Permanent Vacation
WhileDone with Mirrorsmarked the beginning of Aerosmith's remarkable career comeback (and a gratifying return to rollicking '70s form), this is the album that both reclaimed their widespread fame and made even longtime cynics take notice. Fresh from rehab, Steven Tyler and Joe Perry lead the band through a strong collection that rivals such previous high points asToys in the AtticandRocks, though in a much more pop-oriented vein. That's largely the province of producer Bruce Fairbairn and hired-gun songwriters Desmond Child and Jim Vallance (hired uponMirrors' commercial disappointment). But on this record, those outside influences are still largely invisible, even if Fairbairn's production sheen now seems '80s generic. Fueled by the playful staples "Rag Doll" and "Dude (Looks Like a Lady)," and seasoned with the Delta blues fetish of "Hangman Jury" and, of course, a patented Big Power Ballad ("Angel"), it's an album that's become all but ubiquitous. Thankfully, the band's own gritty sensibility still informs tracks like "St. John" and "Girl Keeps Coming Apart," as well as a rambunctiously reverent take on the classicBeatlesB-side, "I'm Down."--Jerry McCulley