PMRC to the contrary, heavy metal is not an inherently noxious influence on young children. At its best, heavy metal acts as a genuine voice for a community that hasn't yet developed its own. But Aerosmith's unawaited reunion LP, Done with Mirrors, is the work of burned-out lugheads whose lack of musical imagination rivals their repugnant lyrics.

A competent rehash of "Let the Music Do the Talking," the title track of guitarist Joe Perry's 1980 solo LP, opens the album with the concise hard rock that made the original incarnation of Aerosmith an entertaining if derivative diversion. Unfortunately, seven more songs follow it, most of them advertisements for vicious sexism. "My Fist Your Face" describes the band's idea of domestic bliss, and "The Reason a Dog" refers to the singer's latest conquest. Perry's once fiery guitar leads are now rote and lazy, and Steven Tyler's arena shouts make Ace Frehley sound subtle. Aerosmith may be back in the saddle, but they picked the wrong horse.

“All Along the Watchtower”

Jimi Hendrix got hold of Bob Dylan's early John Wesley Harding tapes and in late 1967 recorded a version of "All Along the Watchtower" with the Experience in London. Dissatisfied with that first development, Hendrix brought those tapes with him to New York in early 1968 when he began work on Electric Ladyland. Eddie Kramer, Hendrix's engineer at the time, told Rolling Stone that Hendrix "was still looked upon by his basically white audience as the mammoth black guitar hero. There was a constant fight within him to expand himself." Hendrix's successful take on Dylan's work has long been recognized by the songwriter. "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way," Dylan wrote in the liner notes to his Biograph box set. "Strange how when I sing it, I always feel it's a tribute to him in some kind of way."