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Aerosmith still knows how to let it rip
from: thestar.com
by Ben Rayner, Pop Music Critic
Life presents few certainties, but to death and taxes we might easily add Aerosmith. The weathered Boston rockers are committed crowd-pleasers to a fault.
With no new album to flog and a couple of Toronto appearances already logged since the band's 2004 blues-covers compendium Honkin' on Bobo – the last disc of new material was 2001's mostly forgotten Just Push Play – the grandfatherly quintet was still able to ram the Molson Amphitheatre to the verge of capacity last night precisely because it's got a boatload of hits and it knows how to wield `em.
JOAN JETT AND THE BLACKHEARTS were shrewdly on board to flesh out the crowd with the few women whom, it seems, don't harbour some weird attraction to scarf'd simian showboat Steven Tyler.
That's gotta be Aerosmith's secret to longevity.
But for every pack of wasted dudes that collectively goes weak in the knees with the urge to air guitar to "Sweet Emotion" or "Same Old Song and Dance" there's a posse of girls swaying to "Crazy" or "What It Takes." (The two women in front of me might have been the only people in the venue who knew every word to 1997's iffy single "Pink.")
Even if you think Aerosmith has been squandering its legacy since 1999's Pump – and by "you," I mean "me," because I'm the only human being on the planet who thinks "Janie's Got a Gun" was the end of the group's career – and you can't do anything but shake your head at the continued insults to rock `n' roll implied when the guys turn up on American Idol or back Tom Jones at the Concert for Diana, there's a "Walk This Way" or a "XXX" to remind you the band was a dirty, dirty white-blues machine in its day.
One that has, fittingly, embraced its more grizzled Delta leanings in old age and still rips it up onstage like it wants to be playing rather than sleepwalking through its catalogue to collect a paycheque.
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