1. AerosmithPump
This came out when I was 14 and had just started learning how to play guitar, so that’s kind of the album that coincided with me wanting to go into music. No coincidence. The first album I ever bought was Run DMC’s Raising Hell and that had Aerosmith on it, so I was always interested in Aerosmith. I think Pump sounds really special, it’s my favourite Aerosmith album – and I like a lot of Aerosmith. There must be a technical thing about it, because it doesn’t sound like other rock albums. You know how a lot of metal albums have scoops of the lower-middle absent, but there’s a lot of bass and a lot of trebly stuff so it’s like an assault? Well, it seems like the Pump album has got some lower-mid presence, so it sounds like it contains a real drum kit – it sounds like you’re in the room with them. I love the ballad ‘What It Takes’ at the end. It’s just awesome. I loved the way Aerosmith would arrange their albums. You would have about 10 songs and it’s all innuendo and riffs and sex music, and then the last song is the cuddle. I think that’s brilliant. I thought it was timing at first. Kevin Shirley produced Nine Lives for them, and I thought that was a brilliant album too, and I love Permanent Vacation, but I was a bit young for that. I think it’s just a really concise record and even when it has the interval bits between certain songs… you just can’t listen to one track, you have to listen to the whole thing to get the vibe.
