Tom Hamilton of Aerosmith: The ClassicRockHistory.com Interview

For more than 50 years, bassist Tom Hamilton anchored Aerosmith as both its founding member and one and only bassist. Hamilton co-wrote classics, like “Sick as a Dog” from 1976’s Rocks and “Janie’s Got a Gun” from 1989’s Pump, even if he does refer to the latter as a “Steven track.”

To that end, the only thing that rivals Hamilton’s monstrous presence on bass is his humility. And it’s that and more that he carries into his first post-Aerosmith project, Close Enemies. “This was something I wanted to do while waiting to see what was going to happen with Aerosmith,” Hamilton says.

Adding: “When Aerosmith had to tragically cancel our tour and retire from future touring, it was awesome to have something so promising to be involved with.”

Speaking of Aerosmith, which halted its Peace Out Tour in September of 2023 after vocalist Steven Tyler fractured his larynx during a performance on Long Island and then shuttered its doors for good in August of 2024 when Tyler’s recovery didn’t go as planned, Hamilton is tight-lipped.

Hamilton also declined to comment on Steven Tyler’s recent live appearance alongside Nuno Bettencourt (and others)—which seemed to potentially crack the Aerosmith-relate door open again—while raising funds to aid those impacted by the tragic fires that decimated communities across California.

But the veteran bassist beams when reflecting on his recent work with Close Enemies. “Obviously, I’m proud of the song that I brought in and grateful for the ideas that everyone contributed to help finish it and give the song its atmosphere.”

“Overall,” he says. “I’m happy with my playing on this record. It’s been great to have the time to try out whatever ideas came into my head and have the support of the other guys.”

Tell us how Close Enemies formed.

Trace Foster, Peter Stroud, and Tony Brock came up to Boston about three years ago and offered to help me develop some song ideas.  We worked for a few days and then it was time for me to get back into Aerosmith mode and get ready for what would eventually be our Peace Out Tour.

While I was doing that, they went back to Atlanta and started writing songs. When the Aerosmith tour had to be canceled, Trace called and asked if I would be interested in joining them. I heard the songs they had written, and I was blown away.

I headed down to Peter’s house in Atlanta. The first day I was there, we worked up a track that eventually became a song called “Wink and a Feather.” I should also mention that Gary Stier was there as well and had been involved in writing the songs they had developed.

The next day, I played them a demo of a song I was working on that I was calling “More Than I Could Ever Need.” I only had to play it for everybody once, and by the end of that afternoon, we had a track.  It felt amazing to be with a group of people who were so responsive to my ideas. I loved it and was hooked.

What’s your songwriting process like for this now that you’re in the forefront rather than off to the side?

I’ve never considered myself to be at the forefront. I was joining something that was already most of the way established. I’m happy if my name and history help things along, but this isn’t “my band.” When I’m with Close Enemies, I don’t feel like I’m at the “forefront” any more than with Aerosmith; I feel like I’m “off to the side.” I’m happy to be an integral part of both bands. I look forward to bringing more song ideas to Close Enemies when the time comes.

You co-wrote Aerosmith’s “Sick as a Dog” and “Janie’s Got a Gun.” Tell us about that and how those experiences lend themselves to your approach with Close Enemies.

Those two songs came along during times when I was simply spending time having fun playing my guitar. In his book, Alex Van Halen talks about song ideas already being out there in the ether, and it’s just a matter of finding them.

I wrote the guitar parts to “Sick as a Dog” when we were working on the Rocks album, and thanks to the support of our producer, Jack Douglas, it made it onto the record. Years later, I came into the studio with a song idea when we were writing for the Pump album. Steven Tyler took a chord progression from it and used it for the intro to “Janie’s Got a Gun.” From there, he wrote the song. I consider that one a Steven song.

How do Close Enemies differ from what you’re known for, if at all? Does this feel like a fresh start?

Close Enemies is a more relaxed situation. There’s still the element of striving to be a great band with great songs but the overall atmosphere is a little more chill. As far as the material goes, it feels totally natural. I’ve never felt like I had to adjust to a new style. I think when the fans become more familiar with our songs, they’ll feel the same way.

What are the advantages of coming from a huge band to a smaller act? Is it almost like your early days?

I’ve never felt like I was coming from something huge to something small. I’m happy to let the outside world decide about hugeness and smallness. I’m more oriented towards the quality of the songs and the musicianship of these guys. It feels like we all went to the same school.

What gear are you using and why? What’s the secret to your bass tone?

Gear-wise, I’m using my beloved G&L ASAT and a Duesenberg Starplayer. I added my bass tracks at home using Logic and a Universal Audio Apollo Twin. I’m using the UAD SVT plug-in and a little compression right in Logic. Simple and effective.

I love to use the UAD Precision Maximizer as well and sometimes the Waves R Bass. The cool thing is that when it’s time to mix, we can use any combination of the above or whatever else comes along.  Live I’m using an SVT with a single Gallien Krueger 4×10 cabinet.

For the icing on the cake, I’m using an Original Effects Bass Rig pedal that sounds amazing! It’s easily the best pedal I’ve ever used. I get the crunch and drive I want with no loss in the bottom end.

What songs stand out most here and why? What are you most proud of with this project?

I’m really excited and proud of my track on the song we have out now, which is called “Sound of a Train.” In the original demo, there was a bass track by a great bass player named Robert Kearns. It was a challenge to cover the priorities of what the song wanted yet in my own way.

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