When it comes to Aerosmith, I quite literally wear my heart on my sleeve. By heart I mean wings, Aerosmith wings to be precise, proudly sporting their iconic logo on my upper arm for three decades now. Tattoos might be for life, but that’s okay, since Aerosmith are also for life. As well as being a lifelong fan, I can also take the blinkers off and view any output without rose tinted glasses, ’Get A Grip’ was three songs too long. ’Just Push Play’ is not as bad as some people make out, and ‘Music From Another Dimension’ has a decent album in there somewhere. Therefore when the “C word” was uttered when Steven Tyler’s debut solo album was first mentioned, I was a little apprehensive. Images of Steven Tyler and an album full of generic “brocountry” trucks and chicks songs ran riot in my head, but thankfully those fears were quickly dispelled upon the first listen.
There are less than six degrees of separation between country and rock music today. Eric Church and Brantley Gilbert are two performers around the current Country scene that have hints of rock creeping into their sound (Church even had Halestorm open for him on a recent arena tour). The Cadillac Three can play Download Festival as well as appearing on Country bills back home. Hell, even Carrie Underwood used ‘Highway To Hell’ as her intro music on tour earlier this year, the same Ms Underwood who described recording with Aerosmith as a bucket list moment. Turn down the twang on many Country tracks today, and you are left with classic American rock. Likewise, many tracks on ‘We’re All Somebody From Somewhere’ could be outtakes from numerous Aerosmith albums.
The album opens with ‘My Own Worst Enemy’. Co-written by Steven Tyler and esteemed Nashville songwriters Brad and Brett Warren, this is classic Tyler. A quiet and understated vocal performance that leads into an apologetic tale of remorse and pain, with the protagonist taking the blame for his own actions, rather than blaming amongst others “Jesus, mama.. and Seagrams whiskey”. Now,this is “classic country” songwriting with its echoes of the Cash, Nelson, Haggard, and Kristofferson style outlaw country, which often sought redemption. Stripped back and raw, this a courageous way to start the album, and the end result is perhaps the strongest track here. The song begins to fade out around the three minute mark, before the guitar comes wailing back in with a scorching solo that would sound incredible with Joe F’kin Perry (get better soon Joe) and the boys behind it. Tyler sees the song out with some bloodstained ivories on his daddy’s baby grand, and I believe that on his current US tour this song takes the place of ‘Home Tonight’ in leading into ‘Dream On’.