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December 5, 2001   Keeping you up-to-date every month!

Aerosmith News

Win an Aerosmith Tribute CD on! has been giving away a "Sweet Emotion Songs of Aerosmith" CD each week for the past 6 weeks, and will continue to do so until Christmas. This week's contest has been posted. Go to to enter today! Congratulations to Linda for having last week's winning entry.

"Sweet Emotion Songs of Aerosmith" CD is courtesy of HHM Music company. You can visit their website at:

You can also check out some reviews for this CD as well as download the album cover as wallpaper for your pc!

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BJCC Scoreboard Falls, Sinks Hot-Selling Aerosmith Concert


News staff writer

The huge scoreboard above the center of the Birmingham-Jefferson Convention Complex arena crashed to the ground Saturday morning, collapsing plans for an almost sold-out Aerosmith concert.

Susette Hunter, director of sales and marketing at the BJCC, said the scoreboard fell around 7:30 a.m. as crews were setting up for the show that would feature Boston rock group Aerosmith and The Cult.

Promoters will meet this week to try to reschedule the concert, Ms. Hunter said. People who planned to attend should hold on to their tickets.

Ms. Hunter said an early investigation into the incident suggests that a cable snapped when someone attempted to raise the already elevated scoreboard.

BJCC officials said the aluminum scoreboard fell about 70 feet and was destroyed. No one was injured.

Concert promoters posted fliers at the complex, and television and radio stations announced that the concert had been canceled because of technical difficulties. Still, some fans unaware of the cancellation showed up at the arena Saturday night, ready to rock.

A spikey-haired Chad Collins of Chattanooga was upset when a BJCC employee told him the concert would not be held Saturday night. Collins and two friends had driven two hours to Birmingham for the show.

"This is the second time I've tried to see Aerosmith," said Linda Hall, a Boston native. "But they canceled a couple of years ago, too."

Mrs. Hall and her husband, Timothy, drove from Atlanta. They said they did not learn of the cancellation until they arrived at the BJCC. Hall said he heard stories of people coming from as far as Singapore and New Jersey to see Aerosmith perform in Birmingham.

Mrs. Hall said they would try to make it back if the concert is rescheduled.

Eric Alger of Eastaboga said he might not be able to attend the rescheduled show if it is held on a weekday.

"I'm not sure," said the 27-year-old, who donned a black T-shirt emblazoned with "The Cult." "I work nights and really can't do things then."

Ms. Hunter said about 10,000 tickets to the show were sold, 2,000 shy of capacity.

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New look to the AeroForceOne website

AF1 has a new website...Check it out!

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Autographed Guitar at VH1 'Save The Music' Holiday Auction


source: rock this way

The Goo Goo Dolls' Johnny Rzeznik's 1967 Pontiac GTO, dinner with MC Hammer, and a harmonica from Mick Jagger are among the items being put on the block for the VH1 Save The Music Holiday Auction at and eBay. The auction kicks off this Sunday -- the same day that "My VH1 Music Awards '01" airs live on VH1 from the Shrine Auditorium in Los Angeles (at 9 p.m. ET/PT) -- and will conclude Dec. 17. All proceeds will benefit the VH1 Save The Music Foundation. Items from the "My VH1 Music Awards" include a limited-edition poster autographed by the show's performers, a limited edition drum head again autographed by the performers, an actual "My VH1 Music Awards" award, Sting's Fender bass guitar, and a limited edition hand-painted Fender Custom Shop American Flag Stratocaster signed by all performers. Other items include a Lenny Kravitz Coffee Table Book to be personalized for the winning bidder; guitars autographed by Mick Jagger, Keith Richards, The Who, Aerosmith and Sugar Ray; an Everclear logo and autographed snow board; Kid Rock's platinum album; Shania Twain's dress from her CBS-TV special; an Entertainment Weekly magazine cover featuring Christina Aguilera, mounted, framed and autographed; and a Metallica autographed Remo drum head.

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Dodge Ad Boosts New Aerosmith Single


Edited by Jonathan Cohen / November 27, 2001, 4:15 PM

With an endless stream of car commercials hocking vehicles via classic rock anthems such as Ozzy Osbourne's "Crazy Train" and the Who's "Won't Get Fooled Again," little notice was taken when Dodge trucks began running an ad with the title track from Aerosmith's multi-platinum Columbia set "Just Push Play." But unlike its predecessors, this song wasn't a hit, or, at the time, even a single. What resulted for the Boston-based rock veterans was pure Madison Avenue genius.

"The commercial is what is selling that song right now," Aerosmith drummer Joey Kramer tells "We have so many requests for it at radio, via the commercial, that we ended up releasing it as a single."

Indeed, although "Just Push Play" spent 15 weeks on Billboard's Mainstream Rock Tracks chart this summer, peaking at No. 10, it was never sent to other formats. It is now enjoying new life at mainstream top-40 stations, where it was among the top-5 most added tracks this week, with total spins up 350% over the previous week.

Up until last week, Columbia was planning on taking album track "Sunshine," instead of "Just Push Play," beyond rock formats. But the unforeseen support from the commercial made "Just Push Play" the natural choice.

Considering Dodge Motors is also sponsoring the Just Push Play tour, the commercial has exceeded expectations, leaving the band smiling. "It doesn't get any better than that, right?," Kramer says. Beginning next week, a different Dodge commercial using the same track will be airing with Aerosmith appearing on camera.

The group hits Tampa, Fla., tonight (Nov. 27) and wraps its North American dates Jan. 9 in San Jose, Calif. From there, six Japanese shows are on the schedule, after which Aerosmith plans to take a few months off and eventually get back into the studio to begin work on its next release, for which it has no timetable.

Here are Aerosmith's tour dates:

-- John Benson, Cleveland

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Aerosmith’s Brad Whitford: Not Yet Jaded

by Adam St. James

Part 1: Ballads vs. Rockers / Keeping Your Identity

There is no more successful American rock band than Aerosmith. They are everywhere, and have been for most of the past 30 years – even despite the excesses that resulted in a few members taking a “leave of absence” during the early-’80s. Just Push Play, the band’s most recent release and another in a long line of multimillion sellers, sees Aerosmith again mixing the past with the present, as guitarist Brad Whitford describes it.
Whitford, with the band since it’s inception in a New Hampshire resort town in the late ’60s, has often been overlooked both as a player and for his insight into the machinery that moves this Rock and Roll Hall of Fame act. But has long known that all five members – collectively known as the “Bad Boys from Boston” and including Whitford, drummer Joey Kramer, bassist Tom Hamilton, and of course guitarist Joe Perry and beyond-cool front man Steven Tyler – have played extremely important roles in Aerosmith’s unending success.
Brad recently spoke with about Aerosmith’s decision-making process regarding placing radio-friendly ballads alongside more rocking tracks (his favorites), and the long-term value of touring – once lost on a lot of bands after MTV came along and made couch potatoes out all the young spuds (but now thankfully back in vogue). He even analyzes how many home studios you can fit into one affluent neighborhood in the Boston suburbs. Enjoy. Over the course of the past few albums, you guys have done a lot of really lush arrangements. Is that something that is just a learned trait – that you learned how to put these things together and build these immense tracks?

Whitford: Well, I think it’s come along with some of these producers that we’ve worked with, anybody from Jack Douglas to Bruce Fairbairn. Some of the last people we worked with and, of course, some of these ballads we end up doing, these very commercial type of recordings – with a lot of them you’re just really aiming for the radio. So a lot of times it’s like, ‘What are we gonna do here? Is it going to be strings or is it going to be orchestra?’ Sometimes you end up with a 31-piece orchestra creating a kind of specific sound for a movie soundtrack, or you’re really trying to make a Top 40-friendly type of song and there’s definitely some formula to it, you know. I mean you can hear it and when you’re building it and making a certain song, you say, ‘Well, this is obviously gonna be another Aerosmith ballad.’ Is there ever any dissension among the members of the band over how many ballads you’re going to put on a given album?

Whitford: Oh, I would say we have a lot of discussion about how much of that we do. I still think that we struggle with the identity in the band, even though I think this album clearly shows what Aerosmith is – it’s a little bit of everything: some of the heavy rock, some of the mainstream radio, and some contemporary sounds. I think what Aerosmith is doing these days is trying to hold on to some of our early roots and trying to do stuff that’s using some of the stuff that we’re hearing on the radio today, the radio-heavy stuff. And Just Push Play is probably a good representation of Aerosmith. When you say struggling to hold on to your identity, do you mean between the five of you?

Whitford: Yeah. I think everybody – each guy in the band has sort of a slightly different view of what Aerosmith is supposed to be. It’s totally natural. What is your view?

Whitford: Well, I would say that this record really puts it pretty clearly as I described. You know we made a conscious decision at one point to get on the radio, so we became that sort of heavy garage band and became a pop band at the same time, and that’s what we still try and do. It always bothers me when a band puts out album after album and the one or two songs that get played off the album are ballads, and then they go play arenas and so many people out there don’t know that they’re really a pretty rocking band

Whitford: Well, probably one of the most – who was it? It was Extreme – that’s what happened to them. I mean they were just totally out and out sort of a combination of Queen and Van Halen and they made it big with those two ballads. And that really messed them up. It happens to a lot of bands. Yeah, it does. It hasn’t happened to you though. Why do you think not?

Whitford: I don’t know, maybe it was “Dream On,” ’cause “Dream On” was a little bit – it had some heavier touches to it, you know. And some of the other songs that became radio-friendly weren’t just strictly ballads in the beginning. True.

Whitford: So it gave us a lot of leeway I think. Plus, after the hundreds and hundreds of live shows you played, people knew what to expect.

Whitford: Well, yeah. We came up in an era where you really had to perform live – you had to tour. It’s not done the same way anymore. So we have that following, we have that group of people that say, ‘Hey I saw them back when,’ you know, and it’s this sort of legendary thing that goes along with it at the same time, just because of the fact that we’ve been around so long. The Before MTV Generation. Things changed a lot when MTV came around, especially in the touring business, but it seems to me that it’s gone back, at least to some degree, to the way it used to be. Bands realize that you have to tour, and certainly you guys are a good case study of what constant touring does for you, on the positive side. How do you feel about touring today?

Whitford: Well, you know what can I say: Touring is touring. How important is it for a band to tour?

Whitford: Well, I think, in terms of longevity, you’ve gotta have that. You’ve gotta have a good, live following. You’ve gotta be able to sell concert tickets. A lot of these groups kind of seem like – you know they come and go so quickly they don’t get a chance to get a following. It seems like we’re in a stage like that right now where there’s just a lot of people writing songs. It’s kind of like the late ’50’s-early ’60’s, you know: songwriters, bands, a lot of one-hit wonders. And then there’s groups that aren’t necessarily huge on the radio, but they sell lots of tickets live. What advice do you have for young bands out there that are getting together with their friends, and putting it together, and hoping to go all the way with it? How do you pick your band members? How do you pick the right people?

Whitford: I don’t think you can tell. I think it’s just a process. If it works, it works and if it doesn’t, you know you gotta keep moving. So it’s just kind of an audition sort of process. You know: Don’t beat a dead horse. You gotta kind of know what you want to do and then try and find like-minded people that are ready to be at the same level of commitment that you’re at, whatever that is. You know everybody has to kind of be in the same place as far as commitment. That’s a difficult one though…

Whitford: Yes it is because, you know, what does that mean? Does that mean full-time, no outside jobs? Just how do you do it? Where do you get the money? How do you live? You know as a band starting out, where can you play enough live shows to support yourself? Right. A lot of times I think that in the time period that you started, there were fewer people chasing after that dream. I could be completely wrong Brad – but it seems that there were fewer people chasing after the dream of rock stardom and that, therefore, the ones who were pretty serious were more obvious or found each other easier. Am I wrong about that?

Whitford: No, no I think that’s true. It just wasn’t as big then. It’s grown so much. Now, everybody and their brother has got a guitar. You see everybody from football players to baseball players to racecar drivers – they all have their little bands. Everybody wants to play rock ’n’ roll. I think back then it just wasn’t as proliferated or whatever. It was still a handful. It wasn’t a majority. It seems like everybody can at least play an A chord or something. To me that seems to hurt people’s chances. For one because it’s harder to find the truly serious people, but also because there are just so many bands out there. Also as far as the way the record companies handle things – it almost seems that the whole one-hit wonder thing is rampant right now and I sometimes wonder if it’s not because it’s in their financial best interest to keep it that way.

Whitford: Well, certainly there’s some validity to that. They need to have their successes and losses. And I think it’s certainly not in the best interest of some of these groups that sign record contracts. It’s kind of like a death warrant. It’s like guaranteed that you’re gonna go into debt ’cause so few people make it. But you go make an album, and they have you make a couple of videos, and the next thing you know they’re handing you a bill. And you might collect 10 years down the road, after they’ve sold however many records. But you also may not still be a band, at that point.

Whitford: Exactly. You’ll be working in some shoe store. Also in those days that we discussed – the ’60s, the ’70s – a lot of the people that were running labels were musicians or songwriters. It just isn’t that way anymore. And I think it has really affected music overall, in a negative sense. I wonder how you feel about that.

Whitford: Oh, definitely, yeah, it used to be fans. I think the majority of them now are not even owned by Americans. I was just reading an article about Steve Lukather and Larry Carlton. I went to see them play in Japan and they were saying what a treat it was to sign with Steve Vai’s label, and talk to a president of a label who knew what you were talking about and understood what you wanted to do. And that’s the way the big companies used to be. [Editor’s Note: Find out more about Steve Vai and his label Favored Nations on ] And their decision-makers and the people who were looking for talent…

Whitford: Yeah. They were players. We’re actually working pretty closely with Steve and his label. We’re doing a lot of promotions with a lot of those people. In fact, I just interviewed a Favored Nations guitarist named Johnny A., from the Boston area, are you familiar with him?

Whitford: Oh, sure. Yeah, he’s a good friend of mine. Yeah.

Whitford: Terrific album. Yeah, it is. It’s really cool stuff.

Whitford: Really cool album. Is that kind of similar to what you were talking about maybe wanting to do someday?

Whitford: Yeah. I love his album, you know. I like that kind of thing. Yeah, stuff like that. You know I don’t know if I’ll ever get to do it, but you know, maybe. Do you have your own studio at home?

Whitford: No, not really. I don’t. I mean I have some little stuff I play with, but like most of us live within about 10 miles of each other and almost all the other guys have Pro Tools setups, so... And then we have a separate one that we have, a travel studio, so I have access to it if I want to use it. I didn’t see the point in throwing another studio in, with two literally within a mile of my house. Do you get over there often, when you’re not on the road?

Whitford: It depends on what we’re doing or how long we’ve been off the road and all that. Right. Which in the last few years hasn’t been that much.

Whitford: No. Obviously, you’re very comfortable with Pro Tools. What do you think about the whole digital recording revolution?

Whitford: Well, I don’t know shit about it, but I certainly like the results. I don’t know a thing about operating it. It’s very impressive. It’s certainly fun to work with because you can keep up with your train of thought, really. The machinery will stay there with you. You don’t have to say, ‘OK wait, we’ve gotta stop and tape this together, and do this, and do that.’ I mean you can just kind of go, ‘All right, let’s do it.’
I think that part of it is great. The spontaneity of it is really helpful. Yeah. So are you saying that everybody else in the band has a Pro Tools studio?

Whitford: I think everybody else does, yeah. So why are you the one guy that doesn’t? For obvious reasons – they’ve all got one you don’t need one – but I mean is there something more than that? Is it because you’re having fun with your go-cart track? [Editor’s Note: Whitford is a part owner of a seriously cool indoor go-cart racetrack in Boston, Massachuesetts. Check it out at ]

Whitford: Well, I like my home to be my home. I don’t really want to bring the music business too much into where I live. In the past few years I just don’t do that much recording at home

Click the link below to check out an interesting interview with Brad at A must read for those interested in what equipment he uses!

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Aerosmith/Nascar News

Here's a few Aero-related tidbits from a Nascar list...

source: rock this way

Mayfield and Aerosmith? hearing that Jeremy Mayfield will have an Aerosmith (rock group) paint job on the #19 Dodge at Las Vegas in 2002.

NHIS Grand Marshal: Brad Whitford, rhythm guitarist for the rock band Aerosmith, was the Grand Marshal for the New Hampshire 300 on Nov. 23rd. Whitford issued the command to start engines to the NASCAR Winston Cup Series drivers just prior to the noon start of the New Hampshire 300. Prior to the event Brad whitford said: "As a New England native, it's great to have a major league facility such as New Hampshire International Speedway in our area and to have the opportunity of seeing the world' s best racers here," Whitford said. "I can't wait to see the action at NHIS on Friday."NHIS PR".

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Steven and Joe on Z100 for download

source: rock this way

Want to hear Steven/Joe Live on the radio? Want to hear the radio version of Just Push Play. Then this download is for you! It's 17 minutes long and its not the whole interview, it cuts in where Steven & Joe are talking to the DJ's mom.

Anyway, AeroCanal has uploaded 3 MP3s of the Tyler/Perry appearance Z100, at

It's seperated into 3 parts:
- Interview
- Interview 2

You can also download them at Make sure you have Winzip/Something to play .ram files(Real Player/Windows Media)

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Aerosmith Marathon on VH1

source: rock this way

I don't know the exact date, but the VH1 site mentions that they will be showing what they are calling an "Aerosmith Marathon" sometime in December. No further details were posted. Keep Checking for details. If you see there are any updates to this please drop me a line. Thanks

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Scenes From The Road

There are new photos posted last month, all courtesy of Tony Perry.

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Site Updates Update

With the NBCI canceling their hosting services, I have been forced to convert all the pages over to another host. There are some things that you can access on this site, and other's aren't available yet. Please stay tuned everything will be back to normal shortly. 

As many of you have probably noticed the news section has been temporarily replaced with a link to rock this way's Aerosmith news. Right now I am extremely busy, therefore I cannot make daily updates to the news section. Until I can fulfill task I will keep the news section tuned to rock this way. I'm not quite sure when but,'s own news will be returning soon.

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Aerosmith News

Win an Aerosmith Tribute CD on!

Scoreboard Falls, Sinks Hot-Selling Aerosmith Concert

New look to the AeroForceOne website

Autographed Guitar at VH1 'Save The Music' Holiday Auction

Dodge Ad Boosts New Aerosmith Single

Aerosmith’s Brad Whitford: Not Yet Jaded

Aerosmith/Nascar News

Steven and Joe on Z100 for download

Aerosmith Marathon on VH1

Scenes From The Road

Site Updates

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AR your homepage!

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