2001 issued digitally remastered anthology of the veteran Boston Rock band's best from their years spent on the Geffen Records label, 1995-1998. Out of the ashes of dissolved friendships and personal tumult came the surprising reunion of 5 friends who realized that after all is said and done, they only have themselves to rely on...for better or worse! And better it was indeed! The group sailed to even greater commercial heights with hits like "Dude (Looks Like A Lady)", "Angel", "Love In An Elevator", "Livin On The Edge", "Eat The Rich", "Amazing","Janie's Got A Gun", "Crazy", "Cryin" and many more. This selection provides the hits as well as pertinent LP tracks as well and unique live rarities.
is a collection of Aerosmith tracks from the Geffen years, a period that saw them come back from the brink of obscurity (or worse) and rise to world-conquering megastardom. Aerosmith's reign as America's greatest hard-rock heroes seemed all but over at the end of the 1970s, the victim of internal squabbles, drug abuse and a cocooned, decadent environment. Set against that backdrop, their 1980s' label switch and resurgence--and an eventual iconic, widespread acceptance even more pervasive than during their "prime"--was initially as gratifying as it was unlikely. This double-disc, 34-track compilation of the Geffen years chronicles a not-so-young band clawing their way back to the top with a hungry frenzy that shamed many upstarts half their age. With all the high points intact (including their groundbreaking rock-rap redux of "Walk this Way" with Run DMC
, "Rag Doll", "Dude (Looks Like a Lady)", "Love In an Elevator", "Janie's Got a Gun", "The Other Side", Cryin'" et al), this compilation offers up the expected live extras (a handful of old hits and 1990s' staples), soundtrack cuts ("Deuces are Wild" and the Doors
' "Love Me Two Times") and sundry rarities (including the non-album cuts "Don't Stop" and "Can't Stop Messin'", B-side "Head First" and Japan-only "Ain't Enough")--though, sadly, no "Theme to Wayne's World". But by its waning tracks, it also documents the encroaching influences of hired-gun tunesmiths such as Desmond Child and Glen Ballard, and the band's troubling tendency to hew ever closer to the middle of the road as their fame burgeoned. Younger listeners may well treasure this album as a history of Aerosmith's golden years, BD--as in before Diane (Warren). --Jerry McCulley