"The Beatles recorded their White Album, right? Well, Draw The Line is our "Blackout Album.""
"If a band is like a river, an album is a bucket of water you take out of it, a moment in a band's life. Draw The Line was untogether because we weren't a cohesive unit anymore. You could tell we weren't in the same room when the tracks were done. The only thing linking us together were headphones. We were drug addicts dabbling in music, rather than musicians dabbling in drugs.
A lot of people had input into that record because Steven and I had stopped giving a fuck. "Draw The Line", "I Wanna Know Why", and "Get It Up" were the only things Steven and I wrote together. Tom, Joey, and Steven came up with "Kings And Queens", and Brad played rhythm and lead. Brad and Steven wrote "The Hand That Feeds", which I didn't even play on because I'd stayed in bed the day they recorded it and Brad played great on it anyway. Tom Hamilton and Steven wrote "Critical Mass". David Johansen worked on "Sight For Soar Eye's". In the end, we didn't have enough for a whole record, so we covered Otis Rush's "All Your Love" and reached back into the Jam Band for Kokomo Arnold's "Milk Cow Blues", which had been done by Elvis and the Kinks, whose version we molded ours on. Brad played the solo and it made it onto Draw The Line. "All Your Love" didn't."
Tom Page 287
"It was a rough period, because the band was split in two. Brad, Joey, and I would work all evening, rehearsing, tightening up. Steven and Joe wouldn't come down until midnight. So the band was fragmented. Heavy drug use was in the picture now, a really sick, very evil corrupt thing was happening. The vibe started to happen when Joe would be working on "his" songs, as opposed to "ours". We had some fun there, but no one was too happy."
Joey Page 292
""Kings And Queens" was a typical session at the Cenacle. It was recorded in the chapel with the pews out, the drums on the altar. Jack was in the confessional, hitting a snare drum by himself. We were playing a lot of practical jokes on each other, so I snuck up behind him and yeled boo and scared him so much he chased me around the house for ten minutes before I lost him in the warren of nuns' cubicles."
Brad Page 285
"We had a new album to make, the follow-up to Rocks, and so the pressure was definitely on. We wanted to do a remote recording, out of the normal studio grind, and so through the Record Plant people we found theCenacle, an isolated estate on 100 acres in Armonk, New York. It was built by Broadway showman Billy Rose in the 1920's and was reached by a half-mile-long driveway up a small mountain, It's most recent incarnation was as a nunnery; the mansion had these wings for nuns' dorms, libraries, chapels, refectories---the whole convent scene.
By the time we got there, Jack Douglas, Tom, Joey, and I had been working for a month in Boston without Steven and Joe, who were both three sheets to the wind. We just kept working when we got to Armonk, figuring that (hopefully) Steven and Joe would start writing in the studio."
Steven Page 307
"This was supposed to be a huge album for us, a big follow-up to our best work. "Draw The Line" was released as a single that fall and didn't make the top 40. We finished the record at the Record Plant. I remember working on the vocals for "Get It Up" with Karen Lawrence, a singer [From the band L.A. Jets] managed by Leber-Krebs. We used her on the chorus, the first woman to appear on an Aerosmith record. The album was released in December, in time for Christmas, just as we got off the road.