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Rock - Publicado el 20 de abril de 1993 | Geffen

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Coming on the heels of the commercially and artistically successful Pump, the fitfully entertaining Get a Grip doesn't match its predecessor's musical diversity, but it's not for lack of trying. In fact, Aerosmith try too hard, making a stab at social commentary ("Livin' on the Edge") while keeping adolescent fans in their corner with their trademark raunch-rock ("Get a Grip" and "Eat the Rich"), as well as having radio-ready hit ballads ("Cryin'," "Amazing," and "Crazy"). It might be a studied performance, but since the album sounds good, many listeners will be willing to overlook those flaws and simply enjoy the ride. © Stephen Thomas Erlewine /TiVo
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Rock - Publicado el 1 de septiembre de 1989 | Geffen

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Where Permanent Vacation seemed a little overwhelmed by its pop concessions, Pump revels in them without ever losing sight of Aerosmith's dirty hard rock core. Which doesn't mean the record is a sellout -- "What It Takes" has more emotion and grit than any of their other power ballads; "Janie's Got a Gun" tackles more complex territory than most previous songs; and "The Other Side" and "Love in an Elevator" rock relentlessly, no matter how many horns and synths fight with the guitars. Such ambition and successful musical eclecticism make Pump rank with Rocks and Toys in the Attic. © Stephen Thomas Erlewine /TiVo
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Rock - Publicado el 1 de agosto de 1987 | Geffen

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The much-ballyhooed reunion of the original Aerosmith lineup had pretty much fallen flat on its face after 1985's hit-and-miss Done With Mirrors. Realizing that the band simply couldn't do it alone, A&R guru John Kalodner capitalized on the runaway success of Run-D.M.C.'s cover of "Walk This Way" and decided to draft in the day's top hired hands, including knob-twiddler extraordinaire Bruce Fairbairn and career-revitalizing song doctors Desmond Child and Jim Vallance. Together, they would help craft Permanent Vacation, the album which would reinvent Aerosmith as '80s and '90s superstars. Yet, despite the mostly stellar songwriting, which makes it a strong effort overall, some of the album's nooks and crannies haven't aged all that well because of Fairbairn's overwrought production, featuring an exaggerated sleekness typical of most mid-'80s pop-metal albums. Furthermore, Desmond Child's pedantic writing often compromises the timeliness of even the best material. On the other hand, pre-fab radio gems like "Rag Doll" and "Dude (Looks Like a Lady)" remain largely unassailable from a "delivering the goods" perspective. But remember kids, this is Aerosmith, so that can only mean one thing: a guaranteed number of incredible tracks for any time and place. These include the earthy voodoo blues of "St. John" and the excellent hobo-harmonica fable of "Hangman Jury." And, although some of the remaining cuts lean to the filler side, both the awkwardly Caribbean title track and the cover of the Beatles' "I'm Down" are well executed. Finally, the crowd-pleasing schmaltz of "Angel" showcases the band at the peak of its power ballad cheese. A valiant effort, this album proved to be the crucial catalyst in reintroducing Aerosmith to the masses, but if you're looking for an even better example of the band's renewed strength, check out Pump first. © John Franck & Ed Rivadavia /TiVo
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Rock - Publicado el 1 de noviembre de 1985 | Geffen

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Joe Perry returned to the fold in 1985, and Aerosmith turned out their finest record since Rocks. Unlike the records that preceded it, Done with Mirrors is powered by the same smart-assed lyrics and filthy guitars that formed the core of Aerosmith's best songs. It didn't receive the commercial or critical attention that Permanent Vacation did two years later, but Done With Mirrors is the better album; it marks the beginning of their remarkable comeback. © Stephen Thomas Erlewine /TiVo
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Pop/Rock - Publicado el 8 de abril de 1975 | Columbia

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Pop/Rock - Publicado el 5 de enero de 1973 | Columbia

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Rock - Publicado el 11 de noviembre de 1980 | Columbia - Legacy

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Hard Rock - Publicado el 14 de mayo de 1976 | Columbia

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Hard Rock - Publicado el 9 de febrero de 2016 | Doxy Records

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Pop/Rock - Publicado el 15 de marzo de 1974 | Columbia

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Rock - Publicado el 20 de abril de 1993 | Geffen

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Coming on the heels of the commercially and artistically successful Pump, the fitfully entertaining Get a Grip doesn't match its predecessor's musical diversity, but it's not for lack of trying. In fact, Aerosmith try too hard, making a stab at social commentary ("Livin' on the Edge") while keeping adolescent fans in their corner with their trademark raunch-rock ("Get a Grip" and "Eat the Rich"), as well as having radio-ready hit ballads ("Cryin'," "Amazing," and "Crazy"). It might be a studied performance, but since the album sounds good, many listeners will be willing to overlook those flaws and simply enjoy the ride. © Stephen Thomas Erlewine /TiVo
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Pop/Rock - Publicado el 7 de abril de 1986 | Columbia

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Pop/Rock - Publicado el 1 de junio de 1987 | Columbia

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Rock - Publicado el 6 de noviembre de 2012 | Columbia

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Pop - Publicado el 1 de enero de 1994 | Geffen

Más que nada, esto es un tributo al asombroso éxito del regreso de Aerosmith tras siete años. El recopilatorio incluye todos los sencillos de rock duro de los tres álbumes más recientes producidos por Bruce Fairbairn: Permanent Vacation, Pump y Get A Grip, además de "Deuces Are Wild" de The Beavis and Butt-Head Experience y un par de novedades (la marchosa y con aire de blues "Walk On Water" y la poco memorable "Blind Man"). © Roch Parisien /TiVo
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Hard Rock - Publicado el 17 de octubre de 2006 | Columbia - Legacy

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Hard Rock - Publicado el 1 de diciembre de 1977 | Columbia

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Pop/Rock - Publicado el 18 de marzo de 1997 | Columbia

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Rock - Publicado el 2 de julio de 2002 | Columbia - Legacy

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Pop/Rock - Publicado el 30 de marzo de 2004 | Columbia

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