Singer also softens position on guitarist Joe Perry’s recent swipe at Tyler’s nascent country career
Aerosmith are on a brief hiatus now as Steven Tyler gears up to promote his upcoming country album, but when they reappear next year, it might be to say goodbye. “I’m doing 30 [solo] shows from May until August,” Tyler tells Rolling Stone. “And then in 2017 we go out with Aerosmith. We’re probably doing a farewell tour. Look, there’s two bands that still have the original members, us and the Stones. I’m grateful for that. Whether we do a farewell tour or go into the studio and do another record, I’m just excited about it.” Continue reading Aerosmith Contemplating Farewell Tour in 2017
While most of us were still making our way out of a Thanksgiving food coma this past Saturday, boxer Tyson Fury was making history by defeating longtime championWladimir Klitschko in Dusseldorf, Germany, to take the Ring, WBA, IBF, IBO and WBO heavyweight titles by unanimous decision. The win itself was shocking enough; Klitschko had been champ for nine years and hadn’t lost a fight in 11, but what Fury did afterward is what had everyone talking.
Following the obligatory kudos to Jesus, an emotional dedication to his late Uncle Hughie, and offering apologies to both Kiltschko and boxer-turned-boxing-commentator Lennox Lewis for his verbal grandstanding in the months leading up to the fight, Fury took the mic and delivered on a pre-match proclamation that he would sing a song if he won, which has become something of a post-fight tradition for the undefeated (25-0 with 18 KOs) Brit. And what song did he choose? The Diane Warren-penned ballad which Aerosmith recorded for the sappy 1998 film Armageddon, of course.
“I promised everybody I’d sing a song after this fight,” Fury began. “So this is to my UK fans, my Irish fans, my American fans and my new German fans; and most of all, this is a dedication to me wife.”
We spoke to the rock legend about how the band keeps things fresh after all these years.
Most bands don’t make it past the 10-year mark—and even if they do, they rarely hold onto all their original members for the duration. But Aerosmith are not most bands. With more than four decades of history under their collective belt, Steven Tyler, Joe Perry, Brad Whitford, Tom Hamilton, and Joey Kramer have overcome struggles—like management disputes, rehab stints, and injuries—and grown their live show into a thunderous, big-production event. Nowadays, Aerosmith’s members split their time between personal projects (Tyler’s currently prepping a country album) and playing live, where their ability to captivate an audience is earning them a whole new legion of fans.
Aerosmith‘s latest concert video, Aerosmith Rocks Donington 2014, gets its release September 4. The film captures the band playing a headlining set to a massive and enthusiastic audience in June of last year at the U.K.’s annual Download Festival, which takes place at Donington Park in Derby, England.
“I’m excited about it getting out there and having people see it,” guitaristJoe Perry tells ABC Radio. He adds that because the concert was filmed in high-definition, as well as being “lit specifically for video and having the sound mixed equally as well,” he considers the flick “a good piece of showing what the band’s about.”
How Jeff Beck, James Brown, Boston’s Combat Zone, and Young Frankenstein figure in the rock classic.
On August 28, 1975, Aerosmith released “Walk This Way” as a single from their landmark album Toys in the Attic, and we’ve all been rocking this way and that to it ever since.
The sudden, staccato, hard funk percussion that kicks off “Walk This Way” is one of the most distinctive, immediately recognizable, and instantly intoxicating intros in all of rock. Ignited first by Joey Kramer’s pop-and-sizzle two measure drum beat, Aerosmith axe master Joe Perry then spearheads rhythm guitarist Brad Whitford, bassist Tom Hamilton with a riff like that, right off, announces “Walk This Way” as one-of-a-kind.
From there, lip-flapping front-dervish Steven Tyler bursts through with a motor-mouthed onslaught of too many lyrics to fit in any one song that, with mesmerizing machine gun relentlessness, he manages to make it all seem inevitable—and electrifyingly so.