Right from the beginning, Aerosmith aimed to be the American counterpart to iconic bands such as the Rolling Stones or Led Zeppelin. Just two years after they formed, Aerosmith inked a deal with Columbia Records in 1972 and launched their self-titled debut album in 1973. This initial record climbed to number 21 on Billboard’s albums chart. However, their follow-up, "Get Your Wings," managed only a peak position of 74 just one year later. In an effort to rapidly expand their fan base, the band's management strategy involved having them perform opening sets for more mellow groups like the Guess Who and Mott the Hoople during tours, hoping to attract these acts' followers.
In 1975, Aerosmith became better refined and gained wider recognition. Just months following the release of their third studio album—"Toys in the Attic"—which marked five decades since its debut, the album climbed to number 11 on the charts. By August, it had moved over half-a-million units. This record boasted a richer sound and displayed greater coherence and depth compared to their earlier works. Additionally, it featured two successful singles: "Sweet Emotion" and "Walk This Way."
Relying extensively on suggestive tunes penned collectively by Steven Tyler with his powerful vocals backed up by the robust playing of lead guitarist Joe Perry, rhythm guitarist Brad Whitford, bassist Tom Hamilton, and drummer Joey Kramer, this album (produced by Jack Douglas) had an explosive impact. Their confident style characterized by thick layers of guitars significantly influenced bands like Guns N' Roses, Mötley Crüe, Metallica, and numerous others from the late '70s and early '80s who were part of the hard rock and heavy metal scenes.
Aerosmith's third studio release and their first headline tour coincided perfectly with this moment. While The Rolling Stones were touring America sans fresh music, Led Zeppelin was struggling through the latter part of their "Physical Graffiti" trek, dealing with member injuries, sickness, scrapped shows, and chaotic venues.
Aerosmith's growing appeal was further boosted by their performances in America's Rust Belt, an area accustomed to raucous rock music ever since The Stooges and MC5 toured there back in 1968. In national arenas, fans discovered a frontman for Aerosmith who resembled Carly Simon visually but emulated the stage presence of Mick Jagger and possessed a vocal style akin to Robert Plant. Additionally, they marveled at a lead guitarist whose skills mirrored those of Jimmy Page. While bands such as The Rolling Stones and Led Zeppelin moved up to luxurious, branded private planes, Aerosmith maintained a down-to-earth image that resonated with everyday people.
Toys in the Attic" kicks off with its eponymous opening track, characterized by an intense flurry of interwoven electric guitar riffs dominated by Mr. Perry's robust chord progressions and fiery solos. This tune paints a picture of a sinister hideaway where imagination comes alive: "Up in the attic lights / Echoes cry out / Visions unseen / Reality fades into dreams.
Uncle Salty" is a haunting, moderately paced track that revolves around an unsettling caretaker at an orphanage reminiscing about abusing a resident girl: "Her mother was desired, father caught trouble / Left her to be cared for until the orphan bled. Yet when she wept at night, nobody responded / And as she sobbed each night, lost touch with sanity.
A standout track from the album is "Adam's Apple," which showcases a twisting guitar line by Mr. Perry. The song features notably skillful lyricism from Mr. Tyler as he explores themes of biblical moral tales with lines like, "Even Eve in Eden / Tried misleading voices / Offering deceitful stories to guide the woman astray."
The lively "Walk This Way" initially emerged as a groovy concert warm-up jam by Mr. Perry towards the end of 1974. The song's rhythmically explicit verses penned by Mr. Tyler were composed afterward in New York City, with the title drawing inspiration from the movie "Young Frankenstein," particularly actor Marty Feldman telling Gene Wilder to "walk this way." Following the recording of Mr. Tyler’s vocals, Mr. Perry added an incendiary lead guitar part and solo.
The only weaker link in the album is "Big Ten Inch Record," which is a rendition of Bull Moose Jackson’s 1952 R&B hit. Although it has some risqué elements, it falls short compared to the rest of the LP’s innovative hard-rock attitude.
Sweet Emotion" is a sensual shuffle driven by a powerful bassline, sizzling guitar melodies, and tight riffs. The track bears a resemblance to Led Zeppelin’s style, with lyrics that Mr. Tyler mentioned were inspired by his response to Mr. Perry’s girlfriend at the time: "I've got some great news for you; she sure knows how to deceive / 'Cos the backstage dance made your trousers catch flame.
No More No More" swings to the catchy rhythm reminiscent of Elvis Presley’s "Jailhouse Rock," complemented by vocals akin to those of The Rolling Stones. The song laments the challenges of touring: “Holiday Inn, bolt the door shut / You might enjoy it but also despise it / Yet for me, they're indistinguishable from one another.
The intense "Round and Round" stands out as the most robust track on the album, blending a metal rendition of clanking industrial equipment with vocals reminiscent of Robert Plant’s style. The standout elements include Mr. Whitfield's piercing lead guitar, Mr. Hamilton's driving basslines, and Mr. Kramer's frenzied drumming.
The closing track 'You See Me Crying' is a poignant power ballad performed by Mr. Tyler on vocals and piano alongside Mr. Whitfield on lead guitar. The addition of a symphony orchestra adeptly amplifies the emotional depth and theatricality of the song.
"Toys in the Attic" significantly increased the album sales of Aerosmith’s preceding records, transforming them into a major headlining attraction and establishing fresh benchmarks for rock performances in arenas, characterized by concise tracks and articulate presentations at elevated volumes. Ultimately, the band surpassed their original aspiration for stardom; as per the Recording Industry Association of America, Aerosmith has shifted 86 million albums within the U.S., outpacing even the Rolling Stones' tally of 69 million.
Mr. Myers wrote "Rock Concert: An Oral History" and "Anatomy of 55 More Songs," both published by Grove Press.