There's a saying in professional soccer that there are piano players and piano movers. There are the forwards (the players), who—with skilled footwork and finesse—score goals, and therefore score with fans. And there are the backs (the movers), whose grunt work, though important, doesn't appear in the stats.
In his unwavering pursuit of success, particularly through the challenges of Aerosmith’s early years, Brad Whitford displays a kinship to the ultimate tenacity of the Les Paul design: the time-will-prove qualities and heroic achievements of a guitar that wasn’t fully appreciated until half a decade after it was deleted from the Gibson catalog.
Joe Bonamassa's next album, Driving Towards The Daylight, will be out May 22. Among the guest stars are Aerosmith guitarist Brad Whitford and Whitford's son, Harrison, also a guitarist. Other guests include guitarists Pat Thrall and Blondie Chaplan, drummer Anton Fig, bassists Michael Rhodes and Carmine Rojas and keyboard player Arlan Schierbaum.
But the Aerosmith that created Pump is an altogether different animal than the classic version of the mid-Seventies. Back then, the group was a non-stop rock 'n' roll party machine, living on the edge 24 hours a day and roaring into town in search of your sisters. They were Van Halen before there was Van Halen.