HIGH TIMES
As 1977 rolled in, Aerosmith were flying high. In January, the band’s latest single Walk This Way, belatedly extracted from 1975 album Toys In The Attic, hit No.10 in the US. And in February, when they toured in Japan for the first time, they experienced a level of hysteria akin to Beatlemania.
There was no rock band on Earth bigger than Led Zeppelin, but Aerosmith were rising fast. As their producer Jack Douglas said: “Kiss was their only competition, at least among American rock bands.”
And yet, in the early summer of ’77, when Douglas started work on Aerosmith’s fifth album, Draw The Line, the problems within the group were plain to see. Hard drugs had taken a hold on the band’s two leading figures, singer Steven Tyler and guitarist Joe Perry. As the latter would put it: “The Beatles recorded The White Album, right? Well, Draw The Line was our Blackout Album.”
It was an album created out of chaos, and it marked a turning point in the life of America’s greatest rock’n’roll band. In its wake came two years of insanity – near-fatal car crashes, on-stage meltdowns, drug mania and fights between their wives and girlfriends, culminating in the shock exit of Joe Perry in 1979. And strangest of all, it was during these wild years, when the band was at its most dysfunctional, that some of Aerosmith’s greatest music was made.
The scene for the recording of Draw The Line was the Cenacle, a vast mansion set in 100 acres in a remote part of New York State near the village of Armonk. In 1977 the owner of the Cenacle was a psychiatrist who planned to turn the old place into a residential home for troubled adolescents. “Instead,” joked Aerosmith’s bassist Tom Hamilton, “he got us.”
By the time the band members arrived in June, Jack Douglas and his team had set up a mobile recording studio on the ground floor, with heavy cables running from room to room. For added natural ambience, Joey Kramer’s drums were recorded in the chapel, and Joe Perry’s rig was installed in a walk-in fireplace. The difficulty for
