Tyler, holed up in his room, was struggling to write lyrics, and on the rare occasions when Perry did show, he was barely able to string a few notes together – in Douglas’ estimation, “totally wrecked”. Most evenings, it was just the trio of Hamilton, Kramer and guitarist Brad Whitford working on tracks. With Tyler and Perry zonked, shut away in their second-floor rooms for days at a time, the band was, in Hamilton’s words, “split in two”. Perry, meanwhile, was using heroin, breakfasting on White Russian cocktails, and wandering around the place “glassy-eyed”, as Douglas recalled. 22 rifles, only for Tyler to pass out with the gun in his hands before a shot was fired. During one dusk-till-dawn bender, he and Kramer set out at 5am to shoot beer cans with. “We were out there at the Cenacle,” said Tyler, whose erratic mood swings were dictated by whatever he was on – snorting fat lines of cocaine one moment, then gulping downers, in particular the sedative-hypnotic Tuinal. As Perry later admitted, “We were drug addicts dabbling in music, rather than musicians dabbling in drugs.” Their hazardous recreational habits also extended to racing their sports cars, Ferraris and Porsches, on the surrounding country lanes, and messing around with firearms, Perry having recently added to his private arsenal a semiautomatic Thompson machine gun. Note: to tie in with the careless bootleg theme of the album, the track 'Draw the Line' is unlisted.The difficulty for Douglas was in getting the band into a working routine. But the album's high point has to be the aforementioned pair of long-lost tracks from 1973 - loose and groovy covers of the Yardbirds' 'I Ain't Got You' and James Brown's 'Mother Popcorn.' Although the performances may lack the fire of the shorter Classics Live II set from 1988, Live Bootleg is an excellent representation of one of rock & roll's elite live acts. as well as key album tracks ('Sick as a Dog,' 'S.O.S.,' etc.). Just about every classic is included - 'Back in the Saddle,' 'Sweet Emotion,' 'Walk This Way,' 'Come Together,' 'Last Child,' 'Mama Kin,' 'Train Kept A'Rollin,' etc. tour (with the exception of a couple from 1973), while the album's packaging and title were a joke on all the poor-sounding, unauthorized live recordings that were in circulation at the time. All of the performances were taken from Tyler and company's 1977-1978 U.S. Unlike other live albums at the time, it's obvious that not a lot of overdubbing was involved to fix up the tracks, which results in a refreshingly authentic representation of Aerosmith at the group's most drugged-out and rocking. Since Aerosmith had become one of America's premier rock & roll concert attractions by 1978, it was only natural that an in-concert collection was issued that year, the double album, Live Bootleg.

Aerosmith draw the line rar