The Two Makings of Aerosmith’s Get a Grip

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The Album That Was Made Twice

In late 1990 and early 1991, Aerosmith were the most valuable band in rock and a band still under contract to someone else. Tim Collins had walked David Geffen out of a re-signing meeting on Robertson Boulevard with the symbolic small win of refusing to pay for lunch, and walked into Michele Anthony’s office at Sony with the bigger one: a multi-album deal that would soon be reported as one of the richest in rock. The catch was that Aerosmith still owed Geffen one more album before any of the Sony money could be earned. The Pump tour had only just ended. Steven Tyler and Joe Perry were already writing in Perry’s basement studio in Duxbury.

What the world bought on 20 April 1993 was the second version of Get a Grip. An earlier finished record, tracked through January and February 1992 at A&M Studios in Hollywood, was rejected by John Kalodner in March 1992 with a verdict that every participant later recounted in their own way. Across the two writing periods, the band wrote, demoed, and in many cases fully tracked roughly thirty more songs than the fourteen that made the album. Most are still in the vault. Two wall charts photographed from the producer’s wall and the surviving Beta SP tapes shot by the band’s documentary videographer map out an album that was made twice, and a second album that was made once and never released.

Late 1990 – early 1991: The Sony deal and the documentary man

The deal that re-routed the band’s commercial life came together fast. Collins had pushed Geffen to match Sony’s offer and Geffen had refused, in Collins’s telling in Walk This Way with a final dismissive “Go make your fuckin’ deal with Sony.” Michele Anthony’s number at Sony was $25 million plus another $5 million in related deal points, roughly $30 million guaranteed, with royalties closer to 25 percent than the industry norm. The press first picked it up in September 1991, and a Rolling Stone item on 3 October framed it as one of the most lucrative rock contracts ever negotiated.

Inside Collins Management, Keith Garde was preparing for the next album. He hired Boston-based videographer Peter Martinez, on a leased Sony Beta SP rig, to film the writing and recording process from the beginning. The brief was simple, as Martinez later put it: document everything, with a Making of Get a Grip video modeled on the Making of Pump MTV special as the eventual deliverable. The band was sober. Tyler and Perry were writing daily in the Boneyard, Perry’s basement studio at 1405 Tremont Street in Duxbury. Brad Whitford, Tom Hamilton, and Joey Kramer had families and houses on the South Shore. The bones of the next record were already going down on DAT in the Boneyard before any contracts were signed.

Early 1990 – mid-1991: Seeds in the Boneyard

The story starts with a single Joe Perry demo more than a year before the rest. On 6 January 1990, Perry tracked a solo piece called “Joe’s Psycho” at Rik Tinory Productions in Cohasset, Massachusetts. It would sit on the shelf and reappear, two years later, at position ten on the LA wall chart. Nothing else followed until February 1991, when Tyler and Perry turned the Boneyard on and started writing in earnest.

Joe’s basement studio in Duxbury was a small 24-track room with the DAT machine always running, and that single habit shaped the next two years. Perry told EQ Magazine in April 1993 that the Boneyard demos were really templates, and that when the band couldn’t reproduce the original feeling later at A&M, they would lift the parts directly off the demo tape. Through the first half of 1991 the writing happened almost entirely as Tyler and Perry alone in a room, with the actual demo recording rotating between the Boneyard, Rik Tinory’s, and Courtland Studio in Hanson, Massachusetts, depending on who was free and where. The songs from this stretch are, with a couple of exceptions, the rawest and most sexual on the whole Get a Grip timeline, in classic late-80s Aerosmith mode.

Two of the keepers came almost immediately. “Fever” was, by Perry’s account in EQ, the first song developed for the album, cut at the Boneyard in early February 1991 with the intro effect generated on a Lexicon LXP-5 in the room. Tyler told Red Beard in 2018 that when he first heard the track he ran down the road behind his house in headphones thinking, this is it. The same early-February Boneyard tape caught the jam that became “Boogie Man”, the eventual closing track, which was never re-cut. Per Perry’s EQ account, what ended up on the album is “the last two minutes of that jam right off the DAT,” after he and Tyler had jammed for forty-five minutes with Tyler at the keyboards playing a slap-bass part.

The dropouts came just as fast. The Courtland sessions on 12 February 1991 produced early demos of “Lizard Love”, a sexual rocker about a snake-tongued woman, and “Dime Store Lover”, a half-spoken Tyler / Perry rocker about a cheap-and-tacky woman the narrator can’t resist, alongside scratchpad ideas like “Mama Wants” and “Hungry Lonely” that never developed. “Meltdown”, Tyler’s eventually seven-minute apocalyptic vision of climate collapse, started life at Rik Tinory’s on 19 March 1991 as a pair of instrumentals. “Amazing” started at Courtland on 11 April 1991, and the next day the Boneyard delivered the early demo of “Cryin’,” “Wham Bam”, a comic-book rocker about a seven-year sexual itch written with Richie Supa, and “Walk on Down,” the Joe Perry track that would eventually make the album with Perry on lead vocal.

Two clips from this early Boneyard period were sanctioned years later by Vindaloo Music for the official Aerosmith.com archive. “Rehersal at Joe’s” is an instrumental jazz-bluesy jam with Tom Hamilton’s slap-style bass and Tyler scatting over the top, never developed into a song. “Brass Ballz”, tagged SO91 on the same page, survives only as the line-and-a-half “Somebody throw me a line, I’m down here where the sun never shines, abandoned by my daddy at birth” before the clip cuts. A third file from the same archive, under the filename pianoSO91, is a piano-and-vocal-melody demo that is identifiably the 1991 skeleton of “Crazy,” cut before Desmond Child was involved. The chord shape and melodic centre were already on the Boneyard DAT a year and a half before the Vancouver writing session with Child refined the lyric into the version the world bought.

The first half of 1991 also pulled a couple of old outtakes back off the shelf. On 18 June 1991, three tracks were cut at a Boston-area room logged only as “Studio F”: “Eat the Rich,” “Ball and Chain,” and “Suzy Q.” “Suzy Q” was the working title for what would become “Devil’s Got a New Disguise”, carrying “Sweet Susie Q” melodic scraps from the Pump sessions in 1988–89; it would be retitled at A&M in January 1992. “Walking on Danger Street”, a swaggering rocker left over from the 1987 Permanent Vacation sessions, was another that got tried again in this window. Most of these early ideas would never get past the demo stage. The ones that did were the songs Tyler and Perry would eventually bring to Bruce Fairbairn when full tracking started.

Late 1991: Vancouver, Long View Farm, and the writing road

Through the second half of 1991 the writing rotation widened beyond Tyler and Perry alone. The first outside session of note was with Diane Warren. At her Malibu beach house, Tyler and Warren wrote “Good Thang”, a 1950s-flavored mid-tempo ballad registered with the US Copyright Office on 27 September 1991 (PAu-1-556-922) under Realsongs and Swag Song and demoed by Realsongs session musicians with Tyler’s vocal on top. It was never picked up for proper Aerosmith tracking. The same beach-house session, almost certainly a little before that September registration, also developed the demo of “Devil’s Got a New Disguise”, the trio updating the lyrics on the “Suzy Q” material from June.

In October 1991, between writing trips, Aerosmith and a fifty-seven-piece orchestra taped a “Dream On” performance for MTV’s Tenth Anniversary Special at the Wang Center in Boston. The piano-descent rehearsal, Tyler floating down from the flies in a tailcoat and playing the chord intro, was shot six or seven times to get the camera coverage. The footage went on Beta SP.

November brought two big demo sweeps at the Boneyard and Courtland that, between them, gathered almost the whole pool of in-progress songs in one place, a useful snapshot of what the band considered their live working set going into the A&M sessions. The keepers were already there: “Crazy”, “Gotta Love It,” and “Line Up.” So were the dropouts: “Black Cherry”, a dark Tyler rocker about a man with a prostitute that Kalodner would later call perverted; “Strange”, a rocker about a man in trouble with drug lords; “Trouble”, a Tyler / Perry / Supa rocker that never finished its drums; “Yo Mamma”, a fun bluesy Tyler rocker about a young man who accidentally sleeps with his girlfriend’s mother; “Meltdown”; “Lizard Love”; “Amazing”; and the first demos of “Thirteen”, a mellow dark ballad that took its working title from its position on the chart because Tyler never finished the lyrics. The same sweeps caught the two-part writing demo of “Head First”; “Sedona Sunrise”, a country-flavored Pump-era leftover also logged under its working title “Heat of Love”; “Tofu”; an idea listed only as “Ain’t Gonna”; and “Funk Stomp,” the instrumental music-and-melody demo of the title track “Get a Grip” before its lyrics were written.

In December 1991, Jim Vallance, the Canadian songwriter who had co-written with the band on Permanent Vacation and Pump, hosted Tyler and Perry in Vancouver. Vallance has dated their visit to 2–5 December 1991 and places the writing of “Legendary Child” in that window, in the same block as “Don’t Stop”. He kept work-in-progress DATs in his basement, and a 2012 dispute over “Legendary Child” credit was resolved when he produced labelled tapes from December 1991 with the three of them on them.

The title track and “Head First” were written further east, at Long View Farm Studios in North Brookfield, Massachusetts. Vallance’s site captions a photograph from the Long View attic rehearsal space showing Perry and Vallance with a 1980s Macintosh SE running Performer to generate drum loops. On a since-removed version of his “Head First” page, Vallance recalled a passing worry during the writing that the song “might sound too much like The Stones’ ‘Street Fighting Man,'” adding that listening back years later he had “trouble identifying whatever it was that had our knickers in a knot.” “Head First” ended up a B-side on the Eat the Rich CD single, and went on to become the first track Aerosmith ever released as a free online digital download. Between trips, Tyler worked in his own writer’s studio, a 40-square-foot floating room above his two-car garage in Marshfield, sitting on rubber stoppers at forty points with two inches of air around it. He could push it to 120 dB at three in the morning without waking the house.

November 1991: Sierra Tucson

By the late fall of 1991, Tim Collins had decided the entire band needed to go to Sierra Tucson. None of them had used in years. Joe Perry, in Rocks in 2014, said his exact thought at the band meeting was that they were sober, and had been sober for six years. Brad Whitford’s wife Karen was due to give birth. Billie Perry was eight months pregnant. Tom Hamilton’s wife Terry had just had surgery. Collins’s response, as Perry later described it, was that he could not in good conscience walk into Sony and say the band was in shape to take the millions if he believed they were falling apart. The threat was implicit and unmistakable. The Sony deal could be killed.

They went. So did Bruce Fairbairn, who Collins also pushed into rehab. The therapists who took the band intake sessions, in Perry’s account, concluded within days that there was no reason for the band members to be there. Perry’s birthday fell during the stay; his therapist told him directly that whatever was happening could have been handled as outpatient work back in Boston.

Tyler had checked in earlier, on his own, for codependency. In Chapter 13 of his 2011 memoir he described family week: the band and their wives, Tim Collins and his hand-picked therapists, tour manager Bob Dowd, all of them sitting in a circle in a treatment room in Arizona. Tyler had been complaining that Dowd, a former Nevada trooper hired by Collins as a “drug cop,” was watching him and Perry try to write and blowing the vibe. He laid into Dowd at the family session. Collins defended Dowd directly to the counselors. One of the counselors looked back at Collins and told him he was the sickest person in the room. Tyler grabbed boxes, pushed them into the middle of the floor, threw his giant scarf over them, and named the pile the Shroud of Touring. He raised a coffee cup as a goblet. His toast, in the memoir’s wording, hoped hell would be as much fun as getting there.

The band that walked out of Sierra Tucson was sober and at war with its own management. The damage done in that family week shaped every subsequent decision about who got to speak about what, and through whom, for the next five years. The firing of Tim Collins eventually came in 1996, after Nine Lives, and Collins gave his own version of it to Larry Katz in June 1997 — but the burr that Tom Hamilton named as the burr under the saddle for the next five years went in at Sierra Tucson.

January – February 1992: A&M Studios, Hollywood

In January 1992 Aerosmith began full-band tracking at A&M Studios in Hollywood, in the Charlie Chaplin lot’s Studio A, the room with the oversized glass Star Wars door that, when it worked, slid open as you approached. Bruce Fairbairn came down from Vancouver. The Pacific Northwest had been the home of Permanent Vacation and Pump; for Get a Grip, after the Sierra Tucson experience, the band refused to be sent back. The compromise was Los Angeles, with Fairbairn at the console.

Perry rented apartments in West Hollywood. Sam Kinison lived in the building. The four families on the lease eventually produced four boys inside six months: Roman Perry, Taj Tyler, Graham Whitford, and Julian Hamilton. Shelly Yakus, an old friend from the Record Plant, opened up his vintage gear stash to Fairbairn. By Fairbairn’s own count, in his “Back in the Saddle” sidebar in EQ in April 1993, Perry used something close to fifty vintage amplifiers across the sessions, dragged into Studio A, dusted off, and fired up. Fairbairn singled out a Park amp split with an aged Epiphone Combo as one of the bizarre-looking combinations that sounded extraordinary on tape.

From the turn of 1992 through February, A&M Studios was the band’s main tracking room, with the Boneyard and Courtland still picking up writing and demo work between LA trips. The LA sessions opened with a “Get a Grip” pass at A&M at the very end of December 1991 and ran daily through January, working the songs the band had brought west: “Dime Store Lover”, “Don’t Stop,” “Suzy Q” (which the band retitled “Devil’s Got a New Disguise” around early January 1992), “Lizard Love,” “Meltdown,” “Thirteen,” “Yo Mamma,” “Steel Tips” (the working title for “Fever”), “Joe’s Psycho,” “Amazing,” and “Black Cherry.” A 17 January Boneyard session caught further work on “Crazy” along with the first appearances of “Ain’t That a Bitch”, one of three completely different songs the band wrote under that title between 1991 and 1996, plus “Shut Up and Dance” and “Can’t Stop Messin'” in early forms.

Around February 1992, the working pool was gathered again onto two Courtland compilation tapes, one a full mix and the other the same set with the guitars stripped out, jokingly logged in the band’s paperwork as the Courtland “copulation” tapes. The first day of lead vocals at A&M appears to have been 18 February 1992, when Tyler cut his first vocal pass on “Get a Grip.” The same 18 February revisit gave two old outtakes one more try: “Hollywood”, an industry-critical rocker first attempted in 1986, and “Walking on Danger Street”. Neither developed past Tyler trying a few alternative vocal lines over old basic tracks.

The tracking-room wall told the working story.

The LA wall chart, signed 6 March 1992

The LA chart, photographed in the Bruce Fairbairn estate archive, listed sixteen songs in a numbered grid with columns for Basics, Guitar O/D, Lead Vox, B.V., and Keys. Hand-drawn icons (a polka-dotted Basics column, a skull-and-crossbones over Guitar O/D, a blue airplane, a dinosaur, a “wobbley thing”) gave each cell its track-status code. Don Henley flew in around 6 March 1992 to put backing vocals on “Amazing.” His signature on the chart anchored the date.

The sixteen LA songs were, in chart order:

  1. “Eat the Rich“: stylized as *EatEatEat the RichRichRich* on the chart, a Tyler / Perry / Vallance rocker about class warfare, with the polka-dot Basics column already marked done.
  2. “Meltdown”: the seven-minute apocalypse, with a polka-dot Basics, a spider over Guitar O/D, and an X through the Lead Vox column.
  3. “Black Cherry”: a male symbol added beside the title; skull-and-crossbones over Guitar O/D; “Done” marker in Keys.
  4. “Amazing”: a sunburst Basics column, blue airplane Guitar O/D, a checkmark in Keys, a B.V. triangle, ready for Henley.
  5. “Yo Mamma”: striped Basics, a spider over Guitar O/D, and a picture of a woman drawn into the B.V. column.
  6. “Deuces Are Wild”: written as Duces ‘r Wild on the chart, the resurrected 1988 Vallance demo with new vocal, polka Basics and “Done” in Keys.
  7. “Lizard Love”: stars on Basics, “NONE” written in Keys, and a lizard drawn into the Lead column.
  8. “Dime Store Lover”: listed as “Dime Store”; orange Basics with a checkmark in Guitar O/D.
  9. “Devil’s Got a New Disguise”: orange Basics with a skull in Guitar O/D, a small devil figure drawn into the Lead column, and a “3 BD” annotation alongside.
  10. “Joe’s Psycho”: Perry’s January 1990 Tinory demo, made it all the way to a chart line two years later, diagonal Basics and multiple skull-and-crossbones across columns.
  11. “Get a Grip”: the Long View title track, diagonal Basics, a dinosaur over Guitar O/D, a lightning bolt drawn into the Lead column.
  12. “Head First”: eventually a CD-single B-side, vertical-stripe Basics, dinosaur Guitar O/D, beer-can-style lettering in Lead Vox.
  13. “Fever”: listed as Fever a.k.a. Steel Tips, the chart confirming Steel Tips as the working title; airplane Basics, skull-and-crossbones in Guitar O/D, “wobbley thing” note in B.V.
  14. “Thirteen”: yellow airplanes in Basics with a “BRAD” annotation in the Lead Vox column.
  15. “Don’t Stop”: written as a pictogram: three crossed-out STOP signs followed by → arrow; spider in Guitar O/D, dinosaur in Lead.
  16. “Boogie Man”: character drawings in Basics; spider in Guitar O/D; three skulls across columns. Still listed even though the eventual album version was the 1991 Boneyard DAT jam untouched.

The chart represents almost everything Tyler and Perry had written across fourteen months at the Boneyard, Tinory’s, Courtland, Studio F, Long View, Vancouver, and A&M, sequenced into what the band thought was their next record. Most of it was Tyler and Perry alone in a room. Jim Vallance had co-written four of the sixteen, all in late 1991. No outside writer had yet been brought in by Kalodner. The sex / drugs / blues axis that defined classic Aerosmith was prominent. The band, after seven months in A&M, thought the album was almost done.

A mix tape dated 13 March 1992, logged as “Aerosmith A&M Mixes,” carries the same sixteen titles in the same order as the wall chart. That tape is almost certainly the playback the band assembled for John Kalodner: the finished LA album, sequenced, ready to be heard. The date pins down the listening to on or just after 13 March 1992.

The producer equation

The producer-on-call dynamic that shaped Get a Grip was the same one that had built Permanent Vacation and Pump. Bruce Fairbairn’s brief was to come down from Vancouver, work the band hard for a week or two at a time, identify the holes, send Tyler and Perry back to the Boneyard with notes, and come back. Fairbairn told EQ that some of the Boneyard demos ended up on the album in one form or another because the band’s energy at the small studio could not be re-created in a commercial room. The deepest piece of writing-process work happened at Joe’s place. The biggest sonics work happened in the bigger room. David Frangioni, who Tyler nicknamed Gyro Gearloose because “he could rewire a Walkman to record 4-track,” kept the front-of-house gear running at both ends. Fairbairn, asked in EQ what made Perry useful in a tracking room, came at it from the opposite direction. Perry plays on his feet, Fairbairn wrote. Ask him to play a solo five times and each one will be different and each one just as good.

13 March 1992: “I don’t hear it.”

Kalodner sat in at A&M to hear that 13 March mix, fresh off a Jimmy Page solo album in England. Fairbairn ran the playback. The band, Tim Collins, Keith Garde, and Peter Martinez were all in the room, and Kalodner kept his eyes closed for most of it. At the end, in the line Martinez has remembered word for word, Kalodner said: “I don’t hear it. I don’t hear the hits. We need to do more work.”

Every participant later told the moment in their own way, and each told it on the record. In Walk This Way Kalodner framed it as a market read: he had trouble with the lyrics on “Black Cherry” and the raunchier outtakes, called the production not happening, and met with Collins and Fairbairn to say the record was not good enough and they needed new co-writers and new songs. If he wouldn’t buy it, he said, he wasn’t going to ask anyone else to. Joe Perry, in Rocks, remembered the line as “I don’t hear a single” and his own reaction as smouldering while Tyler went off the deep end; even so, Perry liked the raunchy songs and thought they fit the band, and the pragmatic call to fly back to Vancouver and write more was his. Tyler’s Chapter 13 reads it as a fight over hearing, Kalodner listening literally while Tyler sang between the notes; what stung most was watching Collins let Kalodner threaten to take his name off the record. Tom Hamilton, both in Walk This Way and the following year to Larry Katz, pushed back on the whole framing: the band had laid down basics, overdubs, and rough vocals, and the consensus among themselves, before Kalodner arrived, was simply that they were short a few songs.

Per Martinez, the project went on hold when the plug got pulled. There would be no Vancouver tracking run yet. First came months of new writing, back at the Boneyard and on the road.

Spring 1992: Back to the Boneyard

The second writing period began at Perry’s basement studio in Duxbury. Frangioni rebuilt the front-of-house gear for what was now a tracking environment as much as a writing one. Tyler moved back into his floating room over the garage. Perry stayed in the basement.

The management visit that Tyler recounted in Chapter 13 came in this period. Tim Collins, Lou Cox, and the band’s therapists came to Tyler’s house with what they described as a concern about how the album was going. They had decided, in Tyler’s account, that he was not writing the way he used to and that some sexual outlet on the road might help the songs come. Tyler’s response, by his own telling, was to refuse and to call the management package the total Aerosmith management package. The Brain Trust, as Perry called it, had taken its meddling into the lyric department.

The “Fever” lyric standoff with Tom Hamilton happened in the same period. Tyler brought a couplet to a band run-through that compared a buzz from crack with an alternative he considered more rewarding and more graphic. Hamilton listened. Hamilton then turned and told Tyler that the line was not going on his album. Tyler, in Chapter 13, calls the line one of his favorites of all time, and points out that he had written the song. The lyric, in a softened form, eventually appeared on the released version of “Fever”; the body part in question was changed from second-person to third-person possessive, but the rhyme stayed. The standoff itself was the larger point. The second round of songs had to land radio. Everyone in the band knew it. The room argued out, song by song, where the line was.

The writing also went back on the road. In April 1992 Tyler and Perry returned to Vallance in Vancouver, the trip on which Vallance dates the finishing of “Legendary Child”. On the same visit, by Vallance’s account, they pulled out “Is Anybody Out There?”, a melodic mid-tempo song the three of them had started during the 1987 Permanent Vacation sessions and never finished, and tried a new vocal over the original 1987 demo. The new words did not quite work, and there is no sign the song was developed further with the rest of the band or tracked with Fairbairn.

The co-writer playbook

Once the rewrite period started, Kalodner began bringing in outside writers, and with them came a wider thematic range than the Tyler-and-Perry-alone LA chart had carried. Desmond Child worked with Tyler on “Crazy”, refining the 1991 Boneyard piano demo into the released radio single, and worked on “Flesh.” Mark Hudson sat with Tyler and Perry and put what Perry called his favorite of the new batch on the table: “Livin’ on the Edge.” Jack Blades and Tommy Shaw flew in from Damn Yankees and helped write “Shut Up and Dance.” Taylor Rhodes had Kalodner’s blessing for a day and walked out with “Cryin’.” Lenny Kravitz showed up at the Boneyard in his RV, since he didn’t fly, and the spoken “Come on, Joe” interjection on “Line Up” came out of him talking and Tyler keeping the DAT rolling. Jim Vallance stayed on the writing team across both periods, returning for the final “Eat the Rich” pass in Vancouver in 1992. Richie Supa, four years sober and finally back in Tyler’s writing room, brought “Trouble” in. Don Henley’s named contribution stayed at backing vocals on “Amazing”; Aerosmith insiders have over the years pointed to a possible uncredited writing contribution beyond the vocal, though no source places it on the page.

The LA chart was sex and blues with one or two breakouts. The new songs were broken open thematically: a survival anthem in “Livin’ on the Edge,” a heartbreak ballad in “Cryin’,” a teen-rebellion sex parable in “Crazy,” and the album’s last sexual statement in “Flesh.” Aerosmith’s classic sex themes were preserved in the new songs; the change was that the album was no longer dominated by them.

The honest reading of Get a Grip as a finished commercial object is that it is structurally a session-writer album wearing an Aerosmith jacket. Five of the eventual fourteen songs had outside co-writers on the writing credit, and several more had outside producers’ shaping. The album the band wrote alone in the Boneyard in 1991, before Kalodner heard it and rejected it, was a different animal. The album the world bought in April 1993 had Kalodner’s chorus-first equation built into it.

By August 1992 the new batch had cohered far enough to fill a working tape whose jacket Joe Perry labeled in his own handwriting, “New Stuff.” It held “Can’t Stop Messin’,” “Shut Up and Dance,” “Walk on Down,” “Wham Bam”, “Flesh,” “Gotta Love It,” “Cryin’,” “Ain’t That a Bitch”, “Trouble”, “Strange”, and “Line Up.” The rewrite that Kalodner had demanded in March was, by late summer, most of an album.

September – November 1992: Little Mountain Sound, Vancouver

Once the new songs were ready, the band reversed itself on Vancouver. They went to Bruce Fairbairn at Little Mountain Sound for the second tracking run, with Martinez along to keep the documentary footage rolling. Fairbairn was back at his console. Mike Plotnikoff, Ed Korengo, and John “Geedis” Aguto handled second-engineer duties.

A demo set from 14 October 1992 shows how far the Vancouver work had come by mid-run. It pulls together “Gotta Love It,” “Can’t Stop Messin’,” “Trouble,” “Cryin’,” “Get a Grip,” “Walk on Down,” “Shut Up and Dance,” “Flesh,” “Livin’ on the Edge,” “Wham Bam,” “Crazy,” “Line Up,” “Strange,” and “Legendary Child,” reading like a partial progress check on the second tracking run: most of the eventual album already in place, plus the last of the outtakes still in contention.

The hardest single fight of the Vancouver stretch was over a lyric. Tyler holed up in a hotel room for a month with the new words Kalodner wanted for “Cryin’,” the walls covered in Scotch tape and scraps of paper, and rewrote three or four times. In Chapter 13 he eventually told the room he was going to sing his original lyrics. The Tyler defense, framed as a quotation from George Bernard Shaw, was that reasonable people adapt to the situation they find themselves in but the unreasonable ones insist on making the world see things their way; therefore, the unreasonable people are the catalysts for progress. The “Cryin'” the world bought is a brokenhearted opening verse where the narrator has been hurt and the tables have turned, then a chorus where pleasure and pain share a small breathing room. The vocal arc is the song; the exact words, Tyler argued, mattered less than what they did in the singing.

By the end of the run, the tracking-room wall held the near-final picture. The Vancouver wall chart, undated but most likely from late November 1992 as the sessions wound down, listed eighteen songs, all stamped RUSH and signed by Andy Gurman. It was a mix of new co-written material, songs that had carried over from the LA chart, and a lower-batch section of LA carryovers that needed final passes. The eighteen Vancouver songs, in chart order, were:

  1. “Trouble”: hand-lettered as “TWOUBLE” in chibi-style.
  2. “Legendary Child”: the 1991 Vallance co-write, fully tracked at Little Mountain in the September 1992 sessions, then shelved for twenty years until 2012’s Music From Another Dimension!
  3. “Shut Up and Dance”: the Blades / Shaw / Aerosmith co-write, with the “…and dance” added in smaller handwriting after the main title.
  4. “Flesh”: the second Desmond Child co-write.
  5. “Walk on Down”: the Joe Perry sex-and-cars rocker that would eventually carry Perry on lead vocal on the album, with “On Down” added in smaller handwriting after the main title.
  6. “Wham Bam”: the Supa co-write that had carried over from LA.
  7. “MOP-STeSS’n”: a working title that has never been resolved; it could be a reference to Steven (ST) “stressing” about something, or a reference to “Can’t Stop Messin’ With It”?
  8. “Crazy”: written as “CRAZY”; the Desmond Child rewrite of the 1991 Boneyard piano demo.
  9. “Get a Grip”: written as “GR.iP” on a sticker.
  10. “Livin’ on the Edge”: written as “EDGE” with “LIVIN ON THE” annotated above; the lead vox cell has a “Smokin'” annotation.
  11. “Gotta Love It”: the Mark Hudson co-write that almost got lost in the mixing crisis three months later.
  12. “Strange”: the LA-era rocker, here in its final mastered mix that still didn’t make the album.
  13. “Amazing Too”: an unresolved Vancouver-only entry; possibly a second “Amazing” variant or rework attempt; did not make the album.
  14. “Line Up”: with a “motherchucker” joke variant on the chart; carried over from the LA writing period.
  15. “Cryin'”: with saxophone notes drawn around the title, anticipating Thom Gimbel’s part.
  16. “Fuck the Rich” (= “Eat the Rich”): LA carryover with a “Fuck the Rich” sticker over the original title.
  17. “Fever”: LA carryover.
  18. “Amazing”: LA carryover, second appearance after position 4 on the LA chart.

The eighteen Vancouver songs collectively read sharper and shorter than the sixteen LA songs they replaced. “Crazy,” “Cryin’,” “Livin’ on the Edge,” and “Flesh” were the radio architecture Kalodner had asked for. The raunchier outtakes that had dominated the LA chart had been pulled. Aerosmith were no longer arguing for the album they had originally written; they were tracking the album Kalodner had described.

January 1993: The mixing crisis at Can-Am

By January 1993 the band was at Can-Am Studios in Tarzana, mixing with Brendan O’Brien. O’Brien had come up through the Black Crowes and the Georgia Satellites and Stone Temple Pilots and had a band-sound reputation that Perry was specifically chasing. The mixing run spanned roughly eighteen days that January, with almost every track on the album passing through.

The most documented save of the mixing run was on “Gotta Love It” (or possibly “Don’t Stop” actually). Perry told EQ in April 1993 that the day before the mix deadline, when the band finally pulled the multitrack up, the keyboards, strings, and backing vocals were missing. None of them. The original parts existed only on the demo. O’Brien played the demo back and proposed flying everything off the demo onto the master. The catch was that the demo had been recorded at a slightly different speed and the SMPTE wouldn’t lock. O’Brien manually slapped one reel every four to six seconds for forty-five minutes to keep the tape in time. Perry told EQ he hadn’t seen the technique done in fifteen years. It worked. The track ran the full mixing pass with no listener able to tell. Greg Fulginiti at Masterdisk handled the eventual master under David Donnelly’s supervision.

The mixing rescue made it into the album’s first single, “Livin’ on the Edge,” released in April 1993, with “Don’t Stop” and “Can’t Stop Messin'” as CD-single B-sides. By the time Aerosmith handed the masters in, Get a Grip was 4 dB hotter than Pump. The mastering decision, Tyler told EQ, was deliberate. The band wanted ears to bleed.

The videos and the money

Sony spent. Marty Callner directed “Livin’ on the Edge” at a reported $400,000. The “Cryin'” video, shot at a former church associated with the Lizzie Borden case in Fall River, Massachusetts, included a bridge-jump shot that reportedly cost roughly $10,000 for a few seconds of film. Alicia Silverstone was the visual emblem across “Cryin’,” “Crazy,” and “Amazing,” with Liv Tyler co-starring on “Crazy.” The “Amazing” video, with its computer-projected visual trips, eventually ranked among the most expensive videos of the decade and was variously reported at over $900,000.

Keith Garde and Peter Martinez directed the Eat the Rich video at Soundtrack Boston in a single day for roughly $16,000, a small fraction of Callner’s budget on “Livin’ on the Edge.” The Polynesian log drummers credited on the album track (Mapuhi T. Tekurio, Melvin Liufau, Wesey Mamea, Liainaiala Tagola, Sandy Kanaeholo, and Aladd Alatina Teofilo Jr.) appear in the studio footage with the room re-dressed with plants pulled from elsewhere at A&M to make it look like a jungle. The point of the budget contrast was straightforward. Sony spent what it took to make the rewritten album work commercially.

20 April 1993: Release

Get a Grip came out on 20 April 1993 with a Hugh Syme cover, a cow’s udder pierced with a brand. The first single, “Livin’ on the Edge”, hit number one on the Billboard Album Rock Tracks chart in May. The album entered the Billboard 200 at number one, Aerosmith’s first number-one studio album. “Eat the Rich” was second out of the gate, “Cryin'” went to number twelve on the Hot 100 and won three MTV Video Awards, and “Crazy” and “Amazing” carried the record through 1994 and 1995. The 240-show tour that followed ran across thirteen legs between June 1993 and December 1994, broke the band internationally for the first time in markets that had only known them through the Run-D.M.C. “Walk This Way” remake, as Joe Perry told Larry Katz from London in December 1993, and closed with the opening of Mama Kin Music Hall in Boston on 19 December 1994. By its end Get a Grip had passed twelve million copies sold worldwide, eventually more than twenty million. The second draft of the record was the band’s commercial peak.

The documentary that stayed in the can

Peter Martinez’s roughly fifty hours of Beta SP footage, shot across the writing, recording, label meetings, and early tour, was never cut into the Making of Get a Grip video the project was conceived for. The plug got pulled with the album rejection in March 1992 and the edit never happened. What the public did get from the era was a short promotional Get a Grip electronic press kit that Sony circulated to media, a glimpse of the band around the record rather than the full behind-the-scenes film. Forty-five of Martinez’s tapes surfaced at a GottaHaveRockAndRoll auction in April 2022, the masters are believed to be in Aerosmith’s storage, and the full story of the project, the tapes, and Martinez’s copyright position is told in the Back-Burner’s dedicated documentary article.

What got cut, why, and what’s still in the vault

Across the two writing rounds the band wrote, demoed, or fully tracked far more songs than the fourteen that made the album. The reasons they fell away sort into a few clear groups.

The largest group is simply what Kalodner heard at the 13 March 1992 playback and rejected as not hits: the sexual, raunchy, hard-rocking outtakes that Tyler and Perry had written almost entirely on their own. “Black Cherry,” “Rocket 88,” “Wham Bam,” “Yo Mamma,” “Lizard Love,” “Dime Store Lover,” “Joe’s Psycho,” and “Devil’s Got a New Disguise” were all worked hard and set aside. None were consciously held back for a later record; they were turned down at the time. Per Peter Martinez, Kalodner’s specific objection to “Dime Store Lover” was a worry that a 1992 buyer would no longer know what a dime store was. A few of these resurfaced years later by accident rather than design: “Devil’s Got a New Disguise” came out on the 2006 compilation of that name, and “Legendary Child,” fully tracked in Vancouver in 1992, sat untouched for twenty years before appearing on 2012’s Music From Another Dimension!

A second group failed on structure rather than content. “Thirteen” never got finished lyrics, so without a vocal it could not be judged as a single. “Meltdown” ran seven minutes and was too strange for radio. “Strange” was exactly that. “Ain’t That a Bitch” (1992) was a serviceable song that did not sound much like Aerosmith, and only its title survived, reused for a completely different song on 1997’s Nine Lives. “Brass Ballz” belongs here too, though it survives only as a fragment and its full identity is still uncertain.

A third group arrived from earlier album cycles and never took hold in the Get a Grip frame. “Walking on Danger Street” and “Hollywood” were both dusted off in 1992 from earlier sessions and got no further than brief revisits. “Is Anybody Out There?” got its April 1992 lyric attempt over the 1987 demo and went no further. “Good Thang” stayed a Diane Warren publishing demo that never fit the band’s voice. “Trouble,” worked hard because Richie Supa brought it in, made it as far as two live performances in 1995 but never onto a record. “Rehersal at Joe’s” was never a candidate at all, just a 1991 Boneyard jam later preserved for its own sake.

Underneath all of these sat the scratchpad layer: working titles that never grew into songs, instrumental sketches, and demo-only fragments scattered across the 1990 – 1993 sessions. Most survive only as names on demo tapes, with no developed take and, in most cases, no dedicated article.

Pulled together, the full set of Get a Grip-era songs that never made the fourteen-track album looks like this. The ones the Back-Burner has documented carry their links:

  • “Black Cherry”: dark rocker about a man with a prostitute, called perverted by Kalodner.
  • “Meltdown”: seven-minute apocalyptic climate-collapse epic.
  • “Strange”: rocker about a man in trouble with drug lords; mastered but cut.
  • “Trouble”: Tyler / Perry / Supa rocker, played live twice in 1995, never finished.
  • “Walking on Danger Street”: 1987 Permanent Vacation-era street rocker tried again.
  • “Wham Bam”: comic-book rocker about a seven-year sexual itch, with Richie Supa.
  • “Thirteen”: mellow dark ballad whose lyrics Tyler never finished.
  • “Good Thang”: Diane Warren mid-tempo ballad that never fit the band.
  • “Is Anybody Out There?”: 1987 outtake with Vallance, given a new vocal in April 1992 that didn’t land.
  • “Lizard Love”: sexual rocker later reworked for the 2003 Rugrats Go Wild soundtrack.
  • “Yo Mamma”: bluesy rocker about accidentally sleeping with a girlfriend’s mother.
  • “Ain’t That a Bitch” (1992): only the title survived, reused for a different song on Nine Lives.
  • “Dime Store Lover”: half-spoken rocker Kalodner thought no buyer would understand.
  • “Hollywood”: industry-critical rocker first attempted in 1986, revisited in 1992.
  • “Rehersal at Joe’s”: 1991 Boneyard jazz-blues jam, never a song.
  • “Brass Ballz”: fragmentary SO91 Boneyard clip, a line and a half.
  • “Devil’s Got a New Disguise”: “Suzy Q” descendant, finally released on the 2006 compilation.
  • “Legendary Child”: Vallance co-write fully tracked in 1992, released on 2012’s Music From Another Dimension!
  • “Rocket 88”: sexual rocket-ship-innuendo lyric copyrighted 1992, never tracked to release.
  • “Sedona Sunrise”: country-flavored Pump-era song with Vallance, carried forward and logged early as “Heat of Love.”
  • “Deuces Are Wild”: the 1988 Tyler / Vallance song pulled from Pump, revived with a new vocal over the old demo; surfaced on the Beavis and Butt-Head Experience soundtrack (1993) and Big Ones (1994).
  • “Head First”: Tyler / Perry / Vallance song that became the Eat the Rich B-side and Aerosmith’s first free online digital download.
  • “Don’t Stop”: the December 1991 Vallance co-write, released as a B-side rather than an album track.
  • “Can’t Stop Messin'”: a 1992 song held back as a CD-single B-side.
  • “Joe’s Psycho”: Perry’s January 1990 solo demo, on the LA chart but never finished.

And the scratchpad layer that never became songs at all: “Steel Tips” (the working title for “Fever”), “Funk Stomp” (the title-track instrumental), “Suzy Q” (the working title for “Devil’s Got a New Disguise”), “Amazing Too” (an unresolved second “Amazing” variant), “MOP-STeSS’n” (an unidentified Vancouver title), “Tofu,” “Slide,” “Mama Wants,” “Hungry Lonely,” “Blues Don’t Bother,” “Funk Chunk,” “Scratch,” “Ain’t Gonna,” and “Ball and Chain,” plus the studio-only “Rough Sequence” and “Jam Session” tape entries from the 1993 mixing period.

Two wall charts, photographed from the Bruce Fairbairn estate archive, name what was being tracked and to what level, the clearest surviving map of how far each song had gotten.

A Get a Grip Legendary Edition?

The precedent that any future archival release would now sit against is the March 2026 Aerosmith Legendary Edition of the 1973 debut album: a full remix built from the multitrack sources, with Tyler and Perry working alongside producers Zakk Cervini and Steve Berkowitz, presenting the original tracks the way the band has said they wish they could have presented them in 1973. The signal is that Aerosmith are revisiting their own catalog actively.

The thirty-fifth anniversary of Get a Grip falls on 20 April 2028. The two wall charts exist and have been photographed. The forty-five Beta SP tapes exist somewhere, between Aerosmith’s storage and the buyer pool from the April 2022 auction. Roughly thirty finished or near-finished songs from the sessions remain unreleased. The original videographer holds a credible position on the copyright of the camera output. The producer estate has cooperated with the Back-Burner on the wall chart material. Nothing about this commits Aerosmith, Sony, or what remains of the Geffen catalog at UMG to anything. But the pieces are on the shelf, and the question is on the shelf next to them.

Sources

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  2. Perry, J., & Ritz, D. (2014). Rocks: My life in and out of Aerosmith. Simon & Schuster.
  3. Tyler, S., with Dalton, D. (2011). Does the noise in my head bother you? A rock ‘n’ roll memoir. Ecco / HarperCollins.
  4. Perry, J., Tyler, S., Frangioni, D., & Fairbairn, B. (1993, April). Not the same old song and dance: Aerosmith’s Joe Perry and Steven Tyler talk about getting audio anarchy down on tape. EQ Magazine. https://www.worldradiohistory.com/Archive-All-Audio/EQ-Magazine/EQ-1993-04.pdf
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  25. Aerosmith Back-Burner. (2020, July 13). “Is Anybody Out There?”: the melodic mid-tempo 3-time outtake. https://aerosmithbackburner.com/2020/07/13/is-anybody-out-there/
  26. Aerosmith Back-Burner. (2021, March 16). “Lizard Love”: the weird sexy rocker re-worked for kids that made it a decade later. https://aerosmithbackburner.com/2021/03/16/lizard-love/
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  28. Aerosmith Back-Burner. (2021, August 24). “Yo Mamma”: a fun, sexy and playful song about ‘doing your mother’. https://aerosmithbackburner.com/2021/08/24/yo-mamma/
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  30. Aerosmith Back-Burner. (2022, April 16). Making of Get a Grip unreleased documentary project and the tapes recorded with +50 hours of Aerosmith footage! https://aerosmithbackburner.com/2022/04/16/making-of-get-a-grip-unreleased-documentary-and-the-tapes-recorded-with-50-hours-of-footage/
  31. Aerosmith Back-Burner. (2022, March 22). “Sedona Sunrise”: Aerosmith’s country song from Pump 17 years in the making. https://aerosmithbackburner.com/2022/03/22/sedona-sunrise-aerosmiths-country-song-from-pump-17-years-in-the-making/
  32. Aerosmith Back-Burner. (2022, May 25). “Dime Store Lover”: the disjointed half-spoken rocker rejected for Aerosmith’s Get a Grip. https://aerosmithbackburner.com/2022/05/25/dime-store-lover-the-disjointed-half-spoken-rocker-rejected-for-aerosmiths-get-a-grip/
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  35. Aerosmith Back-Burner. (2025, May 15). The mystery of “Brass Ballz”: Aerosmith’s forgotten Get a Grip outtake. https://aerosmithbackburner.com/2025/05/15/the-mystery-of-brass-ballz-aerosmiths-forgotten-get-a-grip-outtake/
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  47. Aerosmith. (1994). Crazy [Official music video]. YouTube. https://www.youtube.com/watch?v=NMNgbISmF4I
  48. Aerosmith. (1993). Amazing [Official music video]. YouTube. https://www.youtube.com/watch?v=zSmOvYzSeaQ
  49. Aerosmith. (1993). Get a Grip [Electronic press kit]. YouTube. https://www.youtube.com/watch?v=ltDnNrnzmYQ

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