Aerosmith: Steven Tyler (vocals, percussion, harmonica); Joe Perry (guitar, lap steel guitar, background vocals); Brad Whitford (guitar); Tom Hamilton (bass); Joey Kramer (drums).

Additional personnel: Thom Gimbel, Russ Irwin (keyboards, background vocals).

Recorded live between 1993 and 1998.

Aerosmith: Steven Tyler (vocals, percussion, harmonica); Joe Perry (guitar, lap steel guitar, vocals); Brad Whitford (guitar); Tom Hamilton (bass); Joey Kramer (drums).

Additional personnel: Thom Gimbel, Russ Irwin (keyboards, background vocals).

Recorded live between 1993 to 1994 and 1997 to 1998.

Full title: A Little South Of Sanity.

This limited edition version comes in a denim package and includes an iron-on patch.

Aerosmith: Steven Tyler (vocals, percussion, harmonica); Joe Perry (guitar, lap steel guitar, vocals); Brad Whitford (guitar); Tom Hamilton (bass); Joey Kramer (drums).

Additional personnel: Thom Gimbel (keyboards, background vocals); Russ Irwin (keyboards, background vocals).

Recorded live between 1993 to 1994 and 1997 to 1998.

Personnel: Joe Perry (vocals, guitar, lap steel guitar); Steven Tyler (vocals, harmonica, percussion); Brad Whitford (guitar); Thom Gimbel, Russ Irwin (keyboards, background vocals); Tom Hamilton (electric bass); Joey Kramer (drums).

Audio Mixer: Jack Douglas.

Director: Jim Chapman.

Photographer: Moshe Brakha.

Aerosmith signed with Columbia early in the '90s, before their contract with Geffen expired and while they were riding high on the success of Permanent Vacation and Pump. Part of the negotiations ensured that the band would deliver one more studio album (Get a Grip) and a hits album (Big Ones) for Geffen; they could then release a studio album for Columbia (Nine Lives), and then, to complete their Geffen obligations, they'd assemble a live album. Culled from tapes recorded during the Get a Grip and Nine Lives tours, the double-disc A Little South of Sanity is that live album. Considering its origins, the record couldn't help but feel a little like the contractual obligation it is, but it's to Aerosmith's credit that it doesn't sound tired. Not that it sounds vital -- Steven Tyler's adolsecent schtick is sounding particularly embarrassing as he approaches his fiftieth birthday, and newer material like "Falling in Love (Is Hard on the Knees)," or even the hit "Amazing," pales in comparison to their '70s and late-'80s classics. Nevertheless, Aerosmith have developed into world-class showmen, which is why A Little South of Sanity will be an entertaining romp for longtime fans -- they're likely not to be disappointed by the slickness, in both performance and sound, that runs rampant over the record, nor will they be dismayed by the predictable song selection, because that's all part of the show. More discriminating listeners will likely cite these two criticisms as proof that Aerosmith is past their prime, and they may well be right. But A Little South of Sanity isn't for them, it's for the fans, and they'll likely enjoy the spectacle, even if it never rocks as hard as the group's previous live albums. Or most of their studio albums, for that matter. ~ Stephen Thomas Erlewine

Aerosmith signed with Columbia early in the '90s, before their contract with Geffen expired, and, as part of the deal, they owed a live album to Geffen -- hence the appearance of A Little South of Sanity, a double-disc set culled from tapes from the Get a Grip and Nine Lives tours. Considering its origins, the record couldn't help but feel a little like the contractual obligation it is, but it's to Aerosmith's credit that it doesn't sound entirely tired. Not that it sounds vital -- Steven Tyler's adolescent schtick sounds particularly embarrassing as he approaches his 50th birthday, and newer material like "Falling in Love (Is Hard on the Knees)" or even the hit "Amazing" pales in comparison to their '70s and late-'80s classics. Still, Aerosmith developed into world-class showmen during the first Bush era, which is why A Little South of Sanity will be an entertaining romp for longtime fans; they're likely not to be disappointed by the slickness that runs rampant over the record, nor will they be dismayed by the predictable song selection, two criticisms that could be offered as proof that Aerosmith is past their prime, because it's all part of the show. ~ Stephen Thomas Erlewine

When Aerosmith returned to its original label in the '90s, there were still contractual obligations to Geffen, where they pulled a Lazarus and resurrected their moribund career in the mid-'80s. A LITTLE SOUTH OF SANITY completes the Geffen cycle and unlike most groups who toss together something in order to move on, Aerosmith took great care in compiling this 2-CD live collection that covers more than 25 years. Recorded during tours for GET A GRIP (1993-94) and NINE LIVES (1997-98), this release also marked a reunion with Jack Douglas, the band's producer during their '70s salad days, who helped the boys from Beantown compile the performances on this collection.

It becomes readily apparent here that Aerosmith still tore it up live regardless of how many power ballads they unleashed on radio since the late '80s. Of course, the Zippo-waving songs are here in abundance ("Crazy," "Angel") alongside ribald double-entendres ("Falling In Love [Is Hard On The Knees]") and vintage material ("Mama Kin"). If 1978's LIVE BOOTLEG gave us Aerosmith at their ripsnorting peak, then SANITY provides a reflection of a classic band that's aged gracefully without losing any of its spark.

Entertainment Weekly (11/27/98, pp.80-81) - "...Sounding tight, well rehearsed, and utterly professional, Tyler, Joe Perry, and the gang bound energetically from one hit to another....For all their creative ups and downs, these geezers can still summon up more nerve and verve than a box of matchbox 20s." - Rating: B

Q (12/98, p.114) - 4 Stars (out of 5) - "...Twenty years on the re-formed and reformed rockers have produced a second heavyweight double-live set, recorded between 1993 and 1998, yet reprising many of the best songs from Live Bootleg..."