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Dec 9, 20227 min read

Aerosmith - Draw the Line (1977)

𝐅𝐑𝐎𝐌 𝐓𝐇𝐄 𝐂𝐑𝐘𝐏𝐓𝐒 - 𝐂𝐄𝐋𝐄𝐁𝐑𝐀𝐓𝐈𝐍𝐆 𝐏𝐀𝐒𝐓 𝐀𝐋𝐁𝐔𝐌 𝐑𝐄𝐋𝐄𝐀𝐒𝐄𝐒 𝐢𝐧 𝐭𝐡𝐞 𝐇𝐈𝐒𝐓𝐎𝐑𝐘 𝐨𝐟 𝐇𝐀𝐑𝐃 𝐑𝐎𝐂𝐊 & 𝐇𝐄𝐀𝐕𝐘 𝐌𝐄𝐓𝐀𝐋…



On December 9, 1977, Aerosmith released their fifth full-length studio album Draw the Line via Columbia Records.



It was recorded in an abandoned convent near New York City. The portrait of the band on the album cover was drawn by caricaturist Al Hirschfeld, best known for his black and white portraits of celebrities and Broadway stars.


(Al Hirschfeld at home in New York City, 1974.Credit...Michael Tighe/Donaldson Collection, via Getty Images)


Background:

By 1977, Aerosmith had released four studio albums, the two most recent – Toys in the Attic (1975) and Rocks (1976) – catapulting the band to stardom. However, as the band began recording their next album, Draw the Line, the bands excessive lifestyle, combined with constant touring and drug use, began to take its toll. "Draw the Line was untogether because we weren't a cohesive unit anymore," guitarist Joe Perry admitted in the Stephen Davis band memoir Walk This Way. "We were drug addicts dabbling in music, rather than musicians dabbling in drugs." Although the LP would sell well more than a million copies in fewer than six weeks after its release, in 2014 Perry would refer to it as "the beginning of the end" and "the decay of our artistry."



Writing & Recording:

According to Steven Tyler's autobiography Does the Noise In My Head Bother You, manager David Krebs suggested that the band record its next album at an estate near Armonk, New York called the Cenacle, "away from the temptation of drugs." The plan failed miserably, however, with Tyler recalling, "Drugs can be imported, David ... we have our resources. Dealers deliver! Hiding us away in a three-hundred room former convent was a prescription for total lunacy." Largely due to their drug consumption, both Tyler and Perry were not as involved in the writing and recording as they had been on previous albums.



According to Perry;

“A lot of people had input into that record because Steven and I had stopped giving a fuck. Draw the Line, I Want To Know Why, and Get It Up were the only things Steven and I wrote together. Tom, Joey and Steven came up with Kings and Queens, and Brad Whitford played rhythm and lead. Brad and Steven wrote The Hand That Feeds, which I didn't even play on because I'd stayed in bed the day they recorded it and Brad played great on it anyway.”

Producer Jack Douglas, who had started producing the band with Get Your Wings in 1974, expressed similar feelings about the apathy that permeated the recording sessions;

“So I started Draw the Line, and for a while gave it my all. But because they were half-hearted about the record, I was too. Steven wasn't writing at all. The lyrics to Critical Mass came from a dream I had at the Cenacle. I never expected Steven to record it, but he didn't have anything else, so he used my lyrics as written. Same with Kings and Queens. Steven and I wrote the lyrics together, which was like pulling teeth.”

(Jack Douglas (right), Jay Messina (left) & Steven Tyler)


For his part, Tyler has maintained that it was the band's lethargy, not his, that slowed his progress, because "I wasn't Patti Smith writing poetry. I write exactly to the music, and when the music ain't coming, neither were the lyrics." However, Tyler confessed to Alan di Perna of Guitar World in April 1997, "What I specifically remember was not being present in the studio because I was so stoned. In the past, I always had to be there and hear every note that was going down – who was playing what and were they out of tune ... I just didn't care anymore." Tyler's condition is evident in some of his lyrics, such as the line "pass me the vial and cross your fingers that it don't take time." In the VH1 Behind The Music episode on the group Douglas states, "People were shooting, bullets were flying. It was insane. People, drugs and guns. You know, they don't go together," with drummer Joey Kramer adding, "I don't know if we did any of those sessions, or made any of that record, straight." In his autobiography Rocks, Perry admits that he had misplaced a cookie tin full of demos for the band that he had prepared in his basement studio, irritating Douglas, but they were eventually found by Perry's wife Elyssa;

“Among those tapes was not only the fully realized Bright Light Fright, but tracks that led to other songs like I Want To Know Why, Get It Up and Draw the Line, the title tune. Something I'd started with David Johansen (New York Dolls) became Sight for Sore Eyes. But the lyrics literally took months for Steven to write, and by then we were back at the Record Plant in New York.”

(Jack Douglas (left), engineer Jay Messina and Aerosmith’s Joe Perry in the studio)


Relations deteriorated further when Perry presented Bright Light Fright to the band and they "didn't like it. I said, 'Do you want to do it or not?' They said no." Perry, who has stated the song was inspired by the Sex Pistols, sang the song himself on the LP. (He had shared lead vocal duties with Tyler on Combination from their previous album Rocks.) Of Draw the Line, Tyler later recalled, "Joe had this lick on a six-string bass that was so definitive, the song just about wrote itself. It reached down my neck and grabbed the lyrics out of my throat." The song encompasses many of the typical things Aerosmith is known for, including the strong rhythm backbeat and the back-and-forth interplay between guitarists Perry and Whitford. The song slows down before building to a climax showcasing Tyler's trademark scream. The B-side of some versions of Draw the Line, Chip Away the Stone, was not on the LP but eventually surfaced on the compilation album Gems. It was written by Richard Supa, received a fair amount of radio airplay after the release of Gems and found its way into Aerosmith's live set-lists for a while.



Kramer explained in 1997 that Kings and Queens, the LP's second single, was a "typical session at the Cenacle. It was recorded in the chapel with the pews out, the drums on the altar. Jack was in the confessional, hitting the snare drum by himself." In his memoir, Tyler writes that the song's lyrics were inspired by a "medieval fantasy" that featured "a stoned-out rock star in his tattered satin rags lying on the ancient stone floor of a castle - slightly mad, but still capable of conjuring up a revolutionary album that would astound the ears of the ones who heard it and make the critics cringe." Jack Douglas plays the mandolin on the track, which was also used as a B-side to Aerosmith's version of the Beatles' Come Together, released to promote the Sgt. Pepper's Lonely Hearts Club Band film and soundtrack. Get It Up features Karen Lawrence, singer of the band L.A. Jets, on the chorus. David Krebs later stated that he felt Tyler's lyrics on songs like Get It Up did not help the album's standing among Aerosmith fans;

"The essence of Aerosmith had always been a positive and very macho sexuality, total unashamed, a little sleazy... They didn't want to hear lyrics like Get It Up, which repeated over and over again, Can't get it up'... The negative lyrics were a big problem."

Get It Up was released as the album's third single but failed to break into the singles chart. The song is noted for its usage of slide guitar and was played occasionally by the band during the Aerosmith Express Tour from 1977–1978 in support of the Draw the Line album.



The band did not have enough original material to cover the running time for a single album so they recorded two blues classics: Otis Rush's All Your Love and Kokomo Arnold's Milk Cow Blues. (All Your Love did not make Draw the Line, but would later turn up on the band's box set Pandora's Box.)



Aerosmith Express Tour:

In support of of Draw the Line, the band embarked on the Aerosmith Express Tour. which consisted of 82 dates and five legs. The tour began at the Convention Center in Fort Worth, TX on June 21, 1977, and ended at the Giants Stadium in East Rutherford, NJ on August 6, 1978. Opening acts for the tour included AC/DC, Brownsville Station, Styx, and Wet Willie.



Critical Reception:

Contemporary reviews were quite negative. Billy Altman of Rolling Stone called the LP "a truly horrendous record, chaotic to the point of malfunction and with an almost impenetrably dense sound adding to the confusion."



Robert Christgau considered the album the product of a band "out of gas".



Retrospective reviews are more positive. Kerrang! Magazine listed the album at No. 37 among the 100 Greatest Heavy Metal Albums of All Time for its "high energy", although it never touches Heavy Metal as a genre, concluding with the comment "sleaze was never so classy."



According to Greg Prato of AllMusic, "the band shies away from studio experimenting and dabbling in different styles," returning "to simple, straight-ahead hard rock" and releasing "the last true studio album from Aerosmith's original lineup for nearly a decade." Another AllMusic reviewer stated that, "although some fans see Draw the Line as the beginning of a decline for Aerosmith, it still offers up some strong hard-rock tunes. One of its best moments is the title track, one of the group's most relentless rockers."



In a review for Ultimate Classic Rock, Sterling Whitaker cited Get It Up as an example of a track that "should-have-been-great-but-not-quite," saying that it "featured important elements of the classic Aerosmith sound, but somehow didn't catch fire."


(Draw the Line - single, released October 6, 1977)


Martin Popoff defined Draw the Line "complicated, murky and layered", coming across as "the serious, distressed Aerosmith album". He also wrote that despite "being ambiguously dense, uncommunicative and busy", the album showed the band reaching "new levels of musical maturity."


(Kings and Queens - single, released February 21, 1978)


Draw the Line went platinum its first month of release, entering the music charts on December 24, 1977, peaking at No. 11 on the US Billboard 200, and eventually being certified 2x multi-platinum nearly a decade later. Even so, it marks the band's first slowdown in album sales of their 1970s era, after their initial rise with the albums Toys in the Attic and Rocks.


(Get It Up - single, released April 6, 1978)


Note: The reviews shared here are for historical reference. The views and opinions expressed within are not always supported (in full or in part) by Into the Wells. — E.N. Wells



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