The rawness is gone. So is Steven Tyler’s faux vocal style. Instead, Aerosmith’s Get Your Wings, their 1974 sophomore release, focuses on a more polished production with vocal licks from Tyler that are arguably some of his greatest. Unlike many, I never disliked Tyler’s vocal delivery on the eponymous debut for that album is 100% Aerosmith, but even I have to admit that his natural singing voice, as we heard on Dream On, is far more appealing, thereby making Get Your Wings a stellar release that would further refine the band’s unique sound and style.
It wasn’t just the band that would refine their sound and be truer to themselves, for Jack Douglas’ role as Producer, and overall collaborator, really positions him as the sixth member of Aerosmith; certainly throughout the 70s. From an observer’s standpoint, I wouldn’t suggest that Adrian Barber did a poor job producing their eponymous debut, but it is fair to say that he didn’t quite capture their sound; Dream On being the exception. Nevertheless, Douglas would guide Aerosmith through their classic era until tensions and substance abuse, during the recording of Night In The Ruts, meant he was no longer in control and Columbia Records ultimately decided to replace him with Gary Lyons; not a bad choice by any means but Douglas was as important to Aerosmith as Bob Ezrin was to Alice Cooper. Douglas would go on to produce Aerosmith’s Rock In A Hard Place, Honkin’ On Bobo, and Music From Another Dimension! but as with Ezrin and Cooper, the flow was never quite the same on post-prime releases. Speaking of Ezrin, he acted as Executive Producer for Get Your Wings; a role that focuses on the business decisions relating to the production of the album rather than the musical output commonly associated with the producer’s role. It makes you wonder what Get Your Wings would have sounded like if he was the producer.
Much like the eponymous debut, Ryan Smith’s 2013 Record Store Day (RSD) vinyl remaster is stunning with a detailed and full-bodied sound that is about as good as you’re going to find on a vinyl reissue of this album. This mastering also wasn’t limited to the RSD release meaning that you can still pick up a copy and experience it for yourself. The only difference is the post-RSD releases aren’t numbered and come with a different hype sticker.
Switching our focus to streaming, you’ll find the (Hi-Res) Lossless Apple Digital Master, on Apple Music, to be a perfect digital facsimile. Yes, it’s a fair bet that the vinyl reissue was pressed from a digital intermediary, but the process of putting the music on vinyl shifts the sound of the music ever so slightly making it warmer in tonality. That isn’t to suggest that the stream is cold or shrill, anything but, but the vinyl counterpart can be enjoyed without any EQ changes, whereas when listening to the stream, I find myself wanting to reduce the treble and increase the bass slightly. It’s a small difference, granted, but if given the choice I’d gravitate to the vinyl reissue for it has a slight edge over the digital stream.
The artwork itself, on the vinyl reissue, is a lovely replica. Naturally, there are some differences such as the updated publishing dates, and the numbered imprint, but even the record label is astonishingly close to an original. Hence, if you’ve been looking for a copy, and have not yet found an original in decent shape, you won’t be displeased with this release.
Same Old Song And Dance has a great beat and rhythm with some killer guitar licks from both Joe Perry and Brad Whitford. The brass performance by The Becker Brothers is stunning and was the perfect addition as it makes it more of a standout than it would have otherwise been. However, I've always felt that the drum track is inadequate on Same Old Song And Dance. It’s almost as if the skin tension is loose on the drum heads, or the microphone placement was poorly chosen, for the drum track lacks depth and makes the overall rhythm section sound as if it’s concealed. It could even be a result of a mixing decision but it is not as prevalent on the other songs on Get Your Wings; a shame considering it’s a killer tune.
Of the live recordings, the edition found on A Little South Of Sanity is excellent. As the song progresses, you get a sense they’ve loosened up and are simply jamming. The Classics Live! II performance is solid, but not exceptional. It has a similar concealed drum tracking, to the studio recording, and I subsequently can’t help but wonder if it is merely a lack of presence in the drum tracking on this particular song. Hence, it’s then plausible to suggest that it was a mixing decision more than any other aspect.
As Lord Of The Thighs begins, the drum track is noticeably cleaner and more authoritative, remaining this way throughout the rest of the album. As a song, Lord Of The Thighs is exceptional with a killer infectious blues rhythm throughout and is foundational as far as Walk This Way is concerned, from Toys In The Attic, as the rhythmic beat is repurposed on that legendary tune to great effect.
Of the live performances, the recording from Live! Bootleg is energetic and full of attitude, while the Classics Live! rendition is similar in length but isn’t nearly as bombastic. The Texas Jam performance from 1978, as heard on Pandora’s Box, is more rhythmic than that on Classics Live! But lacks the attitude and energy of Live! Bootleg.
Spaced commences with low, audible, atmospheric sounds. I don’t know about you, but I thoroughly enjoy it when rock and roll songs start this way and there’s so much complexity to be heard in Spaced that I never tire of the experience it offers.
Woman Of The World is blues-driven rhythmic rock 101.
S.O.S. (Too Bad) has nothing to do with saving souls, although that may have seemed appropriate for the band as they were regularly on the precipice of destruction. Instead, it stands for Same Old Shit and that’s one adage I’m sure we can all get behind. S.O.S. (Too Bad) is a fantastic bluesy rock song with a beautiful intermingling of guitar, bass guitar, and a drum rhythm that holds the song together.
Train Kept A-Rollin’ is arguably the most successful song from the album, despite not charting upon release. Aerosmith may not have written or performed it initially, but the boys from Boston certainly mastered it.
Of the live performances, you really need to check out Classics Live! if for no other reason than the grungier tone that works extraordinarily well with the style of the song. The Live! Bootleg recording is lackadaisical by comparison. Plus, let’s be honest, the tip of the hat to Strangers In The Night, an incredible tune in its own right, somewhat tarnishes the Live! Bootleg performance.
Seasons Of Wither begins with almost a minute of faux audience and wind sounds in an attempt to set the seasonal stage, yet it is the gorgeous guitar work that stands out here. It’s subtle and doesn’t overshadow the song itself, but is notable nonetheless. But, is it a great tune? Yes and no. Without the extensive introduction, it becomes much more appreciable but it’s also true to say that it isn’t one of Aerosmith’s better ballads. It should, however, have been the closing song on Get Your Wings.
I do wish that Pandora’s Box was re-tracked to appear before Seasons Of Wither. It isn’t that it’s a bad song; it just doesn’t flow well after the soothing Seasons Of Wither. Plus, the long-held guitar riff and drum outro on Seasons Of Wither would have made for a far better closer than Pandora’s Box; a solid tune nonetheless.
Overall, Get Your Wings is a must-own for any fan of Aerosmith or 70s rock and roll. It really is quite exceptional and has stood the test of time.
