Published on Jul 3, 2002
Anyone who is more than just a casual fan of Aerosmith (meaning
they don’t just know the band’s songs when they’re played on the
radio) knows the tale of excess and debauchery that their lives
became in the ’70s.
Draw The Line, the fifth studio effort from Steven Tyler and
crew, was the first major sign of trouble that was evident in the
music.
A more bare-bones effort all around, Aerosmith sound like this
project was both rushed and labored – and while there are moments
on this disc that continue to show the band’s power and brilliance.
But at other times, the red flags aren’t just raised, they’re waved
like they were being used at the Indy 500, leading to a
disappointing release.
To be sure, there’s still material on this disc that will make
you wonder how Tyler, Joe Perry and the gang were able to keep
coming up with hit after hit. The title track is undoubtedly the
best known among the group, and the utilization of slide guitar on
the main riff helps to really drive this song home to the listener.
But the best track in the bunch is one which hardly ever gets any
attention – “Critical Mass,” a pounding number which chugs forward
like an out-of-control locomotive into your spinal column. The
staggered rhythm and delivery of the chorus are the keys to this
song, easily one of Aerosmith’s best.
But there are some genuine clunkers on
Draw The Line as well. I will never understand how “Kings
And Queens” made it onto
Aerosmith’s Greatest Hits, even though that was a rushed
set; this attempt at a slower, more thoughtful rock song is weighed
down by its own self-importance, and sinks like a rock. While not
as spectacular a failure, “The Hand That Feeds” is a track with a
style shift that also does not work as well for Aerosmith.
Other songs aren’t failures in the strongest sense of the word,
but they hardly represent the band’s best work. Tracks like “Sight
For Sore Eyes,” “I Wanna Know Why” and “Get It Up” would be
considered filler on any of Aerosmith’s previous albums; their
inclusion here is one sign of increasing desparation. And while
Perry is a capable lead vocalist (something he’s proven time and
time again as Aerosmith’s career has chugged on), “Bright Light
Fright” isn’t the kind of debut that was worthy of Perry.
If anything,
Draw The Line is still worthy of your attention, if only to
have your hands on songs like “Critical Mass,” or to try and
pinpoint stages in the band’s descent into personal conflicts. The
funny thing is, had this album been released in place of
Get Your Wings, it might have been salvagable. After the
one-two punch of
Toys In The Attic and
Rocks, though, it’s a letdown – though not as big of one as
Aerosmith would soon deliver.