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Honkin' On Bobo

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iTunes Review

Aerosmith had an enormous hit with 1998’s “I Don’t Want To Miss A Thing,” a saccharine ballad originally written for Celine Dion. The song introduced the band to a whole new audience, and all of a sudden their music was appearing in car ads and the once “Toxic Twins” were playing the Super Bowl halftime show. Even as the band reached new commercial peaks in its old age, the mainstream brouhaha distanced Aerosmith from its rock’n’roll roots. The group had long planned to do an all-blues album, but by 2004, the need to reconnect with their roots was more pressing than ever and Honkin’ On Bobo is a surprisingly fierce showing for these Top 40 veterans. Aerosmith loved the Yardbirds, and the Yardbirds loved Chicago blues, so it’s no surprise that the bulk of the songs here are the Chess records standards favored by Yardbirds, and their contemporaries the Stones, the Animals, and Them. Aerosmith turns in acceptable renditions of “Road Runner,” “Eyesight to the Blind,” and “Stop Messin’ Around,” but it is the slash-and-burn energy of “Baby, Please Don’t Go,” the juicy grind of “I’m Ready,” and the heartbeat throb of their Aretha Fraklin cover, “Never Loved A Girl” that reveals the band’s essence in all its seething glory.

Customer Reviews

How Do They Do It

Aerosmith is one of the best bands in the U.S. and now they made 60s song better is Amazing

Great studio album

this is by far the best album that Aerosmith has put out from the boneyard...

Stop messin round and get this album

Every band has to get back and thank their roots at some time, so this was Aerosmith's way of looking back at the basics and covering their favorites. It was a enjoyable album, not their best but I would reccomend it to someone who is looking for some modern sounding blues. So just sit back and relax because this album is full of pure blues and soul!


Formed: 1970 in Boston, MA

Genre: Rock

Years Active: '70s, '80s, '90s, '00s, '10s

Aerosmith were one of the most popular hard rock bands of the '70s, setting the style and sound of hard rock and heavy metal for the next two decades with their raunchy, bluesy swagger. The Boston-based quintet found the middle ground between the menace of the Rolling Stones and the campy, sleazy flamboyance of the New York Dolls, developing a lean, dirty riff-oriented boogie that was loose and swinging and as hard as a diamond. In the meantime, they developed a prototype for power ballads with...
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