On this tape, you can hear the carefree spirit in Aerosmith that would later influence bands like Mötley Crüe and Guns N’ Roses but none of the glossy, powerhouse pop sheen that would define “Kiss my sassafras”/”Love in an Elevator”-era Aerosmith in their comeback years. It’s that Aerosmith that plays on 1971: The Road Starts Hear, a recording that reveals their roots better than their debut LP.Īlthough Tyler’s pouty lips would earn the band Stones comparisons for most of its career, this record suggests the band was more obsessed with Beck, the Yardbirds, and Led Zeppelin, artists who came to prominence in the wake of the Stones’ blues-rock renaissance, making Aerosmith third-wave contributors (and giving them the latitude to create their own iconic sound eventually). They ultimately figured they made a pretty good racket of their own together, nicked a moniker from Sinclair Lewis’ novel, Arrowsmith, and embarked upon becoming Boston’s greatest bar band. Originally, Tyler had corralled Perry, bassist Tom Hamilton, and drummer Joey Kramer into backing him on an audition tape for the Jeff Beck Group, which had recently parted ways with Rod Stewart. ![]() The band members were all in their late teens or early twenties when they first came together in 1970. It’s at once both a sonogram of the band as journeymen and a testament to the vision they had early on, the dogged determination to dream until the dream comes true - even if it sounds anything but dreamy in the moment. On a newly unearthed demo tape, which is coming out with the regrettably punny title The Road Starts Hear, that Aerosmith cut in 1971 - two years before releasing their self-titled debut - the band sounds loose and lubricated on embryonic versions of “Dream On,” “Mama Kin,” and other ditties they would be performing live for the next 50 years. Before Steven Tyler and Joe Perry became the “Toxic Twins,” they were merely intoxicated.
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