With today's post, we're going to be starting a new, occasional column that we're really excited about; Musical Martyrs- The Vilified Albums. Too often it seems, loyal fans of a band shun a particular work, vilify it as the work of the anti-band, or simply dismiss it altogether, for no good, justifiable reason other than it is different. We're not talking about a band's clunker. Any band recording long enough will turn out at least one nigh-listenable album.No, what we're referring to are albums that, on close listen, are actually damn good, or at least have enough good points to make them valuable additions to a respectable record collection, despite the fact that the "real" fans rarely give them the time of day. Usually, the reason for the fan apathy is embarrassingly petty, like the band line-up changed, the band tried a new musical direction, or --heavens no -- the band cut their hair.
In fact, the response we've had to yesterday's post by the Pope on COC's Deliverance is a perfect example of what we're talking about. Rather than allow a band to move onto a new direction, to try a new sound, to incorporate a new member, "fans" of the band criticize them for not sounding like the punk band they were originally. The point of Pope's review was that the past doesn't matter. Each album needs to be listened to with open ears, evaluated on it's own merits. As such, Deliverance holds a revered place in the Ripple office, regardless of how different it sounds from Animosity. It is simply, a frickin' fantastic, fully accomplished album.
We're going to present these vilified albums and explain why we like em. Some of you may agree, many will disagree, but that's all part of the fun. Let's create a conversation about these Vilified albums, shed a little light on them, and discover why we think they should be Rippled. Send us your thoughts for future vilified albums, or better yet, your own reviews of albums that fans shun, but really deserve a little love.
So without further ado, we at the Ripple, proudly turn our computer keyboards over to Woody to present . . .
Aerosmith - Night in the Ruts“When was the last time you listened to Night In the Ruts?”
That’s the question I’ve been driving everyone crazy with lately. It had been at least 20 years for me and I’m not sure why I decided to pick it up, but I grabbed it along with Draw The Line and Rock In A Hard Place at the same time. Draw The Line turned out to be not as good as I remembered. It has a few great songs (title track, “Kings & Queens”) but for a short album it has a lot of filler. Rock In A Hard Place I knew was not very good but it was cheap and I always liked the songs “Lightning Strikes” and “Jailbait.” But Night In the Ruts really surprised me. It’s not a great or classic album like Toys In The Attic or Rocks (my personal favorite) but it is a kick ass hard rock album and one that hasn’t been played to death.
This album was made as Aerosmith was falling apart in 1978/79. Joe Perry and the rest of the band were at odds so Joe left during the making of it. He plays most of the leads on the finished product but Jimmy Crespo and Richie Supa fill in a few holes here and there. You can get the full story in Aerosmith’s very entertaining autobiography called Walk This Way (co-written with Steven Davis, author of the infamous Led Zep bio Hammer of the Gods). Even if you’re not an Aerosmith fan at all, it’s a good read.
The album kicks off with the autobiographical “No Suprize.” It tells the true story of the early days of the band playing at Max’s Kansas City in NYC and Clive Davis saying he’s gonna make them a star. There’s also the line “the backstage is rockin and we were coppin from the local police” about when cops would give the band confiscated weed at their shows. That’s one of the reasons why rock was better in the 70’s than it is now. The song itself is a total Aero-classic that combines their Zep and Stones influences into one big joint. Classic rock radio should play this song.
Classic rock radio should also play “Chiquita.” It starts off like Led Zep’s “Custard Pie” before settling into a powerful groove with Joey Kramer really bashing his drums and Tom Hamilton’s bass booming. This song is a great example why Steven Tyler is revered as a rock singer. His voice really soars over the band and commands that you turn up the volume.
In Aerosmith’s early days they got compared to the New York Dolls a lot. They shared the same management and often played together before the Dolls imploded. Ultimately, the New York Dolls were too raw for the mainstream and Aerosmith succeeded where they failed. Another thing they shared in common was a love of 60’s girl groups. Aerosmith’s cover of The Shangri-La’s “Remember (Walking in the Sand)” was issued as the single off Night In The Ruts. I’m sure David Johansen was happy when it stiffed since his wife left him for Steven Tyler in 1978. Overall, it’s an OK version of the song but is a little too melodratic. It’s also a little creepy hearing Steven Tyler in his drugged out late 30’s singing a song that was written to be sung by a teenage girl.“Cheese Cake” is another highlight on this record. Joe Perry starts up the riff on slide guitar (which owes a debt to Zeppelin’s version of “In My Time of Dying”) before Brad Whitford and the band joins in. About a minute and a half into the song, it takes a left turn into double time. The lyrics are raunchy (“cheese cake, my finger’s in her pie”) and then slows down again for Joe’s lap steel guitar solo. In the autobiography he says the entire basic track was recorded live and he did all the parts in 1 shot. Pretty cool.
The band tries to get a little bit topical on “Three Mile Smile” about the 1979 nuclear accident in Pennsylvania. Does anyone want a political song from Aerosmith? Not really but it’s a good mid tempo rocker. And the next song is a cover of the old blues “Reefer Headed Woman” in case anyone was worried they were turning into The Clash. They were both on the same record label back then, maybe they did some blow together?
Brooklyn’s in the house on the uptempo “Bone To Bone (Coney Island White Fish Boy),” another song about sex. This is the fastest song on the album and is a real ass kicker. There’s some great guitar solos on this one, who knows who played what.
Speaking of guitar solos, there’s a cover of the old Yardbirds song “Think About It” that has a some more good ones. Aerosmith always cited the Yardbirds as a huge influence. Songs like “Rats In The Cellar” from Rocks and the end jam on “Sweet Emotion” have some killer Yardbirds style rave ups. Garage rock hipsters love the Yardbirds but hate Aerosmith. Too bad for them. Aerosmith is one of the few bands that could really pull off an exciting double time work out. The album wraps up with a Steven Tyler piano ballad called “Mia” that was written for his new daughter that he had with Cyrinda Foxe (David Jo’s ex).
Night In The Ruts was to be the last album from Aerosmith before it all fell apart and Joe Perry was replaced by Jimmy Crespo. The fans and the band never really accepted him in the band. Even Brad Whitford’s replacement Rick Dufay said they should get Brad and Joe back. Things have never been the same since. Sure, they had huge hits in the late 1980’s and 90’s but I don’t consider that the real Aerosmith, even though it’s the same original 5 guys.
The current list price for this CD is only 7.99 so you really have no excuse not to buy it and crank it up.
Buy here: Night in the Ruts
Comments
Look at, let's say, U2, the pop juggernaut that they are. They've changed so many times they need a new closet for their wardrobe. Pop? Zooropa? These were just examples of the drastic changes they put into play, and guess what, I commend them for doing what they like, but that does not change the fact that they suck.
Radiohead happen to be masters at everything (personal bias, obviously.) Should they decide to dabble in free-form jazz and country music, I think it would work. But that's not to say they won't produce an album that my ears hate, and that's not to say I will despise them for not putting out the same old thing; it's singular hatred, really.
Back to COC, hehe. They changed -- for better or worse, doesn't matter. I happen to love their first incarnation and feel their last batch of albums are marginal and homogenized. They're doing what they want and I can't blame them for that, but I won't be spinning their discs all day.