Dont know when the original airing date was, but I just finishing watching a show on the Life Network up here in Canada, called Star Style, and this episode was on Liv Tyler. I was channel surfing when I saw her lovely face, so I stopped. And for the ladies, yes they did show Steven a few times.

Don't know if or when it will air again, but I did find the site. And I have no idea why they have Catherine Zeta-Jones face under Livs description.

http://www.lifenetwork.ca

Nine Lives    Just Push Play    Honkin' On Bobo 
1...  140,000     2...  240,000         5...  160,582 
5...  105,000     3...  126,500         11...  79,690 
8...   80,000     5...  102,500         18...  40,247 
12...  70,000     9...  77,000          27...  33,769 
14...  70,000    22...  54,500          37...  27,610 
23...  50,000    19...  59,703          49...  22,876 
39...  40,000    34...  35,477          57...  16,591 
46...  30,000    42...  30,672          73...  13,875 
            
8 weeks 
585,000            575,000            395,624 

http://www.bobandtom.com

Legendary rockers, Aerosmith have announced that they will be performing Tuesday, June 1, on Fox TV's "Summer Music Mania 2004" hosted by reality pop-princess Jessica Simpson. Kicking off the summer with a sizzling start, the all-star cast of confirmed performances include:

Aerosmith
3 Doors Down
Usher
Black Eyed Peas
Jessica Simpson
Ludacris
Nelly featuring Murphy Lee
Nelly Furtado
Ruben Studdard
Chingy
Eamon
J-Kwon
Mario Winans
Ashlee Simpson
Rooney and
Yellow Card.

Catch the FOX Special airing Tuesday, June 1 (8:00-10:00 PM ET/PT)

From: http://www.aeroforceone.com

FRIDAY, JUNE 4 AT 9PM

A&E Network will embark on a musical journey that documents the creative process, work ethic, live performance and inner workings of a world called, "Aerosmith". In the two-hour special, AEROSMITH: YOU GOTTA MOVE, part of the ongoing A&E IN CONCERT series, premiering Friday, June 4, 9-11pm ET/PT, A&E will present a raw and in your face look at the band as they embark on their latest tour and create their newest album.

Our cameras have no holds bared access to a world that has seldom been witnessed, but by only a few, throughout the bands four-decade-old career. We will be in the recording studio, we will travel along the road that has been traveled so hard, we will get inside the rehearsals where the band works up new material and reinvents the old, we will hear their comments even when we shouldn't, and we will load-in with the crew and load out when the show moves on. The fans will make an appearance, along with the crew, management and team players that underpin the energy, will all play supporting roles.

AEROSMITH: YOU GOTTA MOVE will be a "Musical Documentary", recorded in the studio as well as delivered from the road where this band has spent most of their adulthood. Our performances will be a surprise selections, some familiar and some not, but all determined by the five band members who make this machine kick. There may also be a few surprises that could include sound check moments, impromptu jams and perhaps even some classic past performances never before seen. All of this textured and woven with a documentary story line that has yet to completely unfold.

A&E Executive Producer is Emilio Nunez. AEROSMITH: YOU GOTTA MOVE was Directed and Produced by music, film and video industry veteran Mark Haefeli. Haefeli's most recent critical win came from producing and directing the two-hour TV special, "Paul McCartney Back In The US" as well as developing the number one selling DVD of all time for Capitol Records of the same title. "Paul McCartney In Red Square" premiered September 18, 2003 on the A&E Network. The two-hour concert film won unanimous critical acclaim with the New York Times calling the program ".fascinating film making and story-telling. Perhaps the last great Beatles story ever told." Other Mark Haefeli Productions include projects with Faith Hill, The Rolling Stones, and Elton John.

The A&E Network website is located at www.aetv.com

Get all the latest tour dates, more on Aerosmith, and links to aerosmith.com, Aero Force One (the official Aerosmith Fan Club!) and other official sites at www.aerosmith.net.

1976 Aerosmith plays in Hartford CT at Colt park

1983 Aerosmith plays in East Troy WI at Alpine Valley Music Center

1990 Aerosmith plays in Indianapolis IN at Market Square Arena (Joan Jett opens)

Sadly, I also watched some of the Avril performance on TRL. The best part of it was the interview after where Avril was drunk and/or stoned out of her mind in the TRL studio. You could hardly understand her. The girl comes off stupid enough. She doesn't need chemicals in her system. Another Courtney Love in the making. Just what America needs....

Anyway, I'm not sure if that was a Aerosmith T-shirt. I caught it right in the beginning of her performance. I noticed some kids in the crowd were wearing these shirts with wings on it. Of course, Aerosmith came to mind. Then I saw it was a wings logo with the letter A (Avril) between them. The little bitch ripped off Aerosmith.

I have to admit, I didn't see a close up of the guitarist T-shirt. It was gray and had a wings logo on it. But they didn't show a close up, so I couldn't tell if it was Aerosmith or another rip off Avril shirt. I'm guessing the later.

1986 Aerosmith plays in St. Louis MO at Kiel Auditorium

1990 Aerosmith plays in Auburn Hills MI at The Palace of Auburn Hills (Joan Jett opens)

1997 Aerosmith plays in Rotterdam Netherlands at Ahoy Stadium (Kula Shaker opens)

2001 Steven sings the Stars Spangled Banner at the Indy 500

PIC 1
PIC 2

Hey everyone!
Just thawing out from our week in Canada. What a blast we had in great north. I thought I had an accent! First to be Canadian you must replace Huh? With EH? I can get away with making fun of our brothers and sisters to the North being 1/2 French Canadian myself.

Joe spent the afternoon the day before the Edmonton show hanging out with Tom Petersson and Rick Nielsen on Wyhte Ave. The guys went to a bunch of record and guitar stores. Joe bought a guitar the name escapes me. After a little fine-tuning by Nanaimo's finest guitar tech Jim Survis, it was ready to go for Jaded the next night.

The guys played a killer set at the house that Wayne Gretzky built. Steven even gave the World's greatest hockey player a tip of the hat before Train.

The next day Steven, Joe and I took the ride to Calgary on Joe's bus. We stopped in Drumheller at the Tyrell Dinosaur Museum. It must have been funny seeing the toxic twins ogle Dinosaur bones while grilling our tour guide Cameron about their origin. The guys had to semi-disguise themselves from the field trippers.

After that we high-tailed it out of there and headed to Calgary where the guys took in game six of the Western Conference finals between San Jose and Calgary. What a game, the place was electric as we watched high above the beautiful Saddledome in a luxury box. The guys who admit they’re not huge hockey fans, couldn't deny the excitement the city exuded and wanted to be a part of that.

Calgary won, and Joe said it was one of the most exciting games he has ever seen. Steven commented about how into the game the fans were, and that the venue had great popcorn too. The Flames gave all the guys shirts with their names on it. Steven swapped his with a fan, but got it back the next night in true Tyler fashion.

The Saddledome was still on fire as their chef and voodoo exorcist, Jamie Larita, led the guys on stage. Jamie has been leading the guys onstage New Orleans funeral style the past few shows and he got the Calgary crowd going, coming out with a huge Flames flag. It was one of the best shows of the tour.

The guys have been getting great crowds in Canada and have been met by several fans that are on their own little travel packages.

Tom has been burning up the Canadian airwaves lately. He has done several interviews and has been keeping DJ's across Canada in stitches with his east coast brand of comedy.

In Portland, Steven and Joe taped a little spot that will air next week for Summer Music Mania. The show is hosted by Jessica Simpson, and includes performers such as Usher, Black Eyed Peas, 3 Doors Down, Nelly and Ashlee Simpson (note to self, Tivo it and skip the deadwood). The guys are appearing via satellite.

Joe and Steven also taped a segment of Behind the Music for one of the biggest bands of the 80's and early 90's. More on that as it develops.

Ah! 8 days off.

Catch you all in one of America's greatest cities. Dallas!

John B.

From: http://www.aeroforceone.com

I just saw Avril Lavigne perform her new song on TRL (I don't watch it, I was just flipping through the channels and happened to catch it) and her guitarist was wearing an AeroForceOne T-shirt.

1978 Aerosmith plays in Baton Rouge LA at LSU Assembly Center

1986 Aerosmith plays in Des Moines IA at Iowa State Fairgrounds (Ted Nugent, Dokken open)

2001 Aerosmith plays the WBCN River Rave in Foxboro MA at Foxboro Stadium

For their latest album, veteran Boston rockers Aerosmith decided it was time to return to their blues roots.

Thus, Honkin’ On Bobo — possibly the most memorable title of 2004 — was born.

The 12-song disc, released in March, saw Aerosmith tackling old blues/roots covers such as Muddy Waters’ I’m Ready and Mississippi Fred McDowell’s You Gotta Move plus one Aerosmith original, The Grind.

Drummer Joey Kramer, prior to the band’s concert May 20 at the Saddledome, said the concept has been in the works for a long time.

“The new album is back to the roots of what Aerosmith is all about,” said Kramer, 53. “A lot of people have been bugging us to do that kind of album for years. Like, ‘When are you going to do an album like your old stuff?’ Well, here it is. But it’s some old blues songs and it’s renditions of some stuff that we dug up out of our past. It’s a pretty interesting record.”

COVER SONGS

Kramer said the blues classics helped inspire the band, rounded out by his fellow original members — singer Steven Tyler, 56, guitarist Joe Perry, 53, guitarist Brad Whitford, 52, and bassist Tom Hamilton, 52.

“It did but so much of our roots is there in the blues to begin with,” Kramer said.

“I mean, we’ve done other albums which have a lot of blues in them. But this one is specifically around that. We’ve done an old song by Blind Willie McTell and an Aretha Franklin cover, and most of the songs, except for one, are cover songs.

“But they’re not your traditional contemporary blues like Eric Clapton or Stevie Ray Vaughan. We dug back into the ’30s and ’40s and came up with stuff from there and did our renditions of that. And it was a little bit more of a challenge because the feelings which those guys played with back then was a lot more difficult for us to cop.”

In other words, when you’ve sold more than 100 million albums in the past 34 years, as Aerosmith has done, it’s hard to sing the blues — Tyler’s and Perry’s well-documented personality clashes and heroin use in the past notwithstanding.

Perhaps the most stimulating thing for the rock quintet this time out was recording Honkin’ On Bobo in Perry’s basement studio, a.k.a. The Boneyard. “We did a lot of recording and we had a lot of fun doing it,” Kramer said. “It was the first time in a while that we all just piled into a room, down into Joe’s basement. And the beauty of the record is that it’s just the five of us in a room playing.

“And we had a blast. There are very, very few overdubs on this …

“There were a lot of (covers) that we did that aren’t on the record.”

Speaking of the record, what’s up with that title?

“It’s really an old slang saying for old jazz musicians, referring to a saxophone or a trumpet or whatever — you know, ‘honkin’ on bobo,’ ” Kramer said. “You can make out of it whatever you choose. Which I hope most of s do.” Aerosmith’s previous album was the 2001 studio effort Just Push Play, which spawned the hit Jaded. The Grind, meanwhile, was written by Tyler in Hawaii, and fit neatly into the blues concept of Honkin’ On Bobo.

When asked about the band’s longevity despite early drug use, a rotating lineup in the ’80s, and Kramer’s own battle with depression when his father died in 1996, the drummer attributed it to just one thing.

“I think basically, the bottom line, it’s really been the music,” Kramer said.

“That’s what we’ve always been about. And we’ve been through our pettiness, and our nonsense, and our arguing over money and wives and all the other (garbage) that breaks bands up, drugs, and we just finally came to a point where we realized that there’s something that we do and it’s only the five of us that can do it together.

“And so, fortunately for us, we came to our senses about that and we just continued on.”

Aerosmith last hit the road with KISS in 2003 and the potent combination made for one of the top-grossing tours of that year. (Sadly, the pairing didn’t make it to Toronto.)

“It’s kind of the opposite ends of the spectrum,” Kramer said of touring with KISS.

“They were more the show, we were more the music.”

From: http://www.calgarysun.com

Back to the blues
Friday, May 21, 2004
MARTY HUGHLEY

Even from the upper level of Memorial Coliseum, they looked vaguely dangerous. Not just the long hair but the rangy physiques with the lean-and-hungry attitudes to match. The singer looked like the creature from the rock 'n' roll lagoon, with a mouth that looked like it might swallow the world when he opened it to scream. It wasn't quite like seeing Jimi Hendrix opening for the Monkees, but Aerosmith opening for Three Dog Night in the early 1970s was a similarly jarring juxtaposition of heavy up-and-comer with kid-friendly headliner. Especially since it was my first concert, and so Aerosmith was my introduction to live rock. "I remember those gigs," Aerosmith guitarist Joe Perry recalled recently. "That was back when Steven (Tyler) met one of his first road girlfriends up in Portland."

In the 30 years since, Tyler probably has encountered a few more road girlfriends. But there's no doubt that Aerosmith met with an astonishing amount of success -- first as swaggering, blues-influenced hard-rock champions, later as market-savvy masters of power ballads and high-polish hits.

Aerosmith returns to town Saturday at the Rose Garden, touring in support of "Honkin' on Bobo," an album that revisits their blues-and-boogie roots.

Perry spoke recently by phone about rocking hard after all these years. These excerpts were edited for length and clarity.

When you played "Dream On" at that Three Dog Night show, Steven announced it by saying, "This is the song that's gonna make us all rich and famous!" At that point, the song had been only a very minor hit. But were you already seeing that on the horizon?

That was Steven. He had the vision of wanting to be a big star. I just wanted to party, have plenty of beer and make sure the rent was paid.

Was it relaxing for you to get back to playing old blues tunes for the new record?

A lot of the stress of having to write was gone. . . . On the other hand, there was a lot of anxiety, 'cause people weren't sure we should be making a blues album. . . . There were some real knock-down, drag-out fights.

Press accounts of tensions like that within the Rolling Stones always paint Keith as the purist and Mick as the one concerned about the commercial aspects. Did you guys divide along any such lines?

Steven was the one with the biggest doubts. At times, he thought this was gonna be the death of us as a band, that it was a big mistake to turn our backs on what we'd been doing, on what would appeal to a wide audience. And he's not wrong. It was that kind of thinking that got us all the singles and the success. . . . To completely reject that side of things was a risk. I don't lose sleep over much, but I did over fighting for the importance of making this record.

Does it seem to you like the blues is a much smaller or more distant part of most rock music these days?

In some cases it's really close. Some things like the White Stripes have an obvious lineage. With other stuff, it might not be as clear, but it's there.

Do the fans who've come to the band in, say, the past decade seem to respond well to the "Honkin' on Bobo" songs in concert?

They've been gettin' off on it like crazy. When we first started the tour, we were playing four or five songs off the record, and it wasn't out yet. Now that the record's out, we're getting a better response on this stuff than anything I can remember. . . . It's party music.

From: http://www.oregonlive.com

The amphitheater was built with this sort of thing in mind, however, providing shelter to nearly half the seating capacity (the reserved-seat section) while leaving a broad opening where the building's back wall might have been, allowing a view for those on the grassy lawn.

All the same, even the reserved-seat patrons had to brave the elements if they wanted to buy a beer or a souvenir or stand in line for a restroom. Of course, the rain really came pouring down right at the break, between a terrific opening set by Cheap Trick and the headlining performance by Aerosmith. Those who forgot to bring hooded coats pulled jackets above their heads in a vain attempt to avoid the wet-dog look. And back on the lawn, the lush, long grass was flattened into a slick green mat.

But the music made it worthwhile. Cheap Trick delivered a crisp set, mixing songs from its strong new album "Special One" ("This next one has been getting airplay all around the world," guitarist Rick Nielsen said, introducing "My Obsession." "Everywhere except here.") and durable oldies. "Dream Police," in particular, had a healthy snarl to it, and you don't want to know the person who could have heard "I Want You to Want Me" and not grinned all the way through.

The crowd rewarded Cheap Trick with enthusiasm, but it greeted Aerosmith with frenzy. After all, there are rock stars, and there are rock stars!

And as rock stars go, Aerosmith singer Steven Tyler and lead guitarist Joe Perry are about as uncontestable as could be. Still trim and swaggering in their mid-50s, they must have hidden portraits that would frighten Dorian Gray. In their long, flowing black coats, they took the stage looking like black-magic princes, and the power they had over the crowd seemed to confirm it.

Clustered at the end of a runway, the band started hot, with "Toys in the Attic" and "Love in an Elevator" -- the latter demonstrating that, however much they may have copped from the Rolling Stones, Tyler's always done lasciviousness better than Mick Jagger can. In fact, Tyler might be a better showman all around; his stage moves play to the cheap seats, but even up close, they look like natural exuberance and cool, not like an ego on overdrive.

Back on the main stage, the boys from Boston kept the juices flowing. Brilliantly paced, the show moved between '70s steamrollers ("Back in the Saddle," "Sweet Emotion"), latter-day radio hits ("Cryin'," "Jaded") and retro boogie from their recent back-to-basics album "Honkin' on Bobo" ("Road Runner," "Baby, Please Don't Go"). And "Dream On," the proto-power ballad, proved that it can still bring chills and thrills after 30 years.

"We're in trouble now!" Tyler announced between verses of "Walk This Way." But he wasn't talking about the influx of overexcited women who'd begun jumping onto the runway to gyrate with him; he'd split his ultratight pants, and for the next song or two was, shall we say, more cheeky than usual.

But that was the only thing in the show that didn't quite go right.

Just how hot was Aerosmith?

By show's end, well after dark, the temperature was up at least 10 degrees.

From: http://www.oregonlive.com

Damp. I'd say it was a bit damp last year during the Chicago concert at The Amphitheater at Clark County. But since not a soul was on the lawn (because of a small crowd), the weather wasn't much of a concern.

So the first time it really has rained should say poured during a show at this partially outdoor venue happened to be Saturday night while Aerosmith was opening the amphitheater's second season.

A majority of the crowd was under the shed's roof, but there still were thousands of others huddled together in the wet grass, wearing ponchos and rain gear, pulling hoods tight. Many sat on plastic and tarps. Some bundled up so much in the material that they appeared to be looking out of small, albeit sadly crumpled, caves. A few people smuggled in umbrellas. A few just hopped around in a futile effort to stay warm.

It was an unfortunate night to have booked a belly dancer as roving entertainment. It was as cold and miserable as the worst of all last season ... by 7 p.m.

But one of the most popular bands in the history of rock 'n' roll was about to perform, so most simply sucked up the discomfort and transformed that into a determination to see the evening through, like a good football crowd.

"I think the people out here (on the grass) are the true fans," said 17-year-old Erika Hollandsworth, who traveled from Tacoma with family and friends to bunch together under a soggy blanket for the show. "We don't care if it rains... We'll just make the best of it."

The weather didn't seem to bother singer Steven Tyler or his Aerosmith bandmates, either, as the frontman quickly stripped off a long black jacket in favor of a sleeveless shirt, despite the steamy vapor coming out of his super-sized mouth as he sang.

The 56-year-old complemented his tattoo-showing apparel with a pair of extremely tight black pants, starting the set by scratching the ground like a bull and screaming the chorus parts of the old tune "Toys in the Attic."

Aerosmith is the first band to use a catwalk-like ramp here, extending the stage a good 20 rows over seats in the middle. The group played its first song on that second stage, and Tyler and others frequently strolled out to the spot, immersed in the adoring masses.

He might not use drugs anymore, but the other prominent portion of Tyler's stage antics hasn't been reduced any significant degree. Numerous times the singer simulated some sort of sexual behavior, punctuating songs such as "Love in an Elevator" with his pelvis.

This time around, promoting a blues cover album dubbed "Honkin' on Bobo," Aerosmith seemed to act particularly reverential to the songs that band members reinterpreted. Such blues standards as "Shame Shame Shame," "Road Runner" and "Stop Messin' Around" gave an unusual breadth to the group's sound in this show, providing interesting audio perspective to the band's classic rock hits, such as "Mama Kin," "Cryin'," "Back in the Saddle," "What It Takes" and "Sweet Emotion."

"Dream On," in particular, seemed fuller and more rich with complexities from the juxtaposition. That song also featured a young female fan jumping onto the ramp and dancing tightly with Tyler, starting a trend of intimate audience interaction that repeated each time thereafter that the singer made his way down the crowd pier.

Tyler certainly hasn't lost much stage charisma, although he isn't particularly chatty to the crowd, either. When those really tight pants of his ripped down the back during a rendition of "Walk This Way," though, Tyler turned it into a long-running nonverbal gag, frequently slapping his own bare rear to the beat which also answered what kind of underwear he uses in those form-fitting outfits: None.

There were consistent sound problems during the evening, with microphones not working as they should and levels that were uneven or, at times, drastically out of balance. But this band has made it to the top by being able to overcome such glitches while still delivering a really entertaining show.

For confirmation, all one had to do was look out at the grassy hill at the end of the performance. The drenched and shivering fans, for the most part, were still there, and they were cheering and hooting and having a good time in the rain, roof or not.

From: http://www.columbian.com

From: http://www.boston.com

High-end nostalgia in Lakeview
Silver Moon's owner Liz Meyers lays a stack of forties, fifties, and sixties bathing suits on a leather chair in her shop. She lifts the pleated skirt of a white polyester suit to show off her favorite brown suit while patting its ruffled backside.

"It's almost like a department store scaled down," says the 28-year- old owner, who's on her weeklong break from her other career as a wardrobe designer currently touring with Aerosmith. Today her all- black outfit includes a patent leather belt, a cropped jacket, skull- printed sneakers and a silver moon pendant that hangs from the thick of necklaces slung around her neck. Meyers bought the store last April from the original owner, who opened it twenty-two years ago.

Meyers showcases her mint collection from the turn of the century to the 1950s in an art-deco style room with a black-and-white-checkered floor and an armoire. A beaded gown or shawl costs anywhere from $100 to $3000, and 1930s-1960s designer hats--Dior, Ceil Chapman, Scaparelli, Patty Carnegie, Pucci, Best Ben, Prada and Adrienne--curl up next to porcelain Siamese cats. This is also where you'll find a long rack of vintage wedding gowns beside a table stand full of black and white wedding portraits.

You can find a silk teddy or a chocolate velvet 1930s cocktail dress for as little as $50. But clothing for less than $100 generally hangs in the front room. The selection includes mainly forties and fifties casual frocks and suits and tops for men and women.

A man in the front room hangs an old-style movie poster frame with lights around its edges; the black and white photo of "Trixie," the store's designated pinup, lights up as Meyers points out odd collectibles, like the Lone Ranger's mother's golden cross brooch. Meyers keeps a file of her clients to remember who collects what and takes requests when clients search for certain items.

Next look out for a collection of Steven Tyler's wardrobe on sale along with new clothing from Japanese designers. Meyers hopes to have her own signature collection in a few years of deconstructed vintage wear.

Silver Moon
3337 N. Halsted
(773)883-0222

http://www.slamrocks.com/thundertrain.htm

http://www.slamrocks.com/review.htm

COMING SOON ON GULCHER:
Thundertrain/Hell Tonite!
Red Glance/Swirls Away
Tobi Love/Indigo Child
Chinaboise/The Greatest Story Ever Told
The Gizmos/Rock & Roll Don't Come From New York
The Korps/Hello World!
Gynocologists/Feces & Psychopaths

I was reading on your site the article from the latest issue of Hit Parader and I had the feeling I've already read that before... and I was right. I got the only issue I have from this magazine, from March 1998, and compare the article there with the one on your site and it's basically the same thing. They've only updated a few parts. Never thought a magazine was capable of doing something so stupid. Probably they are really lazy there, hehe. Below is the one I have so you can compare:

CAUGHT IN THE ACT - AEROSMITH
by Joe Thompson
From Hit Parader
Issue March 1998 - Number 402

Living out of a suitcase has become second nature to Steven Tyler. Aerosmith's legendary lead vocalist estimates that he's spent more than a decade of his 25 year rock and roll career waking up in strange hotel beds, traveling by bus, car or plane and performing on stage in front of nightly throngs of thousands. Tyler admits that at times in the past the road has overwhelmed him with its polarizing powers-- two hours of non- stop stage thrills followed by 22 hours of mid- numbing boredom. But today, as he tours Planet Earth with bandmates Joe Perry, Brad Whitford, Tom Hamilton and Joey Kramer in support of the group's latest disc, Nine Lives, Tyler says that he and the road have finally become one-- it is now a place of inspiration and perspiration rather than a hell hole of loneliness and despair.

" I really enjoy touring now, " he said. " In fact I think I enjoy each time we go on the road more than the time before. We have people around us now who take care of everything-- they make it so easy for us. All we've got to do is worry about getting up there and doing our thing. But I admit that in the past there were times when I got in trouble on the road-- too much time to think and too much temptation. But that's in the past. Now I keep myself busy during the 'down time' and get ready to give everything I've got when I hit the stage each night."

Tyler certainly has been giving his all at each and every Aerosmith performance over the last eight months. As the group's tour winds through Europe, North America and the Orient, he has managed to deftly defy the 48 years listed on his passport and put on a performance that would shame rockers half his age. Dashing about the stage like a man possessed, shaking his blond-streaked mop of brunette hair and rattling his trademark mic-stand-covered-in-streamers, Tyler's recent performances may well rank among the best of his lengthy career. With the band never sounding better, and the vocalist's voice exhibiting a husky range rarely before heard, Aerosmith has attacked songs both old and new with a passion and power perhaps only they posses. Mixing such audience favorites as Walk This Way, Sweet Emotion and Dream On with new tracks like Taste Of India and Falling In Love (Is Hard On The Knees) the group's tight, inspired two-hour set comes across as a veritable smorgasbord of classic rock and roll.

"The toughest thing for us is figuring out which songs to include in the set," Tyler said. "Each time we go out there are more songs than ever to choose from, and the process of adding new ones and dropping old ones gets tougher and tougher. There's always going to be somebody who says, 'How come you didn't play this one or that one.' I always tell 'em, 'Come back next time and we will.' I think those people who are a little disappointed are few and far between-- this is a show that'll blow anyone away...including me."

While Tyler may be the set's unquestioned focal point, it is often left to former "Toxic Twin" Perry to lift the audience to its greatest heights. When the rest of the band wandered backstage for a quick respite about half-way though the proceedings, it was the wirey guitar master's moment to shine. Standing center stage he launched into an impassioned blues improvisation, taking hefty bits of Hendrix, Page and Howlin' Wolf and mixing them all together with his own musical magic. The results only served to enforce one notion-- that there's not another band around that can touch Aerosmith when it comes to smarts, chops or pure rock and roll energy.

"When you're on the road you live for those two hours on stage every night," Perry said. " As you get older you learn how to handle the time between shows a little better, but it's never easy. But you learn whatever you have to put up with in terms of travel and inconvenience is worth it for that time in the spotlight. The kind of excitement you feel on stage with 20,000 pairs of eyes focused on you never grows tired. It's the greatest feeling in the world."

I think it's like 97% the same article, I still can't believe it... hehehe

See ya!!

Luís Alberto,
Brazil

1983 Aerosmith plays in Largo MD at the Capital Center

1990 Aerosmith plays in Auburn Hills MI at The Palace of Auburn Hills (Joan Jett opens)

1994 Aerosmith plays in Budapest Hungary at MTK Stadium (Extreme opens)

1997 Aerosmith plays in Milan Italy at Forum Di Assao

His bare-knuckles technique is the product of persistent hard work and the sheer will to develop his talent. Over the years, he has mastered various picking and finger styles, and even "broke his cherry," as he so subtly puts it, on an upright acoustic bass during sessions for Aerosmith's latest album, Honkin' on Bobo (Sony/Columbia). At the end of the day, however, he follows one simple rule: play something solid.

Last Child

"I grew up trying to learn bass parts off records," Hamilton says. "I used to get so frustrated trying to figure them out that I'd just make up something I thought sounded similar. I've never been a student of the bass on its own; I've always been into the bass in context. I mean, what good is great bass playing if it's not part of a cool song? Even though, today, the bass is more out front in music than ever before, it's still a team instrument. There are definitely places where it can speak on its own, but as far as I'm concerned it has to be in the context of a good song-you know, a good pocket."

After all this time, Aerosmith know a thing or two about good songs, and Honkin' on Bobo-their 17th studio effort and first full- length dose of blues and soul staples-should quell all speculation as to whether a group of fifty-something's can still crank up a fatback groove. Tracked entirely at guitarist Joe Perry's basement studio (affectionately dubbed the Boneyard), the album boasts 12 slabs of vintage blues performed in vintage Aerosmith style. On the album, the group conjures not only the raw sound of Toys in the Attic and Rocks but also a burning sense of mad spontaneity that most younger bands would sell their souls to duplicate. Damn right these guys have the blues.

"We always have," says Hamilton. "That influence has always been there. We had 'One, Way Street' on the first album, and on Get Your Wings we had 'Same Old Song and Dance,' which is a total blues riff. It seems like every time we did an album, we had a couple of blues songs on reserve. We just got to the point where we thought it would be really cool to do a whole album of them."

Holed Up in the Boneyard

Work on Honkin' began in earnest last spring, when Aerosmith convened at the Boneyard for listening sessions and loose jams. They soon settled on an A-list of tunes originally cut by artists like Muddy Waters (a menacingly funky version of the all-time revenge screed "I'm Ready") , Sonny Boy Williamson (a soul-stir- ring "Eyesight to the Blind") and Aretha Franklin (an ambitious treatment of the Queen of Soul's hit "I Never Loved A Man"). Taking a cue from their blues mentors, Aerosmith often rehearsed a song and, on the same day, recorded a live take of the tune-as long as the feeling was right.

"We wanted the elements to be authentic," Hamilton explains. "When these songs were originally cut, the artists and labels didn't give a whole lot of time to production-they got the songs together and cut them in a few days, sometimes less. That's kind of the process we got into. Sometimes at the end of the day we wouldn't even know if we had something we were going to use, and then two weeks later we'd revisit it and say, 'Wow, maybe that's a keeper.' "

For the first wave of session work, Aerosmith sought out the reliable ears of producer Jack Douglas and engineer Jay Messina, both of whom were behind the desk for most of the band's studio output in the Seventies. "When working with Jack we get into a crazy, fun style," Hamilton says. "We laugh a lot and try weird shit and do stuff just for the hell of it." He points to Steven Tyler's vocal acrobatics on Mississippi Fred McDowell's "You Gotta Move" as one of many session highlights. "All of a sudden, Steven started singing these creepy, ambiguous lyrics, like, 'I'd rather sit on a pumpkin than be crowded on a velvet cushion.' " Hamilton laughs. "The shit just popped into his head. He probably figured we'd replace it later, but everybody was like, 'No, no, no! Leave it alone!' Jack loved it."

Although a vibe of relaxed confidence and cheeky humor suffuses the entire album, Hamilton says he encountered plenty of challenges when it came to his own playing. "1 really had to examine my technique on a song like 'Baby Please Don't Go,' " he admits, referring to another Muddy Waters classic. "We followed the version by Them [Van Morrison's last group before he went solo in 1967]. The bass part on that cut just goes back and forth between E and F sharp. For me, it's a total endurance song. I don't know how the bass player [Alan Henderson] got it, but he nailed that part. He must have done nothing but practice the frickin' thing for six months." Hamilton himself was afforded that small luxury when Aerosmith broke from the studio and hit the road in early August for a five-month tour with Kiss. "We spent the rest of the year playing the song onstage, so by the time we got back, it had really turned into something and we wanted to take another crack at it in the studio."

In December 2003, Just Push Play producer Marti Frederiksen came onboard for the album's session work, and a new version of "Baby Please Don't Go" was cut. During the same sessions, the band recorded "Stop Messin' Around," a driving blues shuffle written in the late Sixties by Peter Green of Fleetwood Mac. The song has been a gem in Aerosmith's live set for the better part of the past five years. "That shuffle-we used to call it a 'hop' when we were kids-is one of the building blocks on which we formed the band's style," Hamilton says. He recalls a youthful moment he once shared with drummer Joey Kramer, back when self-restraint wasn't the group's main priority. "We unwisely took some amphetamines one day and played a shuffle all fuckin' afternoon. We drove the lady downstairs completely out of her mind. A shuffle has such a simple feel, but for it to become really hypnotic, you've just got to keep doing it. It's like chopping wood."

Once More, with Feeling

Whether chopping wood or honing their chops, the one thing that seems to have kept Aerosmith going is the energy of each individual member. "That, and maybe a compulsive need for the approval of large groups of people," Hamilton says, jokingly. "We love per- forming and we love being in the game. Of course, we had burnt out on each other by late 1979. Our egos told us that we could just make whatever changes we wanted and have it work perfectly, but we eventually realized it wasn't true. The whole ordeal made us that much more solid when we got back together."

When he's pondered the personal dynamics in the band, Hamilton concedes, he has arrived at some astonishing revelations about himself. As he told an MTV interviewer a few years back: "One thing I've had to come to grips with is that I don't have that much natural musical talent, which makes me feel good, because that means everything I've gotten is because of wanting it so bad I was willing to fight for it."

His take on his own abilities may be self-effacing, but it's important to remember Hamilton wrote the music to "Sweet Emotion," one of the most instantly recognizable and lasting statements in the Aerosmith repertoire. The song was a huge radio hit when released as a single in 1975 and became one again in 1991, making it the only Aerosmith track besides "Dream On" to chart in separate years. The song has continued to sway new audiences through its appearances in the films Dazed and Confused and Starsky and Hutch.

“That bass line was just the result of musical daydreaming," Hamilton says of the song's opening riff. "When we all lived together, we used to listen to Jeff Beck's Rough and Ready album. There was this one song where the bass and drums were doing a groove that I loved. I tried to steal that and came up with the 'Sweet Emotion' line."

In that respect, "Sweet Emotion" exemplifies Hamilton's preferred method of songwriting. "One of my favorite things about being a musician is that I can go into a place where I'm completely alone and just pick up the guitar or the bass and noodle around. My hands start to get warmed up and things just happen by accident-they come down the road unexpectedly. In that kind of situation, the trick is to remember what you did and then do it again until you can get it on tape."

Of course, where the "Sweet Emotion" bass line is concerned, other influences were at work. "Oh yeah, I was a major pothead back then," Hamilton says with just a hint of sarcasm. "It's a controversial thing to talk about, but there's something that happens when you pick up your instrument in an altered state. Sometimes it's good for a while, and then it ultimately becomes destructive. But I'm sure I happened to be in a good mode when I came up with those riffs."

Back in the Saddle Again

Even a cursory look at Aerosmith's rough- and-tumble history makes clear why they can easily grasp the inherently redemptive power of the blues. It's hard enough for anyone to graduate the school of hard knocks once, but this band has done it twice, miraculously resuscitating a career that had been in a state of life-threatening turmoil.

"There are always core issues that are there," Hamilton says, choosing his words carefully. "There are always points where relationships in the band can be difficult, but I think it's just that we feel like we have this potential and nobody wants to miss out on I what could happen. I mean, look at what we've been able to do. Nobody in this group wants to put that down and miss out on what I could be coming next. Nobody." .

From: http://www.eonline.com

His ego bloated by years of lip curling excess and larynx shredding dementia, Steven Tyler is a wasted rock star in the truest sense of the word. But Honkin’ On Bobo proves that when the scrawny singer gets out of the way, Aerosmith is still a smoking rock ’n’ roll powerhouse with more passion and guts than most preening punk rockers half their age.

Led by the mighty Joe Perry, who sounds like he is itching for a fight and revenge, Aerosmith walk a thin line between electric blues and early rock ’n’roll, the album sounding at times like a lost Sun session broadcast from deep outer space. The production is shrill but the band is soulful. Aerosmith is a band reborn, especially in slow, driving numbers like the grueling “Back Back Train” and the molten “I’m Ready.” Tyler still plays the circus barker (and some killer harmonica) on “Road Runner” and the lone original track, “The Grind,” but he can’t stop the gleeful thrill of rockers like Straycat rave-up, “Shame, Shame, Shame,” or the Bo Diddley strut of “You Gotta Move.” Perry is ferocious and omnipotent, guiding the band like a man possessed in the midnight prowl of “Back Back Train,” the slamming shuffle breakdown of “Temperature” (with blues great Jimmie Johnson on piano), and Stevie Ray Vaughan send-up, “Stop Messin’ Around” (with Perry on vocals).

Honkin’ On Bobo is a big bruiser of an album, with heart, soul, and fury to spare. Who knew Aerosmith had anything, much less blues power, still left alive and well?

From: http://launch.yahoo.com

From: http://www.eonline.com

Linsey Lohan (Mean Girls) was on "ET! on VH1" and she was asked what did she listen to. She said she listens to the newer stuff like Linkin Park, but also the older bands like the Stones and Aerosmith. Then she mentioned she met Steven Tyler at the Grammy's when he sat behind the Osbournes (she went to the Grammy's with Jack Osbourne) and she told him how much of a fan she was and said he was really sweet to her and she called him a "doll."

The Olsen Twins were also on "ET! on VH1" and they're doing the recent add for "Got Milk?" They said they always been a fan of the add series and which ever one has the dark hair now said her favorite was Steven Tyler's. "Because he has that amazing mouth."

Also, the Olsen with the dark hair (I think it's Mary-Kate, but not 100% sure at all) was compared to Steven Tyler. On the STYLE network there is a show called "Style Star" and they said the one twin dresses more conservative while the other (dark hair) dresses more funky and rock-n-roll like Steven Tyler.

Also on STYLE, there was a show on fashion and hair and they were talking about the hair gel "TIGI" and was said it's one of the favorites of Rock Stars. While saying this they showed Steven's autograph on the wall.

I really need to stop watching this crap on the weekends... LoL

Aeroforce Michael

This is from the Argentinian newspaper "Newspaper El Debate," May 21, 2004:

See the article in Spanish, at http://www.eldebate.com.ar

In English (or something similiar, at least *lol*):

Tom Hamilton said that for July they have predicted to act in Japan and towards year end it has planned tour in "South America".

The legendary band plans a tour by South America Aerosmith published a new album the legendary band of Aerosmith rock published its new album of titled study "Honkin´ on Bobo", that for Tom Hamilton, charter member and bearish of the grouping, "no is a disc of blues, but an album of Aerosmith". "Todo what we did from the beginning of our race, 35 ago years, always was influenced by the blues and the rock. And this time we took to the influence a little more near superficie", Hamilton said from the American city of the Angels. "Hemos covered a diverse collection with classic songs of blues, black roots and also we added new like ´The grind´ to him, that is a Aerosmith properly dicho", it said to the musician in relation to "Honkin´ on Bobo". Next to Hamilton, the charismatic vocalista and leader Steven Tyler conform the mythical rockera formation, Joe Perry in first guitar, Brad Whitford in second guitar and Joey Kramer in action. "Más that to categorizar or to classify the tone of the album, we would like that thinks it as a new production of study of the band in which our music sounds like old material", the bear said. In the plate are work versions of bluseros like Sonny Boy Williamson and Willie Dixon that inspired to the creators of the rock and roll, but in versions boarded in the style of Aerosmith. Hamilton said that for July they have predicted to act in Japan and towards year end it has planned tour by South America.

That show was worth waiting for! The foods looked okay, but Mr. Perry looked more delicious than any recipe there. He was so elegant and dignified in his black silk suit with guitar strap to match. They plugged Joe's "Rock Your World Boneyard Brew" and Emerill even used a bit in a couple of recipes. (What were the 2 small objects shown with the sauce? not the picks, but the white and the blue things with the Boneyard Brew logo on them.)

1975 Aerosmith plays in Dayton OH at Hara Arena

1978 Aerosmith plays in Mobile AL at the Municipal Auditorium (Point Blank opens)

1986 Aerosmith plays in Cincinnati OH at Riverbend Music Center (Ted Nugent opens)

1990 Aerosmith plays in Columbus OH (Joan Jett opens)

1994 Aerosmith plays in Graz Austria at Sfzentrum (Extreme opens)

2001 The Screaming Demon Race Car is unveiled with driver Jeff Ward

Steven Tyler and Joe Perry of Aerosmith, slingin' precious metals at Barneys New York. Oak Street, Chi-town. Looking totally unassuming (yeah, right) in a splashy pair of white jeans and a funky tie-dyed tee, Steve-doll was trying on a few rings as J.P. stood by and threw in his appropriate two cents. Don't these band cats evah get sick of each other?

From: http://www.eonline.com

It just might be a red, white and blues Fourth of July at the Hatch Shell, as Aerosmith is in talks to appear alongside the Boston Pops at their annual Independence Day concert.

None of the parties would say so on the record, but a source close to the band confirms that Steven Tyler, Joe Perry and the rest are discussing the prospect of rockin' the house with Keith Lockhart and the Pops before hundreds of thousands of fans on the Esplanade and a national TV audience.

The source said the invitation is ``long overdue'' and the band is excited about rearranging power ballads such as ``Dream On'' and ``Don't Want to Miss a Thing'' for orchestra. The band is even considering, the source said, ``crazy arrangements'' of such harder-rocking tunes as ``Back in the Saddle,'' a la Metallica's recent performance with the San Francisco Symphony Orchestra.

While the Pops has hosted such big-name guests as Cyndi Lauper, Barry Manilow and Trisha Yearwood in the past, the Rock and Roll Hall of Famers would be a huge coup for the event, which will air on CBS.

``The truth of the matter is that there is no agreement (with any performer), so anything I say at this point would be premature,'' said David Mugar, executive producer of the event.

But he didn't shoot down the idea either, saying of Aerosmith, ``We would welcome them ... as we would welcome any other talented performers.''

According to the band source, all parties are amenable, but it's a question of logistics. Band members are free on the Fourth, but they leave for the Japanese leg of their tour for the blues-based new album ``Honkin' on Bobo'' on July 7. The dilemma is how to get their crew and gear to Japan in time for shows beginning July 10. The gear goes by boat, but, the source said, ``where there's a will, there's a way.''

Rehearsal shouldn't be a problem since the penultimate gig of the U.S. leg of the band's tour is June 24 at the Tweeter Center in Mansfield, with the final show four days later in Cleveland.

We can't wait to see how Steven, Joe and the boys look in tuxedos.

From: http://thetrack.bostonherald.com

Living out of a suitcase has become second nature to Steven Tyler. Aerosmith's legendary lead vocalist estimates that he's spent more than half of his 30 year rock and roll career waking up in strange hotel beds, traveling by bus, car or plane and performing on stage in front of nightly throngs of thousands. Tyler admits that at times in the past the road has overwhelmed him with its polarizing powers- two hours of non- stop stage thrills followed by 22 hours of mid- numbing boredom. But today, as he continues to tour Planet Earth with bandmates Joe Perry, Brad Whitford, Tom Hamilton and Joey Kramer- most recently during a six-moth stint co-headlining with Kiss in a tour aptly dubbed Rocksimus Maximus- Tyler says that he and the road have finally become one. For the still-spry frontman it is now a place of inspiration and perspiration rather than a hell hole of loneliness and despair.

" I really enjoy touring now, " he said. " In fact I think I enjoy each time we go on the road more than the time before. We have people around us now who take care of everything-- they make it so easy for us. All we've got to do is worry about getting up there and doing our thing. But I admit that in the past there were times when I got in trouble on the road- too much time to think and too much temptation. But that's in the past. Now I keep myself busy during the 'down time' and get ready to give everything I've got when I hit the stage each night."

Tyler certainly has been giving his all at each and every Aerosmith performance over the last year- with the band now continuing on the road in anticipation of the release of their "blues" album, tentatively titled Honking on Hobo. As the group's tour winds through the North American continent, he has managed to deftly defy the 53 years listed on his passport and put on a performance that would shame rockers half his age. Dashing about the stage like a man possessed, tossing his still amazingly full head of hair and shaking his trademark scarf-covered microphone stand, Tyler's recent performances may well rank among the best of his lengthy career. With the band never sounding better, and the vocalist's voice exhibiting a powerful range rarely before heard, Aerosmith has attacked songs both old and new with a passion and power perhaps only they posses. Presenting a veritable" greatest hits" show featuring such audience favorites as Mama Kin, Walk This Way, Sweet Emotion and Dream On, along with a few selected "blues" classics like Baby, Please Don't Go"' the group's tight, inspired two-hour set comes across as a veritable smorgasbord of classic rock and roll.

"The toughest thing for us is figuring out which songs to include in the set," Tyler said. "Each time we go out there are more songs than ever to choose from, and the process of adding new ones and dropping old ones gets tougher and tougher. There's always going to be somebody who says, 'How come you didn't play this one or that one.' I always tell 'em, 'Come back next time and maybe we will.' I think those people who are a little disappointed are few and far between- this is a show that'll blow anyone away...including me."

While Tyler may be the set's unquestioned focal point, it is often left to former "Toxic Twin" Perry to lift the audience to its greatest heights. When the rest of the band wandered backstage for a quick respite about half-way though the proceedings, it was the wiry guitar master's moment to shine. Standing center stage he launched into an impassioned blues improvisation, taking hefty bits of Hendrix, Page and Howlin' Wolf and mixing them all together with his own musical magic. The results only served to enforce one notion- that there's not another band around that can touch Aerosmith when it comes to smarts, chops or pure rock and roll energy.

"When you're on the road you live for those two hours on stage every night," Perry said. " As you get older you learn how to handle the time between shows a little better, but it's never easy. But you learn whatever you have to put up with in terms of travel and inconvenience is worth it for that time in the spotlight. The kind of excitement you ! feel on stage with 20,000 pairs of eyes focused on you never grows tired. It's the greatest feeling in the world. "

1986 Aerosmith plays in Richfield OH at Richfield Coliseum (Ted Nugent opens)

1995 The group Chicago releases Night and Day which features Joe Perry playing on Blues in the Night

1997 Aerosmith plays in Vienna Austria at Stadtalle

1999 Aerosmith plays in Tinley Park IL at World Music Amphitheater (Afghan Whigs open)

1994 Aerosmith plays in Nurburg Germany at Nurburgring

Aerosmith's released the first full-length video from its critically acclaimed album, Honkin' On Bobo. Directed by Mark Haefeli with some help from one of the band's closest friends, the high energy camera work and editing allows Aerosmith to explode into every frame with the kind of raw, rough and raucous energy the legendary Boston rockers have made world famous. Complementing the Deamon of Screamin' vocals of Steven Tyler and quintessential Joe F'n Perry guitar work on this remade Aerosmith-style blues classic, "Baby Please Don't Go," is some of the best live-performance footage released of the band in recent memory. Taken from performances as far back as the first performance of "Baby Please Don't Go," the live footage is interlaced with images from a Deep South bluesy bar filled with locals jammin' to the track. Band insiders told Aero Force One that fans might recognize one of the dancers as the blue-jean clad model on the back cover of Honkin' On Bobo. Steven Tyler recruited another dancer personally from the streets of New Orleans after he saw her lettin' go to a band of street musicians. Tyler, taken aback by the spirited display of free-form expression, knew he had to have her in the video.

WINDOWS MEDIA LOW
WINDOWS MEDIA HIGH
QUICKTIME
REAL TIME

From: http://www.aeroforceone.com

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I'm feeling a bit hurt as I caught Steven and Joe being interviewed during the Sharks/Flames hockey game last night. They were there supporting Calgary. Ok, I know they have a show there and I'm sure they wouldn't go on tv and say otherwise as they'd get boo'd off the stage, but gee, first they don't come to my home state (CA) and then they root for the OTHER team. Well, the Sharks lost - I hope they're happy. Ok, being overly dramatic here folks with a bit of sarcasm. . . they can root for whomever they want. Just thought I'd let you know about the impromtu interview. I missed most of it as I was in the other room unable to watch the Sharks get burned by the Flames when my mom screamed for me. I thought something happened to her the way she yelled, but there they were...Steven said something about beer and that they were in Canada promoting Honkin' (leave it to Steven to get in a promo bit at a hockey game.) Joe tried to say something but got cut off. So this am I was listening to Greg Kihn interview Dan Russanowski (phonetically spelled his name), the "voice of the Sharks" and he mentioned the boys. He said that Steven said he was in the back room dressed in a flames hockey outfit drinking beers with the players pre-game. Dan said, Steven probably did that to survive as they are playing Calgary tonight. In other words, he just said that but didn't really do it as he was "hamming it up and just being Steven." He didn't say what Joe said though.

The second sighting (sorta) I had last night, and the reason why I was in the other room, was that I was watching *very old* episodes of Mr. Bean. I got a DVD set that included four "never before seen in America" clips, 2 of which came from Comic Relief UK. There was no date on it but I think it might have been around 1990/91. Anyway, in this one clip Mr. Bean wins a date on a game show. He goes to this country inn with a beautiful blonde. In one scene I noticed this baseball cap that she was wearing. I slowed down the video and freeze framed it, it was the wings logo with PUMP on the top. Black with red and blue lettering...I never saw that before. It was pretty funny in a non-Bean sort of way.

Raise some hell with THUNDERTRAIN as they return home with their all-original 1974-1979 line-up: Mach Bell, Steven Silva, Cool Gene Provost, Ric Provost, and Bobby Edwards! Tearing it up together in Boston for the first time in decades!

THUNDERTRAIN will be joining REDDY TEDDY and the FOX PASS crew for a rock’n’roll throw- down at the world famous PARADISE ROCK CLUB in BOSTON. Tickets for this unbelievable SPECIAL EVENT will go fast.

The PARADISE will double as the scene of the simultaneous CD RELEASE PARTY for the ultimate Boston rock’n’roll album: THUNDERTRAIN--HELL TONITE! Exclusively on Gulcher Records.

WEDNESDAY, JULY 14, 2004
9:00PM (Doors @ 8:00) / 18+ / $15.00
Tickets: www.nextticketing.com/paradise

Complete THUNDERTRAIN Tour Dates & Details:
http://thundertrain.com/tour.htm


GULCHER MAY SALE!!!
All Gulcher CDs $10 each!!
Captain Trip Japanese Imports $12 each!!
(Full-length single disc titles only--inquire
on multiples, vinyl, and other items.)
Sales prices available ONLY on direct
e-mail orders to GulcherRecords@aol.com
through May 31, 2004.
Check out our complete list at:
http://hometown.aol.com/gulcherrecords/

COMING SOON ON GULCHER:
Red Glance/Swirls Away
Thundertrain/Hell Tonite!
The Gizmos/Rock & Roll Don't Come From New York
Chinaboise/The Greatest Story Ever Told
The Korps/Hello World!
Gynocologists/Feces & Psychopaths

1976 Aerosmith plays in Mobile AL at Municipal Auditorium

1978 Aerosmith plays in Hollywood FL at the Sportatorium (Frank Morino, Mahogany Rush open)

1986 Aerosmith plays in Saginaw MI at Wendler Arena (Ted Nugent opens)

1988 Aerosmith plays in Denver CO at McNichols Sports Arena (White Lion opens)

1997 Aerosmith plays in Prague, The Czech Republic at the Sports Hall

1999 Aerosmith plays in Auburn Hills MI at the Palace of Auburn Hills (Afghan Whigs open)

When Jan Smirnov bought tickets for last Friday's Aerosmith concert she had no idea she was on her way to achieving two important goals -- to tell the world about her incurable disease and to snag a kiss from frontman Steven Tyler. Smirnov, 47, is confined to a wheelchair and doctors have told her she only has several years to live. She suffers from scleroderma, which forms scars on the skin and organs.

During the Aerosmith concert, Smirnov tried to get Tyler's attention by holding up a sign stating I love you Steve Tyler, meet me on the other side and kiss me before I die, Steve.

At the time, she had no way of knowing whether she was successful. But after the concert she and her daughter, Laura, and several friends headed to the lobby of The Fairmont where the band was staying in hopes of stealing a kiss from Tyler.

Her hopes weren't in vain. When Tyler rolled into the hotel lobby shortly after 11 p.m., he headed right for Smirnov.

"I'm so glad you're here," Tyler told Smirnov. "I saw your poster at the concert and I just wanted to jump out in the crowd and give you a kiss."

Then Tyler asked Smirnov if he could sit on her lap. Thrilled, she said yes.

"He grabbed me by my face and then straddled me and asked 'What's wrong with you?' So I explained my disease and he said 'Aww.' in a scratchy voice and then gave me a kiss."

GAVE UP CAREER

Smirnov said Tyler held her hand as she explained how after she was diagnosed, she gave up her career as a physiotherapist and sold her possessions, including her home. She wanted to have enough money to give her kids something special to remember her by.

It was special, indeed.

Smirnov used the money to take her daughters Laura, 17, Lindsay, 21, and son Scott, 24, to concerts across Canada and Europe. "I don't have a lot of time left so I try to do what I love the most and that's share the music," said Smirnov.

"I said to him, it's because of your music and the fact that you still play is why I'm still here."

Smirnov told him she didn't want his pity, but wanted him instead to tell the world about scleroderma because most people don't know it exists.

"Then that's what I'll do," said Tyler. "I was thrilled because it's been my goal to tell world about my disease," she said.

From: http://www.canoe.ca

- Concert footage of the song intercut with people all dancing at a bar. Also, shots of a girls ass walking down the street next to traintracks in a very "rural but cajun" setting.

- Video starts out with a jukebox...and Bobo getting shuffled into place.

- In the bar next to the jukebox dancing is the Miami Heat dancer (Celina). Short layered hair with blonde streaks. She is a HOT PIECE OF ASS folks!

- Pretty much a performance video. The shots of the show were from the Orlando gig, and the shots from the bar were done after the Orlando gig.

- Joe is showcased. Lots of shots of him and Billie guitar. Also, lots of shots of "neion backdrops"

- Funny, the caption of the album was wrong. On the video, it says "Honkin' On Bob". VH1 really needs to fix that...as the homoerotic undertones definitly won't fly in todays FCC friendly world...LOL

The AeroFANatic

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Well folks, it was on about 4:45 this morning. I am NOT impressed. There was no interaction with the band. It was footage from a concert that Steven wore the Riker's Island shirt at. Then there was baroom footage where girls were dancing. I don't think it'll go anywhere but then again, it is only MY opinion!

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I wonder if the band made them CUT OUT the footage of them in it more than was originally in there hence the delay? Well let's just hope the A&E special, directed and produced by the SAME GUYS is better!

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I just saw it also at 4:45 this morning. I was not impressed with it either..I was really bummed that we didnt get to see more of the band

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There was quite a bit of the band but it was all concert shots, know what I mean? Usually there's interaction with the band and the rest of the people in the video. Chris wrote on the AF1 board that it's kickass but I don't think so at all. Guess we'll have to wait and see. I did however enjoy Steven on the trapeze. To me the best part OF it.

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I saw it as well (via taping Insomniac Theater) and was a little disappointed as well - the beginning showed promise I thought.

A&E in Concert: Aerosmith: You Gotta Move embarks on a musical journey that documents the creative process, work ethic, live performance and inner workings of a world called, "Aerosmith". This two-hour special also focuses on the blues based musical roots of the bands rich history. The raw and in your face presentation style compliments the bands latest effort in the recording studio and as well as their latest tour. The stripped down, back to basic production formula compliments the fact that the band is playing better and working harder than at anytime in their illustrious career. It is almost a "Back To Their Roots" type of feel.

Cameras are in the face of the creation as it happens. No holds bared access to a world that has seldom been witnessed, but by only a few, throughout the bands four-decade-old career. We go into the recording studio where it was as fundamental as greatness can get, we travel along the road that has been traveled so hard, we go inside the rehearsals where the band works up new material and reinvents the old, we hear their comments even when we shouldn't, and we load-in with the crew and load-out when the show moves on. Fans make an appearance along with the crew, management, and team players that underpin the energy, and all play supporting roles.

This A&E in Concert Special Presentation is a "Musical Documentary", recorded in the studio as well as delivered from the road where this band has spent most of their adulthood. The performances will be surprise selections, some familiar and some not, but all determined by the five band members who make this machine kick. Musical selections will be gathered from the recording of two performances that were produced on the road. There may also be a few surprises that could include sound check moments, impromptu jams and perhaps even some classic past performances never before seen.

From: http://www.aetv.com

Joe Perry, the lead guitar player for the timeless band Aerosmith, has never eaten a perogy.

He heard Saskatoon had good steaks so he'd like to try one of those. But the mushy envelopes of mashed potato and cheese that are staples of local cuisine?

He doesn't even know what they are.

"She says to try perogies out here," he says to a member of his crew and is met with a blank expression.

He picks out a tune on an African thumb guitar with natural movements from his talented and famous fingers.

"We always try to get a feel for the town we are in," he says. "Whether it's a museum or the local petting zoo."

Perry and the other four members -- Steven Tyler, Tom Hamilton, Brad Whitford and Joey Kramer -- of the iconic rock band spent the day in Saskatoon, playing a sold-out SaskPlace concert Sunday night. Their new album, Honkin' on Bobo, got four stars from Rolling Stone magazine.

The band is getting a warm reception in Saskatoon, too.

"I noticed today that people here are really friendly," he said.

According to Perry, Saskatoon has a good "vibe."

"We find this is a really beautiful place. It is a lot moreso than you would think when you look at it on a map," said Perry, sitting on the couch of his tour bus.

He rubs his ring-covered hand over his chin and grins.

He admits that he actually spent most of his day in Saskatoon reading a Jack Kerouac book. And he is taping the mafia soap opera, The Sopranos, because the concert at SaskPlace conflicts with it.

"It is not all glamour as you can see from my tour schedule," he says.

In fact, despite his quintessential rocker digs -- zebra print fabric lines the bus and he has a guitar mounted over his bed -- Perry is down to earth. Or as down to earth as you can be when you are part of a rock sensation that has spanned three decades.

On a website called Lisa's Joe Perry Shrine, a girl wrote that Aerosmith is defined as "pure bliss wrapped around sheer ecstasy."

Perry says fans like this are responding to his music and his rock persona -- not to the real him.

"A good song is a good song and music affects people," he says. "The side we show as rock 'n' roll stars is only a part of us.

"They'd probably be surprised that we are regular people," he adds.

And he laughs at the suggestion that there are crowds of women around him.

He has been married to his wife for 18 years.

There is a photo of the happy couple on the kitchen table of his bus. He once flew her to a private island near Hawaii for their 10-year-wedding anniversary, where she was serenaded next to a waterfall.

"This is her," he says, lifting out a guitar from the wall. There is a blonde pin-up drawing of a beautiful woman in a red corset smiling up from the well-used machine. "She's on the white one I use too.

"That's my Maxim girl," he says, and smiles.

As a surprise, he designs jewelry for her and gets well-known artisans to create one of a kind pieces.

His wife -- and sometimes all four of his children -- usually go on the road with him.

"If I could be anywhere else in the world right now? I'd be in Boston with my family."

And his pets.

Perry has one house cat and three dogs.

But he also has horses, fish, spiders, birds and even ducks.

So far, apart from his perfectly-styled hair and rockstar clothing, he seems perfectly normal.

At a meet and greet with a group of contest winners and local VIPs before the concert, Perry and his bandmates march out to the stunned group.

Aerosmith's attitudes are thick. They are clearly the coolest people in the room.

"You are too quiet," yells Tyler. There is an audible sound of excitement in the air -- not the drumming from the stage -- something like a heavy pulsebeat.

"This is like the Stepford Wives. What's wrong?" jokes Tyler.

The tension breaks.

They are real after all. This is what the crowd expects.

"Watch what I do when the photo is taken," says Tyler, laughing. Two tall men walk up for a photo and just as the flash goes, he lifts his arches and stands on his toes.

From: http://www.canada.com

1978 Aerosmith plays in Lakeland FL at the Civic Center (Frank Morino and Mahogany Rush open)

1988 Aerosmith plays in Salt Lake City UT at the Salt Palace (White Lion opens)

1990 Aerosmith plays in Antioch TN at Starwood Amphitheater (Joan Jett opens)

1997 Aerosmith plays in Nuremburg Germany at Rock IM Park

Mass. homeboy dishes on `Sopranos' Stew
By Gayle Fee and Laura Raposa
Sunday, May 16, 2004

Hang onto your braciole, ``Sopranos'' fans, because things are about to get really interesting on the HBO hit show! That's according to North Adams homey Frank Vincent, aka Johnny Sack's vicious stooge Phil Leotardo.

"The last three episodes are great,'' Vincent told the Sunday Herald. (That means the three beginning tonight at 9.)

Naturally, like all "Sopranos'' cast members, Frank has taken an oath of omerta. But if war erupts between Johnny Sack, Little Carmine Lupertazzi and Tony's crew, expect Phil to be in the center of the action! After all, he was a loyal Lupertazzi soldier before Big Carmine shed his mortal coil. Then Phil threw in with Johnny instead of Little Carmine - a "bold and potentially dangerous choice,'' says HBO's character notes. Hmmmmm.

"My guy is is not a nice guy,'' said Vincent, who played other not-so-nice guys in ``Goodfellas'' and ``Casino.''

"People love bad guys,'' he said. ``I don't know what it is. I have no trouble (playing bad guys). I'm really a nice guy, though.''

Apropos of that, Vincent is starring in "A License to Steal,'' which starts filming in June in New Jersey.

The movie, about notorious Mob jewel thief Walter Shaw and his inventor father, has many Bay State ties. The film's art director is Brockton homeboy Geoffrey Maynard, who has transplanted to Shaw's hometown of Fort Lauderdale, Fla. Maynard, an ex-Massachusetts College of Art student, also is producing and directing a bio-documentary on Shaw to be released with the Robert Greenhut-produced feature.

Longtime Aerosmith producer Jack Douglas is on board to do the "License to Steal'' soundtrack, and Steven Tyler is rumored to be doing a duet with Frankie Valli for the flick. Valli has a cameo as Mob boss Carlo Gambino.

Vincent, who was born in North Adams and still has friends here, is a longtime pal of Shaw.

"Walter's a hell of a guy. He's a gentleman and I think he has a tremendous sense of loyalty,'' Vincent said.

The celluloid wiseguy, who also appeared in locally shot films "North End'' and "Federal Hill,'' plays Shaw's Mafia mentor, Anthony Angelino, based on a real-life ex-con now living in North Carolina.

1986 Aerosmith plays in Indianapolis IN at Market Square Arena

1994 Aerosmith plays in Tokyo Japan at Nihon Budokan Hall

1997 Aerosmith plays in Nurburg Germany at Nurburgring

1999 Aerosmith plays in Salt Lake City UT at the Delta Center (Afghan Whigs open)

PIC
PIC

First off let me work backwards. It's mid May and we are in Winnipeg, MB and it's freakin' coooooold! 33 degrees as the bus pulled into the hotel this morning. The ground is covered with white stuff that I haven't seen since January.

With the tour being in the Midwest we had the luxury of staying in Chicago for 8 days. Chicago is one of the 3 best cities in America in my book.

During the first day off there which the band call simply a "Non-show day," the guys sat in a conference room at the hotel in Chi town and watched the A&E special with the director Mark Haefeli and the band's director of quality control Keith Garde. I've got to say it was one of the best pieces on the band I have seen in a long time. If your missing seeing the guys live and want to feel how they recorded "Bobo" this special is for you. It will air on Friday, June 4th at 9:00 PM. I'm not gonna give anymore away.

Ross Halfin was in town with the guys and he traveled on Joe's bus most of the time. He went over thousands of pictures with them that he has taken this tour.

He spent a good chunk of time with Steven even going to wardrobe assistant "Liz Meyers" antique shop downtown. I took him and his "friend" Gordon to Gibson's steakhouse one night and had a rib eye the size of a catcher's mitt.

Ross had yet another photo shoot with the guys. This time it was Steven, Joe and Brad. He took a lot of photos with Joe and Brad together for a guitar magazine cover. This guy takes so many pictures I wonder if he even has film in his camera.

The band really like Chicago and enjoy the shopping on Michigan Ave. Steven and Joe spent one afternoon together walking around Rush Street. Steven could run for Governor if he wanted too. Joe on the other hand keeps his head down always knowing what lies ahead.

The set has been getting a facelift lately. Songs like No More No More and Milk Cow Blues have been added. It looks like Back Back Train and The Grind may be in shortly. They have been doing Back Back Train in sound check and there is no denying that "Grind" is getting a lot of attention since Steven's Sony commercial.

I can't believe there is only 19 shows left in North America.

See You all on the road!

John B.

From: http://www.aeroforceone.com

Aerosmith don't seem to have the blues. The Boston quintet seem to be having the time of their lives on their current tour in support of their unfortunately named blues album, Honkin' On Bobo.

The new album is an homage to the band's roots, and their whole show seems to be an attempt to reconnect with their humble beginnings as a bar band in 1970, even though they were playing to a crowd of 12,000 at the Winnipeg Arena last night.

Other than a high-tech light show and carnival lights, the band's stage was bare of any props or gimmicks. They got up close to the fans on the floor during their first two songs, Toys in the Attic and Love in an Elevator, by playing on a small satellite stage in the middle of the arena.

Vocalist Steven Tyler was always front and center and wasn't acting his age at all. He may be on the north side of 50 but he moved and sang like a man half his age and his voice still sounds like Back in the Saddle was recorded last week instead of 1976.

He was decked out in familiar garb wearing a long white frilly coat, T-shirt, ripped jeans and shades.

ONE OF ROCK'S GREATEST

Other than songs that dated from the Carter administration, the only clue these guys have been around as long as they have were the two teleprompters which scrolled 34-years of lyrics just in case.

Tyler's partner-in-crime, guitarist Joe Perry, roamed the stage confidently with his head down, hitting every note and playing every solo perfectly, proving he truly is one of rock's greatest guitarists.

You can blame Aerosmith -- Tyler, Perry, guitarist Brad Whitford, bassist Tom Hamilton and drummer Joey Kramer -- for inventing the power ballad, and the band was set to pull out their fair share of them last night, with Cryin' making an early appearance in the set.

The band waited until six songs in to get to its new album with a version of Bo Diddley's Roadrunner. Aerosmith has always had their feet rooted in blues, and in their hands the song was delivered in all its sleazy glory.

Then again, Tyler and his bandmates could turn a gospel song into some sort of sexy anthem that would make the most devout Catholic blush.

The band alternated from '70s classics like Back in the Saddle to late-'80s, early-'90s fare like The Other Side and Livin' on the Edge. Songs from their 1987 comeback Permanent Vacation were conspicuously absent.

At press time 40 minutes into the concert, the band had just launched into Stop Messing Around, the second of six blues numbers scheduled for the show.

The night began with another band best known for their 1970s hits, Cheap Trick.

The Rockford, Ill. group led by vocalist Robin Zander and guitarist Rick Nielsen started off with Hello There and Big Eyes, from their 1977 album In Color and with the exception of a few tracks off their new album Special One, treated the crowd to all the songs that made their albums an essential addition to any record collection in the '70s.

ILL-ADVISED COVER

They even pulled out their ill-advised cover of Big Star's In the Street, which the band seems to have made its own by changing the name to That 70s Song since it's the theme to television show That 70s Show.

Live, the song came across better than the washed-out version heard weekly but not even acknowledging the source or telling the crowd about the song's origin is inexcusable, and a band like Cheap Trick should know better.

Nielsen redeemed himself by pulling out a five-necked guitar for the classic Surrender, which would have made the crowd at Budokan proud.

AEROSMITH

May 14, Winnipeg Arena. With Cheap Trick.

From: http://www.canoe.ca

http://www.geocities.com/gonzaloc80/aeroout.htm

http://www.xpn.org/listen.php

However I could not get connected due to some format problem I guess. The message I got is that they are working to update it so fewer problems will be encountered. There are a bunch of possible solutions on that page but I didn't bother since I had missed the time(s) already. There are also othet stations that broadcast it over regular radio which can be found at www.worldcafe.org. Here was the blurb about it on World Cafe site.

Friday May 14 - Aerosmith

Steven Tyler & Joe Perry of Aerosmith join host David Dye on Friday's World Café. We know what you're thinking, Aerosmith on the Café? But just wait till you hear how excited Joe is about their new blues album "Honkin on Bobo." Their blues experience started secondhand through British bands like the Yardbirds. But now Joe, Steve and the boys have gone deep into the blues. Be sure to catch conversation and music drawn from this unique project. Also, there's lots of superb music from your favorite World Café artists.

From: http://www.worldcafe.org/

I love that the host played Eyesight to the Blind - very cool to hear that over the "radio". Back Back Train acoustic live was pretty cool. You lucky folks that get to see this tour...I hope they add that in as would be fun to see how it goes over live or if Joe takes it more acoustic like he did today. I really dig Tracy's vocals with him on the album version too.

I love that Joe brought up IDWTMAT saying we don't play that all night, it's not who we are...it's only 1/20th of our show! Boy can you REALLY tell Joe was this project from start to finish as far as the passion behind it....and I think we are all so grateful he did! Not sure what reviews they've read since Joe glossed over the fact that they have almost ALL been AMAZING and brought out two "negatives" - one that this should have just been released to the fan club not the public...how WRONG is that! And that the media has said they took too huge of a risk not putting out a Top 40 song. Hmmm sure doesn't sound like the over 100 reviews I've posted here huh? Jack asked if I could put together some for him.....maybe I should just to be sure someone does see how amazing they've been! Back when they were first jumping into this, Steven had some doubts about this project and cited the those two fears but I've sure not heard that in the public reviews I've seen LOL. Hope SONY isn't feeding them crap to make sure they go back to do the pop hits...Girls of Summer, etc.

Then Hangman Jury live - very cool....fits in just right with the feel of this project. And the entire conversation about Run DMC video, etc. Funny Joe says how "young" they still were when that was done but not as young as the first time around LOL! Then a perfect finish of more of Eyesight to the Blind into RunDMC's WTW. A fun show to listen to...

No joke, it's been a life goal/dream of mine to meet Steven Tyler. My friends have always asked me what would I really say to him if I met him, and I've always said I would tell him "Thank you." And I did it.

He came in. I was standing by the door and could see his left arm/shoulder as he was walking up the stairs before anything else... and it just took me away... I straight up Beatle-screamed when he walked into the room.

They were having us take a group picture... I was in the first group. He put his arm around my waist and looked at me and said "Hi." Scrunching my right hip the whole time. Are you kidding me?

I did all the right things even though I just felt like I wanted to kiss him right there... I let the other girl stand next to him when my turn was over, I didn't smother him, and I moved over towards the door when it was the next groups turn to have their picture taken with Steven.

When I stood over by the door I was hoping to just touch him one more time before he left the room. Security asked me to move back a little... And I did.

No problem. Then 2 other Velvet ropers came and stood in front of me. No sweat...

Steven starts to walk by, grabbing hands as he goes...

I have my hand outstretched with everyone else's... He takes my hand. We squeeze hands. Seems to linger. Then he pulls me up there past the couple in front of me. I don't know what to do.

It's like God singling you out. I kissed his hand. It was his left hand. He had this orange ring he was wearing... so then I kissed that too. It's like he was a king or the pope or something!

Then he pulled me up closer... and we kissed. On the lips. It was amazing/crazy/cryin'! We seemed to pull back and go back for more... My friend swears it was like 4 times. It was like a magnetic force. I couldn't hear anything that was going on around me. When we ended our kiss I was still holding his left hand with my right, and I said "Thank you" to him...

It was what I had always wanted to do.

Life goal, check it off.

I had little tears welled up in my eyes.

And then he let go of my hand. Put his hands on both of my hips and scrunched them both as he looked into my eyes and said, "No, thank you."

I completely flipped out when he left. Dreams come true...

The concert was out of control. But nothing could have topped that moment that I spent with Steven Tyler where I felt like we were alone in the world.

--Alice Murphy

The tracklisting is:
1. I dont want to miss a thing
2. Amazing
3. Cryin
4. Crazy
5. Kings and Queens (single version)
6. Dream On (MTV 10th anniv. performance)
7. Living on the Edge (acoustic)
8. Walk This Way
9. Last Child (from Live Bootleg)
10. Angel's Eye
11. Jaded (acoustic)
12. Come together
13. Dude
14. Lightning Strikes
15. Sweet Emotion
16. Janie's Got a Gun

---

The background music for a gas station store commercial is Come Together, the version is very much like Aerosmith's version

---

Walk This Way was played at the San Antonio Spurs-LA Lakers game 5

http://www.thecomedynetwork.ca

Also, for those who don't know, Aerosmith's episode of The Simpsons (Flaming Moe's) is available for purchase as part of The Simpsons' Season 3 DVD box set.

1994 Aerosmith plays in Tokyo Japan at Nihon Budokan Hall

1975 Aerosmith plays in Boston MA at Boston Garden

1978 Aerosmith plays in Atlanta GA at The Omni (Frank Morino, Mahogany Rush open)

1990 Aerosmith plays in New Orleans LA at the Superdome (Joan Jett opens)

1997 Aerosmith plays in Helsinki Finland at New Hall

Clive has just informed me that the RIAA has certified the CD GOLD (remember RIAA is based on units SHIPPED not SOLD). Good news..but was kinda hoping they were holding off on the Gold status because they expected it to hit platinum very soon...guess not. Still a fine showing considering their "people" chose this uh "different marketing approach" LOL.

Several posts by fans about radio stations mentioning an upcoming boxed set release in July....and possibly some other releases too but here are a couple of posts related to the July release...

Posted by "sneeze" on AF1 board:
Heard on a Albany NY radio station (Pyx 106) that they were releasing 16 studio "Mini Vinal Albums" in some sort of a boxed set in July. This should be interesting for all of us collectors like me.

Followed by a comment by DMAAT member Tony aka MPC1 on AF1:
If it's what I'm thinking it is, the Stones did the same thing a few years back or so ago. It was pretty cool actually. They recreated their vinyl albums in CD format with original artwork, and packaging. Unlike a CD, there was no plastic jewel case. I would say it's for hard core collectors only (LIKE ME)...

From: http://www.aeroforceone.com

Portugueses trazem Aerosmith e Linkin' Park para RJ (12/05/04)

O Jornal O Globo publicou uma matéria dizendo que LINKIN' PARK e AEROSMITH devem vir ao Brasil para um mini-festival em setembro; confira abaixo a íntegra da matéria:

Se o Rock in Rio, que começa no fim deste mês em Lisboa, ataca o mercado português de música pop, os portugueses dão um bom troco a partir de hoje no Brasil. Com direito a show inédito do ministro Gilberto Gil para mil convidados na Marina da Glória, o grupo português 2R Entretenimento marca seu estabelecimento no Brasil. E já anuncia um megaevento: a vinda ao país do Linkin Park, a banda de rock mais popular da atualidade, para um mini-festival na Cidade do Rock, em Jacarepaguá, ao lado do Aerosmith e de duas bandas brasileiras ainda a definir.

O evento, marcado para os dias 10 e 11 de setembro, deve ser anual e acontecerá sempre na Semana da Independência. Uma homenagem dos jovens empresários lusitanos Pedro Martins, 29 anos, e José Leyras, 36, que têm projetos de longo prazo na ex-colônia.

— Escolhemos fazer nosso primeiro investimento externo no Brasil devido aos vínculos culturais e lingüísticos mas, também, pela lacuna grande que existe no país na área de grandes shows — diz Martins.

Grupo espera aqui a “mesma liberdade” de Medina lá

O grupo, que planeja investir cerca de dez milhões de euros no Brasil até o fim do ano, R$ 300 mil somente na festa de hoje, abre escritório no Flamengo, no Rio. Escolheu a cidade por ela ser a caixa de ressonância para o resto do país e a principal referência para turistas. Empregará, segundo Martins, de sete a dez funcionários fixos, 300 pessoas na fase de pré-produção e até duas mil durante o primeiro evento.

— Nossa base será o Rio mas faremos alguns eventos também em São Paulo — diz o empresário. — Esse primeiro festival será só no Rio, mas o Linkin Park nós levaremos para São Paulo, para um mega-show no Morumbi. Decidimos-nos estabelecer no Rio pois o que acontece aqui acontece no Brasil todo.

Em Portugal, o 2R só trabalha com grandes shows. Já levou a terras lusitanas artistas como U2, Elton John, Iggy Pop, Brian Ferry, Shakira, Lionel Richie, Marilyn Manson e a brasileira Daniela Mercury, entre outros. Além disso, são gestores de estádios de futebol e organizadores do setor de entretenimento da Eurocopa de 2004, a copa européia de seleções, que acontece este ano em Portugal.

Martins garante que a crise econômica que afeta a área de entretenimento no Brasil não assusta o grupo.

— O mundo está em crise, não é só o Brasil, mas nosso projeto é a longo prazo — diz. — Nosso diferencial é englobar toda a atividade, da organização à comercialização do evento.

Ontem, os portugueses ainda estavam negociando com os patrocinadores brasileiros do primeiro evento, que já tem o apoio da Riotur e demais orgãos ligados ao turismo no Rio. Martins diz que uma empresa brasileira de grande porte será o principal patrocinador.

— Só espero que tenhamos aqui a mesma liberdade de ação que o Rock in Rio teve em Portugal — dispara Martins, sem esconder uma ponta de ironia quanto a Roberto Medina, seu concorrente agora nos dois lados do Atlântico.

Martins diz que a ação do grupo vai se pautar por critérios puramente empresariais. A escolha do Linkin Park como principal atração se deu, por exemplo, através de pesquisas: a banda americana de new metal, que mistura rap e rock e conquistou a juventude do planeta, foi apontada como a mais aguardada pela garotada brasileira. O Aerosmith, que não vem ao Brasil desde 1994, também mantém a popularidade em alta no país.

(Fonte: Jornal O Globo).

From: http://whiplash.net

Come Together
Love in an Elevator
Hole in my Soul
I Don't Want to Miss a Thing
Amazing
Jaded

Unfortunatly no new stuff. I guess the eBay seller didn't lie saying he didn't know what the tracks were because he didn't want to open it.

Berklee College of Music has honored Steven Tyler by announcing an online scholarship program in his name. The Steven Tyler Online Scholarship Program is designed to provide gifted musicians throughout the world with unique opportunities to attend Berklee from anywhere, enabling them to interact with renowned faculty and world-class music instruction.
Scholarship Info

From: http://www.aeroforceone.com

Whilst at the library picking up The Velveteen Rabbit, I noticed a peculiar globe with a sword-like rod that you stick into any spot on the planet, so you can see what location it would come out on at the opposite end. I decided to give it a whirl. I stuck the rod into my hometown of Boston, and its point of exit was somewhere in Australia. Perhaps not much of a surprise, but the real weirdness was that in less than 24 hours, I was to fly to Australia to kick off our next tour!

Life is often like that for me, one dream sequence after another that always comes to fruition in the most outrageous of ways. My life reads like Steinbeck's Travels With Charlie, only in the last chapter, he finds himself in Jurassic Park, dancing with a raptor. And speaking of raptor, while in Australia, I wound up in a wildlife park with a kangaroo and a female Koala bear named Oh Yeah, who wrapped her arms around my neck, and I fell deeply in love. A living, breathing teddy bear that licked my cheek, another childhood fantasy come true.

Around this time, Aerosmith was flying high with the success of our then hit single "Dude Looks Like a Lady". We were a bit concerned about going to Australia because we didn't know how well we would go over, but an executive at Geffen answered our concerns with a mere two words: "trust me". Well, our fears were confirmed when we played to a half-empty house at the first show. Why? You ask. Because Geffen, our now former record company, neglected to ship our hit single to Australia!! Those two words would continue to ring in my head, "trust me".

Fortunately, we had two days off following our opening night fiasco, so I decided to hoof it up to the Great Barrier Reef for a dive trip and a much-needed decompression. After cruising by helicopter above the rain forest, I arrived at the reef. My pilot brought the chopper down to ten feet above the water and told me to suit up, and jump out-another boat with more divers would come by shortly to pick me up. "Are you sure?" I asked. His answer, the two words that plagued me since I left Boston: "trust me". Living for the risk, I chose to dive. When I hit the water, it was like going from bleak black-and-white Kansas to majestic Technicolor Oz.

The Great Barrier Reef consists of hundreds of miles of six-foot coral plateaus, and every once in a while, a canyon that you can swim down into. In one such spot, 30 feet down, I noticed I was in the company of three five-foot black-tip reef sharks, three giant sea turtles, thousands of fish ten times the colors of the rainbow, and a piece de resistance, the infamous giant clam! I had to investigate. I dove down and poked it with my snorkel-a bad idea, because the clam snapped his shell shut right on my spare regulator, attached to my tank, attached to me!!! If that wasn't bad enough, I looked up to see the three reef sharks circling like vultures. I panicked. Miraculously, as if on cue, the boat with all the other divers appeared above me. The dive instructor, a six-foot majestic blonde who could put a mermaid to shame, swam to my rescue. I considered mouth-to-mouth with my rescuer, slipped off my tank, and left it in the clutches of the clam. As I climbed aboard the boat to a chorus of, "Hey, aren't you…?" I caught my breath, counted my blessings, and chalked it up to another day in the life of "TRUST ME!"

From: http://www.aeroforceone.com

The Aerosmith World Cafe session will air this Friday, May 14. It will include an extensive interview with host David Dye, and an historic acoustic performance with Steven and Joe of ""Back Back Train" and "Hangman Jury."

The World Cafe airs regularly Mon-Fri with David Dye on over 160 AAA public radio affiliates across the US, with a minimum five million in audience. Fans can find their local station and showtimes by going to their website: World Cafe.org

Catch the show online Monday to Friday at 2pm EST or 1am EST by going to: XPN.org/listen

From: http://www.aeroforceone.com

Guitar Smash, High-Energy Artist Michael Israel Highlight Grand Opening of Seminole Hard Rock Hotel & Casino

HOLLYWOOD, Fla.--(BUSINESS WIRE)--May 11, 2004--Throngs of excited patrons rushed into the new Seminole Hard Rock Hotel & Casino today, following grand opening ceremonies that included the traditional smashing of an acoustic guitar, Hard Rock-style, and a painting-to-music performance by high-energy artist Michael Israel. While loudspeakers blared Rock And Roll All Nite, the song made famous by the rock group Kiss, Israel created a vibrant canvas in tribute to Kiss leader, Gene Simmons. Leaders of the Seminole Tribe of Florida, which owns the elaborate Seminole Hard Rock project, officially cut the grand opening ribbon to usher in a new dimension of entertainment excitement for South Florida.

A private, invitation-only performance by the legendary rock group Huey Lewis and the News capped the all-day celebration, following a poolside fireworks spectacular against the backdrop of the Seminole Hard Rock hotel tower bathed in purple lights.

Leading Entertainment Destination

Built on 100 acres of the Seminole Hollywood Reservation on State Road 7 (U.S. 441) just north of Stirling Road, the hotel and casino are expected to quickly become the region's leading entertainment destination. It includes a 130,000 square-foot casino and an unmatched combination of retail shops, nightclubs and restaurants, including a Hard Rock Cafe and the Council Oak, a prestige steak and seafood restaurant. It also boasts the full-service European-style Contour Spa, as well as a five-acre lagoon-style pool complex with a mountainous 182-foot water slide and lazy river.

In addition to the private, invitation-only performance by Huey Lewis and the News, the Seminole Hard Rock Hotel & Casino has booked two public grand opening weekend concerts by Aaron Lewis of Staind. Tickets are on sale through Ticketmaster for the Friday, May 14 and Saturday, May 15 acoustic guitar shows by Lewis, front man for the group Staind. All tickets are $50; seating is reserved.

Plus, Kenny Loggins is booked to perform at the Seminole Hard Rock Hotel & Casino on Friday, June 4 at 8 p.m. Tickets are $40, seating is reserved. Tickets for both concerts are available at all Ticketmaster outlets, Ticketmaster.com or charge by phone: 954/523-3309 in Broward, 305/358-5885 in Miami-Dade or 561/966-3309 in Palm Beach.

The concerts will take place in a multi-purpose space adjacent to the casino, and negotiations are underway with several more performers to bring shows there. The 5,600-seat Hard Rock Live venue will open later this year as part of the adjacent Seminole Paradise retail complex, where dozens of shops, restaurants and nightclubs will be available.

Giant Neon Guitar

Guests arriving at the hotel and casino are greeted by the hotel's tropical landscaping and a 50-foot neon guitar modeled after one played by Jimi Hendrix. Drivers may choose between valet parking under a large covered porte cochere, or self-parking in the adjacent garage. A Hard Rock Store and a Seminole cultural retail store are located near the main entrance, adjacent to the guest registration lobby and reception desk.

In keeping with the Hard Rock theme, the hotel and casino showcase one-of-a-kind pieces of music memorabilia, including many signed by the artists, plus a massive "Tower of Power" casino bar that includes a multi-media entertainment extravaganza. Hundreds of pieces of memorabilia at the Seminole Hard Rock Hotel & Casino in Hollywood pay homage to several rock music genres, including the Originators of rock music, the British Invasion, Heavy Metal, Legends of Soul, and Southern Rock. The following are represented: Elvis, The Beatles, Madonna, Elton John, Aerosmith, The Who, the Rolling Stones, as well as South Florida's Gloria Estefan and the Bee Gees.

Rock music memorabilia has proven to be a major drawing card at the Seminole Hard Rock Hotel & Casino Tampa, which opened March 11, 2004, and which has quickly become the center for entertainment activity in Tampa Bay.

Largest Casino in Florida

At the heart of the new entertainment complex is Florida's largest and most elaborate casino, including 40 live-action poker tables, lightning bingo and more than 2,000 of the latest electronic gaming machines, including Wheel of Fortune, Double Diamond, Red, White & Blue, and Five Times Pay. Open 24 hours every day, the new casino also features plush music-inspired carpeting with musical notes in swirls of gold on a maroon background.

The hotel includes 500 contemporary guestrooms and suites designed to meet four-star, four-diamond standards in a 12-story hotel tower that encircles the pool area. All Seminole Hard Rock Hotel guestrooms include unique extras like Tivoli stereo and CD systems, and ultra-luxury beds with linens of Egyptian cotton and European duvets. Typical guestrooms have natural daylight to the bathrooms, separate enclosures for tub and shower and fully-stocked mini bars, as well as hairdryers, personal safes, coffee makers, three telephones, T1 direct Internet access, bath robes and an iron and ironing board.

A four-acre lagoon-style pool area of more than 19,000 square feet snakes around the pool bar, nestled in a rock mountain, which provides a dramatic backdrop to a 182-foot waterslide and elevated spa. The pool features waterfalls, a lazy river, hot tubs and a shallow pool with play features. Poolside cabanas are built into traditional Seminole "chickees," and come equipped with televisions and refrigerators. Landscaping creates a lush and tropical oasis, with dramatic tree plantings and colorful masses of flowers and shrubs.

Hard Rock Cafe, Council Oak Restaurants

The twin focal points for dining and entertainment are the Hard Rock Cafe Hollywood and the Council Oak, a prestige steak and seafood restaurant named for the old oak tree where early members of the Seminole Tribal Council regularly met. The hotel also includes the Blue Plate, a restaurant for all-day dining. The 3,000 square-foot Pool Bar is the entertainment hub of the pool area.

The Casino Center Bar is elevated and surrounds a metal "Tower of Power" multimedia center, with 75 plasma screen monitors broadcasting music videos and more. A variety of food concepts and menu items are available at the 250-seat Food Court. Additional restaurants and nightclubs are included in the nearby retail and entertainment complex.

The Hard Rock Store incorporates a guitar motif and offers a wide range of gifts, souvenirs and sundries, from a $325 Hard Rock leather jacket to swimwear and casual clothing, bathrobes and beach towels, sunglasses and gift items. The store also features collectable Hard Rock pins in multiple styles, including several produced for the hotel's grand opening.

Meeting Options Abound

More than 100,000 square feet of meeting and exhibit space is available, including a 16,000 square-foot grand ballroom divisible into eight sections and several smaller rooms for breakouts or board meetings. A 7,000 square-foot poolside function area is also available. The complex also includes a multi-purpose space suitable for exhibitions, concerts and sporting events.

More than 4,000 parking spaces are available, including surface parking of more than 2,200 spaces and a parking garage for nearly 1,800 vehicles. Both valet and self-parking are available.

Easy access to the Seminole Hard Rock Hotel & Casino is available from Florida's Turnpike and I-95 to either Griffin Road or I-595, then south on State Road 7 (U.S. Highway 441) to the main entrance. It is 10 minutes from Fort Lauderdale/Hollywood International Airport and 15 minutes from Atlantic Ocean beaches. It is 15 minutes from downtown Fort Lauderdale and 30 minutes from downtown Miami and Miami International Airport.

Reservations Available, Hollywood and Tampa

The telephone number for reservations at the Seminole Hard Rock Hotel & Casino in Hollywood and the Seminole Hard Rock Hotel & Casino in Tampa is 800/937-0010. Reservations may also be made on line at www.seminolehardrock.com.

The Seminole Tribe of Florida owns and operates the Seminole Hard Rock Hotels & Casinos in Hollywood and Tampa, according to terms of a licensing agreement with Hard Rock Cafe International. An elected Tribal Council, chaired by Mitchell Cypress, governs five reservations throughout Florida and provides education, health care, housing and other governmental services to more than 3,000 members. Other economic development activities include agriculture and cattle, as well as tourism and sports.

The Seminole Hard Rock Hotel & Casino was developed on behalf of the Tribe by the Cordish Company of Baltimore, Maryland. The complex was designed by the renowned architectural firm Klai Juba Architects of Las Vegas. It was constructed by a joint venture between The Perini Company and Suitt Construction. Perini is the largest contractor of hotel resort projects in the country. Suitt is one of the nation's leading builders in the hospitality industry. This is the third hotel-resort project the Perini/Suitt joint venture team has successfully completed in the past two years.

Hard Rock Cafe International

Hard Rock Cafe International, one of the most globally recognized music, entertainment and dining brands, has a network of more than 100 Hard Rock Cafes in 44 countries and owns the world's largest collection of music memorabilia. Known for its collectible and fashion merchandise, live concerts, Hard Rock Live performance venues, hardrock.com and Hard Rock Hotels and Casinos, Hard Rock Cafe International, Inc. is a wholly owned subsidiary of London-based The Rank Group Plc (Nasdaq:RANKY). Other Hard Rock Hotels operate in Orlando, Chicago, Bali and Thailand. For more information on Hard Rock, visit www.hardrock.com.

From: http://home.businesswire.com

1990 Aerosmith plays in Jacksonville FL at Mississippi Coliseum (Joan Jett opens)

1994 Aerosmith plays in Tokyo Japan at Nihon Budokan Hall

1999 Aerosmith plays in Sacramento CA at Arco Arena (Afghan Whigs open)

From: http://www.nynewsday.com

---

As you might know, Sarah is the daughter of Aerosmith collaborator Mark Hudson, who is also Kate Hudson's uncle.

By Mattias Frey

After the soul-wrenching experience of shooting "Goodnight Joseph Parker" and three hell-raising years of lawsuits and post-production, Dennis Brooks vows never to direct a film again. For our sake, let’s hope he changes his mind: "Goodnight Joseph Parker" is a brilliant gem of American independent filmmaking and promises to be a highlight of this year’s Independent Film Festival of Boston.

Brooks, a Tufts graduate and accomplished Hollywood screenwriter, developed the idea for "Goodnight Joseph Parker" as a thesis play for his MFA at UCLA’s School of Theater, Film, and TV. After languishing for years, Brooks resurrected the script, now as a screenplay, with the encouragement of his friend John Leguizamo. "John read it and said, ‘You’ve got to make this film.’ Within a month I had a million dollars and Paul Sorvino, Richard Edson, and Debi Mazar signed on to do the project."

The speed with which the financing and casting came into place might seem like magic from Hollywood yesteryear, but Brooks left no room for error. "I called up the actors and arranged for them to come to my house on a Saturday night for a read-through. There I basically ambushed them with a party: about a hundred people, catering, the works. The actors were surprised and the read-through went wonderfully: everyone was laughing at the jokes and the atmosphere was terrific." Brooks also cites the actor-friendly script as a big draw. "You got to understand that [character actors] like Paul Sorvino usually get 50 lines in a whole movie. In my script he had 50 lines on the first page."

With Sorvino and the others on board Brooks acquired financing very easily through his business network. Then came the hard part: actually making the film. Although Brooks had years of experience in the industry as a screenwriter and had directed a plethora of plays, he freely admits he was a novice when it came to filmmaking.

"I knew nothing. I did my best to slowly build up a crew that had an idea of what they were doing." Still, when asked if he was intimidated by working with actors who had previously been directed by the likes of Martin Scorsese, Spike Lee, and Jim Jarmusch, Brooks proves fearless. "It didn’t cross my mind. I had directed so many plays and knew this script line by line, so I didn’t even think about it."

Indeed, Brooks’ inexperience behind the camera actually may have worked to his advantage. "Because we had no clue we basically invented a new kind of filmmaking, which was spending half the day with the actors making it perfect, and then the second half was the actual shoot. The crew hated this of course: they were just waiting around all day and then had to do all the set-ups very quickly, but the acting was perfect because of it, and that was my main priority."

Brooks’ attention to acting, and his theater background in general, comes through very clearly in the finished film. "It’s a very ‘stagey’ film and that’s exactly how I wanted it. Acting and authenticity were always my top concerns. Those were all real tears -- I didn’t have any eye drops or make-up. Everything in that film was real." "Goodnight Joseph Parker" thus continues a tradition of "theatrical" filmmaking whose recent examples include "Albino Alligator," "Hurly-Burly," and much of David Mamet’s work in film.

"Goodnight Joseph Parker" takes place in a run-down dive in New Jersey called "Charlie’s Bar & New Crystal Ballroom." It’s a townie pit populated with the burnt-out and restless, a set of hopeless losers without a future. Joey Parker’s surprise return to "Charlie’s" as an acclaimed crooner who says he knows Frank Sinatra and is set to appear on Jay Leno wakes up the drowsy scene. He’s intent on marrying the girl he left behind, but he sets off a chain reaction in the town along the way.

"Goodnight Joseph Parker" succeeds above all as a milieu study and atmosphere piece. The film exudes an ambiguous historical quality -- for example, a soundtrack from the 1950s, 1970s, and 1980s and costumes that transcend easy classification -- which Brooks calls his desire for "timelessness." Brooks’ careful sense of color, lighting, and costume contributes to a striking aesthetic and a stark mood. "We built the entire set. It cost us a lot more than just shooting in a bar, but I wanted to get all the details right. I wanted this to be real life. I spent so much time just getting the colors right. Every color in the film is from me."

To further emphasize the atmospherics Brooks consciously employed a more restrained camera. "I wanted to shoot this very conventionally. Too often you see so many clichés in independent films: shooting from a strange angle or some weird tracking shot. I didn’t want to distract from the acting -- I wanted [the camera] to be like someone standing right there in the bar."

Of course a movie production doesn’t end with the camera, and it was at this point that Brooks’ major troubles began. "There were some things that I wasn’t used to during the shoot, since I came from the theater. Things like all the people around for very emotionally intimate scenes or all the deadlines." It would be after the shooting, however, that things went seriously downhill. Brooks was rushed through the initial editing process and wasn’t at all pleased with the product. He then got bad advice to sell the film for international distribution, which led to a series of lawsuits and even death threats. "The process of making this film was a nightmare. I went through hell for 10 years. Something like this is what makes you hate people."

Nonetheless, Brooks is proud of the finished product. In the end, after all of the legal wrangling and countless hours in the editing room, he made the film he had intended. Still, when asked if he might now consider another try behind the camera, Brooks remains firm. "Never. Never would I do what I did and be director, producer, and everything else all at once."

Here’s hoping he changes his mind.

The Independent Film Festival of Boston will feature two sneak previews of Goodnight Joseph Parker at the Brattle Theater in Cambridge, MA on Friday April 30 (4:30pm) and Sunday May 2 (6:00pm).

Mattias Frey is a PhD candidate at Harvard University and freelance writer.

From: http://www.newenglandfilm.com

Source: http://oglobo.globo.com

The A&E IN CONCERT: AEROSMITH: YOU GOTTA MOVE will include concert footage, along with behind-the-scenes at the band and studio sessions.

By Daniel Hartman

Last week, Aerosmith guitarist Brad Whitford filled us in on the making of their new album, Honkin' on Bobo. This week, he shares some reasons on why now for their new-album of covers of Blues standards and much more...

"We'd been talking about doing a Blues album for probably five or six years," said Whitford. "In some instances, it was just the way to take the heat off another record, by doing some of our favorite songs, without having to come up with new material and that sort of thing."

As Whitford said last week, the band took a much-deserved break after their last tour and then headed into lead guitarist Joe Perry's basement recording studio to record the album that eventually became, Honkin' on Bobo. They didn't just cover the songs though, they pulled them apart to see what made them classics.

"We really had to dissect those songs. We pulled apart every performance of those songs to find out what made the song work, what made the song tick. It was a great experience," Whitford says.

Whitford said in doing so, Aerosmith discovered that even with all the modern technology, you can't replicate those songs exactly.

"You can duplicate the timber and the melody, but you can't replicate the feel of the performance," Whitford says. "The instrumentation is important also. Again though, you can collect all the older instruments you can find, but you can never imitate the feeling behind the originals."

As far as instruments go, Whitford says he gets one particular question about them a lot.

"I always get the question: 'If you were stranded on a desert island, and could only have one guitar, what would it be,'" Whitford says. "My answer to that is, it would probably be a Fender Stratocaster."

Whitford adds that any model Fender Stratocaster made in the '50s, or early '60s would be fine with him. He refers to guitars made by the legendary manufacturer as "classics."

Whitford says that when the band first started playing material for Honkin' on Bobo for audiences last fall, while on the road with fellow Hall of Famers, KISS, it took them awhile to warm up to Aerosmith's new, "old" direction.

"When we first started playing some of the stuff, crowd response was unlike any I have ever seen when we played these songs," Whitford says. "They didn't know how to relate to them."

Whitford says that Aerosmith did what they always do, and got audiences into the songs.

"We emphasized certain aspects of the songs, and added some Rock n' Roll to them," Whitford says. "'Baby Please Don't Go' was one of those songs. After a while the crowds began to just really enjoy what we were trying to do, and that song has become a staple on the set. It's been about six months now."

While Whitford says it will take him awhile to find a favorite song on Honkin' on Bobo, he says to him the album as a whole, is fulfilling on a more personal level.

"Some of the albums we have done in the past, have been blatantly commercial," Whitford says. "Not there is anything against it, but you know that the end result is to get something on the radio. Some of the stuff we have done is really formulated."

While Honkin' on Bobo is different breed of album, Whitford says, he also realizes that there is a need for the more commercial music also.

"This record is a really honest musically," Whitford says. "As a musician, you can listen to it top to bottom and not be embarrassed by it. At the same time though, if we didn't make those other records, we couldn't do one like it. We definitely couldn’t have done it five, 10 years ago, but now we can. We’ve paid our dues so to speak.”

As far as touring goes, Whitford says over the years, each tour seems to develop its own character. He says that is often due to who the opening act is.

"We did this tour with KISS last year, and that tour really had its own vibe, its own feel," says Whitford. "It was unique, because both we and KISS are headlining acts trying to make that work. The biggest complaint was that everybody wanted to see more of each band. I really don't think anyone could handle two hours of KISS and then two hours of Aerosmith."

The biggest challenge Whitford says it constantly trying to keep the material fresh and to present it in new ways. He also says he says that so far, he is enjoying touring with opening act, CHEAP TRICK.

"I think we're always trying to do things just a little bit differently. We're always trying to top ourselves," Whitford says.

"As far as CHEAP TRICK goes, those guys are old, old friends. When we see each other backstage, there is that knowing look in each other's eyes. All of us have been around for a long time and know the journey."

Where that journey takes the members of Aerosmith next is anybody's guess. One thing is for sure though, the band seems to live by the motto: "It's better to burn out, than to fade away." Right now, it doesn't appear like the "Bad Boys from Boston" will be doing either too soon.

From: http://iowastate.campusauthority.com

1986 Aerosmith plays in Cedar Rapids IA at Five Seasons Arena (Ted Nugent opens)

1988 Aerosmith plays in Edmonton Canada at Northlands Arena (White Lion opens)

1990 Aerosmith plays in Birmingham AL at Jefferson County Coliseum (Joan Jett opens)

1994 Aerosmith plays in Tokyo Japan at Nihon Budokan Hall

1997 Aerosmith plays in Hamburg Germany at Sporthalle

5/4 - 5/10

ROCK RADIO:
Last Week # 2 with 551 spins.
This Week # 2 with 543 spins (#1 was 629 spins)

ACTIVE ROCK RADIO:
Last Week # 25 with 522 spins.
This Week # 26 with 471 spins (#1 was 1969 spins)

============

BPDG is staying pretty steady on rock radio, yet is really fading fast on active rock formats. Safe to say it's done there. The video will/should help the rock numbers somewhat, but it LOOKS as if this song will only get as high as #2. Not bad. Could be better, but with the song really only getting played on ROCK FORMAT, it's tough to have a smash hit like a top 40 song would have....

We'll be seeing a 2nd radio song floated to radio, if there will be one, soon. The Baby Please video pushed things back a bit....

The AeroFANatic

In the last page of the june edition of the 'Q' magazine there is a Steven Tyler interview. The picture(that takes up most of the page) is a close up of tyler with a BIG spider on his left cheek. Here's the interview.......

---

Q: How the devil are you?

ST: How the devil are you, the devil am I-and there are many who think so. I'm good, we're on tour again.

Q: It's Q's round. What are you having?

ST: Ginger ale with a shot of grenadine.

Q: What would you have been downing 20 years ago?

ST: A rusty nail. What's in that? If my memory serves me well... I don't know, look it up. Whisky and something else (drambuie). It was good, like battery acid back then.

Q: Describe yourself in five words.

ST: Father, Husband, Rock star, Protagonist.

Q: Do you have any strange hobbies?

Define strange. I like parasailing... and arguing with Joe Perry (laughs).

Q: When was the last time you used public transport?

ST: Jesus! When my mother left me on the bus.

Q: Whats your idea of hell?

ST: Waking up screaming from a nightmare and realising that i never fell asleep.

Q: What's your favourite make of gun?

ST: Heckler & Koch. German-made, never jams and it's easy to hit the target.

Q: What do you always have in your fridge?

ST: A jar full of money. Where else would you keep it? And vanilla soy milk.

It goes real well with PG tips - I'm addicted.

Q: What were you like at school?

ST: It was a strange mess, I got picked on for having a pinhead and big lips. I was in need of belonging. Academically? Not very good. I cheated on tests. I couldn't get it together. I was too busy fantasising about being in a band or the girl i was sitting next to. i had a very vivid imagination.

Q: What's in your pocket right now?

ST: My knife, 120 bucks, a packet of juicy fruit, my little coin purse and a tube of prada lip stuff. Yhen I've got two lollipops in the left sleeve of my jacket and a stun gun in the right.

Q: Have you ever been arrested?

ST: Fuck yeah. Convicted, no. Arrested, Yeah. For smoking pot at school, throwing pot out of a car and inciting a riot onstage.

Q: What's your worst habbit?

ST: Right now? Taking the piss out of my bandmates when they do something onstage. You don't want to hear this. You do? Well, sometimes i can be rather belittling, I'm very particular.

Q: Whats the most ridiculous thing you've ever bought?

ST: I don't know. Extravagant? The other day i bought a shirt for three grand.

Q: You have just 24 hours to live. What do you do?

ST: Send my mouth way down south and kiss my ass goodbye.

Q: If you were an animal, what animal would you be?

ST: Definitely an ocelot... or maybe an osprey.

Q: What's the best piece of advice you've ever recieved?

ST: Don't stick your fingers in your fans.

---

And the 'Honkin on Bobo' review.........

3 stars. 'There's life in the old dogs yet'

Aerosmiths 2001 album Just Push Play stank like a wet mutt, but its failure was a blessing in desguise. Sensibly, they've dropped the arena-rock bombast and gone back to their roots with a set of blues and early R&B covers that has these fiftysomethings soundlike almost as fresh as on their '73 debut. You Gotta Move, released by The Rolling Stones in '71, is recast as funcky, filthy hard rock, while Never Loved A Girl, there re-titled version of Aretha Franklin's '67 hit, is both genuinely soulful and a certain hit. If only the Stones would make a record like this.

Old dudes of Cheap Trick, Aerosmith can still deliver the goods

May 10, 2004

By PHIL LUCIANO

Journal Star critic

he geezers can rock.

Cheap Trick and Aerosmith put on a rock 'n' roll clinic Saturday at the Peoria Civic Center, slamming out three hours of rambunctiousness that left a near-capacity crowd with ringing ears and satisfied smiles.

Other bands would do well to take note. In recent years, Peoria has hosted a few groups that either haven't figured out how to put any life into a show (matchbox 20) or have petered out to the point they're ready for the rock 'n' roll retirement home (REO Speedwagon).

But Cheap Trick and Aerosmith won't need a rocking chair anytime soon. They pulled no surprises, yet their rollicking sincerity gives ticket-buyers their money's worth - and then some.

Cheap Trick kicked off the evening with its customary greeting, "Hello there," then banged through 45 more minutes of mostly up-tempo numbers. The Rockford rockers' set list packed plenty of favorites ("Big Eyes," "I Want You to Want Me") but left room for a couple of new tunes ("My Obsession," "Scent of a Woman"). The straight-ahead performance was led by frontman Robin Zander, clad in a dapper white suit, and mercurial guitarist Rick Nielsen, who hauled out his trademark five-neck axe for "Surrender."

Aerosmith offered more bombast, starting with a grand entrance. Spotlights shined on a side entryway, through which bodyguards paraded the Boston quintet as the crowd screamed out a welcome. The band slapped and shook fans' hands before jumping atop a small stage in the middle of the arena, where they launched into a super-charged "Toys in the Attic."

Afterward, they darted down a catwalk stretching from the small stage to the main stage. Throughout the evening, the band - sometimes together, sometimes solo - would sashay down the catwalk to bring the music closer to the cheaper seats.

Singer Steven Tyler might be 56, but he's pure spunk and vigor. Clad in ripped jeans and a T-shirt, the wispy wailer never stayed in one place for more than a few moments, preferring to dance and dash around as the mood suited him.

Meanwhile, his Toxic Twin, Joe Perry, ripped away at his guitar, often strutting to the edge of the crowd to give fans a close look at his frenzied finger work. Yet the flashiest guitar moment of the evening came from his quiet counterpart, Brad Whitford, who absolutely shredded the solo in "Dream On."

The set list shied away from Aerosmith's MTV hits of the '80s, descending only once into mawkish-ballad hell (the abysmal "Cryin' "). Rather, the band played up lean, mean numbers, from its mega-hits ("Sweet Emotion," "Walk This Way") to cuts from its new blues rock CD, "Honkin' on Bobo" ("Road Runner," "Baby Please Don't Go").

Aerosmith resorts to few gimmicks. The backstage occasionally flickered neon images (a Pegasus, an exotic dancer), and confetti cannons signaled the end of the show. Other than that, the 105-minute concert focused on the band and its music.

With these guys, that's all you need.

The price is 1890 JPY each, tax included. FYI, this is about 700 yen cheaper than the recent "Honkin' On Bobo" release in Japan.

Also in a limited edition, Pandora's Box will be re-issued (catalogue number: MHCP-336), in it's long box edition. This issue doesn't differ anything from the original issue, however. Price: 5670 JPY.

This mass release coincides with the Japanese leg of the "Honkin' On Bobo" tour which commences on July 10th for 5 Aerosmith shows and 2 festivals, the latter being "The ROCK ODDESAY" with The Who, Paul Weller etc. Dates: 7/24 - Yokohama (near Tokyo), and 7/25 - Osaka.
It has been common for Sony Music to repackage albums prior to forthcoming Japanese tours with the re-issue of "Nine Lives" in 1998 (in digipak format with booklet and Box of Fire Bonus CD) and "Just Push Play" in 2002 (with the additional live bonus CD, "Live and Rare")

******
Do you dislike the "Rocks" album sleeve portrait? If so, you're not alone: the artist, Teresa Stokes doesn’t like it either! But she has good reason to.......

I began my friendship with Teresa over 6 months ago, when an Aerosmith fan posted on all the major message boards, asking if anyone had information about this portrait. It peaked my curiosity also, one thing led to another, and Teresa and I finally spoke on the telephone a few weeks ago. She told me the story of the Rocks artwork:

ME: How did it come about that you did the album sleeve artwork?

TERESA: Here’s the long version: It all began in Baltimore, where I was in high school, around 1973. Aerosmith weren't really famous yet except regionally, and my friend Paula had a big crush on Steven. She asked me to do a portrait of him since I had met some other famous bands by doing artwork for them. We went to the next concert they were playing, and were near the front row, me holding the framed picture and trying to get it to Steven. It was General Admission, and I'm so small that the crowd literally lifted me off my feet and crushed the picture glass against my chest. I was so frightened; I escaped the crowd and was in the bathroom crying, when a member of Security came in and took pity on me. She said she would take the portrait to Steven. The next thing I know, she's back, telling me he wants to see me. As I followed her, I turned back and waved to Paula to come along. Steven told me he really liked the picture and kissed our hands and was a real gentleman.

I then began college at an early age at The Maryland Institute, College of Art in Baltimore, and while attending, did an oil painting of the back of Toys In The Attic for a class assignment. I attended another Aerosmith concert, went backstage and gave it to the band.

Later, I transferred to The Atlanta College of Art in Atlanta, GA., and used to love to see all the great bands playing at the legendary Alex Cooley's Electric Ballroom nightclub. I was doing a lot of artwork for some of them. One night I just happened to run into the members of Aerosmith in the crowd. After visiting a bit, Steven asked me to do the artwork for the next (Rocks) tour backdrop; a caricature of the band. I agreed. I was to do an oil painting of the band onstage with exaggerated heads and guitars, and little skinny bodies. And I had to hurry! I had 2-3 weeks to paint what would have taken me 6 weeks to do a decent job.

I rushed through the group portrait; almost identical to the Rocks album sleeve, and sent it to Steven. Then I was to be flown to New York to work with a movie scenery production company hired to reproduce my painting into a 40’x 60’ stage backdrop. Months went by, and I didn’t hear a thing so I began calling the band’s record company office in New York asking them to send the painting back so that I could finish it properly. After a couple of weeks of trying to get the painting back, Steven finally called me and told me that the painting had burned up in a fire and that I had to start over and I had to hurry! I painted a couple of days, then flew to New York with the wet painting and worked day and night in my hotel room until Steven had to take it to the backdrop company. From start to finish I only had 2 weeks to complete this version, which you see MOST of on the Rocks album sleeve. That's why I’m not crazy about it; I could have done a much better job on this one, if I had had more time.

A photo of the first original ‘rushed’ painting by Teresa Stokes that was destroyed in a fire.

During the time in New York, I got to go to the recording studio. Steven came in and gave me headphones and I got to hear “Last Child” just before the vocals were added. The studio sound was unbelievable!

While I was waiting to go work on the production of the backdrop, Steven brought the portrait back to me, asking me to move my signature to the bottom corner------I had signed it on the amp just right of Joey's drum set and next to Joe's head. He said that when the portrait was enlarged for the backdrop, each letter would be about 3 feet high right in the middle of the stage. Made sense to me. So I moved my signature to the corner, and that's why there's a orangey-white smudge on the bottom of the amp in the portrait…..

After waiting for several days, Steven told me that the backdrop company refused to let me enter the building because I was not in their Union. (As it turned out later, they did such a terrible job on it without the artist there, the band refused to use it) So, I flew back home, leaving my portrait to their devices.

A photo of the full-sized (before being cropped) original painting by Teresa Stokes that appeared on the album “ROCKS”

A photo of the version which appears on the "ROCKS" album and CD.

Somewhere along the line they decided to put the painting on the album sleeve (vinyl in those days). Since the original portrait was rectangular in shape, they had to "chop" the edges off in order to make it fit the square album sleeve format. Included in the “chop” was my name which I had moved to the bottom right corner. So, my name did not appear on the portrait (although it does contain my secret symbol included in all my works), or in the album credits, though I wish they would give me credit in a future album. They did mention my work in a couple of magazine interviews with Creem and Circus back in 1976- but that’s history! Also, Joe Perry credits me in the Aerosmith biography book "Walk This Way".

I still visit or run into Aerosmith every couple of years or so. Although I’ve known the guys (mostly Steven, Joe and Tom) for a lot of years I don’t know them very well; but it’s good to see they’re doing so well.

ME: Where is the portrait now?

TERESA: I believe Steven has it, although I have the right to borrow it and have borrowed it for several art exhibits in the past. I also have what I think is the only photograph of the original painting that burned up in the fire.

~~~~~~~~~~~~~~

In 1998 Teresa attended the Space Shuttle launch of one of her best friends; space shuttle Commander Curt Brown. She just happened to run into the band again who were there as guests of Curt’s co-pilot on the mission. She found they were “crazy about space and wanted to be astronauts”.

Teresa does freelance work for NASA upon occasion, and around 1999, she took a group of her astronaut friends to an Aero concert, where they were guests backstage. She said that when she took the astronauts, they gave the band a framed collage of pictures of them in space, floating Aerosmith’s Latest CD around the cabin of the space shuttle while they were in flight. (NOTE: This could explain the shuttle tribute Superbowl gig?)

She's still friends with the band, and receives backstage passes whenever she attends a concert, as she did last October, 2003.

~~~~~~~~~~~~~~

From our contacts, I can say that Teresa is a fantastic person! She's so alive, and full of laughter. She gave me her permission to post this in Aerocyberland (as I like to call it), asking only that I omit some humorous anecdotes she told me. She's a professional WINGWALKER (now that's gotta take some guts!), and she and her partner/boyfriend travel approximately 9 months out of the year doing airshows. She also does Aviation Art and, as I mentioned before, artwork for NASA: one of her caricatures was flown aboard the Space Shuttle Atlantis and another was flown on the Space Shuttle Discovery. You can view some of her artwork and read more about her at:

http://www.genesoucy.com/avart.htm (If you decide to email her, make sure you use her email and not her partner’s and be very patient! With all the travel, etc, she doesn’t get to her email very often!)

Be sure to check out the Photo Gallery to see Teresa in action. And by the way, I personally LOVE this caricature portrait!

THIRTEEN DESIGNS OFFICIAL WEBSITE
http://www.thirteen.co.jp/home.html

IF you get VH1 Classic channel...they take requests and air them on various programs between 1 PM and 9 PM. Since their focus is on classic rock..I wonder if this video will be there too though it looks like they don't really do "new" videos. They do name Aerosmith as one of the featured artists of their Rock Fest program that airs several times a day though.

Most of the Aerosmith section of VH1 is really outdated..with Girls of Summer being offered as the current video clip and the "featured album" is "The Collection"...a re-release from Columbia. And the Making of Pump is also a featured product. They have a couple of news clips about HOB but that is it about the album. BUT one funny "new" thing if you haven't seen it yet..a clip of the "cartoon" w/Ben Stiller, Liv and Steven (And Quentin T too). called "Meet the Tylers". Over the top caricatures of each character...Steven's lips are a crack up...lots of funny drug references, etc. Go to vh1.com and click on "Meet the Tylers" under show clips. It's from the VH1 ILL-ustrated show so you might have seen it on that.

Anyway, all of the other new videos this week are featured somewhere on the site but not Aerosmith...probably more of that "change of marketing" approach LOL! Please let me know if anyone catches it...hey if ya record it or do captures..even better!

Songs: 8 Bukka Whites out of 10.
This reminds of early Aerosmith! This is a lot more rocking than you might think. It's not a boring blues record. Aerosmith takes a bunch of classic blues songs and covers them in their own way and I like it. It's more in tune with classic Aerosmith than some of their last few releases, plus Jack Douglas co-produced this along with Tyler and Perry. "Road Runner," "Baby, Please Don't Go," and "You Gotta Move," are the best tracks in my opinion. Good driving songs. Joe Perry sings two tracks, "Back Back Train" and "Stop Messin' Around." The one original song, "The Grind" is kinda generic and nothing too memorable. The last track, "Jesus Is On The Main Line" is also a waste and throwaway track.

Comments: I liked this more than I thought I was going to. The free keychain kicked ass too. I'm a sucker for free shit

1994 Aerosmith plays in Tokyo Japan at Nihon Budokan Hall

1997 Aerosmith plays in Manchester UK at Nynex Arena (Shed Seven opens)

Steven Tyler (left) and Joe Perry of Aerosmith do their thing before about 9,000 fans at the Kohl Center. (Michelle Stocker photo)

Remember when you were in high school, driving around with your friends on a Friday night, and "Walk This Way" or "Sweet Emotion" came on the car radio? And you thought about how cool Aerosmith must be in concert?

They're exactly how you imagined they would be.

I'm not just saying that they're great live, although they certainly were terrific Thursday night at the Kohl Center. It's that there's something outsized and over the top about Steven Tyler and the boys.

It's like they're putting on an idealized version of a rock concert, like something out of a movie where the entire crowd is chanting along excitedly, and the guitarist is shredding monster chords you can feel in your dental fillings, and the lead singer is the ringmaster of the circus as well as the clown, the acrobat and the lion tamer.

And you know they do it every night.

In addition to being master showmen, the band could teach David Copperfield a thing or two about stage misdirection. At the start of their set, the house lights went down and spotlights began circling the large main stage. But instead of appearing there, the five members of the band entered from the back of the arena, high-fiving excited fans along the way, and crowded together on a tiny stage at the center of the arena.

The stage was no bigger than a freight elevator, which was apt, as they played "Love in an Elevator" and "Toys in the Attic" before heading down a catwalk to the main stage. Having the band start off that close to the audience and each other, like they were just a bar band, got the crowd's energy level amped up for the next 80 minutes.

The concert formula for a veteran band is pretty set. They play a few songs that everybody knows, then a few middling songs from the new album they're promoting and then finish with the songs that everybody really wants to hear.

Aerosmith followed that formula to a T, with the exception that their new album, despite the silly title "Honking on Bobo," is the best thing they've done in years. It's an album of blues covers, rendered in Aerosmith's inimitable arena-rock style.

They played a rowdy "Road Runner" and a scorching "Baby Please Don't Go." Even when guitarist Joe Perry took over lead vocal duties for "Stop Messin' Around," his lean, economical style was actually a nice breather from Tyler's entertaining one-man fireworks show.

Tyler was his usual high-octane self, strutting, twirling, doing the splits and at one point leaping onto a trapeze and hanging upside down over the audience. If ever Tyler does a workout video for middle-aged men, he's going to make a fortune.

The show ended with the classics "Sweet Emotion" and "Walk This Way" done so perfectly that I could forgive the band for the power ballad "Don't Want to Miss a Thing" during the encore.

"There it is," Tyler said at the end of the show, "another happy night."

I doubt that any of the 9,000 or so fans who spilled out of the building sore, deaf and giddy would disagree.

From: http://www.madison.com

1997 Aerosmith opens the Nine Lives tour in Newcastle UK at Newcastle Arena (Shed Seven opens)

According to Chris/Aerofanatic, it will be a mix of live performances intercut with..yeah of course...footage of hot babes in a club setting in Orlando. It "stars" a Miami Heat dancer named Celina whose hometown is Boston of course.

I guess there is also a "very hot black gril from New Orleans"...his words not mine but no name on her yet.

Aerosmith's Ames set list
"Toys in the Attic"
"Love in an Elevator"
"Back in the Saddle"
"The Other Side"
"Cryin' "
"Road Runner"
"Jaded"
"No More No More"
"Stop Messin' Around"
"Never Loved a Girl"
"Livin' on the Edge"
"Shame, Shame, Shame"
"Dream On"
"Draw the Line"
"Baby, Please Don't Go"
"Walk This Way"
"Sweet Emotion"
"I Don't Want to Miss a Thing" (encore)
"Train Kept a Rollin' " (encore)

He hops. Struts. Spins. Thrusts his pelvis. Twirls and flings his mic stand. Sprints from one side of the arena to the other.

Steven Tyler even swings while hanging upside down on a trapeze during "Walk This Way," with his scraggly hair and enormous lips nearly grazing the heads of his fans below. At 56 he's as lanky and lithe as ever.

Leopard-print shirt and all, the dynamic Tyler and his Aerosmith cronies pulled out their familiar bag of arena-rock tricks Tuesday night at Hilton Coliseum in Ames.

They had catwalks extending out into the audience. They mingled their dirty guitar riffs from the 1970s with their synth-heavy '80s anthems and bombastic MTV ballads.

But Aerosmith also sank its teeth into a grittier blues vibe, thanks to no fewer than five songs showcased off its new back-to-the-basics CD, "Honkin' on Bobo." The quintet from Boston (Tyler, guitarist Joe Perry, guitarist Brad Whitford, bassist Tom Hamilton and drummer Joey Kramer) began the night on an intimate note by jamming "Toys in the Attic" in a tight cluster at the center of the arena.

Yes, there were moments Tuesday when Aerosmith sounded more like a stale arena band that has spent a little too much time on the road in recent years and become bored with its own schtick. But these guys also still possess more than enough chops and energy to justify their existence. They're far from pathetic relics. Tyler's voice was up to the task of hitting the high notes - "ridin' hiiiiigh !!!" - in "Back in the Saddle."

And young female fans for whom Aerosmith's 1980s comeback is ancient history still received Tyler as a rock star-sex god rather than an old letch, even when he leaned into the crowd and drooled on them.

The band's musical peak Tuesday had to be the double punch of "Draw the Line" (given the epic jam treatment with slide guitar from Perry) which dovetailed nicely with the "Bobo" blues vibe and was followed by "Baby, Please Don't Go." It took Aerosmith awhile to warm up, but the Boston bad boys were cooking by then.

Nearly 30 years ago, Aerosmith was playing at Drake University for $5.50 per ticket. Six years ago the band packed Hilton with more than 14,000 fans for a sold-out show. Tuesday night's modest crowd of 7,584 signaled that the band might have saturated the region with too many recent gigs.

But by digging into its blues roots, Aerosmith gave fans at Hilton a reason to pay as much as $80 to hear "Dream On" and "Sweet Emotion" yet again.

Aerosmith has remained timely by never being topical. It has made a virtue of its unwavering devotion to pure raunch. Even the band's primary influence, the Rolling Stones, has flirted with politics, from "Street Fighting Man" to an anti-war song during the United States previous invasion of Iraq.

Not so Aerosmith, which entertained kids from about 1 to 92 on Tuesday with nothing but its joyous songs of sleaze and Tyler's acrobatics. At crucial moments in its career, the band has made savvy business moves, by plugging into hip-hop, MTV and movies for revival. But it has never compromised its essential blues-rock ethic.

Well, maybe the icky 1998 pop hit "I Don't Want to Miss a Thing" represented Aerosmith's ultimate cave-in to trendy schlock, but you can't argue with a No. 1 hit song that was able to rally the Hilton audience during the encore.

At least the final song of the night was "Train Kept a Rollin'," a fierce old gem that returned the focus to Aerosmith's better "Bobo" blues instincts.

Aerosmith might want to take a break from the road soon to refresh and regroup, but then it can get back in the saddle and keep rolling for years to come.

From: http://www.desmoinesregister.com

The blues gave birth to rock and roll, including America's premier rock band, Aerosmith. So when Steven Tyler, Joe Perry, Brad Whitford, Tom Hamilton and Joey Kramer set forth to fulfill requests by their fans to record an album that sounded like their old stuff, they thought the blues would be the best place to start.

After 34 years, sales of more than 100 million albums, induction into the Rock and Roll Hall of Fame, four Grammy Awards, 12 MTV Video Music Awards and widespread influence on countless bands and adoring fans, it appears Aerosmith has come full circle with the release of its 25th album, "Honkin' on Bobo."

A diverse collection of blues standards, obscurities and a new original, "The Grind," "Honkin' on Bobo" encapsulates the classic Aerosmith sound that has set the tone for generations of rock music and has seemingly reinvigorated the band's musical strut. "We've been talking about doing this blues record for many years," said guitarist Whitford in a phone interview. "It was a real eye-opening experience because it put us in touch with the original concept of the band and what we were playing when we started out playing clubs and were trying to survive 30-some years ago.

"We realized it wasn't so much a blues album, but more of an Aerosmith album. It's much more what Aerosmith is about rather than trying to be a pop band or taking a formulated approach to writing music. This is honestly what we listen to and what we like to play."

"Honkin' on Bobo" includes modern versions of classic blues tracks like "Baby, Please Don't Go" and "I'm Ready," without losing the songs' original spirit. And credit Aerosmith for mining a few obscure blues nuggets, including Sonny Boy Williamson's "Eyesight for the Blind," among others.

Where blues and rock meet
Before blues fans dismiss this CD as a disservice by rock bands to the masters and young rock fans brush it aside as dated, keep in mind that the line between blues and rock is blurry and at times non-existent.

"Everything Aerosmith has ever done has been influenced by the blues," Tyler said in a written statement. "This time around, we just brought the influence a little closer to the surface." Whitford said the band's label, Columbia Records, fully supported their idea to record the album, but the band has been pleasantly surprised by the amount of airplay it has received. "There's been some desire to play this stuff again and we've been surprised by that," Whitford said. "Blues comes and goes, so it's nice that it's happening again. It's about time."

Hoping to capitalize on a groundswell of radio airplay, the band recently shot a video for "Baby, Please Don't Go," which includes footage from Perry's studio, and Tyler's studio, where the album was recorded, as well as live tour footage.

Second chance to rock
The intoxicating pace of rock stardom took its toll on the band years ago in the form of drug and alcohol addictions, some mediocre albums, breakups and management brawls that have been the subject of television documentaries. But Aerosmith has made the most of its second chance, beginning with 1986's collaboration with Run DMC on the crossover hit "Walk This Way," which gave way to 1987's "Permanent Vacation" and a string of best-selling albums during the '90s and the new century.

"We're genuinely very fortunate to have done what we have done in the business," Whitford said. "It's been such a long ride, and so many of our peers have come and gone. At this stage, we feel an obligation to be the best player, the best person, the best bandmate we can be, and we have an obligation to our fans. There's a lot of things that keep us playing and coming back for more. We're a pretty driven group of guys. It's a lot of those things and things I can't put words around."

Though Aerosmith continues to enjoy new-found success, Whitford said the group will take its first official break in 34 years after a summer tour of Japan to spend more time with their families. But don't worry, he said, the band's interplay continues to pique the curiosity of its members, ensuring the band's continued longevity.

"This band is pretty good all of the time, but every once in a while you kind of go over the top and you never know when, so it's fun to be around and enjoy those moments," Whitford said. "Besides, whatever our other skills are, they're not good enough for us to get paid."

From: http://www.siouxland.net

There's nothing like a deadline to produce magic.

Faced with getting another CD on the streets, the men of Aerosmith decided to do the one project they've craved for years -- a blues album.

Long inspired by veteran blues musicians, Steven Tyler and company knew they could give their take a rock spin. But would it sell? Enter: "O Brother Where Art Thou?" "That had a lot to do with it," guitarist Tom Hamilton says. "It was a big inspiration." If a seemingly unmarketable work like that could break through, win awards and top the charts, an Aerosmith blues album had to be a no-brainer.

And, so far, so good. In less than a month, "Honkin' on Bobo" has broken Billboard's Top 20.

Aerosmith's tip of the hat to "O Brother" -- "Jesus is on the Main Line" -- is one of the surprises fans find on the well-received new release.

At next week's concert at the Tyson Events Center, the band will offer five songs from the CD and, as the tour continues, throw in a few more.

"We want to wait until people have a chance to make the connection, but we've always said 'Road Runner' is a good show opener," Hamilton says in a phone interview.

Choosing the cuts wasn't as difficult as it may sound. "In the old days, we might have said (expletive) and gone home if we didn't like what had been chosen," Hamilton says. "But now if someone wants to do a song, we let him assume the leadership and if we try it and it works, we include it and say, 'That was a good one to do.' It's much more democratic now."

Credit Aerosmith fans with the change in temperament.

After Joe Perry and Brad Whitford left the band in the late '70s and early '80s, fans became disillusioned with all things Aerosmith. "We thought, 'We got rid of those guys, we're going to keep doing what we did," Hamilton says. "It was a period if we felt any pain, regret or fear, it was quickly plowed under by the assistance of chemicals. But the audience gave us a lot of tough love: 'Where's Joe?' The audience didn't even give us a chance to check out the new songs: 'Get your friggin' band back together.' We learned a lot. But they were lessons we needed to learn -- how to deal with each other. How to deal with resentment and how to be in a band."

Perry and Whitford rejoined Aerosmith in 1984 for the Back in the Saddle Tour. A new record deal and a collaboration with Run DMC brought increased attention and a "Walk This Way" remix that shot the band back up the charts. "Permanent Vacation" in 1987 helped crack the video market and brought "Dude Looks Like a Lady," "Angel" and "Rag Doll." "Pump" followed with "Love in an Elevator," "Janie's Got a Gun," "The Other Side" and "What it Takes."

The hits kept coming. When Aerosmith was approached by the producers of "Armageddon" to create original music, the band was thrilled. "Everybody wants to be in the movies," Hamilton says. "And to think that your music has been chosen to evoke the response that the director wants is very flattering. It's a whole other way of being grateful for people appreciating your music."

Having a cut in a film (like the Oscar-nominated "I Don't Want to Miss a Thing"), moves a band to another level. Aerosmith saw how powerful movie promotion could be when the song hit No. 1 and didn't want to budge. "A movie makes you hear a song in a whole next context...it turbocharges the vibe and when it has amazing visual images? Wow. You know it's going to get promoted."

Thanks to the "Armageddon" experience, Aerosmith was pitched a tie-in with the Disney theme parks -- a ride in the Disney-MGM Studio. "We figured they'd use our movie or three or four years and they'd find some other new band," Hamilton says. "But people come up to us all the time and say, 'Ah, man, I went on your ride at Disney World. It was the best.' That freaks me out. When we were starting out as a band, we never thought something like that would happen."

Aerosmith, though, has entered that iconic phase where, seemingly, nothing can go wrong. Hamilton disagrees. "If we misplay part of a song, the audience will forgive us, but we can't be lazy or sloppy. We still have to perform the beat and the vibe."

Lead singer Steven Tyler coined a phrase, "Dare to suck," which means "if you dare to suck, you're really putting yourself out."

But consider the odds: With hundreds of songs in the Aerosmith catalog, there's a good chance that even they don't remember some of them. "We may have played something a hundred times, but you may get up there and say, 'Are we on the first verse or the second verse?' " Hamilton explains. "Sometimes people spontaneously start a song and, in the moment, you've got to realize, 'Here we go' and just, well, dare to suck."

Some of the "musts" -- "Dream On," "Walk This Way" and "Sweet Emotion" -- aren't phoned in, particularly when the band sees what kind of emotion they evoke. "I don't ever feel like I don't want to do any of them," Hamilton says. "A song becomes more than a song. It's a vehicle for this exchange with the audience, this give-and-take kind of feeling and we're able to celebrate their enthusiasm."

The band says its able to see at least the first 20 rows in any arena and, yes, the reaction is felt. "I love the ones who are smiling," Hamilton says. "It makes me want to give back postive energy."

Touring, he adds, is the band's way of "staying in the game. It's being relevant. We love what we're doing and we're growing musically. We're becoming better at it."

Bad shows? Not gonna happen. "We have shows where we think we're better than usual," Hamilton says. "But there's no way the whole thing is not going to be good. We've had a lot of practice." He laughs. "We just know that if you can hear the audience sing, we've got to turn our amps up. We're not loud enough."

Success with the blues CD has prompted the rock legends to look in yet another direction.

"We'd like to do a Broadway musical," Hamilton says. "You could take our music and do this really cool play about a group of friends, like 'Rent.' Sometimes when we feel like we're actually caught up with what we're doing, we'll try it."

Changing directions? It's sort of the Aerosmith way.

From: http://www.siouxcityjournal.com

Hard-rock bands often age about as well as a quart of milk left open in the sunshine. Classic rock, an overused radio term, can sound ragged in concert - as the performers, with stomachs bulging, seek to cash in on the nostalgia circuit.

Aerosmith proved to be a surprising exception to the rule.

At the Kohl Center on Thursday night, the band looked lean, providing a jumpstart to its recognizable tunes and offering several blues-rock chestnuts. They entertained, too. Frontman Steven Tyler, now 56, provided more showmanship than a dozen current hitmakers.

The rubber-faced Tyler pranced onstage with a confident strut and sexual gyrations. He keeps Aerosmith viable on a big arena tour.

The energizing hour-and-45-minute show was designed to keep the five-man band, joined by a keyboardist, as close to the crowd as possible.

A rare major concert without video screens surrounding the stage, Aerosmith entered from a door at the back of the main floor. They walked toward a tiny stage in the arena's center, where they opened with 1975's "Toys in the Attic" and the late 1980s staple "Love in an Elevator." (It takes considerable swagger to perform the insipid "Love in an Elevator," but Tyler pulls it off without recalling Spinal Tap.)

The set featured a catwalk extending from the main stage and Tyler used the extra room to his advantage, slapping fans' hands or urging the crowd to sing along. He hardly seemed to need the TelePrompter feeding lyrics at various spots.

Aerosmith's setlist Thursday wisely skipped several of its former MTV hits, such as "Dude (Looks Like a Lady)" and "Janie's Got a Gun," in favor of tunes from its blues-cover album, "Honkin' On Bobo." Cuts from the new CD, especially "Stop Messin' Around" which featured guitarist Joe Perry, worked easily alongside Aerosmith favorites.

About 9,500 fans, many of whom were a decade or two past the legal drinking age, attended the show. They're concertgoers who still have their weathered vinyl copy of "Toys in the Attic." When Tyler played harmonica, the overly enthusiastic fan standing next to me played - maybe you had to see it - air harmonica.

Thirty-year-old tunes, "Dream On" and "Sweet Emotion," also were prominent in Aerosmith's show. And, yes, the band knows how to cash in on its fans' devotion. Because few concertgoers carry lighters anymore, Aerosmith sells a tiny flashing "wing blinkie" for $5.

Just as Aerosmith enhanced its legacy, so did opening act Cheap Trick. It's tough to top an opening act that can deliver "I Want You to Want Me," "Dream Police" and "Surrender" during a delicious set.

From: http://www.madison.com

1994 Aerosmith plays in Tokyo Japan at Nihon Budokan Hall

1999 Aerosmith plays in Hollywood CA at the Hollywood Bowl (Johnny Lang opens)

Including one to see the full commercial Steven did for the camera and related photo shoot pictures. The direct link for the movie is:

http://208.221.13.15/slo-mo.mov

Those of you that like The Grind....you'll be quite pleased with the music in this commercial.

From: http://news.sel.sony.com/steventyler

--

By the way..the obvious reason for The Grind being in the commercial...tis the only song the boys get licensing royalties for since they wrote it LOL. Kinda a no brainer though some might argue it's because it's the most commercial tune on the album or even that it might be the next single. Even if either or both of those items are true, I still think the fact it's an original and the money that goes along with that helped decide the track to use... There's lots of money to be made through commercial licensing of your music. I expect to see even more going forward. I've noticed a lot already...you heard lots of the songs from JPPlay in department stores, etc. Even Girls of Summer! All of that translates to $$$. The good news here, at least this maybe lets folks know Aero has a new album out. The not as good news..some may thing the entire album sounds the same as The Grind when, in my opinion, it does not. Wonder how many takes he had to do for this LOL. The way the press hype was it sounded like he would have a speaking role or something.

This was shot after the Orlando gig in April.

BTW- the Miami Heat dancer's name is Celina. And you can see her here

The AeroFANatic

"BPDG" Live Rockin' Eve 2004 - divx video 10 MB

www.aerozone.w.pl (Downloads)

It's a good thing Steven Tyler had a long catwalk stretching to the middle of Hilton Coliseum and two more leading to either side of the main stage. Without room to strut, run and preen to the thousands screaming for him, the energetic Aerosmith frontman might implode.

Touring in support of their latest studio effort, "Honkin' on Bobo," Tyler and the boys opened with "Toys in the Attic" on the end of the catwalk and rolled through all the hits.

You'd never know they'd been playing some of these songs for nearly 30 years, but polished showmanship underscores youthful exuberance.

Tyler gives fans what they want: an over-the-top entertainer making eyes at women over half his age. It could be creepy, but it's not.

Guitarist Joe Perry still slings his guitar low, lets his hair fall in his face and leans way back when he takes a solo. If it were anybody else, his actions could be labeled a tribute or a caricature. I guess membership in the Rock and Roll Hall of Fame has its privileges.

At an Aerosmith show the Toxic Twins grab most of the attention, but hand it to guitarist Brad Whitford, bassist Tom Hamilton and drummer Joey Kramer for providing a solid backdrop.

Mostly mild-mannered Whitford stretched out for the soaring solo on "Dream On," one of my favorite Aerosmith moments. And would anyone really feel "Sweet Emotion" without Hamilton's rolling bass line?

Before Aerosmith took over, road veterans Cheap Trick played a set of classic tunes and some new ones, too.

The two bands are a good match for a tour. They both have a great time, and both groups simply refuse to hang it up. Tight-lipped and subdued Cheap Trick vocalist Robin Zander is the perfect foil to Tyler's swaggering wide-mouth delivery.

If it weren't for Rick Nielsen's flashy multi-necked guitars, I wouldn't have recognized the Cheap Trick guitarist.

These two classic rock giants proved why they sell out arenas year after year and why every fan of rock music still keeps a CD from each in the collection.

It's probably summed up best by a guy in the parking lot after the show - extending the index and little fingers of both hands while pressing his fists together over his head he shouted, "Too much rock for one hand." 'Nuff said.

From: http://www.amestrib.com

Steven Tyler stars in Sony's ad for its CyberShot digital camera.

LOS ANGELES A 30-second spot for Sony Electronics' CyberShot digital camera, which broke this week, shows singer Steven Tyler disrupting a restaurant via Sony's high-definition technology, said Brian McDermott, creative director at WPP Group's Young & Rubicam.

In the spot, directed by Dante Ariola through MJZ, Los Angeles, for the New York agency, young women lunching spot Tyler, lead singer of Aerosmith, leaving the restaurant. A flurry of activity ensues to find a camera. One woman spills a Bloody Mary on her white T-shirt, followed by water glasses, dishes, purses and cameras crashing to the floor. Only the woman with the Sony CyberShot is able to photograph the celebrity.

"We wanted to highlight the fact that the camera flips opens with a finger and doesn't take a minute to boot up as some digital cameras do," said McDermott, adding that the red drink stain was meant as a combat metaphor. "The way we used the slow motion, in both the picture and the sound, was suggesting a battle scene from a war film," he said. Creative director Taras Wayner served as art director.

Last fall, Pat Wittingham, then-president of Sony Broadcast, Park Ridge, N.J., told Adweek sibling Shoot that Sony wanted all its commercials shot in high definition. Sony's music division also strongly encouraged using HD in music videos. Neither the agency nor Sony Electronics' San Diego division could confirm this policy.

"I think [Sony] likes high definition and wants us to support their equipment," said McDermott, copywriter on the spot, about the HD mandate. He added that it was not a requirement for all shoots. "In certain situations where there is a technical limitation, you can break free [of HD]."

From: http://www.adweek.com

1990 Aerosmith plays in Atlanta GA at The Omni (Joan Jett opens)

1994 Aerosmith plays in Nagoya Japan at Rainbow Hall

The C.J. character (played by David Spade) has tickets to the Aerosmith concert. He spends a lot of the show wearing a black Aerosmith T-shirt. Didn't watch the whole show, but it wound up that he wanted to bring Rory to the concert, even though he wasn't supposed to. But his conscience got the better of him, so he brought Rory to see his girlfriend and skipped out on the concert, suprizing everyone.

From www.tvtome.com...

39. Get Real
gs: David Spade (C.J.) James Garner (Jim) Daniella Monet (Missy Kleinfeld)

The Hennessy household and Jim are thrown for a loop when Cate's wayward nephew, C.J., stops by to pay his respects to Paul and generally keep them company. But the irresponsible C.J. can't seem to resist getting himself into trouble when he advices Rory on techniques about kissing a girl and takes the blame when Kerry - driving with a learner's permit -- accidentally dents Cate's car driving Bridget on a late-night errand.

b: 13-Jan-2004 pc: 211 w: Seth Kurland & Ric Swartzlander d: James Widdoes

NOTE: This episode was taped on Friday, December 19th, 2003 (and some on Wednesday 7th January 2004 due to James Garner suffering a fall on the proposed date).
CJ (Played by David Spade) is going to an Aerosmith concert on Saturday, in his movie Dickie Roberts: Former Child Star at the end of the movie he's up on stage with Aerosmith.
David Spade, who is now a series regular, previously starred in NBC's comedy-hit Just Shoot Me for seven seasons, which ended in Summer of 2003. The first time this episode aired, it scored 10.6 million viewers.

I saw a commercial about the Forum 2004 in Barcelona, listing many groups that will be going playin' there, and among them Aerosmith appeared. Anybody else heard any rumours about them going to play in Barcelona on any date between May and October? The forum's website lists many groups that have not comfirmed their shows, and it doesn't say anything about Aerosmith.

My guess, is that it's just a rumor with no facts behind it. Forget and move on...

- Toys In The Attic & Love In An Elevator were both done @ the front of the ramp. Joey had another drum kit setup there. Very nice live club feel for those people right by the stage.
- During Toys Steven "flashed" the audience with his chest, and he also took a water bottle from someone in the audience and did something suggestive with it. I'll leave that to your imaginations.
- Steven counted off before Shame Shame Shame, and the rest of the guys didn't come in right off the bat. He just went "Shit" and turned around, however he counted off Dream On and that time it worked.
- Joe got a very long solo during the middle of Draw The Line. It ended up just being him onstage bathed in yellow lights. Very cool!
- Steven made use of the trapeze during the outro to Walk This Way.
- Joe got another long solo right before the outro to Sweet Emotion. It was just him onstage again, having a lot of fun with effects peddles and a theremin, all while A LOT of different colored lights were going off all over the place.
- Steven got an interesting intro from Joe @ the end of the show. Steven was adjusting himself so it came out "The Demon Of... oh that's gross. The Demon Of... I'm not looking. The Demon Of Screamin', Steven Tyler."

Aerosmith's Stephen Tyler was all over American television last night, starring in the TVC for Sony's new digital camera.

The first of the commercials titled 'Slo Mo' went to air on CBS during 'Two and a Half Men', the series starring Charlie Sheen.

Tyler is promoting the DSC-T1 digital camera.

The DSC-T1 is about the size of a deck of cards, has 5.1 megapixel quality and a 3x zoom and retails for around $500.

Tyler will also be seen soon on the big screen in the movie 'Goodnight Joseph Parker' from director Dennis Brooks. In the movie, he plays the part of Sammy. "Everybody has grown up with a Sammy" Brooks tells Undercover News. "He was the really mean guy that everybody looked up to. He made all the decisions. He was the leader of the pack and you hated him. In the movie we get to see what Sammy grew up to become...Steven Tyler!

By Paul Cashmere

From: http://www.undercover.com.au

The Grind is featured in the background of the song. Does this give us a HINT about a second single and/or video? Seems like an interesting choice to be background music in a video...considering the song isn't "known".

Other commercial songs for the band have included Sweet E, JPP, Sunshine, etc....

We'll see....
The AeroFANatic

AEROSMITH lead singer Steven Tyler will appear in a Sony broadcast advertising campaign premiering Monday May 3. The TV commercial, dubbed "Slo Mo", will begin airing between 9:30-10:00 p.m. during CBS' "Two and a Half Men". The TV spot will also run on network and cable channels through July.

Starring alongside Tyler is the Cyber-shot® DSC-T1 digital camera, Sony's pocket-sized camera that is always ready to take great pictures. The DSC-T1 comes to life in just over a second, ensuring that you’re always able to capture life's moments as they happen whether they feature family, friends or famous rock stars.

"By appearing with rock icon Steven Tyler, the DSC-T1 gets the rock 'n' roll status it deserves for its edgy design, powerful features and roof-raising performance," said Allan Jason, director of marketing for Sony's Personal, Mobile and Imaging Division.

www.goodnightjosephparker.com

Orlando '01, Cadem '02 and Hershey '03 complete bootleg download at Toxic Twins.com.ar

Hi-Fi video of the Making of Just Push Play, Tour Rehearsals and The Gear:
aerosmith_justpushplay_350.nsv
aerosmith_bts_clip01_350.nsv
aerosmith_bts_clip02_350.nsv
To play '.nsv' (Nullsoft Video Format) you need to download the last Winamp player.

Download the video of Tyler sendin the message to trops

Honkin' On Hamilton - 2004-04-22 - FLAC and some other bootlegs for download here

To learn how to download and extract them, go here

New demos and maybe outtakes from Pump:
Acoustic Jam:
Watchin You:
Janie's Got a Gun demo:
Voodoo Medicine Man demo:

Well, that all, thanks and bye............................... Gonzaloc!

Aerosmith Outtakes by Gonzaloc! gonzaloc80@hotmail.com
Aero Covers:
Aero Outtakes:

1990 Aerosmith plays in Lexington KY at Rupp Arena (Joan Jett opens)

1994 Aerosmith plays in Hiroshima Japan at Sun-Plaza Hall; Brad is absent when he flys home to be with his ill father; David Minehan from The Neighborhoods fills in

1999 Aerosmith plays in Las Vegas NV at Thomas & Mack Arena

1. THE BEATLES 166.5
2. ELVIS PRESLEY 117.5
3. LED ZEPPELIN 106.0
4. GARTH BROOKS 105.0
5. EAGLES 88.0
6. BILLY JOEL 78.5
7. PINK FLOYD 73.5
8. STREISAND, BARBRA 71.5
9 ELTON JOHN 67.5
10. AEROSMITH 64.0
11. THE ROLLING STONES 63.5
12. AC/DC 63.0

Billboard 200 - Honkin' On Bobo - #27 (34,000 copies / 315,000 copies)
Billboard Comprehensive Albums - Honkin' On Bobo - #27
Top Blues Albums - Honkin' On Bobo - #2
Top Internet Albums - Honkin' On Bobo - #17 (900 copies)
Mainstream Rock Tracks - Baby, Please Don't Go - #10

Also, someone posted on that board that the A&E special: You Gotta Move (Aerosmith) has been removed from the rockontv.com schedule. I can't confirm since I never saw it on there to begin with but will try and find out for SURE if the date has been changed - being directed by Mark - same guy as the BPDG video. The nightmare of Behind The Music still haunts us..when the band had full content control and it took..geez over two years to get the thing to air LOL.

In light of HOB and the fact they are going to virtually "disappear" for over a year, I seriously hope the delay, if any, is only minimal and that the special and video both get out there very soon. Though it being moved from the 21st would be a good thing for me since I won't be able to watch on that day LOL.

TIP! AF1 will update venue info, pricing, ticket descriptions and seat locations as we receive them from the promoter. CHECK BACK: often new information is available nearer the actual presales event.

ON SALE NOW
Spots are still available for the Holmdel Travel Package. Don't miss this awesome opportunity to meet the band, get backstage, and party with other Aerosmith fans on a wild weekend.

Then see the show from a seat in the FIRST 5 ROWs.

AVERAGE CUSTOMER RATING: 5 STARS

It's the band's "DNA" on your back! No Foolin! The ink on this 100% heavyweight black cotton vintage t-shirt is CERTIFIED to be made from Steven's harmonica, Joe Perry's guitar, Joey's drum sticks and Brad and Tom's guitar pics used on the Girls of Summer tour.

MEMBERs GO HERE to GET your DISCOUNT NON-MEMBERs SHOP HERE

CHECK OUT the close-out prices for the 2004 Aerosmith Calendar and Rocksimus Maximus Gear.

From: AF1 email sent out to members...URLs inserted by Aeroluvr

By Daniel C. Hartman

With their new album, Honkin' on Bobo, veteran rockers Aerosmith want fans to know that they are simply emphasizing what they have always been about: the Blues. From the very beginning, the various members of the Boston, Massachusetts-based quintet, have found their musical style heavily influenced by the Blues. That includes guitarist Brad Whitford, who says he discovered a truly American musical form in a very roundabout way.

"Early on, I was heavily influenced by a lot of English artists," Whitford told BluesWax's Dan Hartman in an interview last week. "I'm talking about artists like Eric Clapton, Jimmy Page, Jeff Beck, and the Stones. The British Invasion had an influence on me, as well as the rest of the band." Whitford explained that this was because those artists had found their sound by taking a look at American music of the time, including Rock 'n' Roll and the Blues.

"Guys like Clapton and Page became real students of the Blues. They studied the Chicago and the Mississippi Delta styles and then gave it their own unique spin. I still find it funny that I got introduced to a lot of American music by guys from a different country," mused Whitford. "I learned about a whole new genre of music back then, and I'm still fascinated by it to this day," continued Whitford. "That's true for all us in the band, and part of the reason why we decided now was the time to put out a record of some of our favorite songs." That didn't happen overnight though; the album that became Honkin' on Bobo was a long time coming. "We talked about doing something like it for maybe five or six years. It just never seemed the right time to actually do it," recalled Whitford.

The right time came about a year ago, just after Aerosmith's last tour. After a few weeks of much needed rest from the rigors of touring, the group decided to get together in an intimate setting and record an album that they had always wanted to make. "We all got together and started playing in Joe [Perry, Aerosmith's lead guitarist]'s basement and it really just went on from there," Whitford said.

"We just started playing some different songs that we had always liked and the next thing we knew we were recording those songs."

During that process they began to listen to more and more classic Blues and artists. This was an eclectic mix of artists, which included Willie Dixon, Fred Matthews, Sonny Boy Williamson, and even the "Queen of Soul" herself, Aretha Franklin, whose "Never Loved a Boy," Aerosmith covers on Honkin' on Bobo as "Never Loved a Girl." "All of us in the group brought ideas to the table of what we wanted to record, some more than others," offered Whitford. "Joe in particular put a lot of compilations together, as did one of the guys from our record company. We literally had libraries of this great music that we listened to." As that method continued, it became a process of elimination as to what should go on the new album. "We started saying, 'let's listen to this,' and 'let's try that one.' Then someone would feel strongly about a certain song and we'd try that song. Most of the stuff we ended up trying were keepers. By the end, we got to the point at the end of those sessions where we felt we could make just about anything work. It was a good feeling," related Whitford.

It was also during the recording of Honkin' on Bobo, that Whitford said he gained a new admiration for the Blues greats. "When were doing this thing, we were listening to a lot of the old stuff, I mean really listening to it, " Whitford recalled. "As we were doing that, I just was taken aback by the feel of a lot of it." Whitford said that how that music was recorded was what impressed him the most. "That music was recorded in many cases as crudely as possible. Maybe crudely isn't the right word, as the process was probably modern in its time. Still, by today's standards it was crude. It doesn't matter though, as they've got a sound and feel so unique, it would be impossible to capture even with the technology we have today," he said.

That feel is what Whitford says Aerosmith tried to capture on Honkin' on Bobo. He feels that some songs really stand out more than others, like a cover of a relatively obscure Blues song called "Temperature," that was originally recorded by Little Walter. "Some songs we did were just so loaded, like 'Temperature,'" he said. "We listened to that one and went, 'Oh my God! That one was a real bulldozer.' We just kept getting bowled over by that song and that's how we ended up recording it."

Also during the recording of the album, Whitford says that he and his bandmates began to dissect the songs they wanted to cover. "We just started pulling those songs apart, every performance of them, and trying to figure out just what made that song work. We just wanted to see what made it tick, so we could make it work on the same level. We couldn't recapture the timbre of the original performance, but we tried to recapture its feel. It was just a great experience for all of us," reflected Whitford.

Aerosmith also brought in some "living legends," of the Blues and Rhythm and Blues to add something special to some of Honkin' on Bobo's tracks. Specifically, legendary Blues pianist Johnnie Johnson and the Memphis Horns, who Whitford says added that "extra something" to the tracks they played on. "Johnnie came in and added the piano after we had already laid down most of the track," Whitford recalled. "His playing just took those songs up several notches just with his musical presence. I can't say enough about what he added. Not many guys can play like that." Johnson's special piano touches can be found on the tracks, "Shame, Shame, Shame," as well as on the aforementioned "Temperature." Whitford says it was an honor and a privilege to have Johnson perform on the album. As far as the Memphis Horns go, Whitford says they appeared on the track "Never Loved a Girl" through digital sampling.

"The Memphis Horns are on there because of some pre-recorded digital samples they sent us," said Whitford. "It would have been too expensive and time consuming to bring them all in, as we were never sure we were going to use them in the first place. We ended up using the samples and, again, it added a lot to that song."

Whitford says that listening to and playing all of those classic Blues numbers has made it tough to pick one song as a favorite. He says that as the band tours and plays those songs more, maybe that will change. He also says that one favorite may not come to him until much later. With an album of Blues covers, instead of the usual hard rocking Pop sound that has become Aerosmith's trademark since their astounding comeback in the late 1980s, one wonders how the fans that grew up on that sound will react. Again, Whitford says it's really nothing that the band hasn't done before.

"Like I said, we've been influenced by the Blues for years," Whitford says. "We just decided that after years of playing the more commercial stuff, it was time to make a record of our favorite songs." In fact Whitford says, they started playing material that is on Honkin' on Bobo on their last tour. He also says that so far on their latest tour, which is in support of the album, the fans are really taking to the new "old" music they're playing up on stage.

"We started playing this stuff back in the fall, when we were touring with KISS. The crowd responded especially to 'Baby, Please Don't Go,' which Steven [Tyler, lead singer] and Joe took and added some Rock 'n' Roll to," Whitford says.

Besides rocking old Blues standards, Aerosmith also has featured Tyler on the harmonica on a number of songs over the years. Whitford says the new album just gives the group's front man a chance to show crowds his prowess on the harp on a bigger scale. Tyler's love of the harmonica also may explain the album's title.

"When I first heard it, I thought it was kind of a joke," Whitford explained. "Then I heard that it's what some Jazz musicians call a saxophone, or like a guitarist picking up his ax, or even what they call a trumpet. I prefer to look at it as some kind of tongue-in-cheek joke and say that I honestly don't know."

From: http://www.blueswax.com and posted on www.aeroforceone.com

Aerosmith and the blues go way back. Like their Sixties-era British blues-rock counter parts, they used the blues as a musical springboard to inspire creativity and add weight to their crowd-pleasing infectious rock riffs. Honkin' On Bobo is Aerosmith's highly anticipated new album that marks a return to their blues roots. It's the blues done Aerosmith style, covering a diverse collection of genre classics, and an original song titled "The Grind."

Aerosmith bassist Tom Hamilton wanted to make a riff record that was a little more evil sounding than past releases. "We've been thinking about doing it for a long time. We've always had blues songs that we've been playing, going back all the way to the beginning. For some reason most of them just never wound up on records. We started collecting compilations of old blues songs and writing down ones that we've always liked. After about four months of just picking a song from the day before or the morning of and recording it that afternoon, we pretty much narrowed it down to the core of what's on the record now."

Like most students of the blues, Hamilton was introduced to the music via bands like Led Zeppelin, Cream, and the Yardbirds. But that was only the beginning of his journey. The blues has many winding side streets and dark alleyways, but it all comes from the same source. "Joe Perry and I use to put a band together every summer and learn these blues rock songs and play them," says Hamilton. "One year we had a singer named John McGuire who was a blues fan, and he's going, 'You listen to all that British fruity music! That's not really it. You gotta listen to this stuff!' He started playing us old John Lee Hooker and Muddy Waters. We always had an awareness of that, but our real influence was more the hard rock British interpretations of the blues.

Covering songs by such blues icons as Sonny Boy Williamson, Muddy Waters, and Willie Dixon, and expecting it to do the kind of business of past releases has got to be risky. This is in light of a record buying public that has skipped the blues influence entirely in favor of modern bands that followed suit. "A lot of young bands aren't going that route anymore. They're getting into it from a different, more recent kind of influence. It's a risk because it's still a fact of life that if you put out a record and none of the songs get on the radio, nobody is ever going to know you have a record. It was a risky feeling, but a joyous feeling to know that here we were going to make a record without having to think about that. In the back of your mind you're always like, 'Gee, it would be nice if some of this stuff gets played on rock radio.' But we weren't worried about that. One of the reasons we didn't have to worry about it is because the label wasn't worried about it. They were very supportive of us doing it how we wanted to do it. We've been calling it a blues album. It's really a rock album. It an Aerosmith rock album with a heavy blues flavor to it. I would say there are three or four songs on the record where we really tried to absolutely duplicate what we were studying. Then there's a whole bunch of songs where we actually took them and thought up riffs for them and made them more into hard rock songs."

The making of Honkin' on Bobo was very much a back-to-the-roots experience in more ways than one. Recorded at Joe Perry's basement studio, the band reunited with dear friend and former producer Jack Douglas who worked with them on Get Your Wings, Toys in the Attic, and the Rocks album. Having worked with him for a couple of past projects, they thought Douglas would be perfect to work on a blues album. They recorded 80 percent of the basic tracks with Douglas and original engineer Jay Messina. When it came to mixing the record, the perfect man for the job was Marti Frederiksen. A brilliant engineer and musician, Frederiksen was extremely well versed in how to take a record and use modern technology to mix it with automated moves. Whereas Douglas was coming from a vintage approach of mixing by hand, Frederiksen brought to the table his technical knowledge. He helped illuminate guitar, drum, and vocal parts that weren't responding to mixing the old-fashioned way. Most of the record was recorded on two-inch tape and then dumped over to ProTools.

Hamilton believes the songs really live onstage. "One reason we're doing this is because people are out there wanting to hear us play. We just happen to still be around. They want to hear us play because of songs that have been big radio songs. So the radio songs are our price of admission to be able to go out and rock out in front of the audience. They get off on "Baby Please Don't Go" which is really sort of a super-fast rocker. There's a song called "Stop Messin' Round" that was an old Fleetwood Mac song back when they were a blues band. We've been playing that for years. One of the things we decided to do was to be able to try to cook like a blues band."

Supplying bass duties for such a project required a change of approach from past albums. With bass influences ranging from the likes of John Paul Jones, Paul McCartney, and John Entwistle, Hamilton was never a true bass student, preferring the sound of the overall song more so than learning specific bass parts by rote. For Honkin' On Bobo, Hamilton went for authenticity and that extra special something to enhance the low-end vibe of the sonic picture. "I was going after a real thump. I didn't want to do the twangy round wound thing. I was going for the authenticity of using flat wound strings and having the bass be more of a percussive background instrument. I used a bunch of different basses. I used some old cheapo basses like a Kay bass. Just an old bass that was a relatively inexpensive rig that kids could buy back in the Sixties. I used an old Framus bass; I even tried out an old funky Supro bass."

When you're the bass player for one of America's greatest rock bands with a large discography, a scandalous reputation, and huge record sales, it goes without saying that you're doing something right. Here's a special tip to all those bassists who want more thump in their bottom end. "Try flat wound strings and accept your role. You're a drummer. You're a drummer with a wider range of pitches than a drum kit. Play simple and solid. I contributed to a charity auction and my contribution was that you could bid on a one-hour lesson with me. This 13-year-old kid came over and I felt really good being able to impart to him that it's better to take one note and practice that with a drum beat and get it solid than it is to be able to play all over the neck. I think that's really what it's all about. If you're a bass player and you join a band, they're going to be impressed if you can play all over the neck, but they're really going to be knocked out if you cook with the drummer."

From: http://www.musicconnection.com

Aerosmith: They let the music do the talking
By KYLE MUNSON
BACK IN THE SADDLE
04/29/2004

Thirty-four years on the road and more than 100 million records into their career, Joe Perry and his fellow Boston bad boys in Aerosmith have finally unleashed their long-rumored "blues album."

"Basic and back yard and back to the roots" is how Perry, 53, characterized "Honkin' on Bobo," the band's 25th release and first new CD since 2001's "Just Push Play."

Aerosmith's current tour kicked off March 11 in Lubbock, Texas, and continues through the end of June. The band sold 70,790 tickets in the first quarter of 2004 alone, while "Honkin' on Bobo" is perched comfortably at No. 18 on the Billboard Top 200 Albums chart.

More than just about any other band, Aerosmith has earned its survivor status with repeat comebacks born of tenacity and relentless touring. Last year's Aerosmith-Kiss doubleheader rated the No. 7 tour of the year and raked in $64 million.

Last week Perry lounged on his tour bus in Montreal prior to a concert and told his road manager to make a note that "Milk Cow Blues" should get worked into the band's setlist.

"We didn't want to make a record like the Eric Clapton record," he explained.

Perry chafes that Aerosmith's "Bobo" has been widely compared to Clapton's tribute to blues pioneer Robert Johnson, "Me and Mr. Johnson," which also was released on March 30. Aerosmith didn't aim for a "literal translation of the blues," Perry said, but rather a "vehicle" to "showcase some of our favorite tunes."

So Perry spent the last few years rummaging through his scattered CD and vinyl LP collection - which he intends to consolidate into a digital library with a hard drive he recently purchased - for songs to present to the rest of the band.

"We wanted to kind of just embrace our roots, so to speak, and just kind of build on it, make it more a statement of where we came from. In our generation there are a lot of guys in a lot of bands that were influenced just the way we were, by hearing all the English bands playing what they played."

As the saying goes, Aerosmith is America's answer to the Rolling Stones. And the playlist of "Honkin' on Bobo" is a screaming, rocked-up romp through Big Joe Williams' "Baby, Please Don't Go" and other blues chestnuts - plus one new Aerosmith original, "The Grind."

Aerosmith didn't notch its first No. 1 song until 1998's "I Don't Want to Miss a Thing," the syrupy ballad written by Diane Warren that was featured in the brainless blockbuster "Armageddon." But Aerosmith diehards who have felt, um, "Jaded" about the band's recent output and still prefer to dust off their scratchy LP copies of "Toys in the Attic" or "Rocks" are probably relieved to hear the retro blare of "Bobo."

The band's tell-all 1997 autobiography, "Walk This Way," chronicles the pivotal moment in the summer of 1969 in Sunapee, N.H., when singer Steven Tyler first witnessed Perry and bassist Tom Hamilton's nascent group, the Jam Band, careen through "Milk Cow Blues" and other bluesy fare.

"I knew a kindred spirit and fellow traveler when I saw one," Tyler writes in the book. "Something in my deepest being knew instinctively that if I could get into a groove with him and start writing songs, we could combine what I knew with the looseness that they had."

And so he did. Tyler hooked up with Perry and Hamilton, and then drummer Joey Kramer and guitarist Brad Whitford.

"Honkin' on Bobo" recaptures that looseness partly because it was recorded primarily in "the Boneyard," Perry's home studio in the basement of his "rambling country-kind of mansion, very typical New England-kind of farmhouse" located about 20 minutes south of Boston. Perry has lived there 16 years, gradually adding on rooms and building a world-class recording studio.

His main control room is a cozy 12 feet by 12 feet with a 7-foot ceiling. The slightly larger recording space is where Perry laid down lead vocals as well as guitar for one of the album's most raw songs, "Back Back Train."

"It's really hard wanting to sing in a band when you have one of the top five rock singers this century, know what I mean?" Perry said.

Having already written an autobiography, filmed a "Behind the Music" special for VH1 and rehashed many times over his status as a onetime rampant drug abuser and "Toxic Twin" alongside Tyler, Perry would prefer to put the 1970s and '80s behind him for good.

"It doesn't even feel like it's part of our history it's so old," he said and pointed out that he and his fellow band members have been sober, mature businessmen longer than they were stoned, reckless rockers.

Aerosmith will focus on its recent activity in a new behind-the-scenes special to air May 21 on the A&E network. It will show the band at the Boneyard, in concert - even at its Super Bowl gig that got overshadowed by Janet Jackson's "wardrobe malfunction."

"It was kind of heartbreaking to see so much emphasis put on, one way or another, some kind of publicity stunt," Perry said. "I thought it was tacky."

Aerosmith is a well-oiled arena rock machine - not that Perry enjoys making all the business decisions about how much to charge for concert tickets, how best to combat scalpers, etc.

"Trading money for art is a pain in the ass but we're lucky enough to do it," he said. "I don't think anybody in the band has gotten to the point that doing business has ruined the fun of making rock 'n' roll."

Best of all, Perry revealed that as many as another dozen tunes in the vein of "Honkin' on Bobo" are in "various stages of being done."

So Aerosmith's bluesy rebirth might just be getting under way.

From: http://www.dmregister.com

1. Rock And Roll Outlaw
2. I Just Want To Make Love
3. Tie Your Mother Down
4. Until I Get You
5. Wheels Of Steel
6. Nobody's Fault
7. Custard Pie
8. Moonage Daydream
9. Marseilles
10. Hurdy Gurdy Man
11. Search And Destroy

Bonus Tracks
12. Revolution [Recorded Live In 2003]
13. Don't Look At Me That Way [Recorded Live In 2003]

1988 Aerosmith plays in Dayton OH at Hara Arena (White Lion opens)

1990 Aerosmith plays in Johnson City TN at Freedom Hall Civic Center (Joan Jett opens)

1999 Aerosmith plays in Englewood CO at Fiddler's Green Amphitheatre (Afghan Whigs open)