The Aerosmith axeman recounts how he ripped the blazing lead on the Rocks hit, dishing some critical history along the way.
Behind Steven Tyler’s unhinged howls, Aerosmith’s twin-guitar attack with Joe Perry and Brad Whitford cemented them as one of the greatest hard-rock bands of the ’70s. “Last Child,” the street-strutting, hard-blues hit off their breakout 1976 record Rocks, is one of the greatest demonstrations of this dangerous duo’s interplay. While Perry holds down the funky rhythmic chord stabs, Whitford burns through a volcanic, first-take solo. Did any pedals help snare that screaming tone? Nope. Just a ’57 goldtop Les Paul and a 100-watt Marshall.
That combo just “makes you play real good,” Whitford says with a grin on this week’s episode. Whitford gives Shifty the background story on how Rocks came together between the band’s Massachusetts rehearsal space and the Record Plant in New York. They dig deep on Aerosmith’s influences and the guitar players that shaped Whitford’s lead style, including the shredders that knew when to pause. “Whatever you play, you’re still replicating the human voice for the most part, and you have to take a breath,” Whitford notes.
Later on, Brad’s son Graham—an established player in his own right—joins the episode to talk about raiding his dad’s guitar and amp vault, and Brad muses on a big question: Will Aerosmith’s upcoming tour be their last?
Aerosmith - Last Child (Live From The Office Depot Center, Sunrise, FL, April 3, 2004)
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editors: Dan Destefano and Addison Sauvan
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
“Music is inherently a collaborative process, and quite often, our heroes work better together.”
In 1986, my friend Jon Small produced the video for Run-DMC and Aerosmith’s version of “Walk this Way.” Small starts the video with Aerosmith loudly jamming in a rehearsal space with an annoyed Run-DMC shouting from the adjacent room, “Turn that noise down, man.” When DMC realizes they can’t get around it, they have to get into it.
They rap the first verse, and then Steven Tyler breaks down the wall between the rooms and joins Run-DMC on the chorus. The metaphor is pretty brilliant, tearing down the wall between hip-hop and rock, tearing down cultural walls and unifying two audiences that seem totally different but are way more similar than anyone suspected.
Tyler, being a drummer at heart, wrote the lyrics with this perfect percussive flow that was essentially rap before rap was rap. Tyler also peppered the lyrics with double entendre, which became a huge part of hip-hop.
“Walk This Way” was 10 years old at the time, and Aerosmith had been through it all. The band's drug use had taken its toll. Joe Perry and Brad Whitford had both quit and rejoined, labels were skeptical, and radio was ignoring them. But this crossover collaboration reached No. 4 on the Billboard Hot 100, and its frequently aired video resurrected Aerosmith’s career by introducing the band’s music to a new generation. It also paved the way for a melding of rock and hip-hop in the hands of acts like Rage Against the Machine, Kid Rock, the Red Hot Chili Peppers, and all the others who jumped into these blurred lines created by this collaboration.
Music is inherently a collaboration. In every band, orchestra, duo, etc., players join together to achieve a common goal. Even if you’re a soloist, your arms, legs, and fingers are doing wildly different, complicated tasks separately while working together, hopefully in harmony. The best collaborations happen when the energy/talent/spirit/personality jell in such a way that it brings the best out of everyone, creating work that neither party could have done alone. Beatles, Stones, Aerosmith … none of the members’ solo work is as good as the band collaborations that made their careers.
Collaborations go the other way as well, like those big, epic closing jams at a concert, where 5 to 15 guitarists get on stage and each player tries to kick the ass of the person soloing before them. They usually turn into an unwatchable dweedlely-dweedle wank fest. A three-diva sing off is equally torturous: no melody, all riffs. That’s ego getting in the way of being part of something bigger than you. That’s why most supergroups are usually less than super. But great artists thrive with collaboration.
“Iggy Pop seems like a feral animal compared to elegant Bowie, and yet the two wrote and produced a ton of legendary music together throughout the ’70s and ’80s.”
One of the attributes that made David Bowie such a next-level talent was his love of collaboration, particularly with artists who were so different from himself. Bowie’s hit “Fame” was a collaboration with John Lennon. One of my favorite Christmas songs is Bing Crosby and Bowie’s “The Little Drummer Boy.” In 1981, Bowie and Queen were both recording their own projects at Mountain Studios in Montreux, Switzerland. This led to Queen inviting Bowie to sing on a track, which led to an impromptu writing/recording session, which led to the creation of “Under Pressure.”
Bowie brought in a young and unknown Stevie Ray Vaughan to be the rude, angry counter to Nile Rodgers’ slick and funky rhythm on “Let’s Dance.” Iggy Pop seems like a feral animal compared to elegant Bowie, and yet the two wrote and produced a ton of legendary music together throughout the ’70s and ’80s. Together, they served each other as perfect foils.
Clapton’s guitar weeping over George Harrison’s “While My Guitar Gently Weeps,” Eddie Van Halen’s rearranging Michael Jackson’s “Beat It” then laying down his iconic solo over the new section, or more recently, Bonamassa’s guitar driving under Glenn Hughes’ soaring vocals and Jason Bonham’s thunder with Black Country Communion’s new single, “Stay Free,” collaboration can take it to places where no one has gone before.
When I moved to Nashville 32 years ago, a writer told me this town was built on collaboration; it’s all co-writing, jamming, working together on life’s never-ending art project. Not only do you get a fresh direction in your work, but your chances of success double when two people are working on promotion rather than doing it all alone. The best part is the relationships you form. As your peer group comes to power, you all help each other along the way.
There are two collaborations I would love to see happen:
Ultimate collab #1:
Jack White and Jack Black. They are already friends. Both have an over-the-top, theatrical delivery. The project name options are numerous and brilliant. Call this unholy union “Jack White and Black” or “Jack Jack White Black.”
Ultimate collab #2:
Marcus King and Kingfish. Both brilliant guitarists deep in the blues/rock world, but with sophisticated jazz leanings. Both sons of the South. Proposed name: Marcus King Fish.
Marcus, Chris, Jack, and Jack, if you are reading this, know that your audience awaits with eager anticipation.
Listen to the new single "Fortunate One" featuring Chris Robinson of Black Crowes. Sweetzerland Manifesto MKII is out May 26.
The co-founding member, principal songwriter, and co-producer of Aerosmith and Hollywood Vampires, as well as one of the most sought-after guitarists of all time, Joe Perry is also excited to share news of the May 26 release of his new album Sweetzerland Manifesto MKII via Roman Records. Listen to "Fortunate One"
The album will be made available via all DSPs as well as on vinyl which was not the case when he dropped Sweetzerland Manifesto in 2018. The new LP includes six new tracks and alternate vocal appearances and mixes from the earlier version. “We had so many songs and with everything going on with The Vampires, Aerosmith, COVID, not touring, and touring, this music kept riding along for me,” Joe notes. “It was like the engine of a train that wasn’t going to stop. I’d wanted to put these songs out, and the idea of adding them to a vinyl release or Deluxe Version turned into doing MKII. I tend to think in terms of albums. The first one had a vibe, and MKII is a little more rocked out. I almost prefer it. It’s one of those records I can play from front-to-back live.“
Sweetzerland Manifesto MKII serves as the companion and spiritual successor to the original Sweetzerland Manifesto. Joe wrote and recorded the bulk of the material for both versions at the Los Angeles home of fellow “Vampire” Johnny Depp back in 2017. During a few months at “Sweetzerland,” he experienced a groundswell of creativity and welcomed various collaborators into the fold, including vocals courtesy of David Johansen (New York Dolls, Buster Poindexter), Robin Zander (Cheap Trick), and Terry Reid. Johnny served as Executive Producer, while Aerosmith’s go-to producer Jack Douglas, Bruce Witkin, and Joe’s sons Tony and Roman also contributed to production.
Track List
SIDE A
- Fortunate One - Features Chris Robinson (The Black Crowes) and Robert DeLeo (Stone Temple Pilots)
- Quake - Features Gary Cherone (Extreme/Van Halen)
- I’ll Do Happiness - Features Terry Reid
- Aye Aye Aye - Featuring Robin Zander (Cheap Trick)
- Man with a Golden Arm - Instrumental
- Time Will Tell
SIDE B
- I I Wanna Roll - Featuring David Johanson (NY Dolls)
- Suck It Up - Featuring Robin Zander (Cheap Trick) and Robert DeLeo (Stone Temple Pilots)
- Goes His Own Way - Featuring Terry Reid
- Won’t Let Me Go - Featuring Terry Reid
The Joe Perry Project Tour Dates
4/15/23 - Foxwoods Resort Casino - Mashantucket, CT
4/16/23 - Citizens House of Blues - Boston, MA
4/18/23 - Webster Hall - New York, NY
4/20/23 - Des Plaines Theatre - Des Plaines, IL
4/21/23 - Arcada Theatre - St. Charles, IL
4/22/23 - Crofoot Ballroom - Pontiac, MI