Aerosmith Toys in the Attic  GOLD CD Mastersound SBM NEU OVP Sealed US Import von 1992

Erscheinungsdatum: 1992
Label: Epc (Sony) Nr. CK 64401


        Trackliste

1. Toys In The Attic
2. Uncle Salty
3. Adam's Apple
4. Walk This Way
5. Big Ten Inch Record
6. Sweet Emotion
7. No More No More
8. Round And Round
9. You See Me Crying


 

Produktbeschreibungen

 
Ursprünglich im Jahre 1975 erschienen, war diese Aufnahme für den Durchbruch von Aerosmith verantwortlich. Hörer, die nur mit dem aktuelleren Material aus der Phase nach dem Comeback der Band vertraut sind, werden vielleicht überrascht sein; wie ihre anderen Alben aus den 70ern, hat Toys in the Attic einen starken Blueseinfluß, der in ihrer Coverversion von "Big Ten Inch Record" zutage tritt und zeigt, daß es Aerosmith noch nie an Anzüglichkeiten und Zweideutigkeiten gemangelt hat. Auf diesem Werk befinden sich auch die Original-(prä-Run-D.M.C.)Version von "Walk This Way" und der Klassiker "Sweet Emotion". Es handelt sich um klassisches, grobes, rauhes, erdiges Aerosmithmaterial erster Güte; es mag teilweise abgekupfert sein, aber das interessiert keinen, damals wie heute: es kommt mit einem Heidenspaß rüber. --Genevieve Williams
 
Review by Stephen Thomas Erlewine
After nearly getting off the ground with Get Your Wings, Aerosmith finally perfected their mix of Stonesy raunch and Zeppelin-esque riffing with their third album, Toys in the Attic. The success of the album derives from a combination of an increased sense of songwriting skills and purpose. Not only does Joe Perry turn out indelible riffs like "Walk This Way," "Toys in the Attic," and "Sweet Emotion," but Steven Tyler has fully embraced sleaziness as his artistic muse. Taking his cue from the old dirty blues "Big Ten Inch Record," Tyler writes with a gleeful impishness about sex throughout Toys in the Attic, whether it's the teenage heavy petting of "Walk This Way," the promiscuous "Sweet Emotion," or the double-entendres of "Uncle Salty" and "Adam's Apple." The rest of Aerosmith, led by Perry's dirty, exaggerated riffing, provide an appropriately greasy backing. Before Toys in the Attic, no other hard rock band sounded like this. Sure, Aerosmith cribbed heavily from the records of the Rolling Stones, New York Dolls, and Led Zeppelin, but they didn't have any of the menace of their influences, nor any of their mystique. Aerosmith was a gritty, street-wise hard rock band who played their blues as blooze and were in it for a good time; Toys in the Attic crystallizes that attitude.