8. "I Don't Want to Miss a Thing" from 'Armageddon'
"I Don't Want to Miss a Thing" from 1998's Armageddon is Aerosmith's first, and only, No. 1 hit on the Billboard Hot 100, an orchestra-driven power ballad that also scored an Academy Award nomination, losing to The Prince of Egypt’s “When You Believe.” But let's be honest: as an Aerosmith song, "I Don't Want to Miss a Thing" sucks. Apart from Tyler's outstanding vocals, there's nothing about the track that suggests the band even performs it: no guitar from Joe Perry and/or Brad Whitford; and only subdued contributions from bassist Tom Hamilton and drummer Joey Kramer.
In comparison to other ballads in their catalog, like "Angel" or the iconic "Dream On,", which do have a pronounced Aerosmith vibe, "I Don't Want to Miss a Thing" is seriously lacking. Of course, the fact that they weren't in on the writing of it goes a long way in explaining it. The song was written by the esteemed Diane Warren, who has written for the likes of Michael Bolton, Cher, Taylor Swift... pretty much anyone that is decidedly not Aerosmith. If you think being last on a list like this is unfair, take this into consideration: even Aerosmith doesn't like it.
7. "Come Together" from 'Sgt. Pepper's Lonely Hearts Club Band'
Aerosmith's "Come Together" is a faithful cover of The Beatles' classic... and that's the problem. It is a great cover, perhaps even one of the best, and there's a harder edge to it, largely eschewing the prominent electric piano of the original in favor of a heavier focus on guitar. But the band doesn't really make "Come Together" their own, as Gary Clark Jr. and Junkie XL did with their cover of the same for 2017's Justice League.
It's not like the band can't, or even won't: they certainly did with their other Beatles' covers, "Helter Skelter" and "I'm Down." Perhaps it was working with George Martin, or just their first kick at the cat, but if the worst thing that can be said about their version of "Come Together" is it's a heavier reproduction of the original, well, that's still pretty damn good.
6. "Love Me Two Times" from 'Air America'
Aerosmith's cover of The Doors' 1967 classic "Love Me Two Times" for 1990's Air America is exactly what their cover of "Come Together" should have been: faithful, but with a distinct Aerosmith feel to it. Unlike they did with the latter, which kept the keyboard, albeit toned down significantly, Aerosmith abandons Ray Mazarek's harpsichord and clavinet altogether, replacing them with Perry's stellar acoustic blues-rock guitar work and Tyler's robust harmonica intro.
The instrumental element is one of the key differences, but it's arguably the second that truly separates the two versions: the vocals. The original has Jim Morrison's deep, seductive baritone, while Aerosmith's cover has Tyler's distinct growl and range. Two truly unique vocalists, each putting their own stamp on "Love Me Two Times," and each complemented by their respective band's characteristic sound.
5. "Deuces Are Wild" from 'The Beavis and Butt-Head Experience' CD
The Beavis and Butt-Head Experience is a 1993 compilation album for the MTV animated television series Beavis and Butt-Head. So, not a movie, but we're not going to split hairs here, especially with a track as solid as "Deuces Are Wild." It's everything that "I Don't Want to Miss a Thing" is not: a power ballad with cojones, with a driving tempo and the bluesy vibe that defines the Aerosmith sound. It also utilizes Tyler's harmonica skills in a brilliant solo, Perry's slide guitar and some great, rolling drum work from Kramer that gives the song a different feel from your run-of-the-mill entries. Butt-Head is right in his assessment at the end of the song: "These guys are the kings of rock. There is none higher."
4. "Rockin’ Pneumonia and the Boogie-Woogie Flu" from 'Less Than Zero'
"Rockin' Pneumonia and the Boogie Woogie Flu" was originally recorded by Huey "Piano" Smith in 1957, reaching No.52 on the Billboard Top 100, before Johnny Rivers took it to No.6 with his 1972 cover. The Crickets, Grateful Dead, Patti LaBelle and a host of others would also take a crack at it before Aerosmith tackled it in 1987 for the Less than Zero soundtrack. While it's possible that one of those covers is better, it seems very unlikely that anyone tops what Aerosmith brought to their own. Instead of the bluesy piano intro of the original, Aerosmith's version starts with Joey Kramer laying out a catchy, smooth beat before the guitars come in with a drawling blues jam that carries throughout the entire track. It brings to mind 1976's "Last Child" off of Rocks, with Tyler's smooth vocals rounding it out. Like "Love Me Two Times," "Rockin' Pneumonia and the Boogie Woogie Flu" is hard to find, but definitely worth it.
3. "I Love Trash" from 'The Adventures of Elmo in Grouchland'
Sesame Street. Elmo. Steven Tyler. Which one of these things is not like the other? Nevertheless, Tyler did contribute "I Love Trash," a cover of Oscar the Grouch's 1969 original, to the soundtrack of Elmopalooza!, a Sesame Street 30th anniversary special that ran on ABC before it was added to the soundtrack for The Adventures of Elmo in Grouchland. Although it's credited solely to Tyler, it is Aerosmith performing, and despite the affiliation with the children's television classic, "I Love Trash" is a legitimately great song. It's borderline perfection that Tyler's gritty vocals espouse the wonders of dirty, dingy, rusty trash, and the contributions from the rest of the band are solid in what could have been a simple throwaway track.
2. "What Kind of Love Are You On" from 'Armageddon'
Nobody understands Aerosmith better than Aerosmith themselves, which is why the last two tracks on this list are originals written by Steven Tyler and Joe Perry. And that begins with "What Kind of Love Are You On," the superior track on the Armageddon soundtrack. The song drives hard, with a sing-song hook from Perry that grabs you and Tyler at his raspy, raw best. Then it comes to a grinding halt at the bridge, where Tyler comes in with a lascivious take on a childhood nursery rhyme that fits in better than it probably should, before picking up again with a great Perry solo. That it was left off of the Nine Lives album is surprising, given it would have been one of the better tracks on the 1997 release (which has "Full Circle," a personal favorite).
1. "Angel’s Eye" from 'Charlie’s Angels'
There is a distinct difference between the early and modern eras of Aerosmith, with most tagging 1987 on as being a more polished and commercial era than the raw, heavier sound of the band's early output. Which is why "Angel's Eye" from 2000's 'Charlie's Angels' stands out and claims the top spot here. It's a throwback to the drive of songs like "Rats in the Cellar" and "Jailbait": raw, fierce, and highly-energetic. It sounds unpolished, like a garage band just going for broke. Everything that defines Aerosmith is right there, led by Tyler's trademark raspy yowls. If there was ever any doubt that Aerosmith could still deliver at that level, "Angel's Eye" puts them to rest emphatically.
Image via Columbia Records
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