Call for Essays About Any Aspect of Popular Culture, Present or Past

Music
cover art

Aerosmith

Get a Grip

(Geffen; US: 20 Nov 2001)

Aerosmith Gets a Rock Stranglehold with Get a Grip

The year was 1993 and one of the biggest rock revivals was in full swing. Aerosmith had captured several demographics with the smash-selling Pump, the many singles and videos thereafter. Trying to surpass the sales figures was an exercise in futility, but the group returned with perhaps one of its finest, totally underrated, shining moments. Although this album has been rarely given its due in lieu of trying to commercially eclipse Pump, this collection of rock anthems, funky jams and heartfelt, high-school prom ballads could be seen by many as a more complete and well-rounded album. The Toxin Twin duo of Joe Perry and Steve Tyler could now be referred to as the Antioxidant Twins, but it doesn’t diminish the body of work, of which Get a Grip was such an integral part of.


From the opening jungle, Banshee like wails of the comic intro, Tyler sings about swinging from the pearly gates and having “the right key baby but the wrong keyhole”. From that and a brief snippet of the “Walk This Way” riff, the album begins with “Eat the Rich”, a no-nonsense rocker which relates somewhat to “Love in an Elevator” but is a bit more refined and unpolished, particularly the ragged guitar solo by Perry. The rhythm section is also rock solid, with Brad Whitford and bassist Tom Hamilton keeping everything in check. But it’s the subsequent title track that is the hidden and often overlooked gem within. Although never released as a single, the song has the same funky swagger that “Rag Doll” has on the band’s Permanent Vacation only a bit more upbeat and less bluesy. It also seems to propel the rest of the album for an enjoyable rocky ride. “Flesh” also has the same mannerisms, with a harder guitar leading the way over Tyler’s lewd and crude double entendres. If you listen closely near its conclusion, the tribal rhythms are almost identical to the opening for “Eat the Rich”.


One of the few numbers which could be considered filler in spots is “Fever”, a song that resembles “Toys in the Attic” in its urgency, but due to other circumstances, notably having country superstar Garth Brooks covering the tune, it loses much of its drive and luster upon many listens. Tyler’s return to the harmonica midway through the song secures its place in boogie rock as well. “Shut Up and Dance” also falls into this same category, with Tyler talking the song mostly instead of singing it. The psychedelic sandwich on “Gotta Love It” has a nice groove to it, but falters during the initial verses.


“Livin’ on the Edge”, while not the spotlight stealer, is certainly one of the album’s cornerstones, coming in at over six minutes. With a style very reminiscent of Led Zeppelin’s “Kashmir” in the constant, brooding of Joey Kramer’s drumming and the Eastern influences hidden deep in the song, the tune is by far one of the highlights within the hour plus here. Joe Perry also has more than just his guitar moments setting an example as he takes the lead vocals on “Walk on Down” and closes the album with the murky instrumental of “Boogie Man”.


Of course, no post-1986 Aerosmith record would be complete with a couple of lush ballads which carry the album easily and this album is no different, with three songs on the second half all trademarks of the group’s current setlist. “Cryin’” is perhaps the closest thing to a 1950s rock or 1960s soul song you’re likely to hear anytime soon. The horns and harmonica only enhance the effort, but it’s Perry’s simple strumming and the rhythm section’s coming to the fore that gives it such a shot in the arm. “Crazy” is basically a photocopy of the aforementioned ditty, but “Amazing” tends to be a bit more spiritual in its content and orchestral arrangement.


While many will still argue that Permanent Vacation and Pump are better, it is extremely difficult to argue with this collection for the simple fact so many of them are arena rock mantras or can induce 20,000 to wave bic lighters in the air. This album is perhaps the group’s best album since the haze that was the 1970s.

Originally from Cape Breton, MacNeil is currently writing for the Toronto Sun as well as other publications, including All Music Guide, Billboard.com, NME.com, Country Standard Time, Skope Magazine, Chart Magazine, Glide, Ft. Myers Magazine and Celtic Heritage. A graduate of the University of King's College, MacNeil currently resides in Toronto. He has interviewed hundreds of acts ranging from Metallica and AC/DC to Daniel Lanois and Smokey Robinson. MacNeil (modestly referred to as King J to friends), a diehard Philadelphia Flyers fan, has seen the Rolling Stones in a club setting, thereby knowing he will rest in peace at some point down the road. Oh, and he writes for PopMatters.com.


Related Articles
26 Nov 2012
Aerosmith was inducted into the Rock and Roll Hall of Fame in 2001, but its members have absolutely no plan to rest on its laurels.
7 Nov 2012
In the storied halls of rock and roll, Aerosmith's Music from Another Dimension! resides in the geriatric wing.
17 Nov 2009
Aerosmith’s Joe Perry goes solo. Armed with a new album and tour, Perry talks with PopMatters 20 Questions about why nothing tops Hendrix, Master and Commander, or coffee.
1 Nov 2005
Suspicion abounds as to why Aerosmith would release a live album off a tour from three years ago. Yeah, I'm stumped too.
discussion by

Comments
Now on PopMatters
PM Picks
Announcements

© 1999-2014 PopMatters.com. All rights reserved.
PopMatters.com™ and PopMatters™ are trademarks
of PopMatters Media, Inc.

PopMatters is wholly independently owned and operated.