Number 48 – Just Pull The Fucking Trigger!


Sometimes I Think it Might Be Better to Just
Pull the Fuckin’ Trigger…

The song is another immensely successful song for the band, earning them a Grammy and 2 MTV awards, along with a now (at the time) familiar spot on Billboard’s top 10. This might just be the most “important” song Aerosmith ever recorded, right here.

It was successful, not just because it had commercial and pop appeal, but it also had the driving hard rock drum beats and guitar riffs that identify Brad Whitford, Tom Hamilton, and Joey Kramer as the rock stars they are, not to mention showcasing Joe as the Super Star Rock God that he has become. It goes without even mentioning the super strong message of abuse and the lack of attention abuse victims were getting at the time. The song even made it to #37 on ‘Rolling Stone’s Top 100’. And that says a lot for a magazine who was none to kind The Boys from Boston.

Steven and Tom put the song together, after Tyler read a Newsweek article on gunshot victims, he was able to connect the song with the theme of child abuse and incest. The angry disposition that Steven had, that in essence, nobody at the time seemed to be acknowledging how many kids in this country, were being abused by their own parents, or close relatives. He went on to say;

“The song is about a girl getting raped and pillaged by her father. It’s about incest, something that happens to a lot of kids who don’t even find out about it until they find themselves trying to work through some major fucking neuroses.”

He told R.S.-
 “I came up with the line “Janie’s got a gun.” He then sat on it for months, “waiting for the oracle door to open.” “It only became a song about child abuse after I looked over at a Time magazine and saw this article on 48 hours, minute by minute, of handgun deaths in the United States.”

He continued:
“Then I got off on the child-abuse angle. I’d heard this woman speaking about how many children are attacked by their mothers and fathers. It was fucking scary. I felt, man, I gotta’ sing about this. And that was it. That was my toe in the door.”

Steven goes on to say, and he maybe trying to speak for the whole male species, albeit unqualified and unsolicited, not to mention largely incorrect. However, I give him a lot of respect for speaking out loud about it. And from his own truth, addressing the behavior as not only that he understands it, but also that it is forbidden;

“How can a father not be attracted to his daughter, especially when she’s a cross between the girl he married and himself?” “All a man has to do is be totally honest with himself and he can see it. However, the real man knows that’s just a place to never go. Instead he celebrates it by telling his daughter how beautiful she is and what a precious child of God she is. There’s ways to love it without making love to it – I wrote ‘Janie’s Got A Gun’ about fathers who don’t know the difference.”

The song peaked in the United States on Billboard’s Hot 100 at #4, and then #2 on Billboard’s Mainstream Rock Chart, However it did reach #1 in Australia, and #2 in Canada. Maybe some of you remember the band performing it on Saturday Night Live in 1990 in the same show they appeared as Special Guests on the Wayne’s World skit; “We’re not worthy!”, with Tom Hanks playing their roadie. gives critical acclaim to the song in this way (this is a good read);
A great example of this stylistic tightrope walk is “Janie’s Got a Gun,” a song that balances serious-minded lyrics with an ambitious melody that shows Aerosmith is capable of more than just hard rock. The narrative of “Janie’s Got a Gun” deals with child abuse, incest, and murder, but Steven Tyler avoids being sensationalistic or melodramatic in his lyrics by using imagery that is as jagged as the emotions behind it: “Janie’s got a gun/Her dog day’s just begun/Now everybody’s on the run….” 
The melody allows the group to flex their grasp of hard rock dynamics while also incorporating a number of other musical elements: the production weaves in orchestral swirls and the song opens with a world music-styled chant that blends African and Indian flavors into its hypnotic style. Aerosmith’s recording drives this complex song home with a performance that is as impassioned as it is skillful: the band restrains themselves in a subtly funky fashion during the verses, but delivers just the right touch of bombast during the song’s more emotional moments. Tyler also delivers a powerful vocal that hits the right balance between sympathy and righteous anger. All these elements gel beautifully to make “Janie’s Got a Gun” a message song that avoids the usual musical and lyrical clichés to create something truly powerful.”

I think does a really good job, better than I could ever hope to, in translating what the guys did here. Deservedly so, they give Steven tremendous accolades, and credit for this masterpiece. However, it’s my opinion this song doesn’t make it without Joe and Brad creating the soundtrack to the message, along with Joey and Tom providing pure strength and power, and yet at times backing off so much so, that it gives the tentative feeling of the subject matter at hand. But Joe and Brad create a sound, a melody that has both intensity of the problem, and the delicate personality of the victim the song represents. It’s truly, truly amazing, the emotional range the guys created to accompany Steven’s lyrical genius on this one! Joe pulls out an old Chet Atkins electric acoustic to provide the trepidation in sound, while Brad delivers intensity of the moments, both of often colliding in chaotic resistance to the abuse, and yet still at times, turning it back to represent the desire to just hold yourself together without deference.

The essence of the song, the message, could have been simplistic to do… In fact, I’m sure it’s been done before, and since. However, what they achieved was the balance of sympathy and anger, empathy and compassion, resistance to forced submission, and ultimately vengeance where some will see revenge. Not just in the lyrics, but in the driving guitars, bass line and drum beats, they bring this message to the listener in a powerfully blatant manner, and yet with complete sympathy. All the while, they do not ask, or expect the listener to convict the girl or the father, they simply ask you to take fucking notice! And more importantly, remove the shadows. The music reaches out for you… grabs you and says; “Pay some fucking attention here, there’s a lot going on, and you need to know!”

This is one of the songs that Kolodner and Steven argued and fought about/over what lyrics would be commercially acceptable. You can see Tyler’s point, when you realize the song took 9 months to write. It would be difficult to give in, when you realize the importance of the song as a whole. The line “He jacked a little bitty baby” was originally “He raped a little bitty baby”. Tyler still sings the original lines when performing live. In addition, the line “…and put a bullet in his brain” was sometimes changed to “…and left him in the pouring rain” on the radio.

I think it’s also important to realize the era in which the song was written, and received critical acclaim. What exactly was the Pop Culture topography like at the time? With vanity and promiscuity being the theme of most pop music at the time, and a band who may have rode that formula for success maybe better than any other artist or group of their time, the song was immensely daring and innovative. For a band that mastered and exuded sexual innuendo and double entendre as a base of their existence, this song wasn’t only brave to do at the time, it was also tremendously respectful when all was said and done. My wife Mary, remembers it being “the same year that Madonna was inviting us all into her bedroom, to Express Ourselves. It was and still is pretty much a taboo subject, but Lord knows the victims needed then, and need now an advocate in the arts to bring their plight to the light.“

And with this song in mind. This very important song in Rock History, Steven has now created a fund, a charity to provide shelter, assistance, and protection against the abuses young girls and even women endure in real life. A truly beautiful cause. For that alone, and the branches from this song, of all affected, all protected, this song may very well be the most important song in the band’s entire catalogue.

As I wrote this, the song was in a battle of songs up against “Pink”, in an FB Aerosmith group. All in good fun, but a little odd to say the least. Strange match up of a song so important in American Pop and Rock History, not to mention this band’s history, to be put up against a song, that has absolutely no virtuous meaning, or value to the America fabric of Pop Culture. But I guess different generations see the importance of things a bit differently. And that’s cool too… I like that generation #4 sees, and HEARS a damn good song!

The video attached was directed by our own Marin County, and San Anselmo’s native, David Fincher of ‘Fight Club’, ‘Alien III’, ‘Panic Room’, and the American version of the ‘Girl With The Dragon Tattoo’ fame, among others.

“He jacked the little bitty baby
The man has got to be insane… yeah
They say the spell that he was under
The lightnin’ and the thunder
Knew that someone had to stop the pain…”

With all due respect, and there is a ton!
This is “Janie’s Got a Gun”

Number 47- Does it Ever Really Go Away?

Mike (13)

If you say goodbye,
Does it ever really go away?

Not really sure why this one lands where it does, maybe because we’ve all been able to witness how the daughter has become such a beautiful human being. Maybe because I love when she favorites, and re-tweets my tweets. Maybe more than anything else, because the song itself means so much to me personally.

I can’t let go, and I probably wouldn’t if I could. Continue reading Number 47- Does it Ever Really Go Away?

Number 46 – If You’re Still Lyin’, You Just Might Be Dyin’…

Mike (49)

Kill it, before it kills you…

Pure Volume!

This song is about truth. It’s about the reality of the extreme, the reality of overindulgence, and how to come back from the other side. There was a time in this band’s lives that they fell into the deep, the abyss, where (some) people aren’t lucky enough to come out of alive, let alone better than they were before they took the trip.

The song is absolute! It’s straightforward.  It speaks about drug abuse and addiction, and overcoming what seems to be almost impossible. When the song came out, there was a conservative movement in the country to “Just Say No” to drugs. Sounds easy right? My personal opinions of Nancy Reagan, and her legacy of that message, are irrelevant to the passage here. However, the fact is, I think what she did with that message was invaluable to a much younger generation. Maybe that generation wasn’t even born yet. That message did give birth though, to the D.A.R.E. program with police departments, and schools in various localities throughout the country, so in that sense, it was an incredible message and legacy. However, it did nothing for those of us who were “IN IT”! What do “we” do? What do they do? You don’t just say “no”! It’s not that fuckin’ easy!

There are several points in “Walk This Way; The Autobiography…”  where the band reflects with honesty, the power of chemicals both, in a creative way, and a destructive way. They discuss in full reason, and credit their use, with how drugs helped them through, and to the top of the Rock and Roll world. With albums and tours such as ‘Rocks‘, or ‘Toys‘, and even earlier. They even used the references by way of lyrics into some of their best songs, whether the song be ‘Mama Kin’s’ almost innocent references to “Smokin’ Tea”, and later deeper drug use as referenced in songs like ‘Combination’, ‘No More No More’, ‘Sweet Emotion’, ‘Rats’. Or even later with ‘Bright Light Fright’, and ‘Draw’, and then some. “The Farm” Perhaps throws it in your face as well as any written.

They actually credited their successes, in large part, to the expanded boundaries of creativity they could get from drugs. When a person realizes a “high” so to speak, whether real or fantasy, that type awareness of which, they previously may have never associated with… well, it’s difficult to NOT want to achieve, or maintain that level of enlightenment, consciousness, cognizance, especially when they may perceive it as the “key” to their success… Is it the “key”, or the keyhole?

There are excerpts throughout the book where it’s discussed that Joe was so pale and glossy eyed, day after day, after day, that people would wonder if he would live much longer. It was common for someone on the inner circle to forcefully enter his room or “place” because he had not been seen, or heard from in days, just to see if he was still alive. The same goes for Steven… Stories of Steven living on Skid Row, just so he could be closer to the cheaper, and more available “Street Dope”, waking up in alleys, where the hookers, pushers, or whoever, would help him back to his $300 a month, 1 room apartment, only to do it all over again the next day. Then there’s Joey’s stories in ‘Hit Hard‘, being up for days on end and celebrating the birth of Jessie by doing cocaine for 3 days straight.

When does a “like” for something, or someone, become an affection? When does the affection become a perceived love? When does the love become an obsession? When does the obsession become an addiction? Webster’s-Merriam defines addiction as:
“compulsive need for and use of a habit-forming substance (as heroin, nicotine, or alcohol) characterized by tolerance and by well-defined physiological symptoms upon withdrawal; broadly: persistent compulsive use of a substance known by the user to be harmful”.

How many of you have watched the sun come up only to ask yourself; “Why’, “What the fuck am I doing here?”… And then in same breath ask yourself; “Why not?” Who of you have gone to work hoping that no one will notice, all the while knowing in your own mind that everyone knows, even though they don’t? How many of you have told yourself “No More, No More!” and a split second later you’re contemplating your next hit? How many of you “just said no”? Who of you have left the party to be alone with your addiction, to ‘hoard’ it, to hide it, to be alone with it, to love it, to hate it? How did you get away, or did you? Was it a close call with death? Or did someone close to you actually die? Or was it the birth of your 1st born? Or was it your 1st arrest, or your 5th?

Some of us are old enough to remember a time in American society, when the only thing open past midnight was 7-11, and the local dive bar. There were no 24 hour grocery stores; very few people worked a “graveyard” shift besides healthcare workers, cops, fire departments, and tow truck drivers. Yeah, I’m showing my age here, but there’s a point to it. It’s one thing to be out and awake at “last call”, but at 3:00, 4:00, 5:00…. AM. You got a fucking problem dude! And you better not be seen by some of the people that are supposed to be up at this hour! You learn to move in the dark, stay in the shadows, so much so, that paranoia sets in; “Did someone see me?” “Do they know?” “Is there someone outside my window… watching me?” “There is!!!”… Even though there isn’t.

From the book, Joe Page 452;
On November 1, 1988, Steven and I started writing. We just went to work. The first day produced the song, which started out as an Aerosmith folk song. We recorded it straight-ahead, the five of us playing live, and Steven redid the vocals later. It was about our adventures in body chemistry. “

The song is hard, it’s nervosas, it’s agitation. It’s coming off it, it’s coming out of it. It’s the feeling of “a want”, of “a need” and it’s also a feeling of accomplishment, It’s affliction and then elation of no more. It’s wild, and stress, and happy. The opening words of the song; “woe is me, and I been dying…” are meant to simulate that it’s a very slow death. The use of the word “fuckin’” is the “feel” of the song. Steven felt it would make kids’ really hear what the band was saying, and listen to the message of the song, which was more effective in telling the consequences of drug use, rather than the attitude of the time which was simply “just say no“. It’s my belief, there’s a message here that may have been just as strong as Nancy’s was, at least for some of us who played a bit on the other side…
“”I can’t take the ‘fuck’ out of it. Those words are in every kid’s vocabulary and I use them to communicate with them. It’s freedom of expression. Those words are the colors on my fuckin’ palette.” 

Some of us may know addiction, addiction that could have paid for real estate in cash. To be within arm’s reach away from the spoon full of white, and the lighter and the needle. In arm’s reach away from a life that would not be this one. Some of us reached for it. Some of us reached for it more than once, and once was more than enough. Some of us know the other side. I’ve watched friends kill themselves, because the drug life is that fucking dark! I know what it’s like to know people that have died in car accidents speeding dangerously through county roads in a hurry to get there next gram, only to wrap a tree. I know what it’s like to find out, the “friend” who wanted me to take the needle, only the day before, jumped off the ‘Marsh Road’ overpass during high traffic the next night… I knew he hadn’t slept in 4 days. Sometimes it’s harder than “just saying no” Nancy…

It’s not just all about the message though on this one, and to be honest that might be enough for some, but then again, there’s an awful lot of message type songs out there about giving up drugs. A lot of what gets me here is obviously Steven’s delivery. Maybe one of his best and most iconic ST performances in a single song. His voice alone takes you on a fucking carnival ride that won’ stop, until you jump off! Then there’s Joe… Just fucking Joe being Joe! He starts off real slow, almost as if he’s sitting you down and saying very sensibly with his guitar; “Get comfortable, let me tell you a little story”, but as soon as the lyrics start to flow right in key again with Steven he takes you out of “comfortable” and picks his way with an almost steel-like sound, into a frenzy! Joey jumps in to give the song its sense of speed, not just tempo, but the feel of addiction, that “speed“, of the need for more! When this one comes to you live, you feel it in your veins. It’s the feel of the message, it’s the same feeling…

There are some great versions of this song out there. If you’re so inclined you might want to check out Unplugged Live. Woodstock is another great one, as is the original studio version. In fact, the original studio version, without the visual, really delivers the message strong! There’s a few below to choose from…

I hope you like these; I really, really do….

“If you put it a spoon man I would boot it 
Some king whose mental house was just a shack 
Where do you draw the line when all your friends are dyin’ 
You got to get that monkey off your back 
Uh uh uh uh uh uh ooouuuaaa….”

This is “Monkey On My Back”

Number 45 – Own Yesterday! But Change tomorrow…

Mike 2204 (5)

While you’re payin’ your dues, remember
What you leave behind can’t be erased,
Careful who you piss off along the way…

Okay let’s go ahead and kick off number 45 with, perhaps one of the best Aerosmith songs nobody knows, at least nobody outside of the circle. And for whatever reason, if you do know it, you’ve probably forgot about it somewhere along the way. I don’t know about you, but every time I hear this song I get the chills.
A lot of people think this song is about love, and IT IS! I guess what I mean by that is; a lot of people use the song to describe their own Merry-Go-Round with their significant others. And you know what? If it works, have at it! But my personal opinion and you know I’m going to give it, this song is about 5 brothers who have lived half a lifetime together.

These 5 guys have seen both heaven, and hell together. They’ve gotten through their hardest times together, and have come out of it together. It’s about their inner circle. It’s about brothers and their families. It’s Aerosmith telling you; “This right here… This is what’s most important”, and by bringing this song to their fans, their long time,  AND short time fans, they are telling us, that we’re part of it. You may not be in that ‘inner circle”, but they’re willing to share that inner circle, or at least a part of it, with the people that love them. Continue reading Number 45 – Own Yesterday! But Change tomorrow…

HM – A Tribute to One Man and a Group of Idols

Mike 2204 (20)

Honorable Mention
Sometimes with the tension, it makes for little comprehension…

What do you do, when you’re supposed to write something new every day. You set yourself up to fail, is what you do…

Well for a guy who absolutely hates failure, you step up to the plate anyway…
But like baseball, I’m lucky if I ever bat .300 in that department. So with that said, sometimes it’s best to just take a walk, or just to go ahead and get hit by a pitch, take one for the team…

So with that said, I got nuthin’ today, maybe it would’ve been best to just ride the bench. But as long as I got called up, I might as well see if I get on base… I’m not gonna hit one outta the park here, but I will give it an effort…

I’m gonna give you another hidden gem, without much intro, due to the lack of preparation… Hence the “Hit By Pitch”, but what the hell…

No rhyme, no reason, other than to fill a gap. Nothing to say, no intro, no deep thought, no meaning. And it certainly has no place on my Top 100. But I do think it’s worth mentioning, so without furher adieu, please enjoy this Honorable Mention Continue reading HM – A Tribute to One Man and a Group of Idols

Honorable Mention

(but still not better than “H.M.J”)… what we all make mistakes…


How do you write about a song that no one liked? How do you like a song from an album that the leader of the band dissed?

Look… I like what I like. Maybe it’s Joe taking center stage, maybe it’s Steven’s awesome back up vocals, maybe there’s no real reason at all

Even though the album debuted at #2, with almost a ¼ million copies in the 1st week, it doesn’t like to many people liked it. Not even Joe.

Joe said;

“I don’t think we’ve made a decent album in years. Just Push Play is my least favorite. When we recorded it there was never a point where all five members were in the room at the same time and Aerosmith’s major strength is playing together. It was a learning experience for me: it showed me how NOT to make an “Aerosmith” record. Continue reading Honorable Mention

Number 44 – Chivalry Ain’t Dead, But it Might Cost a Bullet Instead

Mike (24)

Could She Be Good, If She Would?

Written 1974 as the 3rd single to their 2nd chance, the song still KICKS ASS today! It’s the blues on speed! So much so, that all new term, a whole new phrase was coined just for these guys. With a combined aura of Blues and Sleaze and good ole’ American Rock N Roll, we now heard and read the word “Blooze” when writers described the sounds of Aerosmith. And it fit like a glove.

Written by Steven, produced by Jack, I’m still not sure there’s any meaning to it, other than; “Strap it On, and Strap Yourself In, and Hang On!” It’s about partying on the grittier side, partying harder, and maybe gettin’ some… or maybe not…

It’s hard for me to really write a review on a song that had no real meaning, other than the memory of a 14 year old boy, cranking his ‘Sanyo’ Turntable/Stereo loud enough to blow the cheap little speakers the system came with, playing ‘Air Guitar’, and “Air Mic Stand” to a song that was really nothing more than a frickin’ blast! There wasn’t much to relate to… Sure I was a schoolboy, but hardly lonely, at least not in the way of female company. Maybe if anything, it opened up my adolescent eyes, and hormonal tendencies to seeing women as they might just be really good… well, if they would…

I think put it best; among other things saying;
“In a way, Get Your Wings shows Aerosmith at the crossroads of both finding the rock sound that would proliferate in the 1980s while continuing with the raw, barroom-style tunes of their earliest days.”
“Lead vocalist S. Tyler continued his compositional dominance by writing three songs solo, and co-writing every other song with the exception of the album’s single cover song. While Joe and Brad also continued their dual-axe attack, trading lead and rhythm duties and seamlessly switching between blues-rock and more standard fare hard rock. With this arrangement, many early critics of the band deemed them clones of the Rolling Stones, but that comparison was overtly simplistic as Aerosmith was surely blazing their own bold trail,  even at this very early juncture in their career.

A lot of old school Blue Army rate this album up real high with the best of the bands repertoire… Me? Not so much. Don’t get me wrong, I loved it, but I didn’t buy it until after I bought “Toys”, so in a way, to me it was a stop along the way. It was a road trip with some really good sights, some even worth spending some extra time visiting. This song was one of those stops for me. Although definitely not the critics, or even most fans highest choice on the record, for me it was… at least some days, when it didn’t trade off with “WOW”, “SOSAD” and “Spaced”. Maybe it was the constant energy, feeding a kid with energy to burn… It lifted a teenage boy’s confidence, not so much with the notion he “can’t get none of that”, but with the confidence to try.

When Aerosmith released GYW, they still had not been able to grasp a top 40 spot; however the album was strong enough to build a base. And a base buys records. Hooking up for the 1st time with Jack, they were able to put together an album with not just a couple good songs, but an 8 song “In Your Face” Hard Rock piece of awesomeness. It gave America a peek at the sound of dual slashing guitars, pounding rhythms, and In-your-Face Bass and Drum lines along with a lyrical attitude, that made you sit up and say; “Wait!!! What the fuck was that? Play that again!” goes on to say this about the song;
“The second side of Get Your Wings kicks off with (the opener), which previews some of the more raw, sleeze songs Aerosmith would use on albums of the future like “DTL”.  A hard rock song, with underlying riffs and topical textures, this short and energetic song fills the same space that punk rock would soon occupy.
I’m not sure I go along with the Punk Rock reference and comparison, then again… I’m not sure I don’t.

Similar to what would become a tried and true formula for the Bad Boys from Boston, the song’s architecture, like so much of their early music, starts out tough and fast, then it gives you just a tiny bit of a breather, before it kicks back into high gear! It’s quick, and leaves you wondering why it’s over already. I think that’s exactly the point. They want you to want more… It’s kind of like teasing your girl with a “Lick and a Promise”. You know she’s gonna’ want more. Many called this song filler for their second album; I say it’s “Fucking Full”!

Sputnik reviews the song this way;
By far the shortest track on the album; it’s a catchy little song with catchy lyrics. The chorus goes; “Too bad, can’t get me none of that” and is one of the catchier lines Aerosmith has ever written, but that’s only my opinion. 

You can feel the light-years of experience the band found under the guidance of Jack, and the comfortability of the road. You can hear Steven’s confidence in a voice that would soon become, maybe the best in Rock history. You can hear Joe, live for what he feels, the precision of Brad, the steadiness of Tom, and Joey’s no holding back drum lines… This is the start of something really good!

This song will be of last of GYW in this book’s Top 100, knowing my top pick off the album, is frankly most people’s 6thout of 8, but I’m cool like that.

Have you ever known a lady with an hourglass body that could make things glow in the night? Well…. Heh Heh… You might wanna’ get somma’ that…. No?

“Lord it’s too bad!”

Ladies, it’s only fair warning; If you’re not careful, you might just wear this moniker… Yeah, I still use it.

“Salt lickin’ biddies, 
Bogus honey stinkin’ of gin…

Tyler’s voice is showing his age in the video… but he’s still “A Rat
This is “S.O.S. (Too Bad)”

Number 43 – How Thick is Your Crust?


You can build a wall
But sooner or later somebody’s gonna’ knock it down
Hope it’s the right person…

I can vividly remember 1978 when Live Bootleg came out… WOW!!! Almost as good as being there at ‘Day On The Green’ in Oakland… wait it was better, because the album actually sounded good. I think I wore that record out in a matter of months, I know I replaced a needle or two…

There was a song on that album though, that I’d never heard before, but it sounded so much like something, I could’ve of heard off of the 1st album, or at least GYW. I have to be really honest here, there’s nothing overwhelmingly awesome about it, other than that good old late 70s Rock N Roll! It has a very basic riff, and rhythm, Hard Drum Beats, and a really strong bass line, but I don’t even think the boys would say it was one of their better songwriting accomplishments. However, Joe, Steven, and Richie put something together here, as basic as it is, that gets my Air Guitar goin’!

Perfect lyrics for Steven to sing on this one, really gets to show his range. Lyrics of desire, but desire with attitude. “It’s gonna’ happen, mark my words I’m gonna’ get to you.” Classic, raw cutting, slicing two guitar power from Brad and Joe, with a fun little piano to keep it “up”. Classic Aero!!!! Continue reading Number 43 – How Thick is Your Crust?

Number 42 – I need a Double shot!


I wrote this one last year…
Not gonna’ change a thing…
Except the position it slipped 26…

We’re getting pretty close here, and a lot of the rest of the countdown is from Generation1, and Gen 2, save a few from 3. If you’re a fan of this band in the least, AND you’ve been paying attention, you might be able to guess some of what hasn’t appeared yet, and you might be right on some, but there’s still a few surprises left up my sleeve, like this one. I am a rocker at heart, but there are some melodies that just stay with you, some lyrics that just flow, some songs that make you appreciate where you are.

Gonna go back to ’88, 89, 93, 94 for this one. Nope not on Vacation. Nope not on Pump, not even South of Sanity. This song is so frickin’ good, and so AEROSMITH with Tyler’s lyrics, and music by Jim Valance. A power ballad that deserves a spot in the Top 50. And let’s face it, If Jim Valance brings you a song to put lyrics to, you should probably give a damn good effort. I strongly recommend anyone who is interested, to just Google this guy’s Discography. Simply amazing! He has written, or co-written songs for… well, everyone! Everyone from Juice Newton to Jett, to Ozzy, to Brian Addams, to Lil’ Wayne, to Paul Anka, to L.A. Guns, and The Scorpions.

Coming off the immense success of his collaborations with Aerosmith, and John Kalodner on ‘Vacation’, he was working on a few more for Aerosmith’s next album. It’s kind of funny, how time flies. Jim talks about recording the demos to this song at home, taping it on a “cassette” and “mailing” it to Steven. The funny thing is, this was way before MP3s and email wasn’t used much, and even if it was, it couldn’t handle the size of a file that music would have been saved on. This is gonna be completely lost on Generation 4…. Continue reading Number 42 – I need a Double shot!

Number 41 – What’s Your Intention? You Ain’t Foolin’ Me…

Mike 2204 (17)

Some days you get the bear, and some days the bear gets you…

Well, I’ve been thoroughly mauled  quite a few days now, so please forgive the lackluster follow up to “Chip Away” and “Dueces”, but it’s an “Oatmeal for dinner” kind of a day. Thank you Natalie…

Funny how some things just never seem to change…
I wrote the bulk of this last year, after a rough day at work. That’s not a big surprise in itself, anyone who knows me, knows my work doesn’t really allow good days, but sometimes it seems they go out of their way just to fuck with ya… Like I said, some things never change.

This may not be my number one song. Hell, I’m not even sure it deserves a spot in the top 50! Like I said before though, it’s kind of funny how these lists go sometimes. This song could realistically be about number 55, or 61, if that… but here we are at number 41, and here “it” is. I guess I can really understand now why I see some of these internet lists, and I say to myself; “Self, how the hell did that song get there?”  “I Wanna Know Why”! To think that I’m only dealing with one band, while they’re dealing with hundreds, and I’m only dealing with a couple of hundred songs, and they’re dealing with a couple thousand. So here we are, and you know I can’t really pull the song out… that would leave me with a “Top 98” or “Top 99”, and that would be just silly. Wouldn’t it? Besides that, I do like the song, so deserved of the number 41 spot, or not, indulge me… Continue reading Number 41 – What’s Your Intention? You Ain’t Foolin’ Me…