Hear Aerosmith in their bar-band youth on a new set of demos from 1971
Although Tyler’s pouty lips would earn the band Stones comparisons for most of its career, this record suggests the band was more obsessed with Beck, the Yardbirds, and Led Zeppelin, artists who came to prominence in the wake of the Stones’ blues-rock renaissance, making Aerosmith third-wave contributors .
After years in storage, the ancient tape’s sound is murky and blurry, which actually adds to the songs’ smoky, bluesy appeal. From the beginning, when the band members sound like they’re having a Marvin Gaye “What’s Going On”–style party as Perry noodles on Fleetwood Mac’s “Albatross,” before they all align on“Somebody,” they sound more casual than they ever did on any studio recording. This tape is most likely a rehearsal tape, so they sound off their guard.
Most of the material here would become middling deep cuts on the band’s early records, and the album versions almost always sound better, thanks to recording-studio sound which allows you to hear both Perry and rhythm guitarist Brad Whitford’s parts clearly in stereo. On every song here, Tyler sings in the kind of strange Kermit the Frog voice he used on the first album, before he embraced his James Browny rasp.
The best stuff here, though, comes when the musicians just kick into bar-rock mode. Their cover of Rufus Thomas’ blues number “Walkin’ the Dog,” sounds rowdy and dangerous here; even with Tyler’s flute solo, it sounds more like the party anthem it probably was before they professionalized it in the studio forpatchouli with its psychedelic guitars and Kramer’s thumping drumbeat; the album version is boring by comparison with its weird phaser effect on Tyler’s voice and tighter playing.
Both “Somebody” and “Mama Kin” show how Aerosmith were born with their signature groove intact. They likely learned that groove from messing around on blues songs like the release’s two blues rarities, “Reefer Headed Woman” and “Major Barbra.” It’s a feeling they’d later lose their grasp on.
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