Aerosmith
Rocks

THE REVIEW

In 1976, the American band Aerosmith was already an established group, having transitioned from being considered poor caricatures of the far more famous Rolling Stones to gaining a prominent position in the rock scene of those years. The architect of this powerful rise was their third album, ‘Toys In The Attic,’ the band’s first true commercial success. Having achieved glory, Tyler's group did not seem intent on lowering the tone, as they amply demonstrated with their fourth album, ‘Rocks.’ From start to finish, the record presents itself as an exhausting cavalcade through hard rock, blues, and boogie, all played even more crudely than in any previous work by the band.

It is precisely the opening track that perfectly encapsulates this atmosphere: Back In The Saddle is a powerful cowboy song that boasts a fascinating intro and Tyler's screeching screams, a genuine trademark of the group. It then continues with the more subdued Last Child, which shortly transforms into a boogie enriched by Whitford's funky guitar touch, the vocalists' stunning performance, and a commendable solo by Perry. The siren of Rats In The Cellar immediately follows, a more direct and grimy answer to the already filthy Toys In The Attic, engaging with frenetic rhythms until it flows into Combination and Sick As A Dog, where the atmospheres calm down, but only momentarily; indeed, the explosive Nobody’s Fault erupts, an excellent showcase of all the devastating rage of the group, as well as one of the best tracks of the album. Following is the delightful typical stride of Aerosmith in Get The Lead Out, and yet another raw and gritty song, Lick And A Promise. Despite everything, there is still time for the tear-jerking ballad Home Tonight, which sees Tyler and the rest of the band in a state of grace, magnificently closing this excellent album.

In conclusion, one of Aerosmith's best works ever, an excellent example of their extraordinary talent and their ability to create fun and engaging music, although perhaps on a purely commercial level slightly penalized by the lack of a single on par with Walk This Way.