Big Ones

Aerosmith: Steven Tyler (vocals, keyboards, mandolin, harmonica); Joe Perry (guitar, dulcimer, background vocals); Brad Whitford (guitar); Tom Hamilton (electric bass, background vocals); Joey Kramer (drums, percussion).

Additional personnel: Catherine Epps (spoken vocals); Tom Keenlyside (clarinet, tenor saxophone); Ian Putz (baritone saxophone); Henry Christian, Paul Baron (trumpet); Bruce Fairbairn (trumpet, background vocals); Bob Rogers (trombone); Richie Supa, John Webster, Desmond Child (keyboards); Drew Arnott (Mellotron); Jim Vallance (organ); Mapuhi T. Tekurio, Melvin Liufau, Wesey Mamea, Liainaiala Tagaloa, Sandy Kanaeholo, Aladd Alatina Teofilo Jr. (Polynesian log drums); Don Henley, Bob Dowd (background vocals).

Producers: Bruce Fairbairn, Michael Beinhorn.

Engineers include: Adam Kaspar, Mike Fraser, Bob Rock.

All songs written or co-written by members of Aerosmith.

By now Aerosmith’s story of survival is deeply imbedded in rock mythology. Band reaches outlandish stadium-sized stardom in the `70s; band splinters under the weight of their toxic abuse; members undergo detox; clean and sober band returns to a new apex of superstardom in the `90s: a classic tale of excess and success. It is rock ‘n’ roll’s great American redemption, and BIG ONES is a greatest hits soundtrack to the comeback portion of this story–with two new tunes to serve as an encore of sorts.

BIG ONES also illustrates that the Aerosmith that’s come to define current mainstream rock is not the Aerosmith of old. The blues-veined, pocket-Stones sound that introduced white boys to “Walking The Dog” has given way to lascivious arena-metal (“Love In An Elevator,” “Dude (Looks Like A Lady)”) and emotional power-ballads (“Angel”, “Cryin‘”). Age has also brought about a change in the topics that the band chooses to address, concerning themselves with child abuse in “Janie’s Got A Gun,” and morality in “Living On The Edge.”

Yet, with Aerosmith what you see is what you get–therein lies the beauty–and even with the mild tinkering of the machinery, BIG ONES proves that their commercial train just keeps a-rollin’.

What the critics say…

Entertainment Weekly (11/4/94, p.74) – “…compilation of post-‘85-resurrection hits includes two new songs…Few bands can mix hard rock, funk-fortified blues, and motormouth jive with such aplomb…” – Rating: A-