Please don’t walk out that door,
There’s got to be some more…
Timing is fucking amazing!
Maybe sometimes it’s better to just let ‘em go
Okay, we’re really getting somewhere now. We’re starting to turn the corners and get to what this band does best.
This song has been done by “EVERYBODY”, and most have done it really well. I really like the way “Them” did it, but their version is a bit too 60’s for my taste. Then again, Van’s vocals are almost made for this song. Wait, that might be a stretch Van Morrison, Don Henley, people like that are born to sing almost anything they want… The Heartbreakers did a really good version. That is until Tom started singing. That kinda’ ruined it for me. There’s a few things Ted does well, but this song IS NOT one of them. Bon Scott and AC/DC actually do one of my all time favorite versions. Bon Scott though, unlike almost any other rocker of his time, had a style all his own, without even being a great vocalist. It was his spirit, that came out in the songs he sang. And I know this sounds sacrilegious, but I’m not a fan of Muddy Waters’ version at all.
The song is commonly called; “One of the most played, arranged, and rearranged pieces in Blues history” Wikipedia says that the song was first recorded in ’35 by Big Joe Williams, and that it dates back to the 19th century in the times of bondage and slavery. There also seems to be an awful lot of “loose” credits to the originators of the song. Kind of a shame really, someone should get some major credit somewhere for this one. It’s that good! It’s one of those songs that even today, take us back to kind of a yesteryear.A time of festivals, and even small town revivals, whether it be annual Fireman’s dance at the local Town Hall, or something as big as the U*S Festival or even Woodstock, this one gets your feet movin’ and your hands a clappin’.
Aerosmith puts their own touch on this song that is so uniquely “The Boys from New Hampsha’” that it’s absolutely unmistakable when you hear it, just who it is. I’ve said this before, and I’ll say it again. They don’t just play tribute to a song when they cover it, they “Fucking OWN IT!” They “Aerosmith it up”! Aerosmith-ize, so to speak. But what that word means, is that when you hear this version, you have to do a little more than clap your hand and move your feet… You gotta’ feel it!
Part of what pulls this one off for them, is an absolute true return to where they came from. This song is 1973 all over again. It maybe someone else’s song, but not while they perform it.
The “Honkin’ on Bobo” Tour was an all time favorite of mine. There’s just something special about these guys when they’re having the time of their lives, playing the songs they truly like to play. The Bobo Tour, easily ranks number two with me of all the ones I’ve ever seen. From Boston.com News in a 2004 review of a hometown ‘Bobo’ concert, their show was reviewed like this;
“An astute friend describes Aerosmith’s 25th album, “Honkin’ on Bobo,” as arena blues, and indeed, there was nothing back porch or down home about the generous selection of songs Aerosmith played from the new disc. They were lighter-raising, feel-good, slick, and super-size blues, and interspersed with cherry-picked favorites, they inspired the sort of bar-band energy and meat-and-potatoes riffs that hearken back to the days before hit soundtracks became a priority.” “The entire back end of the set amounted to a killer run: the obscure Fleetwood Mac track “Stop Messin’ Around,” dripping with Tyler’s dirty harmonica licks, fed into “Dream On” and “Draw the Line,” which sparked the vintage tunes “Baby, Please Don’t Go”…”
I think some of my favorite remarks in that review is about the lack of the overly syrupy IDWMAT, and the fact the “Boston” Concert was a meat & potatoes type of set. This is what True Blue Army has come to expect from these guys, not concerts filled with overly Pop Hits like some kind of album from “K-Tel Presents”! But alas, at this stage of the game, we take the shows we can get, and as Poppy as some of the songs they play now are, which in no way what-so-ever represent their nickname “The Bad Boys from Boston”, they have a way of even making them sound good… But, oh the times I could reminisce…
But getting back to Aerosmith; Steven writes from scratch. It’s a sound, a feeling from deep within his soul. He starts scatting sounds that turn into words, that turn into lyrics, that turn into verses, that turn into songs. Many Aerosmith songs were just Steven and Joe Jamming and Scatting, until something came out the other end. No, of course Steven didn’t write this one, but it’s the type of song that he very well could have, and the lyrics work so well with his writing style.
So when you listen to this version, in my biased opinion, the best version ever, listen to the tradition of the song, and listen to the unique sound Aerosmith puts on it, listen to them feel it, breath it, live it… ooze it! I love Joe’s quote about the album, so tongue in cheek. Knowing Joe, he’s saying the sentence backwards from the way he means it. Forever the High Road, but we get it Joe;
“I can’t believe this is the same band that did ‘Don’t Wanna Miss a thing’”
The quote I like best from Allmusic.com on ‘Bobo’, without the rest of the mess, is;
“Other rockers who have cut full-length blues albums have always played the music with a kind of scholarly reverence, taking care to pay tribute to their influences. Not Aerosmith. They turn up the amps and cut loose, playing slick and sleazy blooze-rock that feels indebted to second-generation blues-rock instead of blues forefathers.”
You know what? I’ll take that. I’ll take exactly that! I don’t wanna hear what everybody else does. I wanna hear Aerosmith, even if is your Grand Pappy’s song. I want to feel Aerosmithized!
The boys recorded this song for their Blues Covers album, Honkin’ On Bobo, which, as I’ve said, was their “baby”… Their pet project! What they hold dear. Billboard Magazine describes the song as;
“the kind of straight-ahead, hard-driving track that always typified the band’s [1970s] records”.
It was the first single to be released from the album, and it reached number seven on the mainstream rock charts. The video, directed by Mark Haefeli, really captures the feel of this song and Aerosmith’s mark on it. If you’ve never been to an Aerosmith concert… well, this is pretty close.
Listening to Tyler just “go” on this, you get a feel… and understanding of how he creates lyrics for so many other songs. You get a feel of the musical and lyrical genius. This, in my opinion is the heart of why, and how they make this song their own. No, he didn’t write this, but it flows through his blood, like water down a favorite river, and then exits through the fingers of Brad and Joe, and Tom, and Joey, as they impart the ‘Flooze’ to the Blues, while Steven keeps the sleaze ,that is the essence of the way they do this song, lingering from bridge to bridge with harp play that can only be described as sexually inspirational.
They don’t just pick, they slide, they roll, they groove, speed it up, they energize this song, with fever that just keeps getting hotter and hotter and hotter as it goes.
They are the one and only, with the sound that embodies their spirit of the coined description of “Bloozy”. Watch Joe, watch Steven, they feed off each other, they receive from each other the fuel that makes this band go. 3 and a half minutes of ‘ooze’…
I hope you like this, from the squeeze to the sleaze…
“Stop bein’ the dog
Stop bein’ the dog… yeah
Stop bein’ the dog… get’chor way down here
Make you walk along
Baby please don’t go…yeah”
This is “Baby please Don’t Go”