The Joe Perry Project - I've Got the Rock 'N' Rolls Again
#282
By Brian Kushnir
June 1981
The Joe Perry Project
I’ve Got The Rock ’N’ Rolls Again
Genre: Bar Band Blues
Allen’s rating: 3.5 out of 5
Brian’s rating: 2 out of 5
Highlights:
TV Police
Play The Game
Without getting into the primordial ooze of early Aerosmith here, let’s just say that after creating some bona-fide massive rock classics like “Walk This Way” and “Dream On” the boys from Boston had shot their sweet emotion by the late 70s.
Lead guitar-slinger pouty Joe Perry was so famously finished with the band at that point that he made like Martin Sheen and departed. They were all aggressively gobbling copious amounts of drugs, getting into massive food and milk fights with themselves and their wives, and it became a perfect storm of northeastern rock’n’roll madness. To top it off Steven Tyler’s prancing mini-Jagger antics and lips and signature scarf laden mic stand were just … wicked lame.
Perry managed to convince his label to put out his second album but unfortunately, he forgot Euclid’s 269th proposition, you know the one, that hypothesizes as follows:
“Any lead guitarist who achieves artistic and creative greatness in a band that is in any part defined by the tension between said guitarist and the band’s lead vocalist can never achieve a comparable level of greatness or success as a solo artist.”
“I’ve Got The Rock ‘N’ Rolls Again” is textbook proof of this hypothesis. Perry recruited Boston-scene cover-band singer Charlie Farren, and they sat down on a corner in Kenmore Square with a 12-pack of beers and worked the three gears of the Joe Perry bitchin’ Camaro: blues riffs, boogie riffs, and Aerosmith riffs from the Aerosmith man-cave cutting room floor, to come up with some recordable songs.
It makes sense that Perry would bring the leftover Aerosmith, so you get songs like “Play The Game” which is like a mental mash-up with “Dream On,” and “TV Police” where legend has it the suits from the label listened to the demo and suggested “this would really be a wicked pissa track if you added that voice box thing.”
The blues and boogie riffs are acceptable for a Boston cover band but except as a curiosity there’s not a lot going on here, and even though Charlie Farren does a passable Steven Tyler, he’s no Arnel Pineda.
#282
By Brian Kushnir
June 1981
The Joe Perry Project
I’ve Got The Rock ’N’ Rolls Again
Genre: Bar Band Blues
Allen’s rating: 3.5 out of 5
Brian’s rating: 2 out of 5
Highlights:
TV Police
Play The Game
Without getting into the primordial ooze of early Aerosmith here, let’s just say that after creating some bona-fide massive rock classics like “Walk This Way” and “Dream On” the boys from Boston had shot their sweet emotion by the late 70s.
Lead guitar-slinger pouty Joe Perry was so famously finished with the band at that point that he made like Martin Sheen and departed. They were all aggressively gobbling copious amounts of drugs, getting into massive food and milk fights with themselves and their wives, and it became a perfect storm of northeastern rock’n’roll madness. To top it off Steven Tyler’s prancing mini-Jagger antics and lips and signature scarf laden mic stand were just … wicked lame.
Perry managed to convince his label to put out his second album but unfortunately, he forgot Euclid’s 269th proposition, you know the one, that hypothesizes as follows:
“Any lead guitarist who achieves artistic and creative greatness in a band that is in any part defined by the tension between said guitarist and the band’s lead vocalist can never achieve a comparable level of greatness or success as a solo artist.”
“I’ve Got The Rock ‘N’ Rolls Again” is textbook proof of this hypothesis. Perry recruited Boston-scene cover-band singer Charlie Farren, and they sat down on a corner in Kenmore Square with a 12-pack of beers and worked the three gears of the Joe Perry bitchin’ Camaro: blues riffs, boogie riffs, and Aerosmith riffs from the Aerosmith man-cave cutting room floor, to come up with some recordable songs.
It makes sense that Perry would bring the leftover Aerosmith, so you get songs like “Play The Game” which is like a mental mash-up with “Dream On,” and “TV Police” where legend has it the suits from the label listened to the demo and suggested “this would really be a wicked pissa track if you added that voice box thing.”
The blues and boogie riffs are acceptable for a Boston cover band but except as a curiosity there’s not a lot going on here, and even though Charlie Farren does a passable Steven Tyler, he’s no Arnel Pineda.
Don’t Stop Believin’ (Journey with Arnel Pineda)
https://www.youtube.com/watch?v=4Yy6pmsQ9H8
https://open.spotify.com/album/4tGlBp7qnDIGgc4jFr1QeI?si=Si-rKOOcR42FjZQG3MKLdQ
Don’t Stop Believin’ (Journey with Arnel Pineda)
https://www.youtube.com/watch?v=4Yy6pmsQ9H8
