Watch the video. The music video features a closeup of The video features live concert footage shot at Giants The music video opens on an icy car in Tina's 1 hit from her album "private dancer. Jewish limo driver picks up Muslim hitchhiker and they travel together to Austin, Texas to see a rock concert. John and Yoko are shown walking in the countryside, in bleak weather. They arrive in an empty house and while Yoko opens the windows, John sits at the piano, plays and sings. From The Bodyguard soundtrack.
Written by Steven Tyler and Joe Perry , the song was originally released as the second single from the album Toys in the Attic It peaked at number 10 on the Billboard Hot in early , part of a string of successful hit singles for the band in the s. In addition to being one of the songs that helped break Aerosmith into the mainstream in the s, it also helped revitalize their career in the s  when it was covered by hip hop group Run—D. This cover was a touchstone for the new musical subgenre of rap rock , or the melding of rock and hip hop. The song starts out with a two measure drum beat intro by Joey Kramer , followed by a guitar riff composed by Joe Perry. The song proceeds with the main riff, with Perry and Brad Whitford on guitar with Tom Hamilton on bass. The song continues with rapid fire lyrics by Steven Tyler. During the sound check, guitarist Joe Perry was "fooling around with riffs and thinking about The Meters ," a group guitarist Jeff Beck had turned him on to. Loving "their riffy New Orleans funk , especially ' Cissy Strut ' and 'People Say'", he asked the drummer "to lay down something flat with a groove on the drums.
A magazine editor claims she introduced Aerosmith to Run-DMC's music
Genius, right? A grand claim, Geoff Edgers. A mighty pitch. And the question with a book like this—a book that zeroes in on a particular happening or art moment and then extrapolates boomingly outward—is always: Is there enough there? Enough action at the core, that is, and enough concentrically moving energy to prevent the narrative from collapsing in on itself as it stretches to book length?
W hen Aerosmith manager Tim Collins answered his phone one day in early , he was, at first, confused. The voice on the other end belonged to Rick Rubin , the year-old hip-hop producer and entrepreneur behind Def Jam , the fast-rising record label he had founded while still a film student at New York University. A new generation was turning instead towards exactly the hip-hop sounds that Rubin and Def Jam co-founder Russell Simmons were selling them.