New Video - Tom Talks Concept Art for First Album
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Friday, October 31, 2008
Aerosmith Guitarist says Page trying to motivate Plant to return to Zeppelin
Lemon Squeezings.blogspot.com
October 29, 2008
Guitarist Brad Whitford of Aerosmith, in an appearance on the syndicated Todd n Tyler Radio Empire, explained what bandmate Steven Tyler was doing in England with Jimmy Page.
"First of all, they did it for fun," said Whitford, who plans to tour with Aerosmith again beginning in March 2009. His comments were the first from the Aerosmith stable confirming a report published Saturday in England's Daily Mail that mentioned Tyler's jam session with Page and Led Zeppelin bandmates John Paul Jones and Jason Bonham.
Whitford brought up Aerosmith's history of playing with Page and his own particular admiration of Page as a guitarist. He then speculated as to the message Page and the others may have been trying to relate to Robert Plant by way of the media.
"I actually think Jimmy wanted Steven to come over and play a little bit because, I think, he was trying to light a fire under Robert," Whitford said. "Come on! Come on, Robert, let's go!"
Plant announced in September in a message on his official Web site that he has no intention of touring or recording with Led Zeppelin for the next two years.
The interviewers asked if, out of all the singers in the world, Steven Tyler is one of the most intimidating Page and company could have brought in to motivate Plant. Whitford's answer was as short as it needed to be: "Yes, absolutely."
The program also conducted an interview with Danny Goldberg, who worked with Led Zeppelin's organization for three years in the mid 1970s. In that interview, Goldberg said he believes Plant will come around and play with Led Zeppelin again someday, even if it is two or three years from now.
October 29, 2008
Guitarist Brad Whitford of Aerosmith, in an appearance on the syndicated Todd n Tyler Radio Empire, explained what bandmate Steven Tyler was doing in England with Jimmy Page.
"First of all, they did it for fun," said Whitford, who plans to tour with Aerosmith again beginning in March 2009. His comments were the first from the Aerosmith stable confirming a report published Saturday in England's Daily Mail that mentioned Tyler's jam session with Page and Led Zeppelin bandmates John Paul Jones and Jason Bonham.
Whitford brought up Aerosmith's history of playing with Page and his own particular admiration of Page as a guitarist. He then speculated as to the message Page and the others may have been trying to relate to Robert Plant by way of the media.
"I actually think Jimmy wanted Steven to come over and play a little bit because, I think, he was trying to light a fire under Robert," Whitford said. "Come on! Come on, Robert, let's go!"
Plant announced in September in a message on his official Web site that he has no intention of touring or recording with Led Zeppelin for the next two years.
The interviewers asked if, out of all the singers in the world, Steven Tyler is one of the most intimidating Page and company could have brought in to motivate Plant. Whitford's answer was as short as it needed to be: "Yes, absolutely."
The program also conducted an interview with Danny Goldberg, who worked with Led Zeppelin's organization for three years in the mid 1970s. In that interview, Goldberg said he believes Plant will come around and play with Led Zeppelin again someday, even if it is two or three years from now.
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Thursday, October 30, 2008
Aerosmith’s Joe Perry walks this way with John McCain
Boston Herald, MA
October 30, 2008
Aerosmith has generally left the politics to bands like U2 and the Dixie Chicks, but axeman Joe Perry says national security and economic woes have prompted him to split from the rest of the entertainment world and throw his support behind John McCain.
“We pretty much stay out of it, but seeing so many people come out for Obama, I just felt like ‘What the hell, I might as well raise my hand for this side,” Perry said from his Duxbury home.
The Bay State rockers have done a few fund-raisers for the Kennedy family over the years, but Perry’s endorsement of McCain marks a first for the platinum-selling guitarist/songwriter. A lifelong Republican, he said he was inspired to come forward because of ringing McCain endorsements from Rudy Giuliani and California Gov. Arnold Schwarzenegger.
“I’ve been a hardcore Republican my whole life,” he told the Herald. “My mother and father drilled into me from the very start that if you work hard and be positive, you’ll get what you’re working for. I guess I’m living proof of that.”
Of criticism about McCain’s age, Perry said: “My mother’s in her 80s and she does aerobics. My manager’s 70 and he’s right there. That doesn’t bother me.”
And despite lopsided polls, he urged his fans to get out and vote.
“I’m an optimist. It ain’t over till its over,” he said. “I think that he’s got a chance.”
Of the rocker’s endorsement, McCain spokesman Tucker Bounds said: “Joe Perry is an icon of rock-and-roll and a great American. John McCain absolutely appreciates his support.”
October 30, 2008
Aerosmith has generally left the politics to bands like U2 and the Dixie Chicks, but axeman Joe Perry says national security and economic woes have prompted him to split from the rest of the entertainment world and throw his support behind John McCain.
“We pretty much stay out of it, but seeing so many people come out for Obama, I just felt like ‘What the hell, I might as well raise my hand for this side,” Perry said from his Duxbury home.
The Bay State rockers have done a few fund-raisers for the Kennedy family over the years, but Perry’s endorsement of McCain marks a first for the platinum-selling guitarist/songwriter. A lifelong Republican, he said he was inspired to come forward because of ringing McCain endorsements from Rudy Giuliani and California Gov. Arnold Schwarzenegger.
“I’ve been a hardcore Republican my whole life,” he told the Herald. “My mother and father drilled into me from the very start that if you work hard and be positive, you’ll get what you’re working for. I guess I’m living proof of that.”
Of criticism about McCain’s age, Perry said: “My mother’s in her 80s and she does aerobics. My manager’s 70 and he’s right there. That doesn’t bother me.”
And despite lopsided polls, he urged his fans to get out and vote.
“I’m an optimist. It ain’t over till its over,” he said. “I think that he’s got a chance.”
Of the rocker’s endorsement, McCain spokesman Tucker Bounds said: “Joe Perry is an icon of rock-and-roll and a great American. John McCain absolutely appreciates his support.”
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News From The Road - Aerosmith's John B.
Aero Force One
October 29, 2008
Won’t Get Fooled Again and Again and Again………
People have been asking me if I am still depressed over the Red Sox losing to Tampa Bay in the playoffs and I say “No I’m not.” They just won 2 World Series championships, the Pats won 3 Super Bowls and the Celtics raised their 17th banner to the (new) Garden rafters last night. It’s good to be a sports fan in Boston at the moment. Speaking of the Patriots they are surprising everybody right now and we like it. I’ll get back to you on the Bruins later in the season.
Brad seems to be enjoying himself out on the Hendrix tour. Now if Hendrix were there that would really be something. It just goes to show you how much of an impact Jimi had in such a short period of time. What did he have, about 3 years as a solo artist? People want to hear these songs. Former band members Mitch Mitchell and Billy Cox are aboard delivering the goods every night. Brad is having such a blast that he has decided to stay for the whole tour. His son Graham came up and played in NYC and rumor has it he will again in Vegas and LA. Check out some of the clips on the internet and then go see them live.
The same night Brad was rocking at the Orpheum I got the extreme pleasure of seeing Steven perform with members of the Thayer Academy band in Braintree, Mass. Steven was there as part of the Celebration weekend and also to christen the brand spanking new music hall that was built. Steven’s daughter Chelsea is an alumnus there and she flew back from college to sing with her Pappy on this night. She was the highlight of the evening singing the 1961 Etta James classic “At Last.” She brought it on home this night and was a tough act to follow but her old man didn’t do such a bad job. Steven came out and sang “Smile.” I actually thought he sang it better on this night than with Chris Botti. The band was a bunch of 17 and 18 year olds that just cooked. The guitarist Colin (sorry didn’t catch your last name) was just unbelievable. He had the poise of a 30 year old in a 17 year old’s body. They also performed “Remember (Walkin’ in the Sand),” which is an Aerosmith classic from the “Night in the Ruts” album, originally done by the Shangri-Las in the awesome year of 1964. Steven came on to put a cap on the great Celebration Day by singing, “I Don’t Want to Miss a Thing” with the Atlantic Orchestra. Steven’s Dad Vic was in attendance and got to see his son and granddaughter perform together.
Speaking of Chelsea, she appears in a Nintendo commercial with her sister and fellow heartbreaker Liv. Be on the lookout for it.
Joe and clan took in the Who show at the Gahden last Friday night. It was the 3rd time Joe has seen the Who this year and this show had to be the best. Before the show Joe, Billie and family went backstage and chatted with the Who’s manager Bill Curbishley and then with Pete Townshend and Roger Daltrey. Roger seemed very interested in Tony and Adrian’s band “Tab the Band” and asked, “What’s it like going into the family business?” Pete was chatty and remembered the boys from last summer’s show in London.
Well that’s it for now folks. Rumor has it the amplifiers should be buzzing and the drums thumping in the early part of next year.
See you on the Road!
Juan B.
Larger photos: (here).
October 29, 2008
Won’t Get Fooled Again and Again and Again………
People have been asking me if I am still depressed over the Red Sox losing to Tampa Bay in the playoffs and I say “No I’m not.” They just won 2 World Series championships, the Pats won 3 Super Bowls and the Celtics raised their 17th banner to the (new) Garden rafters last night. It’s good to be a sports fan in Boston at the moment. Speaking of the Patriots they are surprising everybody right now and we like it. I’ll get back to you on the Bruins later in the season.
Brad seems to be enjoying himself out on the Hendrix tour. Now if Hendrix were there that would really be something. It just goes to show you how much of an impact Jimi had in such a short period of time. What did he have, about 3 years as a solo artist? People want to hear these songs. Former band members Mitch Mitchell and Billy Cox are aboard delivering the goods every night. Brad is having such a blast that he has decided to stay for the whole tour. His son Graham came up and played in NYC and rumor has it he will again in Vegas and LA. Check out some of the clips on the internet and then go see them live.
The same night Brad was rocking at the Orpheum I got the extreme pleasure of seeing Steven perform with members of the Thayer Academy band in Braintree, Mass. Steven was there as part of the Celebration weekend and also to christen the brand spanking new music hall that was built. Steven’s daughter Chelsea is an alumnus there and she flew back from college to sing with her Pappy on this night. She was the highlight of the evening singing the 1961 Etta James classic “At Last.” She brought it on home this night and was a tough act to follow but her old man didn’t do such a bad job. Steven came out and sang “Smile.” I actually thought he sang it better on this night than with Chris Botti. The band was a bunch of 17 and 18 year olds that just cooked. The guitarist Colin (sorry didn’t catch your last name) was just unbelievable. He had the poise of a 30 year old in a 17 year old’s body. They also performed “Remember (Walkin’ in the Sand),” which is an Aerosmith classic from the “Night in the Ruts” album, originally done by the Shangri-Las in the awesome year of 1964. Steven came on to put a cap on the great Celebration Day by singing, “I Don’t Want to Miss a Thing” with the Atlantic Orchestra. Steven’s Dad Vic was in attendance and got to see his son and granddaughter perform together.
Speaking of Chelsea, she appears in a Nintendo commercial with her sister and fellow heartbreaker Liv. Be on the lookout for it.
Joe and clan took in the Who show at the Gahden last Friday night. It was the 3rd time Joe has seen the Who this year and this show had to be the best. Before the show Joe, Billie and family went backstage and chatted with the Who’s manager Bill Curbishley and then with Pete Townshend and Roger Daltrey. Roger seemed very interested in Tony and Adrian’s band “Tab the Band” and asked, “What’s it like going into the family business?” Pete was chatty and remembered the boys from last summer’s show in London.
Well that’s it for now folks. Rumor has it the amplifiers should be buzzing and the drums thumping in the early part of next year.
See you on the Road!
Juan B.
Larger photos: (here).
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Wednesday, October 29, 2008
Brad Whitford Talks Upcoming Aerosmith Tour, Led Zeppelin Rumor
Radio Z92, TnT Radio Empire.com
October 28, 2008
Legendary Guitarist from Aerosmith out with the Experience Hendrix Tour right now!
Listen to interview: (here).
October 28, 2008
Legendary Guitarist from Aerosmith out with the Experience Hendrix Tour right now!
Listen to interview: (here).
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Tuesday, October 28, 2008
Monday, October 27, 2008
Sunday, October 26, 2008
Brad Whitford & Jonny Lang Performing "Fire"
YouTube.com
October 25, 2008
Experience Hendrix Tour - Orpheum Theater
Boston, MA - October 18, 2008
Watch video: (here).
October 25, 2008
Experience Hendrix Tour - Orpheum Theater
Boston, MA - October 18, 2008
Watch video: (here).
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Saturday, October 25, 2008
Steven Tyler Featured on Chris Botti's Upcoming "Live In Boston" CD
PhillyBurbs.com, PA
October 24, 2008
For those who have lamented the demise of Philadelphia's only light jazz radio station recently, smooth jazz star Chris Botti could fill that void in your life with two area shows this week.
Tonight [10/24] he performs at the N.J. Performing Arts Center, 1 Center St., Newark, promoting his 2007 album “Italia” and his upcoming “Live in Boston” CD, which has been moved to a February 2009 release date. Botti is a trumpet player who uses his personalized, muted sound to cover oldies most of the time. He also works frequently with pop artists like Paula Cole, Sting and Josh Groban.
On “Italia,” Botti teams with Andrea Bocelli on the title track, re-teams with Cole on “The Very Thought of You” and brings back Dean Martin on “I've Grown Accustomed to Your Face.” His next album features collaborations with Aerosmith's Steven Tyler (“Cryin'”), “American Idol” runner-up Katherine McPhee (“I've Got You Under My Skin”), Yo-Yo Ma (“Cinema Paradiso”), Sting (“Fragile”) and John Mayer (“Glad to be Unhappy”).....
Complete article: (here).
October 24, 2008
For those who have lamented the demise of Philadelphia's only light jazz radio station recently, smooth jazz star Chris Botti could fill that void in your life with two area shows this week.
Tonight [10/24] he performs at the N.J. Performing Arts Center, 1 Center St., Newark, promoting his 2007 album “Italia” and his upcoming “Live in Boston” CD, which has been moved to a February 2009 release date. Botti is a trumpet player who uses his personalized, muted sound to cover oldies most of the time. He also works frequently with pop artists like Paula Cole, Sting and Josh Groban.
On “Italia,” Botti teams with Andrea Bocelli on the title track, re-teams with Cole on “The Very Thought of You” and brings back Dean Martin on “I've Grown Accustomed to Your Face.” His next album features collaborations with Aerosmith's Steven Tyler (“Cryin'”), “American Idol” runner-up Katherine McPhee (“I've Got You Under My Skin”), Yo-Yo Ma (“Cinema Paradiso”), Sting (“Fragile”) and John Mayer (“Glad to be Unhappy”).....
Complete article: (here).
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Friday, October 24, 2008
Music Review: Move Over, Rover. Let Jimi Take Over
New York Times, NY
October 22, 2008
The Experience Hendrix Tour, which rolled into the Hammerstein Ballroom on Tuesday, borrows its name from the Jimi Hendrix Experience, and from that band’s epochal first album, “Are You Experienced.”
....Among the evening’s more faithful evocations were a subdued “Little Wing,” featuring David Hidalgo and Cesar Rosas of Los Lobos, and a sprawling “Voodoo Child (Slight Return),” featuring the raucous blues guitarist Kenny Wayne Shepherd. Even better along these lines, though, was Jonny Lang, working in tandem with Aerosmith’s Brad Whitford on a powerhouse version of “Fire.” Though hardly the most dazzling guitarist on the bill, Mr. Lang was among the better singers, and he threw himself headlong into the songs: he got equally strong results out of “Spanish Castle Magic” and “The Wind Cries Mary.”
....Experience Hendrix continues... at the Fox Theater in Detroit on Saturday.
More info at: (experiencehendrixtour.com).
October 22, 2008
The Experience Hendrix Tour, which rolled into the Hammerstein Ballroom on Tuesday, borrows its name from the Jimi Hendrix Experience, and from that band’s epochal first album, “Are You Experienced.”
....Among the evening’s more faithful evocations were a subdued “Little Wing,” featuring David Hidalgo and Cesar Rosas of Los Lobos, and a sprawling “Voodoo Child (Slight Return),” featuring the raucous blues guitarist Kenny Wayne Shepherd. Even better along these lines, though, was Jonny Lang, working in tandem with Aerosmith’s Brad Whitford on a powerhouse version of “Fire.” Though hardly the most dazzling guitarist on the bill, Mr. Lang was among the better singers, and he threw himself headlong into the songs: he got equally strong results out of “Spanish Castle Magic” and “The Wind Cries Mary.”
....Experience Hendrix continues... at the Fox Theater in Detroit on Saturday.
More info at: (experiencehendrixtour.com).
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Thursday, October 23, 2008
Experience Hendrix Tour - Aerosmith's Brad Whitford
Aero Force One
October 22, 2008
Brad Whitford, Buddy Guy & Billy Cox
Brad Whitford
Brad Whitford
More photos: (here).
October 22, 2008
Brad Whitford, Buddy Guy & Billy Cox
Brad Whitford
Brad Whitford
More photos: (here).
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Wednesday, October 22, 2008
Brad Whitford - Orpheum Theatre
Aero Force One
October 21, 2008
(Boston, MA - October 18, 2008 - Photo by: P. Mason)
More photos from the Experience Hendrix Tour: (here).
October 21, 2008
(Boston, MA - October 18, 2008 - Photo by: P. Mason)
More photos from the Experience Hendrix Tour: (here).
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Aerosmith Itching To Finish Up New Album
Billboard.com
October 21, 2008
After spending most of 2008 dealing with health issues, the members of Aerosmith plan to get back together in 2009 -- to, among other things, complete an album that group has already started recording.
"We're sitting on a bunch of music we've already recorded for a new album," guitarist Brad Whitford, who's currently on the road as part of the all-star Experience Hendrix tour, tells Billboard.com. "We haven't gone back into the studio the put the final touches on it and get it done and still don't know when we're gonna do that. Hopefully it'll be sooner rather than later."
The album will be Aerosmith's first of all-original material since 2001's "Just Push Play;" 2004's "Honkin' on Bobo" was comprised primarily of cover versions.
Most of Aerosmith's headlines this year were away from the recording studio and concert stage. Guitarist Joe Perry had knee reconstruction surgery in March.
Frontman Steven Tyler, meanwhile, spent time in a California rehabilitation clinic during the spring to recover from his own leg injuries in a drug-controlled environment; he did re-emerge on July 18 to sing "Walk This Way" with Billy Joel and his band at New York's Shea Stadium.
"You'd think it was a football team or something," Whitford says with a laugh. But he adds that the health issues should not raise concerns about Aerosmith's mortality.
"You have more than average concerns about it, I guess," Whitford says, "but you can't do anything about it. Like a lot of other things in life, you don't get to call the shots on these things, do you? We're just ... getting older."
Whitford says there's a silver lining to all of this, however. "It's been kind of nice just to be able to have some time and spend time with the family," he says. "I don't think we've ever had this much time off. It's a real difference. I'm not really used to it."
Whitford will be on the road with Experience Hendrix until Sunday (Oct. 26); the tour runs through Nov. 7.
October 21, 2008
After spending most of 2008 dealing with health issues, the members of Aerosmith plan to get back together in 2009 -- to, among other things, complete an album that group has already started recording.
"We're sitting on a bunch of music we've already recorded for a new album," guitarist Brad Whitford, who's currently on the road as part of the all-star Experience Hendrix tour, tells Billboard.com. "We haven't gone back into the studio the put the final touches on it and get it done and still don't know when we're gonna do that. Hopefully it'll be sooner rather than later."
The album will be Aerosmith's first of all-original material since 2001's "Just Push Play;" 2004's "Honkin' on Bobo" was comprised primarily of cover versions.
Most of Aerosmith's headlines this year were away from the recording studio and concert stage. Guitarist Joe Perry had knee reconstruction surgery in March.
Frontman Steven Tyler, meanwhile, spent time in a California rehabilitation clinic during the spring to recover from his own leg injuries in a drug-controlled environment; he did re-emerge on July 18 to sing "Walk This Way" with Billy Joel and his band at New York's Shea Stadium.
"You'd think it was a football team or something," Whitford says with a laugh. But he adds that the health issues should not raise concerns about Aerosmith's mortality.
"You have more than average concerns about it, I guess," Whitford says, "but you can't do anything about it. Like a lot of other things in life, you don't get to call the shots on these things, do you? We're just ... getting older."
Whitford says there's a silver lining to all of this, however. "It's been kind of nice just to be able to have some time and spend time with the family," he says. "I don't think we've ever had this much time off. It's a real difference. I'm not really used to it."
Whitford will be on the road with Experience Hendrix until Sunday (Oct. 26); the tour runs through Nov. 7.
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Tuesday, October 21, 2008
Like Father, Like Daughter
Boston Globe, MA
October 20, 2008
The demon of screamin' was more subdued at the opening of Thayer Academy's new arts center Saturday. Aerosmith frontman Steven Tyler played the part of proud father, joining daughter Chelsea - a Thayer alum - for a few tunes. Together, they sang Charlie Chaplin's "Smile" and the Shangri-La's "Remember (Walkin' in the Sand)," and then Tyler, backed by the Atlantic Symphony Orchestra, belted out "I Don't Want to Miss a Thing." The singer's son, Taj, a current Thayer student, was in the audience, as was his 93-year-old dad, Victor Tallerico. The new center includes a 540-seat theater, and studio space for the school's dance and choral programs.
October 20, 2008
The demon of screamin' was more subdued at the opening of Thayer Academy's new arts center Saturday. Aerosmith frontman Steven Tyler played the part of proud father, joining daughter Chelsea - a Thayer alum - for a few tunes. Together, they sang Charlie Chaplin's "Smile" and the Shangri-La's "Remember (Walkin' in the Sand)," and then Tyler, backed by the Atlantic Symphony Orchestra, belted out "I Don't Want to Miss a Thing." The singer's son, Taj, a current Thayer student, was in the audience, as was his 93-year-old dad, Victor Tallerico. The new center includes a 540-seat theater, and studio space for the school's dance and choral programs.
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Aerosmith's Brad Whitford says tour on tap for 2009
LiveDaily.com
October 20, 2008
Brad Whitford--who, along with Joe Perry, handles guitar duties in Aerosmith--told LiveDaily Sunday (10/20) that the group is on track to launch a spring 2009 tour.
During a candid conversation backstage at a Waterbury, CT, stop on the "Experience Hendrix Tour," Whitford said he was hopeful, but not counting on, Aerosmith to be ready to present concertgoers with new material when the band hits the road next spring.
In the meantime, the accomplished guitarist--who said he bought his first Fender Stratocaster the day after seeing the late Jimi Hendrix perform live--will be playing with the cross country "Experience Hendrix" ensemble through the tour's Oct. 26 performance at the Chicago Theater in Chicago.
Sporting a gray goatee, and a sharp black pinstripe shirt with matching fedora, Whitford chatted about his early guitar influences, as well as his even earlier affinity for muscle cars and drag racing, before discussing the eventual return to his "regular" job backing Perry and bandmates Steven Tyler, Tom Hamilton and Joey Kramer.
"We've been offered to go out and do a tour next year starting in March, I guess," Whitford said. "Providing the sky doesn't fall, that's what we'll be doing."
Whitford said Aerosmith has the "guts of a new album," and a lot of new material not recorded yet. "I don't know if we're actually gonna get that together before we go out," he said. "Typical Aerosmith: everybody's off in their own little world and I'm not sure we're going to get it done before we go out, which is unfortunate, because it would be nice to have some new music to play. But I don't see it happening, so it will be a run through of the old favorites at this point, anyway," he added.
Whitford said it doesn't make too much sense to go out showcasing new material in concert if Aerosmith can't issue some new recordings ahead of the 2009 tour. But he does have a few ideas about how Aerosmith can tickle its fan base without necessarily delivering a package of new work. That idea involves digging into the grooves of some of the band's old work.
"I would think we could go out and take a very different approach than what we've done in the past," Whitford said. "I've always wanted to do a lot of deep cuts. The thing I've always wanted to do--that I have never been able to get the guys to do, which would be very cool--is doing albums in sequence. I think it would be great to do a concert playing "Rocks" and "Toys in the Attic," that's the set list. And play it the way you hear it."
Whitford said he's enjoyed playing tried and true favorites like "Walk This Way" every show, but he would enjoy playing any material from the band.
"There's plenty of good ones out there," he observed, adding that since the band saves its set lists, it's easy for him to compare song choices from 10 or even 20 years ago.
"You look at set lists 15 years apart and they're practically identical except for a couple of new songs here and there," he said. "Trying to get this band off its ass and do things different--it's like going to the dentist."
Speaking of doing something different, Whitford said he is jonesing to unearth Aerosmith's high-definition "MTV Unplugged" performance, which aired from New York's Ed Sullivan Theater on Sept. 20, 1990.
According to an article on the Swedish fan site RockThisWay.de, "Song selections include 'Toys in the Attic,' 'Hang Man Jury,' 'Big 10 Inch,' 'Dream On,' 'Walkin' the Dog,' and 'Train Kept a Rollin.' Aerosmith's 'MTV Unplugged' performance, featuring high-definition imaging by Captain of America, marks the first airing of a high-definition program on the network."
The 13 song set featured almost as many numbers that were left un-aired on the 30-minute special including: "Monkey on My Back," "Love Me Two Times," "Seasons of Wither," "One Way Street," "Smokestack Lightning," "Milk Cow Blues," and the "Unplugged" encore, "Last Child."
"I think it was on once," Whitford said, "and it's sitting in a can somewhere waiting to see the light of day. I don't know why we're sitting on it, but I'm sure it's got something to do with the record company."
Whitford said his current stint on the "Experience Hendrix" tour is like a pro musicians' rock fantasy camp, and he treasures the nightly opportunity to share the Hendrix spot with Buddy Guy performing "Red House," backed by Billy Cox and Mitch Mitchell from The Jimi Hendrix Experience. "Since the first time I heard him, and right up until today, [Hendrix] has been an important influence on me--on all of us," he said.
While Whitford and fellow Aerosmith axe man Joe Perry both share a love for Jeff Beck, he admits to leaning toward Hendrix as an influence, while he says Perry gravitated more towards the Jimmy Page style of playing.
Whitford credits the British Invasion for turning his interest from trumpet and piano to guitar, but said it was his father who brought home his first guitar.
"My father loved the sound of electric guitar. And he brought home this Japanese electric where the action between the strings and the neck was like, in separate counties," Whitford said, laughing. "I got to see Hendrix play in '68 in Boston Garden with Mitch and Noel Redding and it was like, 'Wow.' I bought a Fender guitar the very next day."
October 20, 2008
Brad Whitford--who, along with Joe Perry, handles guitar duties in Aerosmith--told LiveDaily Sunday (10/20) that the group is on track to launch a spring 2009 tour.
During a candid conversation backstage at a Waterbury, CT, stop on the "Experience Hendrix Tour," Whitford said he was hopeful, but not counting on, Aerosmith to be ready to present concertgoers with new material when the band hits the road next spring.
In the meantime, the accomplished guitarist--who said he bought his first Fender Stratocaster the day after seeing the late Jimi Hendrix perform live--will be playing with the cross country "Experience Hendrix" ensemble through the tour's Oct. 26 performance at the Chicago Theater in Chicago.
Sporting a gray goatee, and a sharp black pinstripe shirt with matching fedora, Whitford chatted about his early guitar influences, as well as his even earlier affinity for muscle cars and drag racing, before discussing the eventual return to his "regular" job backing Perry and bandmates Steven Tyler, Tom Hamilton and Joey Kramer.
"We've been offered to go out and do a tour next year starting in March, I guess," Whitford said. "Providing the sky doesn't fall, that's what we'll be doing."
Whitford said Aerosmith has the "guts of a new album," and a lot of new material not recorded yet. "I don't know if we're actually gonna get that together before we go out," he said. "Typical Aerosmith: everybody's off in their own little world and I'm not sure we're going to get it done before we go out, which is unfortunate, because it would be nice to have some new music to play. But I don't see it happening, so it will be a run through of the old favorites at this point, anyway," he added.
Whitford said it doesn't make too much sense to go out showcasing new material in concert if Aerosmith can't issue some new recordings ahead of the 2009 tour. But he does have a few ideas about how Aerosmith can tickle its fan base without necessarily delivering a package of new work. That idea involves digging into the grooves of some of the band's old work.
"I would think we could go out and take a very different approach than what we've done in the past," Whitford said. "I've always wanted to do a lot of deep cuts. The thing I've always wanted to do--that I have never been able to get the guys to do, which would be very cool--is doing albums in sequence. I think it would be great to do a concert playing "Rocks" and "Toys in the Attic," that's the set list. And play it the way you hear it."
Whitford said he's enjoyed playing tried and true favorites like "Walk This Way" every show, but he would enjoy playing any material from the band.
"There's plenty of good ones out there," he observed, adding that since the band saves its set lists, it's easy for him to compare song choices from 10 or even 20 years ago.
"You look at set lists 15 years apart and they're practically identical except for a couple of new songs here and there," he said. "Trying to get this band off its ass and do things different--it's like going to the dentist."
Speaking of doing something different, Whitford said he is jonesing to unearth Aerosmith's high-definition "MTV Unplugged" performance, which aired from New York's Ed Sullivan Theater on Sept. 20, 1990.
According to an article on the Swedish fan site RockThisWay.de, "Song selections include 'Toys in the Attic,' 'Hang Man Jury,' 'Big 10 Inch,' 'Dream On,' 'Walkin' the Dog,' and 'Train Kept a Rollin.' Aerosmith's 'MTV Unplugged' performance, featuring high-definition imaging by Captain of America, marks the first airing of a high-definition program on the network."
The 13 song set featured almost as many numbers that were left un-aired on the 30-minute special including: "Monkey on My Back," "Love Me Two Times," "Seasons of Wither," "One Way Street," "Smokestack Lightning," "Milk Cow Blues," and the "Unplugged" encore, "Last Child."
"I think it was on once," Whitford said, "and it's sitting in a can somewhere waiting to see the light of day. I don't know why we're sitting on it, but I'm sure it's got something to do with the record company."
Whitford said his current stint on the "Experience Hendrix" tour is like a pro musicians' rock fantasy camp, and he treasures the nightly opportunity to share the Hendrix spot with Buddy Guy performing "Red House," backed by Billy Cox and Mitch Mitchell from The Jimi Hendrix Experience. "Since the first time I heard him, and right up until today, [Hendrix] has been an important influence on me--on all of us," he said.
While Whitford and fellow Aerosmith axe man Joe Perry both share a love for Jeff Beck, he admits to leaning toward Hendrix as an influence, while he says Perry gravitated more towards the Jimmy Page style of playing.
Whitford credits the British Invasion for turning his interest from trumpet and piano to guitar, but said it was his father who brought home his first guitar.
"My father loved the sound of electric guitar. And he brought home this Japanese electric where the action between the strings and the neck was like, in separate counties," Whitford said, laughing. "I got to see Hendrix play in '68 in Boston Garden with Mitch and Noel Redding and it was like, 'Wow.' I bought a Fender guitar the very next day."
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Monday, October 20, 2008
Even More Photos from Thayer Academy Gala
Flickr.com
October 19, 2008
More photos of Steven Tyler performing with his daughter, Chelsea, at the Thayer Academy Gala Fundraising Event, Braintree, MA, on Saturday, October 18th, have been added to Scott Eisen's page. They can be found (here).
Photos by Scott Eisen
Web Site address... (www.scotteisenphoto.com).
October 19, 2008
More photos of Steven Tyler performing with his daughter, Chelsea, at the Thayer Academy Gala Fundraising Event, Braintree, MA, on Saturday, October 18th, have been added to Scott Eisen's page. They can be found (here).
Photos by Scott Eisen
Web Site address... (www.scotteisenphoto.com).
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Sunday, October 19, 2008
Steven Tyler Performing at Thayer Academy "Celebration Weekend"
Flickr.com
October 18, 2008
A photo of Steven Tyler performing at the Thayer Academy Gala Fundraising Event, Braintree, MA, on Saturday, October 18th, can be found (here).
The Gala is celebrating the opening of Thayer Academy's new Center for the Arts.
Photo by Scott Eisen
Web Site address... (www.scotteisenphoto.com).
October 18, 2008
A photo of Steven Tyler performing at the Thayer Academy Gala Fundraising Event, Braintree, MA, on Saturday, October 18th, can be found (here).
The Gala is celebrating the opening of Thayer Academy's new Center for the Arts.
Photo by Scott Eisen
Web Site address... (www.scotteisenphoto.com).
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Saturday, October 18, 2008
Aerosmith Confirmed For 2009 Sturgis Motorcycle Rally
BraveWords.com
October 17, 2008
Rapidcityjournal.com is reporting:
The Buffalo Chip didn't have to go looking for a big act for the 2009 Sturgis Motorcycle Rally. It came looking for them.
Grammy Award-winning rock band Aerosmith will play the Buffalo Chip on Wednesday, Aug. 5, Chip owner Rod Woodruff said.
Woodruff said Aerosmith's crew visited the Buffalo Chip this year as spectators. Shortly after the rally ended, they contacted Woodruff and asked to play next year.
"We've been pinching ourselves and working out the details ever since," Woodruff said. "It's just going to be such a great experience. We're just blessed they chose us."
Tickets for individual Buffalo Chip shows go on sale in April. Tickets prices haven't been set for the Aerosmith show, but prices will be comparable to past shows, Woodruff said.
October 17, 2008
Rapidcityjournal.com is reporting:
The Buffalo Chip didn't have to go looking for a big act for the 2009 Sturgis Motorcycle Rally. It came looking for them.
Grammy Award-winning rock band Aerosmith will play the Buffalo Chip on Wednesday, Aug. 5, Chip owner Rod Woodruff said.
Woodruff said Aerosmith's crew visited the Buffalo Chip this year as spectators. Shortly after the rally ended, they contacted Woodruff and asked to play next year.
"We've been pinching ourselves and working out the details ever since," Woodruff said. "It's just going to be such a great experience. We're just blessed they chose us."
Tickets for individual Buffalo Chip shows go on sale in April. Tickets prices haven't been set for the Aerosmith show, but prices will be comparable to past shows, Woodruff said.
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Guitarists at packed Palace capture magic of Hendrix
Schenectady Gazette, NY
October 17, 2008
SCHENECTADY — It’s been around 35 years since Jimi Hendrix died, and still, today, nearly every list of greatest rock guitarists puts him at the top.
Some guitarists have since closed in on his skillful chops, others on his recklessness. But none has combined the two, and then there’s the unbearable energy of Hendrix.
A barrage of great guitarists hit the Palace Thursday night for a packed-tight audience for the second night of a 25-show Experience Hendrix Tour. Players like Buddy Guy, Johnny Lang, Eric Johnson and Kenny Wayne Shepherd tore into their tunes to capture their little piece of Hendrix. Originals Mitch Mitchell and Billy Cox came on and off the stage all night but did little.
Eric Gales opened the show with “Purple Haze” and then “Foxy Lady.” Immediately, one wondered how they could have used these two giant songs so early. But halfway through the show, it became apparent how deep and rich the Hendrix songbook was.
Gales is a loose, natural player who found ways to get outside the song and capture Hendrix’ need to wander.
Gales left the stage for Mato Nanji to play and sing a riveting “Little Wing,” his soaring solo bringing the place to their feet. Eric Johnson followed, with Mitch Mitchell, who together played the “Happy Birthday” song to Billy Cox.
There was no gap between acts; the players just kept coming non-stop.
“We wouldn’t be here playing guitar if not for these guys,” Johnson said of Cox and Mitchell, launching into “Bold as Love,” in which he overplayed the solo. He followed with a staid and polished “Are You Experienced.” If Gales opened wide his Hendrix tunes, Johnson boxed them in.
The wildly passionate Johnny Lang and Aerosmith’s Brad Whitford replaced Johnson, burning into “Fire,” Lang singing and playing for his life. Even Hendrix would have called the guy crazy during this song. While Hendrix might have been the inspiration for metal, it was clear how distant the metal style of Whitford sounded from the Hendrix feel. The two scored high again with “Wind Cries Mary” and then “Spanish Castle Magic,” bringing the house to their feet.
Kenny Wayne Shepherd took the stage next, staying for a while and playing his heart out with “I Don’t Live Today” and “Voodoo Chile” like a man possessed.
Hubert Sumlin, introduced as a major influence on Hendrix, took a great, old-blues solo for the standard “I Can’t Quit You.”
Then came Buddy Guy. While a blues thread ran through everyone on the stage all night, Buddy Guy was the purest and most loyal to the genre. He left the Hendrix songbook for some oldies.
Albert Camus once said something like, “Love burns or love lasts, but it doesn’t do both.” Maybe so. And Hendrix sure did burn his fuse fast and furiously. Thursday night was an honorable and successful effort to respect the light that he’s left.
October 17, 2008
SCHENECTADY — It’s been around 35 years since Jimi Hendrix died, and still, today, nearly every list of greatest rock guitarists puts him at the top.
Some guitarists have since closed in on his skillful chops, others on his recklessness. But none has combined the two, and then there’s the unbearable energy of Hendrix.
A barrage of great guitarists hit the Palace Thursday night for a packed-tight audience for the second night of a 25-show Experience Hendrix Tour. Players like Buddy Guy, Johnny Lang, Eric Johnson and Kenny Wayne Shepherd tore into their tunes to capture their little piece of Hendrix. Originals Mitch Mitchell and Billy Cox came on and off the stage all night but did little.
Eric Gales opened the show with “Purple Haze” and then “Foxy Lady.” Immediately, one wondered how they could have used these two giant songs so early. But halfway through the show, it became apparent how deep and rich the Hendrix songbook was.
Gales is a loose, natural player who found ways to get outside the song and capture Hendrix’ need to wander.
Gales left the stage for Mato Nanji to play and sing a riveting “Little Wing,” his soaring solo bringing the place to their feet. Eric Johnson followed, with Mitch Mitchell, who together played the “Happy Birthday” song to Billy Cox.
There was no gap between acts; the players just kept coming non-stop.
“We wouldn’t be here playing guitar if not for these guys,” Johnson said of Cox and Mitchell, launching into “Bold as Love,” in which he overplayed the solo. He followed with a staid and polished “Are You Experienced.” If Gales opened wide his Hendrix tunes, Johnson boxed them in.
The wildly passionate Johnny Lang and Aerosmith’s Brad Whitford replaced Johnson, burning into “Fire,” Lang singing and playing for his life. Even Hendrix would have called the guy crazy during this song. While Hendrix might have been the inspiration for metal, it was clear how distant the metal style of Whitford sounded from the Hendrix feel. The two scored high again with “Wind Cries Mary” and then “Spanish Castle Magic,” bringing the house to their feet.
Kenny Wayne Shepherd took the stage next, staying for a while and playing his heart out with “I Don’t Live Today” and “Voodoo Chile” like a man possessed.
Hubert Sumlin, introduced as a major influence on Hendrix, took a great, old-blues solo for the standard “I Can’t Quit You.”
Then came Buddy Guy. While a blues thread ran through everyone on the stage all night, Buddy Guy was the purest and most loyal to the genre. He left the Hendrix songbook for some oldies.
Albert Camus once said something like, “Love burns or love lasts, but it doesn’t do both.” Maybe so. And Hendrix sure did burn his fuse fast and furiously. Thursday night was an honorable and successful effort to respect the light that he’s left.
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Friday, October 17, 2008
The 200 Hard Rock CDs You Can't Live Without
Aero Force One
October 15, 2008
Hit Parader
40. Aerosmith, Pump
After a major struggle for survival in the rock wars, Aerosmith proved they still had what it took on Pump, a disc that produced no less than four hit songs and videos. Coming out at the apex of the Hair Metal explosion, Steven Tyler’s bunch showed a younger generation of bands exactly what great rock and roll was all about and they did it with a degree of style and substance that was unique to the Aero Force. With the metal-inspired ‘80s drawing to a close, change was in the air. But the Aerosmith boys took the ecade out in style.
26. Aerosmith, Permanent Vacation
With the hindsight that history so often provides, it’s hard to believe a band as important and influential as Aerosmith ever had to make a comeback. But after a messy breakup and reformation, some within the rock mainstream wondered if Aerosmith could still cut the rock and roll mustard. With Permanent Vacation they deftly proved they were still the preeminent American hard rock band in the land. With Dude look Like a Lady becoming a smash hit, the disc proceeded to sell over 5 million copies, securing the place of these Boston Bad Boys amid hard rock’s all-time greats.
7. Aerosmith, Rocks
It’s a well-documented bit of rock and roll lore that Aerosmith grew up absorbing the classic rock styles of everyone from the Yardbirds to the Stones. They showcased those roots – filtered with their own unique musical twists and turns – on their fourth album, Rocks, which still stands as one of the group’s ultimate efforts. By this time, the then Toxic Twins pairing of vocalist Steven Tyler and guitarist Joe Perry was solidified as America’s answer to Jagger and Richards, and while the wheels would temporarily come off the Aero express just a few years later, this disc still stands as a definitive career high point.
October 15, 2008
Hit Parader
40. Aerosmith, Pump
After a major struggle for survival in the rock wars, Aerosmith proved they still had what it took on Pump, a disc that produced no less than four hit songs and videos. Coming out at the apex of the Hair Metal explosion, Steven Tyler’s bunch showed a younger generation of bands exactly what great rock and roll was all about and they did it with a degree of style and substance that was unique to the Aero Force. With the metal-inspired ‘80s drawing to a close, change was in the air. But the Aerosmith boys took the ecade out in style.
26. Aerosmith, Permanent Vacation
With the hindsight that history so often provides, it’s hard to believe a band as important and influential as Aerosmith ever had to make a comeback. But after a messy breakup and reformation, some within the rock mainstream wondered if Aerosmith could still cut the rock and roll mustard. With Permanent Vacation they deftly proved they were still the preeminent American hard rock band in the land. With Dude look Like a Lady becoming a smash hit, the disc proceeded to sell over 5 million copies, securing the place of these Boston Bad Boys amid hard rock’s all-time greats.
7. Aerosmith, Rocks
It’s a well-documented bit of rock and roll lore that Aerosmith grew up absorbing the classic rock styles of everyone from the Yardbirds to the Stones. They showcased those roots – filtered with their own unique musical twists and turns – on their fourth album, Rocks, which still stands as one of the group’s ultimate efforts. By this time, the then Toxic Twins pairing of vocalist Steven Tyler and guitarist Joe Perry was solidified as America’s answer to Jagger and Richards, and while the wheels would temporarily come off the Aero express just a few years later, this disc still stands as a definitive career high point.
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Thursday, October 16, 2008
How the Bad Boys From Boston Recorded Their Finest Albums
Aero Force One
October 15, 2008
EQ
Big Twelve Inches
By Rich Tozzoli
Engineer Jay Messina on Recording the Aerosmith Masterworks 'Toys in the Attic' and 'Rocks'.
The year was 1975, and a five-piece band from Boston known as Aerosmith had just wrapped up a lengthy tour to promote its sophomore release, Get Your Wings. Both that album and the band’s self-titled debut had charted gold, but the members were still hungry—ravenous, even—for breakout success. Little did they know that the next 24 months would propel them from an opening act to full-fledged arena-rock superstars, and forge a legacy that, three decades later, would remain strong as ever.
But the band didn’t get there alone. When studio mastermind Jack Douglas and engineer Jay Messina stepped onboard for the Get Your Wings sessions in 1973–74, they established the beginnings of a production team that would help provide the so-called “Bad Boys from Boston” with the sounds, songs, and swagger to dominate the airwaves. Fully in charge for the next album—co-producer Ray Colcord and engineer Rod O’Brien helped with Wings—the duo channeled Aerosmith’s raw, reckless brilliance into the 1974 smash Toys in the Attic, and its 1976 platinum follow-up album, Rocks. These groundbreaking and influential records secured Aerosmith’s status as rulers of the mid-’70s hard-rock scene.
Now, 30-plus years after Toys in the Attic and Rocks first hit the shelves, Messina broke out the albums, and sat down with EQ to reveal the studio techniques used to create two rockin’ masterpieces.
What was your experience prior to working with Aerosmith?
I started at Don Elliot Productions in 1966. Fun fact: Don had Les Paul’s one-inch 8-track machine, of which there were only five in the world at the time. My first session there was with Ravi Shankar. I recorded it with David Lucas, the engineer who was there at the time, and I was told a doctor would pay me at the end of the session. Ravi and his band wanted to play to this psychedelic film, so we set up a 16mm projector in the control room—which made quite a racquet. At the end of the night, I went over to the doctor and got a check from him. The doctor was Timothy Leary.
Around 1968, I moved to A&R studios. Phil Ramone ran it, and it was kind of like a school. I started mastering vinyl there on a mono Neumann lathe. It was a really good background for me to get into before getting further into recording, because I got to know what not to do in my mixes. For example, you didn’t want a lot of out-of-phase material, as it will lift the cover-cutter head right out of the grooves, and your record will skip. For the same reason, you had to be careful about the low end. Also, a circuit protected the cutter head from too much high-end voltage. It would just lift the head up, and you’d have to start the cutting process over. A lot of things that sounded fine on tape wouldn’t translate to an actual vinyl record because of the limitations of the format.
I went to the Record Plant in New York City in 1970. As soon as you walked in the place, it felt like you were going into the coolest nightclub in town. For example, I was invited to see the Who record in Studio A, and there were all these colored lights turned down low. They were about to do some vocals—I could hear breathing out in the studio—and just by the level of the hiss from the return of the EMT plates and the general amplifier noise in the room, I could tell how loud it was going to be. They had a quad system in the room with 300-watt monitors, and they were all on. Sure enough, when they put the tape on, it was incredibly loud, but the sound was just awesome. To this day, Studio A is one of the best-sounding rooms I’ve heard.
What console was in there?
Studio A had a Spectrasonics console—which is very straight ahead. There wasn’t a lot of flexibility with aux and cue sends, and you didn’t get a lot of bells and whistles. But it was a super board, and you could get amazing sounds down on tape with it. Studio B and Studio C had Datamix consoles at that time.
It was while working at the Record Plant that you got hooked up with Jack Douglas, right?
Yes. Jack was assisting at that time, and he got on a few of my dates. We clicked as friends, and we also liked the way we worked together. It was a real natural partnership. Then, Jack got a couple of good opportunities to advance his production skills. I guess the first big one was when Bob Ezrin gave him the chance to co-produce Get Your Wings. Aerosmith was up and coming, and Columbia recognized them as a band that was going to happen. So that’s when we met the guys, and Jack and I ended up working on Get Your Wings together. Well, that record didn’t take off, but Columbia was still impressed with the band, and they also felt Jack and I were a good match for them. So we started Toys in the Attic.
Did the band write a lot of Toys in the Attic in the studio?
Yes, and also during pre-production with Jack. Certainly, a lot of [vocalist] Steven Tyler’s lyrics were written in the studio. For instance, we all went to the movies one night, and saw Young Frankenstein. The “walk this way” line in the film is what inspired Steven to write “Walk This Way.” The band was in a very creative place.
What did you record Toys on?
The deck was an MCI two-inch 16-track that was running Ampex tape. We used the Spectrasonics console in Studio A, and we had some really cool outboard pieces such as Roger Mayer limiters, and an old Altec compressor that gave the guitars a cool, subtle squash.
How did you track the guitars on that album?
Typically, I would use the combination of a Shure SM57, a Sennheiser 421, and a Sony C37. I would place all three mics close to the grille, and mix the signals down to one track. The “edge” would come from the 57 and the 421, while the C37 would provide the “weight.” Sometimes, we would add a little bit of phasing to get some extra edge. We had an Eventide flanger that we used occasionally, as well, and if it sounded really good, we would just print the effect to tape. In the mix, we would usually pan Brad Whitford’s guitar to the left, and Joe Perry’s guitar to the right. They had some great old Fenders, and Joe used a small Gibson stereo amp that just sounded amazing. Most of the time, it was just one or two amps per player being tracked. Once we experimented with assigning one guitar to 13 amps, and miking them up. That’s when we discovered that having 13 amps doesn’t make the guitar sound 13 times better than one amp!
What about Joey Kramer’s drums?
We set the drums on a wood floor. I would get a Sennheiser MKH 415 shotgun mic up as high as I could, point it straight down at the snare, and then put a Universal Audio 1176 on it, squashing it at around a 20:1 ratio. Generally, I would just add some of that channel under the dry track in the mix. On the snare, I sometimes used an Altec 633A “salt shaker” in place of a Shure SM57. I only miked the top head, and I used a Pultec EQ to boost slightly at around 10kHz and 100Hz. The hi-hat mic would be a Neumann KM 84, and for the toms and overheads, I used Neumann U87s. With the overheads, I would position the mics so I had a good shot at all the cymbals, but I always tried to maintain the snare in the center of the image. For the kick, we used an Electro-Voice 666. We also added some board EQ on the kick to boost the low end at 50Hz, and the attack at around 3kHz.
Toys In The Attic had drums assigned to five tracks: kick on one, snare on two, everything else on three and four, and the shotgun mic on five. The exception was “Sweet Emotion,” where the shotgun mic was multed to two preamps. One was limited with a UREI 1176, and the other with a Universal Audio 175. Each signal was printed on a separate track. I rarely adhered to traditional miking techniques back then. I was all about experimentation.
You also played some percussion on the album.
I played bass marimba on “Sweet Emotion.” We felt the bass part was missing a little edge to it, and Jack knew I played vibes, so I gave it a shot, and doubled the bass part. It worked great with the bass sound. It’s in the intro, and the re-intro after the first chorus.
Was Tom Hamilton’s bass sound all direct, or a mix of amp and DI?
It was a mix of both amp and DI—which were submixed to a single channel. Tom used an Ampeg B15 amp, and we would take the direct line off the amp head. The mic would have been an Electro-Voice RE20. We also used an old Flickenger tube limiter—a monstrous bass compressor that had its own special sound. If you applied it moderately, it kept the low end from getting muddy, and it added lots of punch in the mids. We would occasionally use a Lang Program EQ to boost the 2kHz range for some added edge.
I heard Steven didn’t use headphones for most of the album. How did you record his lead and background vocals?
When Steven didn’t hear headphones, I would record him with the shotgun mic because of its narrow polar pattern. I would set him up with a couple of monitors in the live room, and send a mono feed. We’d place the monitors out of phase, and then position Steven in the sweet spot where the two signals almost completely cancelled each other out. If he was hearing headphones—which he did on occasion to sing background vocals and other parts—I’d use a U87. While the backgrounds are mostly Steven, Joe would sing occasionally, too. You can hear him on there if you listen.
Was Toys mixed right there at the Record Plant?
Yes, and it wasn’t that difficult. Jack and I would both get our hands in there on the mix, and if we needed other hands, we would just ask. You couldn’t be shy about asking for help, because there was no automation. You had to manually ride the faders. The mixes were often a combination of using extra hands, or mixing songs in pieces, and then editing sections together. We would cut and assemble the order on 1/4-inch tape running at 15ips. The whole record took around four months to finish.
What reverbs did you have at the time?
They had some really cool EMT plates, and a spring reverb. Most of the reverb you hear—like on “Sweet Emotion”—was the EMTs. If we had a cool reverb sound going, we just printed it to tape.
Did you rely on a lot of compression for the mixes?
We didn’t use much. We would hit the tape hard enough to get some natural compression, and then add just a little to the guitars and bass to even things out. The exception was the shotgun mic above Joey’s snare. I’d really squash that one.
Later on, when we recorded Rocks, I’d take the drum mix—mostly kick and snare with a little bit of the overheads—and route it from an aux send to an 1176. I would really squash that signal at 20:1, and I’d have the input level up to the point where you think it’s too much. The 1176’s release function would almost enable you to put the compression in time with the song. What I mean is, based on how quick or slow the release was set, I could try to have the 1176 back to zero compression by the time of the next snare hit. That way, you always hear the crack of that next snare fully. Also, if you were hearing too much of the cymbals, you could slow up the release, and it wouldn’t pull up a lot of cymbal bleed. When mixing, I would add the compressed signal in parallel to the other drums to get an apparent loudness to the kick and snare without adding much meter level. This is how we got that “hit you in the chest sound” for Joey’s drums.
How many tracks did you use?
When we remixed Toys in the Attic for 5.1 surround a few years ago, I had it transferred from the 16-track master to Pro Tools. When I looked at the track sheets, I noticed that there was at least one track open on all the songs. We basically used only 15 tracks for the whole record.
What did you print the mixes to?
The final master was a 1/4-inch Ampex tape. We were very conscious of the low end and any out-of-phase material, because we didn’t want the vinyl records to skip. Doug Sax did a great job mastering the record. He sonically brought it up another notch.
Let’s move onto Rocks. What’s the story there?
The guys were rehearsing in a warehouse in Waltham, Massachusetts, and they were getting really comfortable up there. It turned out that everything sounded really good in the room, so we just parked the Record Plant mobile truck in the warehouse.
So you just miked everybody up where they were in the room as if they were practicing?
Yes—even to the point of using this huge speaker cabinet Joey had set up behind his drums for the rehearsals. He had a mic just lying in his bass drum, and we ran the signal through a little MXR equalizer with everything from 125Hz and up rolled off, and everything below 125Hz boosted all the way up. A big woof of air would come out of that cabinet, and he’d feel it every time he hit the bass drum. It made for a really cool bass-drum sound—although it bled through everything except the guitar mics that were positioned right on the speaker grilles.
How were the band members positioned in the warehouse?
They were set up in corners. As you walked in, the drums were just to the right. There was a guitar amp in the far right corner, a guitar amp in the far left corner, and Tom’s bass rig was in another corner. It was so loud that they would easily hear each other no matter where they stood. That was the point. We isolated amps and the drum kit a bit with blankets, but, of course, that only worked so well.
Was everyone miked up the same way as on Toys?
Yes—although we did try a pair of binaural mics on Joey. Those mics have their applications, but they weren’t an overwhelming success, in my opinion. We also miked this big cement room off the loading bay to get some ambience. It sounded huge. We got some great tracks up there, and we went back to the Record Plant for overdubs—mostly vocals, but some added percussion and guitar parts, as well—and mixing.
Here’s a funny story—at that time, CBS had to have their union engineers on the session, so we always had these two guys hanging around the warehouse. Right at the end of one tune, we heard a door creak open. It was one of the guys coming back from coffee. In the mix, we had to make the creak louder, because we couldn’t get rid of it. You can hear it at the beginning of “Nobody’s Fault.”
What console was in the mobile truck?
It was a DeMideo board that was super straight-ahead and clean. It had minimal EQ, so it was just used to get the sound on tape.
How did the limitations of the board affect your approach to recording the album?
It was a matter of just finding the right mic, putting it in the right place, and getting it on tape as clean as possible. In that sense, it made the album easy to record.
When you listen to Toys In The Attic and Rocks now, what are your thoughts on them?
I didn’t realize at the time that these would be big releases, or that they would go down in history as classic rock records. Who knew that “Walk This Way” and “Sweet Emotion” would become the radio staples they did? But I do remember being excited about the sessions. These albums were fun to work on, and fun to mix, and it’s nice to be driving in the car, and still hear them playing on the radio.
What comes across is the energy of the songs and the mixes—which is what we always wanted to put into the records in the first place. Listening back, it’s not about asking, “Is there enough 10kHz on this or that,” or focusing on specific technical points in the mix. It’s more about reflecting on the album in the context of “Does it feel good, and do you get excited when you hear it?” The answer, in these cases, is “yes.” I guess the magic was there when we put the records together, and that magic still comes across in the mixes 30 years down the road.
Jack’s Tales From the Attic
Often referred to as the “sixth member of Aerosmith,” Jack Douglas was instrumental in helping shape the band’s early sound. With a long track record that includes the likes of John Lennon and the Who, Douglas is certainly no stranger to making hit records. Here, he reflects on working behind the scenes with “the bad boys from Boston” for Toys in the Attic.
What were some of the challenges in making the album?
At that time, their performances could be dodgy. They would get a few moments of brilliance, and then fall on their asses, but I wouldn’t want to stop the take. I would just go for whatever I could get. Sometimes, I would be banging a cowbell in a booth just so the tempo would stay straight. That way, I could edit all the takes together when it was done, because the brilliant parts would just be incredible.
The band has often called you their “sixth member.” Explain the specifics of that role.
That “sixth member” phrase is because of the situations that went down in preproduction, when I would basically move in with them. We would create songs from the ground up, and, because of their touring schedule, they would just show up and ask, “Got any songs?” We would develop stuff from the ground up—such as the riff on “Walk This Way,” or the bass part to “Sweet Emotion.” The major contributors were Steven, Joe, and myself, but everyone certainly pitched in.
You mixed Toys with flying fingers.
That’s right! We would mark fader levels with pencils—and even tape razor blades down to block faders from being moved past a certain point—and then it would be all hands on deck. Sometimes, you would just do a verse, then reset for the chorus, and make all your pre-planned moves. There would be stop points set for the drum fills, and so on. I miss that process, because things happened by accident on those records that were just really cool.
Did you realize how great Toys was when you were working on it?
No. I was too close to it. When Bruce Lundvall [president, Columbia Records] came in to listen to the whole album, I was thinking, “Oh my god, its just terrible.” I thought it must have sounded like this mushy big mess flying at him. After it was over, Bruce said, “I think I can take a breath now.” And I thought, “Wow, he really hates it.” But then he said, “It’s brilliant. There’s gotta be four singles on there that are amazing.” And there are only nine songs on that record!
Hewitt’s Rocking Mobile Rig
David Hewitt—the Grammy-winning President/Chief Engineer of Remote Recording—was on the scene when Aerosmith recorded Rocks. Leaving the hustle and bustle of New York, the band and production team set up shop in an empty warehouse in Massachusetts, not far from Aerosmith’s hometown of Boston. To track the sessions, Hewitt rolled up an entire mobile studio, and here he tells us about some of the gear he brought in to keep the sessions running smoothly.
What was the setup for Rocks?
The band had a rehearsal room called the Where-house—a big, insulated industrial space with unusually high ceilings. We brought the Record Plant’s truck up there, which had a DeMideo console loaded with UREI 1108 modules. These were basically solid-state discrete versions of the old tube circuits UREI had made, so they sounded really good.
How many inputs did the console have?
It only had 24 inputs and eight mix busses, and tracking was a little difficult due to the limited inputs. To get around that, we also used some Ampex AM10 submixers, which were six by two. We brought the submixers in on line positions, because, even then, we started using up to 35 or 40 inputs for the band. Joey had tons of drums, Jay had room mics up, and Brad and Joe had a bunch of guitar amps all around. Every time they would add something, I’d be scrambling to find another preamp somewhere, and another way to get it in.
What tape machines did you use?
We were still doing 16 tracks at that point, and we had a pair of Ampex MM1000s—the first 16-track recorders ever produced. Those things were big and clunky, but they sounded great.
Where did you put the truck?
We actually pulled the truck right inside the Where-house from the loading dock. Everything stayed in the truck. We ran the cables out into the room, and set things up just like a live date. We had great big honking Westlake monitors that were just awful. They reached compression at like 9 o’clock, but the guys knew them well that we used them. The whole point was to make the band feel like they were just rehearsing—to catch them in their element—and that’s what we did.
To read the originial article, click: (here).
October 15, 2008
EQ
Big Twelve Inches
By Rich Tozzoli
Engineer Jay Messina on Recording the Aerosmith Masterworks 'Toys in the Attic' and 'Rocks'.
The year was 1975, and a five-piece band from Boston known as Aerosmith had just wrapped up a lengthy tour to promote its sophomore release, Get Your Wings. Both that album and the band’s self-titled debut had charted gold, but the members were still hungry—ravenous, even—for breakout success. Little did they know that the next 24 months would propel them from an opening act to full-fledged arena-rock superstars, and forge a legacy that, three decades later, would remain strong as ever.
But the band didn’t get there alone. When studio mastermind Jack Douglas and engineer Jay Messina stepped onboard for the Get Your Wings sessions in 1973–74, they established the beginnings of a production team that would help provide the so-called “Bad Boys from Boston” with the sounds, songs, and swagger to dominate the airwaves. Fully in charge for the next album—co-producer Ray Colcord and engineer Rod O’Brien helped with Wings—the duo channeled Aerosmith’s raw, reckless brilliance into the 1974 smash Toys in the Attic, and its 1976 platinum follow-up album, Rocks. These groundbreaking and influential records secured Aerosmith’s status as rulers of the mid-’70s hard-rock scene.
Now, 30-plus years after Toys in the Attic and Rocks first hit the shelves, Messina broke out the albums, and sat down with EQ to reveal the studio techniques used to create two rockin’ masterpieces.
What was your experience prior to working with Aerosmith?
I started at Don Elliot Productions in 1966. Fun fact: Don had Les Paul’s one-inch 8-track machine, of which there were only five in the world at the time. My first session there was with Ravi Shankar. I recorded it with David Lucas, the engineer who was there at the time, and I was told a doctor would pay me at the end of the session. Ravi and his band wanted to play to this psychedelic film, so we set up a 16mm projector in the control room—which made quite a racquet. At the end of the night, I went over to the doctor and got a check from him. The doctor was Timothy Leary.
Around 1968, I moved to A&R studios. Phil Ramone ran it, and it was kind of like a school. I started mastering vinyl there on a mono Neumann lathe. It was a really good background for me to get into before getting further into recording, because I got to know what not to do in my mixes. For example, you didn’t want a lot of out-of-phase material, as it will lift the cover-cutter head right out of the grooves, and your record will skip. For the same reason, you had to be careful about the low end. Also, a circuit protected the cutter head from too much high-end voltage. It would just lift the head up, and you’d have to start the cutting process over. A lot of things that sounded fine on tape wouldn’t translate to an actual vinyl record because of the limitations of the format.
I went to the Record Plant in New York City in 1970. As soon as you walked in the place, it felt like you were going into the coolest nightclub in town. For example, I was invited to see the Who record in Studio A, and there were all these colored lights turned down low. They were about to do some vocals—I could hear breathing out in the studio—and just by the level of the hiss from the return of the EMT plates and the general amplifier noise in the room, I could tell how loud it was going to be. They had a quad system in the room with 300-watt monitors, and they were all on. Sure enough, when they put the tape on, it was incredibly loud, but the sound was just awesome. To this day, Studio A is one of the best-sounding rooms I’ve heard.
What console was in there?
Studio A had a Spectrasonics console—which is very straight ahead. There wasn’t a lot of flexibility with aux and cue sends, and you didn’t get a lot of bells and whistles. But it was a super board, and you could get amazing sounds down on tape with it. Studio B and Studio C had Datamix consoles at that time.
It was while working at the Record Plant that you got hooked up with Jack Douglas, right?
Yes. Jack was assisting at that time, and he got on a few of my dates. We clicked as friends, and we also liked the way we worked together. It was a real natural partnership. Then, Jack got a couple of good opportunities to advance his production skills. I guess the first big one was when Bob Ezrin gave him the chance to co-produce Get Your Wings. Aerosmith was up and coming, and Columbia recognized them as a band that was going to happen. So that’s when we met the guys, and Jack and I ended up working on Get Your Wings together. Well, that record didn’t take off, but Columbia was still impressed with the band, and they also felt Jack and I were a good match for them. So we started Toys in the Attic.
Did the band write a lot of Toys in the Attic in the studio?
Yes, and also during pre-production with Jack. Certainly, a lot of [vocalist] Steven Tyler’s lyrics were written in the studio. For instance, we all went to the movies one night, and saw Young Frankenstein. The “walk this way” line in the film is what inspired Steven to write “Walk This Way.” The band was in a very creative place.
What did you record Toys on?
The deck was an MCI two-inch 16-track that was running Ampex tape. We used the Spectrasonics console in Studio A, and we had some really cool outboard pieces such as Roger Mayer limiters, and an old Altec compressor that gave the guitars a cool, subtle squash.
How did you track the guitars on that album?
Typically, I would use the combination of a Shure SM57, a Sennheiser 421, and a Sony C37. I would place all three mics close to the grille, and mix the signals down to one track. The “edge” would come from the 57 and the 421, while the C37 would provide the “weight.” Sometimes, we would add a little bit of phasing to get some extra edge. We had an Eventide flanger that we used occasionally, as well, and if it sounded really good, we would just print the effect to tape. In the mix, we would usually pan Brad Whitford’s guitar to the left, and Joe Perry’s guitar to the right. They had some great old Fenders, and Joe used a small Gibson stereo amp that just sounded amazing. Most of the time, it was just one or two amps per player being tracked. Once we experimented with assigning one guitar to 13 amps, and miking them up. That’s when we discovered that having 13 amps doesn’t make the guitar sound 13 times better than one amp!
What about Joey Kramer’s drums?
We set the drums on a wood floor. I would get a Sennheiser MKH 415 shotgun mic up as high as I could, point it straight down at the snare, and then put a Universal Audio 1176 on it, squashing it at around a 20:1 ratio. Generally, I would just add some of that channel under the dry track in the mix. On the snare, I sometimes used an Altec 633A “salt shaker” in place of a Shure SM57. I only miked the top head, and I used a Pultec EQ to boost slightly at around 10kHz and 100Hz. The hi-hat mic would be a Neumann KM 84, and for the toms and overheads, I used Neumann U87s. With the overheads, I would position the mics so I had a good shot at all the cymbals, but I always tried to maintain the snare in the center of the image. For the kick, we used an Electro-Voice 666. We also added some board EQ on the kick to boost the low end at 50Hz, and the attack at around 3kHz.
Toys In The Attic had drums assigned to five tracks: kick on one, snare on two, everything else on three and four, and the shotgun mic on five. The exception was “Sweet Emotion,” where the shotgun mic was multed to two preamps. One was limited with a UREI 1176, and the other with a Universal Audio 175. Each signal was printed on a separate track. I rarely adhered to traditional miking techniques back then. I was all about experimentation.
You also played some percussion on the album.
I played bass marimba on “Sweet Emotion.” We felt the bass part was missing a little edge to it, and Jack knew I played vibes, so I gave it a shot, and doubled the bass part. It worked great with the bass sound. It’s in the intro, and the re-intro after the first chorus.
Was Tom Hamilton’s bass sound all direct, or a mix of amp and DI?
It was a mix of both amp and DI—which were submixed to a single channel. Tom used an Ampeg B15 amp, and we would take the direct line off the amp head. The mic would have been an Electro-Voice RE20. We also used an old Flickenger tube limiter—a monstrous bass compressor that had its own special sound. If you applied it moderately, it kept the low end from getting muddy, and it added lots of punch in the mids. We would occasionally use a Lang Program EQ to boost the 2kHz range for some added edge.
I heard Steven didn’t use headphones for most of the album. How did you record his lead and background vocals?
When Steven didn’t hear headphones, I would record him with the shotgun mic because of its narrow polar pattern. I would set him up with a couple of monitors in the live room, and send a mono feed. We’d place the monitors out of phase, and then position Steven in the sweet spot where the two signals almost completely cancelled each other out. If he was hearing headphones—which he did on occasion to sing background vocals and other parts—I’d use a U87. While the backgrounds are mostly Steven, Joe would sing occasionally, too. You can hear him on there if you listen.
Was Toys mixed right there at the Record Plant?
Yes, and it wasn’t that difficult. Jack and I would both get our hands in there on the mix, and if we needed other hands, we would just ask. You couldn’t be shy about asking for help, because there was no automation. You had to manually ride the faders. The mixes were often a combination of using extra hands, or mixing songs in pieces, and then editing sections together. We would cut and assemble the order on 1/4-inch tape running at 15ips. The whole record took around four months to finish.
What reverbs did you have at the time?
They had some really cool EMT plates, and a spring reverb. Most of the reverb you hear—like on “Sweet Emotion”—was the EMTs. If we had a cool reverb sound going, we just printed it to tape.
Did you rely on a lot of compression for the mixes?
We didn’t use much. We would hit the tape hard enough to get some natural compression, and then add just a little to the guitars and bass to even things out. The exception was the shotgun mic above Joey’s snare. I’d really squash that one.
Later on, when we recorded Rocks, I’d take the drum mix—mostly kick and snare with a little bit of the overheads—and route it from an aux send to an 1176. I would really squash that signal at 20:1, and I’d have the input level up to the point where you think it’s too much. The 1176’s release function would almost enable you to put the compression in time with the song. What I mean is, based on how quick or slow the release was set, I could try to have the 1176 back to zero compression by the time of the next snare hit. That way, you always hear the crack of that next snare fully. Also, if you were hearing too much of the cymbals, you could slow up the release, and it wouldn’t pull up a lot of cymbal bleed. When mixing, I would add the compressed signal in parallel to the other drums to get an apparent loudness to the kick and snare without adding much meter level. This is how we got that “hit you in the chest sound” for Joey’s drums.
How many tracks did you use?
When we remixed Toys in the Attic for 5.1 surround a few years ago, I had it transferred from the 16-track master to Pro Tools. When I looked at the track sheets, I noticed that there was at least one track open on all the songs. We basically used only 15 tracks for the whole record.
What did you print the mixes to?
The final master was a 1/4-inch Ampex tape. We were very conscious of the low end and any out-of-phase material, because we didn’t want the vinyl records to skip. Doug Sax did a great job mastering the record. He sonically brought it up another notch.
Let’s move onto Rocks. What’s the story there?
The guys were rehearsing in a warehouse in Waltham, Massachusetts, and they were getting really comfortable up there. It turned out that everything sounded really good in the room, so we just parked the Record Plant mobile truck in the warehouse.
So you just miked everybody up where they were in the room as if they were practicing?
Yes—even to the point of using this huge speaker cabinet Joey had set up behind his drums for the rehearsals. He had a mic just lying in his bass drum, and we ran the signal through a little MXR equalizer with everything from 125Hz and up rolled off, and everything below 125Hz boosted all the way up. A big woof of air would come out of that cabinet, and he’d feel it every time he hit the bass drum. It made for a really cool bass-drum sound—although it bled through everything except the guitar mics that were positioned right on the speaker grilles.
How were the band members positioned in the warehouse?
They were set up in corners. As you walked in, the drums were just to the right. There was a guitar amp in the far right corner, a guitar amp in the far left corner, and Tom’s bass rig was in another corner. It was so loud that they would easily hear each other no matter where they stood. That was the point. We isolated amps and the drum kit a bit with blankets, but, of course, that only worked so well.
Was everyone miked up the same way as on Toys?
Yes—although we did try a pair of binaural mics on Joey. Those mics have their applications, but they weren’t an overwhelming success, in my opinion. We also miked this big cement room off the loading bay to get some ambience. It sounded huge. We got some great tracks up there, and we went back to the Record Plant for overdubs—mostly vocals, but some added percussion and guitar parts, as well—and mixing.
Here’s a funny story—at that time, CBS had to have their union engineers on the session, so we always had these two guys hanging around the warehouse. Right at the end of one tune, we heard a door creak open. It was one of the guys coming back from coffee. In the mix, we had to make the creak louder, because we couldn’t get rid of it. You can hear it at the beginning of “Nobody’s Fault.”
What console was in the mobile truck?
It was a DeMideo board that was super straight-ahead and clean. It had minimal EQ, so it was just used to get the sound on tape.
How did the limitations of the board affect your approach to recording the album?
It was a matter of just finding the right mic, putting it in the right place, and getting it on tape as clean as possible. In that sense, it made the album easy to record.
When you listen to Toys In The Attic and Rocks now, what are your thoughts on them?
I didn’t realize at the time that these would be big releases, or that they would go down in history as classic rock records. Who knew that “Walk This Way” and “Sweet Emotion” would become the radio staples they did? But I do remember being excited about the sessions. These albums were fun to work on, and fun to mix, and it’s nice to be driving in the car, and still hear them playing on the radio.
What comes across is the energy of the songs and the mixes—which is what we always wanted to put into the records in the first place. Listening back, it’s not about asking, “Is there enough 10kHz on this or that,” or focusing on specific technical points in the mix. It’s more about reflecting on the album in the context of “Does it feel good, and do you get excited when you hear it?” The answer, in these cases, is “yes.” I guess the magic was there when we put the records together, and that magic still comes across in the mixes 30 years down the road.
Jack’s Tales From the Attic
Often referred to as the “sixth member of Aerosmith,” Jack Douglas was instrumental in helping shape the band’s early sound. With a long track record that includes the likes of John Lennon and the Who, Douglas is certainly no stranger to making hit records. Here, he reflects on working behind the scenes with “the bad boys from Boston” for Toys in the Attic.
What were some of the challenges in making the album?
At that time, their performances could be dodgy. They would get a few moments of brilliance, and then fall on their asses, but I wouldn’t want to stop the take. I would just go for whatever I could get. Sometimes, I would be banging a cowbell in a booth just so the tempo would stay straight. That way, I could edit all the takes together when it was done, because the brilliant parts would just be incredible.
The band has often called you their “sixth member.” Explain the specifics of that role.
That “sixth member” phrase is because of the situations that went down in preproduction, when I would basically move in with them. We would create songs from the ground up, and, because of their touring schedule, they would just show up and ask, “Got any songs?” We would develop stuff from the ground up—such as the riff on “Walk This Way,” or the bass part to “Sweet Emotion.” The major contributors were Steven, Joe, and myself, but everyone certainly pitched in.
You mixed Toys with flying fingers.
That’s right! We would mark fader levels with pencils—and even tape razor blades down to block faders from being moved past a certain point—and then it would be all hands on deck. Sometimes, you would just do a verse, then reset for the chorus, and make all your pre-planned moves. There would be stop points set for the drum fills, and so on. I miss that process, because things happened by accident on those records that were just really cool.
Did you realize how great Toys was when you were working on it?
No. I was too close to it. When Bruce Lundvall [president, Columbia Records] came in to listen to the whole album, I was thinking, “Oh my god, its just terrible.” I thought it must have sounded like this mushy big mess flying at him. After it was over, Bruce said, “I think I can take a breath now.” And I thought, “Wow, he really hates it.” But then he said, “It’s brilliant. There’s gotta be four singles on there that are amazing.” And there are only nine songs on that record!
Hewitt’s Rocking Mobile Rig
David Hewitt—the Grammy-winning President/Chief Engineer of Remote Recording—was on the scene when Aerosmith recorded Rocks. Leaving the hustle and bustle of New York, the band and production team set up shop in an empty warehouse in Massachusetts, not far from Aerosmith’s hometown of Boston. To track the sessions, Hewitt rolled up an entire mobile studio, and here he tells us about some of the gear he brought in to keep the sessions running smoothly.
What was the setup for Rocks?
The band had a rehearsal room called the Where-house—a big, insulated industrial space with unusually high ceilings. We brought the Record Plant’s truck up there, which had a DeMideo console loaded with UREI 1108 modules. These were basically solid-state discrete versions of the old tube circuits UREI had made, so they sounded really good.
How many inputs did the console have?
It only had 24 inputs and eight mix busses, and tracking was a little difficult due to the limited inputs. To get around that, we also used some Ampex AM10 submixers, which were six by two. We brought the submixers in on line positions, because, even then, we started using up to 35 or 40 inputs for the band. Joey had tons of drums, Jay had room mics up, and Brad and Joe had a bunch of guitar amps all around. Every time they would add something, I’d be scrambling to find another preamp somewhere, and another way to get it in.
What tape machines did you use?
We were still doing 16 tracks at that point, and we had a pair of Ampex MM1000s—the first 16-track recorders ever produced. Those things were big and clunky, but they sounded great.
Where did you put the truck?
We actually pulled the truck right inside the Where-house from the loading dock. Everything stayed in the truck. We ran the cables out into the room, and set things up just like a live date. We had great big honking Westlake monitors that were just awful. They reached compression at like 9 o’clock, but the guys knew them well that we used them. The whole point was to make the band feel like they were just rehearsing—to catch them in their element—and that’s what we did.
To read the originial article, click: (here).
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Wednesday, October 15, 2008
Steven Tyler To Perform At Thayer Academy Gala Opening
Blabbermouth.net, NY
October 14, 2008
According to WickedLocal.com, Aerosmith frontman Steven Tyler is scheduled to perform at the the long-anticipated official opening of Thayer Academy's new Center for the Arts in Braintree, Massachusetts on October 18 and October 19.
The two-day event is designed to offer opportunities for all members of the Thayer community to enjoy the new facility and appreciate the many benefits it will bring, both to Thayer students and to the communities Thayer serves.
Chelsea Tallarico, Steven's daughter, graduated from Thayer last year. Taj Tallarico, Tyler's son, will graduate from the private school in 2010.
Read more from WickedLocal.com: (here).
October 14, 2008
According to WickedLocal.com, Aerosmith frontman Steven Tyler is scheduled to perform at the the long-anticipated official opening of Thayer Academy's new Center for the Arts in Braintree, Massachusetts on October 18 and October 19.
The two-day event is designed to offer opportunities for all members of the Thayer community to enjoy the new facility and appreciate the many benefits it will bring, both to Thayer students and to the communities Thayer serves.
Chelsea Tallarico, Steven's daughter, graduated from Thayer last year. Taj Tallarico, Tyler's son, will graduate from the private school in 2010.
Read more from WickedLocal.com: (here).
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Tuesday, October 14, 2008
Hendrix drummer Mitch Mitchell stoked for new Experience
Boston Herald, MA
October 13, 2008
".....Almost 40 years after Hendrix’s death, Mitchell, 61, is preparing for the Experience Hendrix tour, which stops at the Hampton Beach Casino Ballroom on Wednesday, Providence Performing Arts Center on Friday and the Orpheum on Saturday. Mitchell and fellow Hendrix cohort, bassist Billy Cox, will team with axemen Buddy Guy, Jonny Lang, Kenny Wayne Shepherd, Eric Johnson and Aerosmith’s Brad Whitford - because it takes at least five guys to come close to Hendrix. Mitchell took a break from packing to tell us why he’s still playing Jimi classics....."
October 13, 2008
".....Almost 40 years after Hendrix’s death, Mitchell, 61, is preparing for the Experience Hendrix tour, which stops at the Hampton Beach Casino Ballroom on Wednesday, Providence Performing Arts Center on Friday and the Orpheum on Saturday. Mitchell and fellow Hendrix cohort, bassist Billy Cox, will team with axemen Buddy Guy, Jonny Lang, Kenny Wayne Shepherd, Eric Johnson and Aerosmith’s Brad Whitford - because it takes at least five guys to come close to Hendrix. Mitchell took a break from packing to tell us why he’s still playing Jimi classics....."
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Monday, October 13, 2008
Art by Steven Tyler
Celebrity Fine Art.com
October 12, 2008
Presenting Monsieur Tyler - Artist Extraordinare
Célébrités Galleries
celebrites@maui.net
1.800.578.6991 Wailea, HI
1.800.428.3338 Lahaina, HI
More art and info: (here).
October 12, 2008
Presenting Monsieur Tyler - Artist Extraordinare
Célébrités Galleries
celebrites@maui.net
1.800.578.6991 Wailea, HI
1.800.428.3338 Lahaina, HI
More art and info: (here).
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Sunday, October 12, 2008
Pit stops
Savannah Morning News, GA
October 12, 2008
NASCAR Sprint Cup Series Bank of America 500 - Concord, North Carolina
Cindy McCain waved the green flag for Saturday night's race. ... Jessica Simpson performed a prerace concert wearing very short shorts. ... Aerosmith guitarist Brad Whitford was at the track as a guest of Bobby Labonte and Petty Enterprises.
October 12, 2008
NASCAR Sprint Cup Series Bank of America 500 - Concord, North Carolina
Cindy McCain waved the green flag for Saturday night's race. ... Jessica Simpson performed a prerace concert wearing very short shorts. ... Aerosmith guitarist Brad Whitford was at the track as a guest of Bobby Labonte and Petty Enterprises.
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Saturday, October 11, 2008
Brad Whitford to be at Lowe's Motor Speedway
Tampabay.com, FL
October 11, 2008
Quote of the week
"Right now I think the No. 48 (Jimmie Johnson) car is the car to beat and I think it's theirs to lose."
Kevin Harvick, who is fifth in the Sprint Cup standings, 171 points behind Johnson Dude looks like a driver
Bobby Labonte, the 2000 Cup champion, will entertain Aerosmith guitarist Brad Whitford before tonight's race at Lowe's Motor Speedway. Whitford will tour the haulers, meet the crew, and probably be glad Steven Tyler isn't around to hog all the attention.
From: Lowes Motor Speedway - Bank of America 500 Tonight!
Radio/Television: Performance Racing Network (PRN) will broadcast the Bank of America 500 live to its affiliate stations beginning with a pre-race show at 6:15 p.m. (EDT). ABC will televise the race live to its affiliates with pre-race coverage beginning at 7:00 p.m. (EDT).
October 11, 2008
Quote of the week
"Right now I think the No. 48 (Jimmie Johnson) car is the car to beat and I think it's theirs to lose."
Kevin Harvick, who is fifth in the Sprint Cup standings, 171 points behind Johnson Dude looks like a driver
Bobby Labonte, the 2000 Cup champion, will entertain Aerosmith guitarist Brad Whitford before tonight's race at Lowe's Motor Speedway. Whitford will tour the haulers, meet the crew, and probably be glad Steven Tyler isn't around to hog all the attention.
From: Lowes Motor Speedway - Bank of America 500 Tonight!
Radio/Television: Performance Racing Network (PRN) will broadcast the Bank of America 500 live to its affiliate stations beginning with a pre-race show at 6:15 p.m. (EDT). ABC will televise the race live to its affiliates with pre-race coverage beginning at 7:00 p.m. (EDT).
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Joe Perry Featured on ‘Les Paul & Friends, A Tribute To A Legend’
Tahoe Daily Tribune, CA
October 10, 2008
It was good to see 73-year-old Les Paul still alive to see his induction into the Rock and Roll Hall of Fame. Twenty years later, Paul is still around to enjoy the accolades that continue to roll in.
“Les Paul & Friends, A Tribute To A Legend,” which the legendary guitarist released Sept. 28, includes a contingent of Paul prodigies who celebrate the wide range of styles from the instrument he developed.
Paul was a pioneer in creating the solid-body electric guitar, which allowed the sound of rock ’n’ roll. He was also an innovator in multitrack recording, phasing and delay effects, and overdubbing.
In 1948, Paul suffered severe injuries in a car accident. In a well-documented story, doctors told Paul he would have limited use of his left arm. Paul had them put the arm in a bent position, which would allow him to hold a guitar.
He’s made some 40 albums, playing in a jazzy style. But Paul is a master of every guitar genre, including a 1977 collaboration with country’s Chet Atkins to record the acclaimed album “Chester and Lester.”
Although Rolling Stone rated him the 43rd greatest guitarist of all time, Paul is best-known for his guitar innovations. Gibson put his 1941 electric guitar prototype into use, and music has never been the same since.
Now 93, Paul’s right hand is fine but he can use of only two fingers on his left hand. But the man can still play. He contributes to seven of the new album’s 10 tracks. The list of other contributors is impressive:
• Slash, of Velvet Revolver, best known for his time with Guns N’ Roses.
• Joe Bonamassa, a rising guitar wizard and one of the few legitimate great white hopes of blues.
• Peter Frampton, whose talking guitar led to one of the best-selling albums ever, “Frampton Comes Alive.”
• Johnny Rzeznik of the Goo Goo Dolls.
• Joe Perry, the guy from Aerosmith who Rolling Stone ranks just five notches behind Paul.
• Richie Sambora, the player, songwriter and producer behind Bon Jovi.
• Hiram Bullock, who died of throat cancer July 25 during the album’s production.
Bullock was the big man in David Letterman’s band, and also played with Miles Davis, Gil Evans, Steely Dan, Paul Simon and David Sanborn.....
October 10, 2008
It was good to see 73-year-old Les Paul still alive to see his induction into the Rock and Roll Hall of Fame. Twenty years later, Paul is still around to enjoy the accolades that continue to roll in.
“Les Paul & Friends, A Tribute To A Legend,” which the legendary guitarist released Sept. 28, includes a contingent of Paul prodigies who celebrate the wide range of styles from the instrument he developed.
Paul was a pioneer in creating the solid-body electric guitar, which allowed the sound of rock ’n’ roll. He was also an innovator in multitrack recording, phasing and delay effects, and overdubbing.
In 1948, Paul suffered severe injuries in a car accident. In a well-documented story, doctors told Paul he would have limited use of his left arm. Paul had them put the arm in a bent position, which would allow him to hold a guitar.
He’s made some 40 albums, playing in a jazzy style. But Paul is a master of every guitar genre, including a 1977 collaboration with country’s Chet Atkins to record the acclaimed album “Chester and Lester.”
Although Rolling Stone rated him the 43rd greatest guitarist of all time, Paul is best-known for his guitar innovations. Gibson put his 1941 electric guitar prototype into use, and music has never been the same since.
Now 93, Paul’s right hand is fine but he can use of only two fingers on his left hand. But the man can still play. He contributes to seven of the new album’s 10 tracks. The list of other contributors is impressive:
• Slash, of Velvet Revolver, best known for his time with Guns N’ Roses.
• Joe Bonamassa, a rising guitar wizard and one of the few legitimate great white hopes of blues.
• Peter Frampton, whose talking guitar led to one of the best-selling albums ever, “Frampton Comes Alive.”
• Johnny Rzeznik of the Goo Goo Dolls.
• Joe Perry, the guy from Aerosmith who Rolling Stone ranks just five notches behind Paul.
• Richie Sambora, the player, songwriter and producer behind Bon Jovi.
• Hiram Bullock, who died of throat cancer July 25 during the album’s production.
Bullock was the big man in David Letterman’s band, and also played with Miles Davis, Gil Evans, Steely Dan, Paul Simon and David Sanborn.....
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Friday, October 10, 2008
Tom Hamilton - Tracked Down
Boston Herald, MA
October 6, 2008
By Inside Track:
" . . . Aerosmith’s Tom Hamilton with wife Terry enjoying ribs at Jake’s Dixie Roadhouse . . . "
October 6, 2008
By Inside Track:
" . . . Aerosmith’s Tom Hamilton with wife Terry enjoying ribs at Jake’s Dixie Roadhouse . . . "
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Thursday, October 09, 2008
Brad Whitford Guest of Labonte at Lowe’s Motor Speedway; Aerosmith Guitarist a Fan of Motorsports
WhoWon.com
October 8, 2008
HUNTERSVILLE, N.C. -- Having written his first song, titled Round and Round, Aerosmith rhythm and lead guitarist Brad Whitford may have been thinking about his other passion in life, auto racing.
This weekend Whitford will take to the Lowe’s Motor Speedway with 2000 Sprint Cup champion Bobby Labonte as a guest for Saturday night’s running of the Bank of America 500. It will be Whitford’s first trip to the track.
“We are entertaining thousands of fans on a stage, but these guys take it to the pavement,” commented Whitford. “I know Bobby is a champion and a winner. I’m looking forward to hanging out and getting an insider’s view of what it takes for these guys to perform at their peak each week.”
Labonte is also interested in the talents that Whitford displays when playing in front of thousands. Aerosmith has released over a dozen studio albums and is a member of the Rock and Roll Hall of Fame.
“It’s interesting because he has played in front of millions of people worldwide,” said Labonte. “The band is so popular and is a big part of the American culture. Brad is a big part of that team and it will be fun to learn how their chemistry has led them to their success they still enjoy today.”
Whitford will tour the garage, the Cheerios/Betty Crocker transporter and meet with the crew before the race.
October 8, 2008
HUNTERSVILLE, N.C. -- Having written his first song, titled Round and Round, Aerosmith rhythm and lead guitarist Brad Whitford may have been thinking about his other passion in life, auto racing.
This weekend Whitford will take to the Lowe’s Motor Speedway with 2000 Sprint Cup champion Bobby Labonte as a guest for Saturday night’s running of the Bank of America 500. It will be Whitford’s first trip to the track.
“We are entertaining thousands of fans on a stage, but these guys take it to the pavement,” commented Whitford. “I know Bobby is a champion and a winner. I’m looking forward to hanging out and getting an insider’s view of what it takes for these guys to perform at their peak each week.”
Labonte is also interested in the talents that Whitford displays when playing in front of thousands. Aerosmith has released over a dozen studio albums and is a member of the Rock and Roll Hall of Fame.
“It’s interesting because he has played in front of millions of people worldwide,” said Labonte. “The band is so popular and is a big part of the American culture. Brad is a big part of that team and it will be fun to learn how their chemistry has led them to their success they still enjoy today.”
Whitford will tour the garage, the Cheerios/Betty Crocker transporter and meet with the crew before the race.
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Wednesday, October 08, 2008
Members Of Aerosmith, The Doors On Board For Experience Hendrix Tour
BraveWords.com
October 7, 2008
The critically acclaimed Experience Hendrix Tour returns this October and November with a 19-date nationwide tour that kicks-off October 15th in Hampton Beach, NH.
The 2008 Experience Hendrix Tour follows on the heels of successful mini tours in 2004 and 2007; this time featuring an expanded nationwide tour schedule and artist line-up that features the likes of Mitch Mitchell, Billy Cox, Buddy Guy, Hubert Sumlin (Howlin' Wolf), Jonny Lang, Kenny Wayne Shepherd, Eric Johnson, Brad Whitford (Aerosmith), Doyle Bramhall II, Eric Gales, Mato Nanji (Indigenous), Chris Layton (Double Trouble) and special guests at selected locations including Cesar Rojas and David Hidalgo (Los Lobos), Bernard Allison, Robby Krieger (The Doors) and many more.
Further details can be found: (here).
October 7, 2008
The critically acclaimed Experience Hendrix Tour returns this October and November with a 19-date nationwide tour that kicks-off October 15th in Hampton Beach, NH.
The 2008 Experience Hendrix Tour follows on the heels of successful mini tours in 2004 and 2007; this time featuring an expanded nationwide tour schedule and artist line-up that features the likes of Mitch Mitchell, Billy Cox, Buddy Guy, Hubert Sumlin (Howlin' Wolf), Jonny Lang, Kenny Wayne Shepherd, Eric Johnson, Brad Whitford (Aerosmith), Doyle Bramhall II, Eric Gales, Mato Nanji (Indigenous), Chris Layton (Double Trouble) and special guests at selected locations including Cesar Rojas and David Hidalgo (Los Lobos), Bernard Allison, Robby Krieger (The Doors) and many more.
Further details can be found: (here).
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Tuesday, October 07, 2008
Steven Tyler to be featured at Thayer’s art opening
WickedLocal.com, MA
October 6, 2008
Braintree -
It’s been more than two years in the making but it’s finally here.
The long anticipated official opening of Thayer Academy’s new Center for the Arts will occur with a gala event on Oct. 18 and 19.
The opening will feature performances by Steven Tyler, lead singer of the rock band Aerosmith, the Atlantic Symphony Orchestra, composer-pianist Suzanne Ciani (Thayer class of '64) and concert violinist Charles Castleman (Thayer class of '57).
“The completion of the new Center for the Arts represents a significant milestone in the history of the Academy,” says Thayer Headmaster Ted Koskores. “This new facility provides a proper showcase for the wonderful and creative work our students do in the performing and visual arts. It will also serve as a center for outside performance groups whose work will enrich the lives of our students, their families, and our friends and neighbors in Braintree and surrounding communities.”
The Center for the Arts includes a 540 seat, state of the art theatre, studio space for Thayer’s dance and choral music programs, and a space which allows students to participate in set design and construction. Additionally, the construction project allowed for the former performance space, Frothingahm Hall, to be converted into a home for an expanded visual arts program, including architecture, digital photography, painting and drawing, and ceramics.
The two day event is designed to offer opportunities for all members of the Thayer community to enjoy the new facility and appreciate the many benefits it will bring, both to Thayer students and to the communities Thayer serves. "Celebration Weekend" includes a Gala Fundraising Event on Saturday, Oct 18 beginning at 5:30 p.m., and a community open house on Sunday, Oct 19 from 1-4pm.
The Saturday Gala will include an elegant dinner served "under the tent" by The Catered Affair, followed by a program in the Center's 540 seat auditorium, featuring performances by Thayer students; the Atlantic Symphony Orchestra (playing with Thayer alumni composer-pianist Suzanne Ciani and alumni concert violinist Charles Castleman); and a special guest appearance by Thayer parent and lead Aerosmith singer, Steven Tyler (Thayer Parent ‘07, '10).
The Sunday afternoon community open house (1-4 p.m.) is open to the public and will provide an opportunity for people from all over the South Shore to be on campus to appreciate the cultural benefits the new center will bring to Thayer students, as well as the entire South Shore. The community open house will include a 2 p.m. performance by Thayer students and a family concert performed by the Atlantic Symphony Orchestra.
With the opening of Thayer’s new Center for the Arts, the Atlantic Symphony Orchestra will enjoy a new role as Thayer Academy’s orchestra-in-residence. In this capacity, the Atlantic Symphony has announced plans to perform two major concerts at Thayer Academy during its upcoming 08-09 season, as well as to perform several educational concerts for Thayer students during the Academy’s school year.
Atlantic Symphony’s Music Director and Conductor Jin Kim says, "The new concert hall at Thayer is a great opportunity for the Atlantic Symphony Orchestra. Its size and acoustics are just right for the intimate feeling that we maintain while providing top quality musical performances. The location is perfect for our audience, which stretches across the South Shore and beyond. And we are looking forward to developing our educational programming for both the Thayer students and the broader community."
Thayer’s Art Program Quick Facts: Thayer art teachers are all working artists themselves. There are 12 art faculty members. 19 different art courses are offered, spanning the visual and performing arts. The arts program is part of the daily curriculum. There are over two dozen art electives (including individual music lessons) that students can take during their free periods or after school. Each year, more than 200 Upper School students enroll in a wide array of instrumental and vocal course offering. 90 percent of our students participate in the arts program.
There are: seven jazz ensemble groups, four choruses, three stage productions in both the Middle and Upper Schools each year, including plays and musicals and two choir and two instrumental performances per year.
October 6, 2008
Braintree -
It’s been more than two years in the making but it’s finally here.
The long anticipated official opening of Thayer Academy’s new Center for the Arts will occur with a gala event on Oct. 18 and 19.
The opening will feature performances by Steven Tyler, lead singer of the rock band Aerosmith, the Atlantic Symphony Orchestra, composer-pianist Suzanne Ciani (Thayer class of '64) and concert violinist Charles Castleman (Thayer class of '57).
“The completion of the new Center for the Arts represents a significant milestone in the history of the Academy,” says Thayer Headmaster Ted Koskores. “This new facility provides a proper showcase for the wonderful and creative work our students do in the performing and visual arts. It will also serve as a center for outside performance groups whose work will enrich the lives of our students, their families, and our friends and neighbors in Braintree and surrounding communities.”
The Center for the Arts includes a 540 seat, state of the art theatre, studio space for Thayer’s dance and choral music programs, and a space which allows students to participate in set design and construction. Additionally, the construction project allowed for the former performance space, Frothingahm Hall, to be converted into a home for an expanded visual arts program, including architecture, digital photography, painting and drawing, and ceramics.
The two day event is designed to offer opportunities for all members of the Thayer community to enjoy the new facility and appreciate the many benefits it will bring, both to Thayer students and to the communities Thayer serves. "Celebration Weekend" includes a Gala Fundraising Event on Saturday, Oct 18 beginning at 5:30 p.m., and a community open house on Sunday, Oct 19 from 1-4pm.
The Saturday Gala will include an elegant dinner served "under the tent" by The Catered Affair, followed by a program in the Center's 540 seat auditorium, featuring performances by Thayer students; the Atlantic Symphony Orchestra (playing with Thayer alumni composer-pianist Suzanne Ciani and alumni concert violinist Charles Castleman); and a special guest appearance by Thayer parent and lead Aerosmith singer, Steven Tyler (Thayer Parent ‘07, '10).
The Sunday afternoon community open house (1-4 p.m.) is open to the public and will provide an opportunity for people from all over the South Shore to be on campus to appreciate the cultural benefits the new center will bring to Thayer students, as well as the entire South Shore. The community open house will include a 2 p.m. performance by Thayer students and a family concert performed by the Atlantic Symphony Orchestra.
With the opening of Thayer’s new Center for the Arts, the Atlantic Symphony Orchestra will enjoy a new role as Thayer Academy’s orchestra-in-residence. In this capacity, the Atlantic Symphony has announced plans to perform two major concerts at Thayer Academy during its upcoming 08-09 season, as well as to perform several educational concerts for Thayer students during the Academy’s school year.
Atlantic Symphony’s Music Director and Conductor Jin Kim says, "The new concert hall at Thayer is a great opportunity for the Atlantic Symphony Orchestra. Its size and acoustics are just right for the intimate feeling that we maintain while providing top quality musical performances. The location is perfect for our audience, which stretches across the South Shore and beyond. And we are looking forward to developing our educational programming for both the Thayer students and the broader community."
Thayer’s Art Program Quick Facts: Thayer art teachers are all working artists themselves. There are 12 art faculty members. 19 different art courses are offered, spanning the visual and performing arts. The arts program is part of the daily curriculum. There are over two dozen art electives (including individual music lessons) that students can take during their free periods or after school. Each year, more than 200 Upper School students enroll in a wide array of instrumental and vocal course offering. 90 percent of our students participate in the arts program.
There are: seven jazz ensemble groups, four choruses, three stage productions in both the Middle and Upper Schools each year, including plays and musicals and two choir and two instrumental performances per year.
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Monday, October 06, 2008
Music fans given chance to own a piece of a hit
Tennessean.com
October 3, 2008
If you've ever dreamed of owning a piece of a hit song, then here's your chance.
On Saturday [10/4], the company SongVest will open a two-week auction at www.songvest.com that features writers' shares of 18 songs, including country hits such as "Friends in Low Places," "I Swear," "You and I" and "Someone Else's Dream." Artists who have recorded the songs offered include Aerosmith, Ringo Starr, Cher, Ozzy Osbourne and The Monkees.
Buyers will receive a share of the future income generated by these hits, as well as a gold or platinum album plaque, certified by the Recording Industry Association of America, that includes handwritten lyrics....
Complete article: (here).
Type of Sale (Writers/Publishing)
Mark Hudson’s Writer’s Share
Seller's % at Auction: 25%
Bid on "Gotta Love It" Recorded by Aerosmith: (here).
Auction ends Oct 18, 4:00 pm.
October 3, 2008
If you've ever dreamed of owning a piece of a hit song, then here's your chance.
On Saturday [10/4], the company SongVest will open a two-week auction at www.songvest.com that features writers' shares of 18 songs, including country hits such as "Friends in Low Places," "I Swear," "You and I" and "Someone Else's Dream." Artists who have recorded the songs offered include Aerosmith, Ringo Starr, Cher, Ozzy Osbourne and The Monkees.
Buyers will receive a share of the future income generated by these hits, as well as a gold or platinum album plaque, certified by the Recording Industry Association of America, that includes handwritten lyrics....
Complete article: (here).
Type of Sale (Writers/Publishing)
Mark Hudson’s Writer’s Share
Seller's % at Auction: 25%
Bid on "Gotta Love It" Recorded by Aerosmith: (here).
Auction ends Oct 18, 4:00 pm.
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Sunday, October 05, 2008
Steven Tyler Named One of wowOwow's Sexiest Men Over Age 50
Wow O Wow.com
September 29, 2008
They weren’t born yesterday.
Long before Justin Timberlake became a Mouseketeer these 50 men — from Arnold Schwarzenegger to Bill Clinton to Tom Brokaw to name a few — were "bringing sexy back." And they’ve still got it — today maybe more than ever....
Click (here) to see wOw’s 2008 List of the 50 Sexiest Men Over 50 in Photos.
September 29, 2008
They weren’t born yesterday.
Long before Justin Timberlake became a Mouseketeer these 50 men — from Arnold Schwarzenegger to Bill Clinton to Tom Brokaw to name a few — were "bringing sexy back." And they’ve still got it — today maybe more than ever....
Click (here) to see wOw’s 2008 List of the 50 Sexiest Men Over 50 in Photos.
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Tom Hamilton - Golf Digest: Top 100 In Music
Golf Digest
September 29, 2008
Handicaps are from August and were determined from the USGA's Golf Handicap and Information Network, state associations, the musicians, publicists, friends and playing partners. Handicaps without decimal points are unofficial estimates.
Rank -- Musician -- HDC
T-92. -- Tom Hamilton -- 32
Aerosmith bassist plays public course in Cape Cod; says he doesn't get many invites to Boston clubs and is trying to break 100.
September 29, 2008
Handicaps are from August and were determined from the USGA's Golf Handicap and Information Network, state associations, the musicians, publicists, friends and playing partners. Handicaps without decimal points are unofficial estimates.
Rank -- Musician -- HDC
T-92. -- Tom Hamilton -- 32
Aerosmith bassist plays public course in Cape Cod; says he doesn't get many invites to Boston clubs and is trying to break 100.
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Saturday, October 04, 2008
Aerosmith's Joe Perry's Customized Guitar
Houston Chronicle, TX
October 3, 2008
For three nights John Douglas was almost as visible as his art. In October 2002 Douglas sat at a drum kit he had painted and thumped out songs with Billy Gibbons and Dusty Hill - the only time in ZZ Top's nearly four decades that the band played without drummer Frank Beard.
Beard had been rushed to a Parisian hospital the night before for an appendectomy. Douglas, the tour's drum tech, stepped in.
Douglas said the second show -- this one was in Belgium -- was the worst. His hands were blistered and bloodied from the previous night. For the third show, in Germany, he bought some gloves.
"It was that or duct tape the sticks to my hands.''
Because it was a European tour in a pre-YouTube era, the shows aren't really documented. Douglas has some bootleg recordings, but "people have to just take my word that it's me.''
But his art -- designs on music instruments -- has been seen by millions. His best-known piece is a guitar for Aerosmith's Joe Perry that has an image of Perry's wife, Billie, on the front.
Perry played that guitar when Aerosmith performed at the Super Bowl in 2001. Billie's visibility grew more recently: That's her on the guitar that a digitized Perry plays on the Guitar Hero: Aerosmith video game.
"I'm proud of that one,'' Douglas says about the instrument. "He's proud of that one. I guess as long as he and Billie stay together, we'll all be OK.''
Complete article: (here).
October 3, 2008
For three nights John Douglas was almost as visible as his art. In October 2002 Douglas sat at a drum kit he had painted and thumped out songs with Billy Gibbons and Dusty Hill - the only time in ZZ Top's nearly four decades that the band played without drummer Frank Beard.
Beard had been rushed to a Parisian hospital the night before for an appendectomy. Douglas, the tour's drum tech, stepped in.
Douglas said the second show -- this one was in Belgium -- was the worst. His hands were blistered and bloodied from the previous night. For the third show, in Germany, he bought some gloves.
"It was that or duct tape the sticks to my hands.''
Because it was a European tour in a pre-YouTube era, the shows aren't really documented. Douglas has some bootleg recordings, but "people have to just take my word that it's me.''
But his art -- designs on music instruments -- has been seen by millions. His best-known piece is a guitar for Aerosmith's Joe Perry that has an image of Perry's wife, Billie, on the front.
Perry played that guitar when Aerosmith performed at the Super Bowl in 2001. Billie's visibility grew more recently: That's her on the guitar that a digitized Perry plays on the Guitar Hero: Aerosmith video game.
"I'm proud of that one,'' Douglas says about the instrument. "He's proud of that one. I guess as long as he and Billie stay together, we'll all be OK.''
Complete article: (here).
| Permalink |
Friday, October 03, 2008
Unleash Your Inner Rock Legend, The Aerosmith Way
Aspyr.com
October 2, 2008
Introducing for PC and Mac the first game built around the legendary music of America’s Greatest Rock ‘N Roll Band. Guitar Hero®: Aerosmith® lets gamers Rise to Rock Royalty and become the “Bad Boys of Boston” themselves. Light up the stage and jam with more than 40 of the best Rock tracks of all time, including Aerosmith’s greatest hits and chart-topping singles from some of the world’s best bands.
Features
Guitar Hero®: Aerosmith®
Platforms: PC/Mac
Genre: Strategy/Simulation
ESRB: Teen
PC Release Date: October 2008
Mac Release Date: October 2008
See System Requirements: (here).
October 2, 2008
Introducing for PC and Mac the first game built around the legendary music of America’s Greatest Rock ‘N Roll Band. Guitar Hero®: Aerosmith® lets gamers Rise to Rock Royalty and become the “Bad Boys of Boston” themselves. Light up the stage and jam with more than 40 of the best Rock tracks of all time, including Aerosmith’s greatest hits and chart-topping singles from some of the world’s best bands.
Features
- More than 40 playable songs
- Shred 25 of Aerosmith’s master tracks
- Play as virtual versions of Joe Perry (guitar), Brad Whitford (guitar), or Tom Hamilton (bass), along with vocalist Steven Tyler and drummer Joey Kramer, and experience Aerosmith’s rise to fame through venues from historical moments during the band’s illustrious career
- Perform songs from musical legends such as Lenny Kravitz, Run DMC and Stone Temple Pilots
- Rock out offline or shred with friends via the Internet
- Stand-alone game does not require the original Guitar Hero III game to play
Guitar Hero®: Aerosmith®
Platforms: PC/Mac
Genre: Strategy/Simulation
ESRB: Teen
PC Release Date: October 2008
Mac Release Date: October 2008
See System Requirements: (here).
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Thursday, October 02, 2008
Joey Kramer Clinic - Berklee College of Music
Berklee.edu
October 1, 2008
Friday, October 17, 1:00 p.m.
David Friend Recital Hall
921 Boylston Street
Boston, MA 02115
Aerosmith drummer Joey Kramer '71 will give a clinic.
October 1, 2008
Friday, October 17, 1:00 p.m.
David Friend Recital Hall
921 Boylston Street
Boston, MA 02115
Aerosmith drummer Joey Kramer '71 will give a clinic.
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Wednesday, October 01, 2008
Retired roadie rocks a new way
The News Journal, DE
September 15, 2008
Ex-Aerosmith technician can't be lured from hardscaping business
When Jerry Sabatino of Middletown checks his voice mail these days, it could be clients who want custom-designed patios, or vendors who supply the materials. Or it could be just more calls from the guys in Aerosmith.
"There's some recording going on in Boston," he said.
If the recording sessions go as planned, they could result in a new album by the legendary rock band -- and, almost certainly, a concert tour.
Sabatino, 40, knows the drill. He spent more than 20 years traveling the world as a roadie and then a guitar technician for some of the biggest names in rock 'n' roll, including Aerosmith, Metallica and David Bowie.
Something else Sabatino knows: His old buddies in Aerosmith would welcome him back without hesitation. After all, he was a guitar technician in their crew from 2001 until 2006, and came to know band members Steve Tyler, Joe Perry, Brad Whitford, Tom Hamilton and Joey Kramer almost as brothers.
"They keep checking in on him, which is sweet," said Sabatino's wife, Suzanne.
She married Jerry on April 26, 2003, knowing that a certain call of the wild would soon whisk him away again.
That call was Aerosmith's "Rocksimus Maximus" tour, followed a year later by the "Honkin' on Bobo" tour, and so on. He'd already survived the "Just Push Play" tour and the "Girls of Summer" tour before they got married.
Suzanne said she would sometimes join her husband on the road when the tours would come to the East Coast.
"You have to be strong to be separate from each other," she said. "Giving out candy at Halloween, the smell of fall in the air -- that's when I'd miss him the most."
Aerosmith tours typically have 50 to 80 stops on the U.S. leg, followed by a short stint in Japan.
One of Sabatino's favorite memories of his years with Aerosmith was Feb. 3, 2002 -- the night the band played for the New England Patriots when the team returned to its New Orleans hotel after winning Super Bowl XXXVI.
"We had special guitar picks made for that event -- an Aerosmith logo and a Patriots logo," he said.
Tyler's wild-man reputation "is not an act," Sabatino said.
"With Steve, what you see is what you get. He is a loose cannon," he said, adding that he considers Tyler "one of the best front men ever," in the same league as Mick Jagger, Robert Plant, Elton John and David Bowie.
The members of Aerosmith knew Sabatino yearned to settle down in Middletown with Suzanne and pursue a different kind of career in rock: designing and building stone patios.
He'd told them all about it. Besides, they'd seen him and his paver catalogs.
In the spring of 2006, when Tyler developed a throat condition and the band cut its tour short, Sabatino decided to follow his dream.
He came home to Suzanne in the Stonefield neighborhood and started a hardscaping business called Rock Your World. He later hooked up with business partner Adam Sierocinski to create Delaware DreamScape, specializing in custom paver patios, walkways, segmental retaining and sitting walls, fire pits and outdoor lighting.
One of his first projects was the hardscaping around his own home.
The multitiered back patio looks like a cross between an old Italian grotto and a rock concert stage.
"I designed that patio when I was in Japan with Aerosmith," Sabatino said. "Obviously, I have a little advantage in lighting -- wall lighting, tier lighting, up-lighting. Lighting gives that extra vibe."
Sierocinski said their venture is thriving, thanks largely to repeat customers, referrals and word-of-mouth advertising.
The downturn in the housing market has had no adverse effect on their business, he said.
"We're seeing more people who are staying in their houses longer, and fixing them up," he said.
Now that Jerry has put the nonstop thrill ride of the rock 'n' roll world behind him, Suzanne said, her husband is experiencing simple day-to-day joys as if for the first time.
"We made a lot of sacrifices when we were not together," she said. "I would not want him to go back out."
Jerry's happy now, too.
"I don't foresee any long-term touring in my immediate future," he said.
September 15, 2008
Ex-Aerosmith technician can't be lured from hardscaping business
When Jerry Sabatino of Middletown checks his voice mail these days, it could be clients who want custom-designed patios, or vendors who supply the materials. Or it could be just more calls from the guys in Aerosmith.
"There's some recording going on in Boston," he said.
If the recording sessions go as planned, they could result in a new album by the legendary rock band -- and, almost certainly, a concert tour.
Sabatino, 40, knows the drill. He spent more than 20 years traveling the world as a roadie and then a guitar technician for some of the biggest names in rock 'n' roll, including Aerosmith, Metallica and David Bowie.
Something else Sabatino knows: His old buddies in Aerosmith would welcome him back without hesitation. After all, he was a guitar technician in their crew from 2001 until 2006, and came to know band members Steve Tyler, Joe Perry, Brad Whitford, Tom Hamilton and Joey Kramer almost as brothers.
"They keep checking in on him, which is sweet," said Sabatino's wife, Suzanne.
She married Jerry on April 26, 2003, knowing that a certain call of the wild would soon whisk him away again.
That call was Aerosmith's "Rocksimus Maximus" tour, followed a year later by the "Honkin' on Bobo" tour, and so on. He'd already survived the "Just Push Play" tour and the "Girls of Summer" tour before they got married.
Suzanne said she would sometimes join her husband on the road when the tours would come to the East Coast.
"You have to be strong to be separate from each other," she said. "Giving out candy at Halloween, the smell of fall in the air -- that's when I'd miss him the most."
Aerosmith tours typically have 50 to 80 stops on the U.S. leg, followed by a short stint in Japan.
One of Sabatino's favorite memories of his years with Aerosmith was Feb. 3, 2002 -- the night the band played for the New England Patriots when the team returned to its New Orleans hotel after winning Super Bowl XXXVI.
"We had special guitar picks made for that event -- an Aerosmith logo and a Patriots logo," he said.
Tyler's wild-man reputation "is not an act," Sabatino said.
"With Steve, what you see is what you get. He is a loose cannon," he said, adding that he considers Tyler "one of the best front men ever," in the same league as Mick Jagger, Robert Plant, Elton John and David Bowie.
The members of Aerosmith knew Sabatino yearned to settle down in Middletown with Suzanne and pursue a different kind of career in rock: designing and building stone patios.
He'd told them all about it. Besides, they'd seen him and his paver catalogs.
In the spring of 2006, when Tyler developed a throat condition and the band cut its tour short, Sabatino decided to follow his dream.
He came home to Suzanne in the Stonefield neighborhood and started a hardscaping business called Rock Your World. He later hooked up with business partner Adam Sierocinski to create Delaware DreamScape, specializing in custom paver patios, walkways, segmental retaining and sitting walls, fire pits and outdoor lighting.
One of his first projects was the hardscaping around his own home.
The multitiered back patio looks like a cross between an old Italian grotto and a rock concert stage.
"I designed that patio when I was in Japan with Aerosmith," Sabatino said. "Obviously, I have a little advantage in lighting -- wall lighting, tier lighting, up-lighting. Lighting gives that extra vibe."
Sierocinski said their venture is thriving, thanks largely to repeat customers, referrals and word-of-mouth advertising.
The downturn in the housing market has had no adverse effect on their business, he said.
"We're seeing more people who are staying in their houses longer, and fixing them up," he said.
Now that Jerry has put the nonstop thrill ride of the rock 'n' roll world behind him, Suzanne said, her husband is experiencing simple day-to-day joys as if for the first time.
"We made a lot of sacrifices when we were not together," she said. "I would not want him to go back out."
Jerry's happy now, too.
"I don't foresee any long-term touring in my immediate future," he said.
| Permalink |
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