Quite often, some of these different interpretations are really funny." You've already written the story, and now you've got five or six different interpretations. "You've got two choices - you can either be literal, or you can come up with some humorous side. "Like 'Eat The Rich' is not about Jeffrey Dahmer, or whatever his name is. How close to the real meaning do you want to get?" says Tyler. "You've got to be careful about what kind of a visual you put to the actual spoken word.
Message-oriented songs on "Get a Grip," Tyler and Perry say the band has no interest in beating its viewers over the head with literal interpretations of the lyrics. Although the band has shot videos for the two most Not too tired, but once in a while you want to put something else in there."Įven then, Aerosmith tries not to get too heavy-handed about its lyric content - particularly when it comes time to make the video. Not a lot of it, mind you "Get a Grip" isn't exactly hard rock's answer to the New Republic.īut as Perry puts it, "We've got to write something else other than 'T and A,' you know? I get tired of hearing it. Tyler and Perry also tried to work a little social consciousness into their songs. That's something that is really rare in music." Steven always had this thing about making the words be like a rhythm instrument, as well as have them mean something. "That works sometimes, but this time we really tried to write the lyrics to fit, and wrap the music around it. Then he has to sit there and beat himself to death trying to fit the lyrics in.
It's always been that Steven and I write these musical things, with all the changes. "We wrote most of the lyrics as we were writing the music," says Perry. Not only did that second burst of songwriting generate "Livin' on the Edge" and "Gotta Love It," it also changed the way Tyler and Perry worked together. "Because as you know, this is not the last album Aerosmith has to do," he says, laughing. "We got on a roll, and we just decided to keep writing. "We just decided that if we pulled the plug on the sessions at that moment, we'd get out of there without having to pay for an extra month's worth of time," adds Tyler. "There was one day we had a meeting up there at A&M Studios, and I think what happened is word leaked out that the label was there, and everybody blew it out of proportion." We just wished we had more time to write. "We had 'Eat the Rich' and 'Amazing' and 'Crazy' and 'Get a Grip' and 'Fever.' We had the skeleton of a great record, you know what I mean? We hadn't mixed it or anything like that, but we had rough overdubs on it, and Steven had done some rough vocals. "Actually, we had plenty of singles," says Perry. Tyler and Perry admit that they didn't follow their usual writing routine while working on "Get a Grip." But they deny reports that Geffen had rejected an early version of the album, asking that the band come up with more hit-oriented material. I waited and I waited - it took me about a year." I had a real hard time coming up with lyrics that matched the groovaciousness of that song. I mean, we've got the groove, and then I have to come up with lyrics that kind of tie in with the groove. "There's some thought's going into it for each part and piece, so it's kind of tailored to do what you're hearing. "But we do write the songs, we don't just throw them together," adds Tyler. "But the real trick is getting it so it sounds like it's the first time you heard it - just put that one little twist on it so it sounds fresh and you want to hear it over and over again.
"I think the easiest thing for us to do is get a groove that cooks," says It isn't just that the group used to include James Brown tunes in its repertoire (check the version of "Mother Popcorn" on the 1978 album "Live Bootleg") from such early hits as "Walk This Way" and "Same Old Song and Dance" to more recent material like "Love in an Elevator" and the current "Livin' on the Edge," Aerosmith's best work has always emphasized the band's ability to groove. Unlike other hard rock outfits, which either bludgeon the beat or sink into simplistic boogie rhythms, there has always been something fairly funky about Aerosmith's sound. What it is about, say Tyler and Perry, is the Aerosmith groove. It's not about, 'Well, I can do it without that guy.' That's not what it's about, man." So now, we're in this to have a band, and to have the best band we can. "That's one of the things that we learned when we were at our low point in the early '80s.
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