10 Reasons Why 'Get A Grip' Is Aerosmith's Most Iconic Album
Apr 20, 2023 16:56:50 GMT -5
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Post by AeroCooper on Apr 20, 2023 16:56:50 GMT -5
10 Reasons Why 'Get A Grip' Is Aerosmith's Most Iconic Album
In celebration of its 30th anniversary, GRAMMY.com revisits 'Get A Grip' — the album which gave Aerosmith their biggest commercial success nearly 25 years into their rollercoaster career.
Jon O'Brien
|GRAMMYs/Apr 20, 2023 - 09:45 am
Having conquered the 1970s with the seminal stadium rock albums Toys in the Attic and Rocks, Aerosmith appeared to fall apart in the 1980s with a string of disappointing albums and various interpersonal dramas. But by the end of the decade, Run-D.M.C. collaboration "Walk This Way" and pop metal blockbusters Pump and Permanent Vacation had helped the Boston outfit to reclaim their crown as America's biggest band. The big question was whether they could sustain their unexpected second wind into the 1990s?
1993's Get A Grip answered that with a resounding yes. In fact, Aerosmith's 11th studio effort proved to be their commercial zenith, racking up a career-best 20 million sales worldwide, spawning four top 40 singles and winning Best Rock Performance By A Duo Or Group With Vocal GRAMMY Award for two consecutive years.
To celebrate its 30th anniversary, here are 10 ways Steven Tyler, guitarists Joe Perry and Brad Whitford, bassist Tom Hamilton and drummer Joey Kramer managed to build on their down-and-dirty legacy through Get A Grip.
In the four years since Aerosmith's previous album, the playful excesses of the hair metal scene had given way to the grunge movement's super-serious quest for authenticity. While the likes of Mötley Crue and Skid Row unwisely tried to beat Nirvana and Pearl Jam at their own game, Tyler and co. recognized that there was still an audience for pure rock 'n' roll.
It Foreshadowed The Country Crossover
From Bon Jovi and Shawn Michaels to Darius Rucker and Aaron Lewis, it sometimes appears as though every rocker of the late 20th century has pivoted into country music at some point or other. But seven years after they proved that guitars and hip-hop needn't be mutually exclusive, Aerosmith once again led the way with yet another crossover.
The harmonica solos and twangy guitar riffs of "Cryin'" and "Crazy" sound tailor made for the Grand Ole Opry — the former was actually co-penned by Nashville native Taylor Rhodes. Tyler would later score a No. 1 on the Top Country Albums chart with his 2016 solo debut, We're All Somebody from Somewhere.
Aerosmith became MTV favorites in the '80s thanks to eye-catching videos for "Dude Looks Like A Lady" and "Love In An Elevator." But would they still be as welcome in the '90s now that each member was well into their mid-40s? In a stroke of genius, the band acknowledged that they might need some younger faces to help sell their bombastic hard rock. Step forward the future star of seminal teen flick Clueless.
A 16-year-old Alicia Silverstone appeared in three of Get A Grip's promos, first testing the limits of virtual reality in "Amazing," going on to play a bungee-jumping spurned lover in "Cryin'" and then teaming up with Tyler's daughter Liv in the Thelma and Louise-esque "Crazy." The concept paid dividends for all involved – Silverstone and the younger Tyler became instant pop culture icons, and Aerosmith continued to dominate MTV, even picking up Video of the Year at the network's annual VMAs.
You usually know what you're getting lyrically from an Aerosmith track – they haven't earned a reputation as the masters of sleaze rock for nothing. But while Get A Grip still has plenty of sex, drugs (surprisingly of the anti-kind) and rock tales, it also showcased a more socially-conscious side to the former hellraisers.
Inspired by the 1992 Los Angeles uprising following the death of Rodney King,, GRAMMY-winning first single "Livin' on the Edge" finds Tyler tackling everything from racism to religion as he pontificates over the state of the world. Admittedly, lines like "If Chicken Little tells you that the sky is falling/Even if it wasn't, would you still come crawling" weren’t exactly the height of insightful lyricism. But it reminded listeners the group could provide some substance to their hard-partying style.
While much has been made of David Bowie's pioneering use of the internet, he wasn't the only rock titan to embrace the online world early on. In 1994, Aerosmith once again proved that they could keep up with the times when they released the first digital download song by a major artist.
Although "Head First" didn't appear on Get A Grip, it was recorded for the album and was first issued as a B-side to second single "Eat the Rich." Ten thousand CompuServe subscribers downloaded the four-megabyte WAV file within its first few days. With the world wide web still in infancy, it no doubt took a similar time frame to wait for its completion.
Aerosmith weren't exactly strangers to the power ballad when they released two of the early '90s' finest examples. Later sampled by Eminem, 1973's "Dream On" is considered by some to be the rock genre's first ever. And predecessors Permanent Vacation ("Angel") and Pump ("What It Takes") both spawned hits tailor-made for belting out in front of a mirror with hairbrush.
But the double whammy of "Crazy" and "Cryin'" took the band's ability to pull at the heartstrings to another level. The former, of course, was also their first epic slowie to win a GRAMMY. And no doubt that Diane Warren was taking note; the GRAMMY winner later penned Aerosmith's only No. 1, Armageddon's suitably blockbuster love song "I Don't Want To Miss A Thing."
Having previously experienced life in the rock wilderness, Aerosmith left nothing to chance for their first album in four years. Indeed, the majority of Get A Grip's 14 tracks feature a helping hand from a seasoned songwriter, from Jim Vallance (Bryan Adams) on the satirical "Eat the Rich" to Desmond Child (Bon Jovi) on the carnal rock of "Flesh" and Mark Hudson (Cher) on the funky "Gotta Love It."
That's perhaps why the record spawned no fewer than seven singles, four of which made the top 40 ("Livin' on the Edge," "Cryin'," "Crazy," "Amazing") and why, with the exception of closing instrumental "Boogie Man" and brief "Walk This Way"-referencing "Intro," every other track was worthy of a release.
Some Aerosmith purists may have balked at all the outside interference, but despite their blatant hit-chasing approach the band never lost sight of who they are.
As well as recruiting a who's who of professional songwriters to boost Get A Grip's hit-making potential, Aerosmith also invited two bona fide rock legends to give the record even more pizzazz. Listen closely to the backing vocals on the autobiographical stadium rock of "Amazing" and you'll hear the raspy tones of fellow '70s survivor Don Henley.
Meanwhile, the ultra-cool Lenny Kravitz – then very much at his commercial peak – went one better. Not only did he lend his voice to the full-throttle blues-rock of "Line Up," he also helped Tyler and Perry write it. The "Are You Gonna Go My Way" singer later went on to support Aerosmith on their mid- '00s tour, Rockin' The Joint.
With one of the most charismatic frontmen in rock history at their disposal, Aerosmith have wisely only allowed Perry to take center stage on a handful of occasions. The guitarist first grabbed the mic for himself on "Bright Light Fright," a track from 1977's Draw the Line but had to wait until Get A Grip to take the lead once again.
Also penned solely by Perry, "Walk on Down" is the kind of driving back-to-basics rock that once saw the group hailed as the USA's answer to the Rolling Stones. But the vocals are far easier on the ear than whenever Keith Richards takes over from Mick Jagger.
Aerosmith could never be accused of playing it safe with their cover art. Who can forget Nine Lives' controversial depiction of Lord Krishna throwing some shapes on the snake demon Kaliya's head? Or the slightly nightmarish caricatures of Draw the Line? But Get A Grip's close-up of a cow's pierced udder undoubtedly remains the band's most striking.
In celebration of its 30th anniversary, GRAMMY.com revisits 'Get A Grip' — the album which gave Aerosmith their biggest commercial success nearly 25 years into their rollercoaster career.
Jon O'Brien
|GRAMMYs/Apr 20, 2023 - 09:45 am
Having conquered the 1970s with the seminal stadium rock albums Toys in the Attic and Rocks, Aerosmith appeared to fall apart in the 1980s with a string of disappointing albums and various interpersonal dramas. But by the end of the decade, Run-D.M.C. collaboration "Walk This Way" and pop metal blockbusters Pump and Permanent Vacation had helped the Boston outfit to reclaim their crown as America's biggest band. The big question was whether they could sustain their unexpected second wind into the 1990s?
1993's Get A Grip answered that with a resounding yes. In fact, Aerosmith's 11th studio effort proved to be their commercial zenith, racking up a career-best 20 million sales worldwide, spawning four top 40 singles and winning Best Rock Performance By A Duo Or Group With Vocal GRAMMY Award for two consecutive years.
To celebrate its 30th anniversary, here are 10 ways Steven Tyler, guitarists Joe Perry and Brad Whitford, bassist Tom Hamilton and drummer Joey Kramer managed to build on their down-and-dirty legacy through Get A Grip.
It Recognized The Band's Unique Selling Point
In the four years since Aerosmith's previous album, the playful excesses of the hair metal scene had given way to the grunge movement's super-serious quest for authenticity. While the likes of Mötley Crue and Skid Row unwisely tried to beat Nirvana and Pearl Jam at their own game, Tyler and co. recognized that there was still an audience for pure rock 'n' roll.
Indeed, Get A Grip entirely ignores everything else that was dominating the charts of 1993 and instead plays confidently to the band's strengths. The lyrics here are optimistic and often mischievous (see "I'd rather be OD'ing on the crack of her ass" on drug recovery tale "Fever"), and the maximalist production is designed to raise the roof. If rock fans needed a party record in 1993, there was only one candidate.
From Bon Jovi and Shawn Michaels to Darius Rucker and Aaron Lewis, it sometimes appears as though every rocker of the late 20th century has pivoted into country music at some point or other. But seven years after they proved that guitars and hip-hop needn't be mutually exclusive, Aerosmith once again led the way with yet another crossover.
The harmonica solos and twangy guitar riffs of "Cryin'" and "Crazy" sound tailor made for the Grand Ole Opry — the former was actually co-penned by Nashville native Taylor Rhodes. Tyler would later score a No. 1 on the Top Country Albums chart with his 2016 solo debut, We're All Somebody from Somewhere.
It Cemented Their Status As MTV Icons
Aerosmith became MTV favorites in the '80s thanks to eye-catching videos for "Dude Looks Like A Lady" and "Love In An Elevator." But would they still be as welcome in the '90s now that each member was well into their mid-40s? In a stroke of genius, the band acknowledged that they might need some younger faces to help sell their bombastic hard rock. Step forward the future star of seminal teen flick Clueless.
A 16-year-old Alicia Silverstone appeared in three of Get A Grip's promos, first testing the limits of virtual reality in "Amazing," going on to play a bungee-jumping spurned lover in "Cryin'" and then teaming up with Tyler's daughter Liv in the Thelma and Louise-esque "Crazy." The concept paid dividends for all involved – Silverstone and the younger Tyler became instant pop culture icons, and Aerosmith continued to dominate MTV, even picking up Video of the Year at the network's annual VMAs.
It Proved They Had A Social Conscience
You usually know what you're getting lyrically from an Aerosmith track – they haven't earned a reputation as the masters of sleaze rock for nothing. But while Get A Grip still has plenty of sex, drugs (surprisingly of the anti-kind) and rock tales, it also showcased a more socially-conscious side to the former hellraisers.
Inspired by the 1992 Los Angeles uprising following the death of Rodney King,, GRAMMY-winning first single "Livin' on the Edge" finds Tyler tackling everything from racism to religion as he pontificates over the state of the world. Admittedly, lines like "If Chicken Little tells you that the sky is falling/Even if it wasn't, would you still come crawling" weren’t exactly the height of insightful lyricism. But it reminded listeners the group could provide some substance to their hard-partying style.
It Made Digital History
While much has been made of David Bowie's pioneering use of the internet, he wasn't the only rock titan to embrace the online world early on. In 1994, Aerosmith once again proved that they could keep up with the times when they released the first digital download song by a major artist.
Although "Head First" didn't appear on Get A Grip, it was recorded for the album and was first issued as a B-side to second single "Eat the Rich." Ten thousand CompuServe subscribers downloaded the four-megabyte WAV file within its first few days. With the world wide web still in infancy, it no doubt took a similar time frame to wait for its completion.
It Elevated Their Power Ballad Credentials
Aerosmith weren't exactly strangers to the power ballad when they released two of the early '90s' finest examples. Later sampled by Eminem, 1973's "Dream On" is considered by some to be the rock genre's first ever. And predecessors Permanent Vacation ("Angel") and Pump ("What It Takes") both spawned hits tailor-made for belting out in front of a mirror with hairbrush.
But the double whammy of "Crazy" and "Cryin'" took the band's ability to pull at the heartstrings to another level. The former, of course, was also their first epic slowie to win a GRAMMY. And no doubt that Diane Warren was taking note; the GRAMMY winner later penned Aerosmith's only No. 1, Armageddon's suitably blockbuster love song "I Don't Want To Miss A Thing."
It's Precision Tooled For Success
Having previously experienced life in the rock wilderness, Aerosmith left nothing to chance for their first album in four years. Indeed, the majority of Get A Grip's 14 tracks feature a helping hand from a seasoned songwriter, from Jim Vallance (Bryan Adams) on the satirical "Eat the Rich" to Desmond Child (Bon Jovi) on the carnal rock of "Flesh" and Mark Hudson (Cher) on the funky "Gotta Love It."
That's perhaps why the record spawned no fewer than seven singles, four of which made the top 40 ("Livin' on the Edge," "Cryin'," "Crazy," "Amazing") and why, with the exception of closing instrumental "Boogie Man" and brief "Walk This Way"-referencing "Intro," every other track was worthy of a release.
Some Aerosmith purists may have balked at all the outside interference, but despite their blatant hit-chasing approach the band never lost sight of who they are.
It Boasts Rock Royalty
As well as recruiting a who's who of professional songwriters to boost Get A Grip's hit-making potential, Aerosmith also invited two bona fide rock legends to give the record even more pizzazz. Listen closely to the backing vocals on the autobiographical stadium rock of "Amazing" and you'll hear the raspy tones of fellow '70s survivor Don Henley.
Meanwhile, the ultra-cool Lenny Kravitz – then very much at his commercial peak – went one better. Not only did he lend his voice to the full-throttle blues-rock of "Line Up," he also helped Tyler and Perry write it. The "Are You Gonna Go My Way" singer later went on to support Aerosmith on their mid- '00s tour, Rockin' The Joint.
It Contains Joe Perry's Best Lead Vocal
With one of the most charismatic frontmen in rock history at their disposal, Aerosmith have wisely only allowed Perry to take center stage on a handful of occasions. The guitarist first grabbed the mic for himself on "Bright Light Fright," a track from 1977's Draw the Line but had to wait until Get A Grip to take the lead once again.
Also penned solely by Perry, "Walk on Down" is the kind of driving back-to-basics rock that once saw the group hailed as the USA's answer to the Rolling Stones. But the vocals are far easier on the ear than whenever Keith Richards takes over from Mick Jagger.
It Features The Group's Most Striking Cover
Aerosmith could never be accused of playing it safe with their cover art. Who can forget Nine Lives' controversial depiction of Lord Krishna throwing some shapes on the snake demon Kaliya's head? Or the slightly nightmarish caricatures of Draw the Line? But Get A Grip's close-up of a cow's pierced udder undoubtedly remains the band's most striking.
Designed by metal favorite Hugh Syme (Iron Maiden's The X Factor, Def Leppard's Retro Active), the image divided audiences at the time, with music journalist Steven Hyden blasting it as the worst album cover ever, while various animal rights groups also took umbrage, too. According to the group, however, the offending image was entirely computer generated.