur lucide. Au lieu de ça, qu’est-ce qu’on nous sert sur un plateau argenté ? Un disque écrit, joué et pensé avec la subtilité hormonale d'une chambrée d’ados boutonneux en plein pic de puberté, dont l’unique obsession semble être de tirer leur coup derrière le gymnase du lycée local entre deux gorgées de soda tiède. Et c’est précisément ce décalage qui me met profondément mal à l’aise tout au long des pistes. Voir des darons quadragénaires gémir, glousser et empiler les doubles sens graveleux les plus éculés du dictionnaire américain avec le sourire complice du beauf de service m'exaspère au plus haut point. Tout sonne puéril, fabriqué, cabotin, comme si le groupe avait vendu son âme non pas au diable des carrefours boueux du Mississippi, mais au chef de rayon marketing de MTV. Tout est calibré pour plaire à une bande de gamins prépubères en bermudas fluo qui découvraient la guitare électrique à la télévision entre deux clips de Poison et une pub pour des baskets. Cette vulgarité-là n’a même pas la grâce du danger ou de la sueur des bas-fonds : c’est une vulgarité de salon, une gaminerie de millionnaires qui feignent la gaule éternelle pour continuer à vendre des t-shirts et truster le sommet des charts mondiaux. Musicalement, le constat n’est guère plus reluisant dès qu’on gratte un peu la production signée Bruce Fairbairn, on s'aperçoit que chaque coup de caisse claire résonne avec le bruit assourdissant et creux d'un baril de lessive. Quant aux guitares de Joe Perry et Brad Whitford, pourtant réputées pour leur mordant, elles sont passées à la moulinette d’un mixage tellement compressé qu’elles perdent toute sensation. Et puis parlons, des fameuses compositions et de cette manie insupportable de tout noyer sous des artifices de foire. Pour masquer la vacuité criante d’une bonne moitié des idées mélodiques, le groupe a cru bon d’alourdir le tout avec des cuivres qui sonnent faux, des interludes bizarres censés faire voyager l'auditeur — le dulcimer ou les didgeridoos balancés au hasard, c'était vraiment nécessaire ? — et des refrains braillés jusqu'à l'écœurement. Steven Tyler passe son temps à pousser des petits cris de gorge, des couinements simiesques et des onomatopées de cartoon qui finissent par taper méchamment sur le système nerveux. Au bout d’un quart d’heure, j’ai juste envie de lui tendre une pastille pour la gorge et de lui hurler de fermer sa grande gueule cinq minutes. Mais non, le bonhomme en remet une couche, cabotine sans vergogne et joue son numéro de bête de scène libidineuse jusqu'à la lie, persuadé qu'un gimmick vocal usé jusqu'à la corde suffit à transformer un riff médiocre en hymne impérissable. Le pire dans cette affaire, c'est l'hypocrisie d’une époque qui a érigé cette rondelle en chef-d'œuvre absolu de la renaissance d'Aerosmith. La presse spécialisée et le grand public se sont pâmés devant cette machine à sous, feignant d’ignorer que les membres du groupe n’étaient même plus foutus d’écrire trois accords potables sans faire appel à une armée de compositeurs mercenaires de l'ombre. Quand on commence à sous-traiter son inspiration à des faiseurs de tubes professionnels pour s'assurer que le pont débouche pile poil sur le refrain à la seconde précise exigée par les programmateurs radio, on ne fait plus du rock’n’roll, on fait de la gestion de patrimoine. Le résultat est un produit manufacturé, rutilant, mais totalement dépourvu d'âme. Les morceaux défilent avec une régularité de métronome mécanique, interchangeables dans leur quête effrénée d’efficacité immédiate, mais totalement incapables de laisser une trace durable une fois la musique arrêtée. En écoutant ce disque d’une traite, sans la nostalgie niaiseuse de ceux qui avaient quinze ans en 1989, je n’ai ressenti qu’un profond ennui teinté d’agacement. Là où Toys in the Attic et Rocks parvenaient au moins à conserver un semblant d'ancrage bluesy, une certaine nervosité authentique qui justifiait qu’on y jette une oreille distraite, Pump franchit la ligne jaune du ridicule assumé. C'est l'archétype du hard FM surproduit qui a vieilli de la pire des manières et la moindre seconde suinte les années quatre-vingt dans ce qu’elles ont engendré de plus superficiel et de plus boursouflé : cette obsession de la performance technique stérile, ce son de batterie gigantesque mais sans dynamique, cette arrogance festive totalement déconnectée de la moindre réalité émotionnelle. On croirait entendre un groupe d’étudiants attardés célébrant leur soirée de fraternité avec vingt ans de retard et un compte en banque bien trop rempli pour leur propre bien. Je ressors de cette écoute avec une question lancinante qui tourne en boucle : comment des mecs ayant accumulé autant d'heures de vol ont-ils pu se contenter d'un niveau d’écriture aussi médiocre ? Était-ce la peur panique de retomber dans l'oubli qui les a poussés à abdiquer toute dignité artistique pour se plier aux exigences d'un marché obsédé par les clips en rotation lourde ? C'est fort probable. Au final, Pump est le son d’un groupe qui a choisi le confort des stades et la sécurité financière au détriment de l’audace et du caractère. C'est propre, c'est net, c'est joué au poil de cul près par des musiciens qui connaissent évidemment leur métier sur le bout des doigts, mais ça ne dégage absolument rien d'autre qu'un vide abyssal. Un 2 sur 5, voilà tout ce que mérite cette baudruche gonflée à bloc qui se dégonfle misérablement dès qu'on y plante une aiguille critique un tant soit peu affûtée.

pedophile

I've had my issues with the guy who curated this list, but finding out that he thinks three of the greatest albums of all time are by Aerosmith, and that we need to listen to them before we die, leaves me feeling mostly pity. Christ, I can feel my brain cells atrophying with every new track. On the plus side, it does bring Spinal Tap to mind: "They are treading water in a sea of retarded sexuality and bad poetry." 1.5*

My favorite part was when he yelled "guitar!" and then there was a guitar solo

Besser als gedacht, aber schon auch sehr sleazy.

Hardrock, nichts für mich. Wobei ich die schon etwas lieber mag als viele andere Bands von dem Schlag.

This probably comes from my first experience with Aerosmith being in the 90s but the ballads hit so much harder than the now generic sounding harder rock on this album. The driving drums and revving guitars just don’t do it for me, but this one really shines on the tracks where they just let Steven Tyler unleash the vocals a little.

Pretty dumb rock fun. This isn’t chin stroking music, lighten up.

My 17 year old self loved this, but my 55 year old self is like this is just shit!

Three Aerosmith albums on this list is unforgivable. The repetition of their choruses really drove me up a wall on this one. By the final refrain of “Love in an Elevator” I was bitching aloud to no one in my car. “We get it! I get it! It’s enough!” The most interesting track is “Janie’s Got A Gun”, which was still repeating its ideas too much and features subject matter I emphatically do not want to hear from Aerosmith. The hair metal bend to this makes the rhythm section sound hollowed out; the drums in particular sound too dry and limp for how big they’re mixed. This album also features Led Zeppelin cribbing that is almost as egregious as what they were up to on ‘Rocks’; I laughed out loud at “Dulcimer Stomp”. The songs all feature the same rise-and-fall structure and overwrought guitar work.

muito massa vei

farofada mas gosto de algumas músicas

Pump jumping the frog lady’s spleen

This a decent enough album from Aerosmith but would definitely not be one of my picks for this list with others they have available in their catalog. Love In An Elevator and Janie's Got a Gun are hits for sure, but outside of that most of the songs on this album are just average. This album is a solid 5/10 or 6/10 and I gave it 3 stars.

It’s all bangers but 4 stars because of the mix

Silly fun. Grab some drumsticks, try not to think.

Wow. Steve Tyler really wants you to know how much he likes laydees. He's put together a bombastic sonic assault to tell you how much "he's a red hot pistol and he's ready to fight". It's not a great way to spend 50 minutes. No, that's not fair. There are some good bits: the stratospheric backing vocals, like in the chorus of "Love In An Elevator", are incredible, like Crosby Stills and Nash on ALL the supplements. The guitar tone is relentlessly overdriven, and some of the solos are wicked - I particularly liked the one in "The Other Side". But the best bits are when the noise stops - the folky outro to "What It Takes", the reverse vocals in the opening to "Janie", the accordion in "What It Takes", the didgeridoo in "Don't Get Mad, Get Even", or the "Dulcimer Stomp" - they're subtle, and they all draw you in...until, inevitably, here's another colossal snare punch and some more turbo-powered blues rock to prove how fucking sexy Aerosmith are. As with some of the other 80s and 90s records I've returned to during the 1001, I'm surprised how often these big bands use crappy synths or MIDI instrument sounds. Aerosmith, one of the biggest selling bands of the 70s and 80s, on their tenth album: surely there was enough cash washing around to pay a real trumpeter in "The Other Side"? Or a real string section in "Janie's Got A Gun"? I guess they had other things to spend money on. I have some fondness for Aerosmith (which dates from watching "Dazed and Confused") but by this point in their career their schtick has curdled, and this was not a fun experience.

Awful pop-rock with almost no redeeming features. The songs are lame, there’s no drive or intensity to it, it’s joke music .2/10

kind of decent, lost my attention a lot, kept putting it down after listening for a while

Classic

Blir litt sliten i lengden, er ikke sånn type fyr. Men det er ganske bra, gir den en 3 av 5 etter streng dømming i går

Solid rock album, full of hits, with a full, well-produced sound to it. I enjoy this era of Aerosmith and beyond much more than 70's Aerosmith.

I've read/heard a lot of bagging on this album. I personally thought it was pretty good. Certainly nothing great about it, but good catchy tunes, several hits. It's not Toys In the Attic but if it was, people would complain about it just being TITA.

Music is boring and something about the production is very grating to me. Would still be a two but I had to listen to middle aged pedo Steven Tyler talk about 'young lust'.

Good vibes.

This album, in line with track number 2, is F.I.N.E. Traditionally this is my kind of music. I liked about 50% of an Aerosmith Greatest Hits album when I was a teenager. I enjoyed about 50% of this album too. It’s good fun bluesy rock and roll in the most part, but the lyrics have aged terribly and I found it difficult to move past that. Top Tracks: Dulcimer Stomp/The Other Side, F.I.N.E.

I feel bad giving this rating but man was I just bored with this album, 1 album on the list is enough for these guys.

Made me pumped

16

This is what passed for rock before grunge came along, at least as far as the radio was concerned

The rubber band effect is intensifying, where I’m more often having extreme reactions to albums I find good or bad. Unfortunately, this is the latter. Steven Tyler is going on 2 full decades of being unapologetically horny at the release of this album. When you know what he did to gain control of the life of that underage girl he was into, the first song on this record makes everything feel a bit DOA. I don’t care how many hooks the group manages, much of this is tacky at best, and horrifically on-the-nose at worst. Yucky lowly 2/5

oh shit, been hate waiting for this. Not only is Aerosmith the worst "popular" band of all time, "love in an elevator" has long been, what I believe to be, the worst song ever made. This shit is Sooooo lazy it's insane. This whole album sounds like some bullshit he overheard his older cousin talking about when he was 13. On top of all that he's a pedo, -10/10

I do think Aerosmith is one of the better rock bands of all time. Steven Tyler is a great vocalist and this album proves those two things. Just good rock music. Nothing crazy but all things executed very well

It’s fine. Rock band trying to sound like a rock band. Some cool instrumental highlights. Stephen Tyler sounding like Stephen Tyler. Yep. It’s Aerosmith.

More Aerosmith. I guess this one is another as good as the others. Fewer standout hits but some cool studio flourishes here and there.

It makes me genuinely uncomfortable how fucking horny Steven Tyler is. The rest of the music is fine though I guess.

Liked the songs I knew, but never been a big Aerosmith guy

Pretty good

ok, it’s really just cool songs about having sex

You've got to be kidding me. I hate every song I've heard off this record with an intense burning passion. It was everywhere when it came out - radio, mtv, grocery stores. I have never and will never choose to listen to a single song from this era of Aerosmith, and neither should you.

Never had any desire to listen to an Aerosmith album; after listening to this, even less so. Considering how great this band is supposed to be, I found this surprisingly unimaginative, bland and uninteresting.

Review - not a fan of the band, but this album's ok. The main thing I like about it is Steven Tyler's vocals though, by a long shot. There are some really interesting, doo-wop-ish vocal harmonies on this album, but it sounds like just Tyler's voice octuple-tracked. Honestly might prefer a Tyler solo album, who knows. The lyrics are incredibly juvenile which is funny because they must have been pushing 40 by this point surely? Suppose you can't change your whole vibe without losing your audience, but yeah a bunch of middle-aged millionaires singing songs like "hey mann, I'm going out tonight maybe I'll get some tail!!!" is objectively very funny. Score - 5.5/10 Need to listen? YES

Was not expecting to like this as much as I did. I'm not suddenly an Aerosmith fan now, but this was solid.

Totally not my music. Jamie's got a gon was the only song I new before and the best one here. It sounds like the version of rocknroll as represented on a 2000's nickelodeon show. The players are good, and Steven Tyler is a good (but sometimes over the top) singer. But it's all to blend for me. Most of the songs sound the same and the 80's clean sounds ducks the life from the music. Sorry. Not for me. (The closer ballad , although super melodramatic and over the top, is the best song here probably, maybe only because after an entire album of the same song over and over, the change is necessary).

5 stars

Seeing the album title is Pump... looking at the cover... looking at track one... titled "Young Lust"... looking up Steven Tyler's age in 1989... 41 years old... yeah I'm not gonna subject my ears to this.

Extremely meatheaded, in both senses of the word... Still, despite being a hair metal hater, and not by any means an Aerosmith fan, some tracks here are more fun than they have any right to be (Young Lust, The Other Side, My Girl) Regardless of that, the sheer samey noise of the work does begin to drag a little (why is Love in an Elevator over 5 mins long?), so I cannot in good conscience call it a great album. Still, better than I expected.

Listening to this album as an adult is a much creepier experience than bopping to the beats as a kid. My takeaway is Aerosmith loves two things: harmonica and pedophilia lyrics so thinly veiled it's a wonder they haven't been submitted as evidence in a court case yet. Most of the songs ARE somewhat catchy but Jesus Christ do I need a shower.

Good rocking album, has some stellar singles, favourites are "Love in an elevator" and "Janie's got a gun". Like most of my Aerosmith albums I found my CD in a charity shop, but it was a pretty good find.

Sorry, I'm not an Aerosmith fan and if you think I am, Dream On.

I think Aerosmith might go down in history as one of the most forgettable bands of all time. The ultimate soundtrack to a commercial featuring the new Ford F-150 now with a drone that comes out of the trunk along with a hot woman-thing and a case of Busch Light.

If it weren’t for Going Down / Love In an Elevator this album would completely blow. Instead it just sucks mildly.

Pretty decent for Aerosmith.

If it wasn’t for one song, this was the definitive Aerosmith. This came to me when I was young rocker. Great memories!

Classic, hard rock. Love this record. Easily a new favorite of mine off of the timeless sound and energy.

The beginning of their revival

I remember this one well. A roommate must have owned it, because even the obscure tracks sound familiar. Then again, Steven Tyler mostly stuck to one theme across their albums, and it worked well here.

This was definitely Aerosmith

I truly think if this had a different album cover I’d give this a one. But it’s so brazenly stupid and juvenile that I just treated this album like a no-brainer punk album. It’s better than the juvenile hair metal dudes that’s for sure

Two classic songs and then the rest!

Ugh. Juvenile.

nostalgia point bump for how scandalous some of the songs were for middle school us, but pretty meh

I'd love to give Aerosmith their flowers here because I love some of their clean guitar work and fun songs. But the truth is that this album just isn't very good. Love in an Elevator and Janie's Got a Gun are huge singles that were great. But the rest just feels uninspired. Going with a 3 for those two songs alone.

Part two in one of rock’s great resurrection stories (following Permanent Vacation), this was a huge album of its time, the work of producer Bruce Fairbairn was key as well. Four significant hit singles and a Grammy award for Janie’s got a gun, it was in many male student bedrooms at my university. Aerosmith rode on the coattails of the hair metal brigade but made far better music and with MTV help became multi platinum again. It’s a muscular fun album with some tight but loose playing and Steven Tyler living up to the hype.

zzzzzzzzzZZZZZzzzzzzzzzzzzZZZZZZZZZZZZZzzzzzzzzzzzzZzzzzzZzZZZZZZzZZZZZZZzz zZZzzZzz Z zZzzZZ ronC ZzzZzzZzzzzzz rOnC zzZzzZzZzzz

o lado ruim do glam rock foi ter dado margem pra bandas como essa aí hein aqui eh mais "hair metal" né. enfim. eh paia. até um pouco inventivo, mas meia boca demais. é ruim.

I can understand the hate for “butt rock” but some of these are super catchy. It’s good drinking music with the boys.

Souvenirs! Wacht it takes

Aerosmith’s Pump is today’s listen. I wasn’t much of a fan of Toys in the Attic, so I went into this hoping it might change my opinion of Aerosmith. Unfortunately, it hasn’t. If anything, Pump has only reinforced what I already thought about them. I find their sound incredibly one dimensional. The songs all seem to follow the same formula, with big guitar riffs, over the top vocals and sleazy lyrics. After a few tracks, everything starts to blend into one. There’s something incredibly cheesy about this whole album as well. This is the side of 80s rock that does absolutely nothing for me. It’s loud, polished and full of swagger, but underneath all of that I just don’t find the songs particularly interesting. I actually enjoyed this less than Toys in the Attic. At least that album has “Walk This Way”. There’s nothing on Pump that grabbed me in the same way. Two Aerosmith albums into the challenge and I think it’s safe to say they’re just not for me. Favourite track: I couldn’t pick one. They all sound too similar and seem to do the same thing. Least favourite track: Pretty much the whole album. Album artwork: Easily the best thing about the album. Great cover.

Music for the Gravitron at any rural county fair.

It's a fun album, a little corny. Some interesting production now and then, but definitely your classic 70s rock. Rating: 7/10 Favorite Song: Water Song/Janie's Got a Gun

Don’t care for these guys. The second star is purely for “Janie’s Got a Gun,” I like that song.

Not entirely my scene but hard not to love these guys 😁 💪

3,5⭐️

I'm torn between feeling like 1) this is a dumb fun time and 2) there are at most ten men on the planet who should be legally permitted to sing about sex and Steven Tyler is not one of them. "Better keep your daughter inside" – right, because this guy's out there! I actually quite like the music, and don't even mind Tyler's voice, but jeez. There are a couple of cast-iron hits, though, and some intriguing multi-instrumental flourishes that buck the album's ideas up a bit.

A little too much testosterone on display I feel. They are wearing something on their sleeves but I don’t think it’s their hearts! If you can cope with or ignore the lyrics then the sound is…well, pumping I suppose! I still like the couple of singles which are played a bit too often on the radio stations I listen to but the rest were all new to me. Not sure the mini-instrumentals were worth including. They seemed totally out of place and pointless on the album. I gave it all the benefit of the doubt though and listened through twice. Second time while walking and it kept my pace up at least. Don’t think I would bother listening again to any of it, however. It passed some time and was better than expected though

The first half was super fun but it went downhill at Janies Got a Gun really - like they almost started taking themselves seriously. Anyway Steven Tyler is an absolute piece of shit (look at his wikipedia page) so all the songs about him being a gross horndog also really do not sit well with me.

All I can see is Steven Tyler’s terrfiying gigantic mouth whilst listening to this, gurning like an active volcano on the surface of his craggy planet face. Waatrghhhjoooooo hoochy coochy wooahhh THAT’S MY KINDA TRASH wahooggloooeeglllewe etc. etc. (Dulcimer Stomp was nice, shame it only lasted for a minute. I also enjoyed the absolutely inexplicable accordion on the last track??)

Not really my thing, though track one gave me some positive thought, but it went downhill after that one…

You know what this was a real let down, enjoyed the beginning of the album but it fell off a cliff

You know, whatever

Fun!

Notable Textzeile: I used to feel your fire But now it's cold inside And you're back on the street Like you didn't miss a beat, yeah Ich muss einfach zugeben, ich bin oft nicht fair. Wenn ich nicht gut drauf bin und somit auch nicht besonders begeisterungsfähig, höre ich lieber noch nicht gehörte Sachen von der Liste von denen ich vorher schon denke, dass sie mir vermutlich nicht gefallen werden. Wenn sie es dann auch nicht tun, macht es mich nicht trauriger, wenn sie mir wieder erwarten gut gefallen freue ich mich und bin aufgeheitert. Andersherum möchte ich Sachen, von denen ich weiß oder möchte dass ich sie mag, nicht in diesem Zustand hören, wenn sie mir dann (wegen des Zustands oder der Musik) nicht so gut gefallen. Dieses Album ist Variante 1a - ich finds blöd, hab es aber auch so erwartet und vielleicht tue ich dem daher etwas unrecht. Aber heute ist das für mich einfach langweiliger, auf Gefälligkeit komponiert und produzierter Möchtegern-Dicke-Hose-Rock, von dem bis auf „Janie’s Got A Gun“ nichts besonders eingängig ist oder hängenbleibt. Klaasiische 2. Wer weiß ob ich in 30 Jahren das alles nochmal durchhöre und dann ganz anders urteile. Wenn es dann noch Streaming gibt. Oder diese Liste. Oder das Internet. Oder mich. Who knows.

Aerosmith, eine früh -70er Hardrock / Balladen Band, die sich in den 80ern erfolgreich zu Glam/Hairspray, dann zu Crossover, zu AltRock (ver)wandelt, aber trotzdem eigentlich immer das Gleiche machen: irgendwas poppiges rockig spielen und Steven Tylor machen lassen. Bei der Stimme: warum auch nicht? Ich kann das auch deswegen nicht scheiße finden, weil das vielleicht alles lazy und sleazy ist, aber Tyler einfach raushaut als ginge es um etwas: Geld, wahrscheinlich. Fair enough.

Muss ich mir wirklich ein ganzes Aerosmith-Album anhören? Puhh. Na gut. Fängt schon scheisse an. Dann "Love in an Elevator." Bekomme MTV-Flashbacks. Danach gehts scheisse weiter. Für wen ist diese Musik? Merke hier dass ich ausser "Walk this Way" nichts von Aerosmith kenne was älter ist als dieses Album. Klangen die vorher anders? Hat Guns'n'Roses entschieden dass sie wie Aerosmith in geil klingen wollen oder haben Aerosmith ab Mitte 80er gedacht, dass sie gern ein wenig mehr wie Guns'n'Roses klingen wollen? Naja egal, hab zu wenig Ahnung. Dann "Janies got a Gun" - sticht raus, klingt aber locker wie n Song den man 1975 schon geschrieben hat, aber nochmal aus 89er Album drauf genommen hat. Bisschen Boston-Vibes, sehr Pop-Rockig, aber gefällt. In gewissen Momenten klingt es wie eine Udo Lindenbergsong auf Englisch. Danach kommt wirklich nicht mehr viel gutes. Digeridoo und Dulcimer. Ernsthaft? Hier würds mir tatsächlich besser gefallen, wenn das Ganze mehr nach G'nR klingen würde. Neben AC/DC eine der Bands bei der ich den über Jahrzehnte anhaltenden Fame nicht verstehen kann.

Two good songs this was the second breath given to this band not interested in more late era Aerosmith.

Bra. En massa bra låtar från förr som är svårt att inte nynna med i. Kul att återupptäcka.

Great album. At its worst it’s just solid rock songs. It has several real bangers. I’ve always like their bluesy hard rock style. Steven Tyler has a great presentation.

what an awesome album cover. absolutely love trucks carrying trucks, one of my favourite things to see on a road trip is a big truck getting carried by an even bigger truck

Good album, had a couple I recognized, and I even took one away. Enjoyed everything in between what I didn't know as well. They really rocked it out. 4 stars for sure, probably 4.25 rating.

Pues muy bien

Ugh, late ‘80s glam metal trash. Aerosmith went full in on that trend. Didn’t dig it then, don’t dig them now.

It's rock. I really don't like Steven Tyler's voice.

This was probably better than their previous effort, but that is like saying that a 1 is better than a 7 on the Bristol scale. It might be different but it is still an unpleasant pile of shit.

This was floating at or around a rating of 2 for the entire album (sounds like it should be satirical but actually isn’t) until the final track came on and I winced so hard that it tanked my rating for the rest of the album. The whole thing sounds like that shitty generic blues/‘hard’ rock they feel they have to play when they are advertising some awful new product or season 16 of ‘Guns, Bacon and Chainsaws’ in between plays during an American football game as if it is the pinnacle of machismo. It’s not, it’s shit.

Talented band but this album had a lot of radio play when released so I didn't enjoy it. Not my taste in all fairness.

This is supposed to be Aerosmith's mighty comeback album and yet it feels on par with some of the worst their material has ever been and sounded. This project is the perfect project to show someone what was so bad about 70s and 80s Rock as it is truly some of the most textbook and outdated music I have heard in a minute. This album feels like one final attempt to do something noteworthy with the Aerosmith name before the band fully clocks it in and sells out for the remainder of their career. The lyrics are extremely cheesy and a bit weird seeing how old a majority of the band was at the time. I am so fucking done with Aerosmith that I am honestly happy this has finally come to a close. I hope I never have to hear another thing from this shitty ass band ever again.

Very bad, didn't like his voice either. Not worthy for this list.