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Credit: Far Out \/ UMC Pictures<\/p>\n
Mon 13 July 2026 18:45, UK <\/p>\n
Not content with revolutionising Hollywood in the 1960s and 1970s, Mel Brooks<\/a> had much the same effect on the music industry in the 1980s, even if he technically didn\u2019t have anything to do with it.<\/p>\n Mainstream comedy had never seen anything like the actor, comedian, and filmmaker\u2019s anarchic, boundary-pushing, and taboo-shattering movies before The Producers, the first all-out comedy flick to turn the Nazis into figures of fun and a relentless source of mockery.<\/p>\n Striking while the iron was hot, Blazing Saddles and Young Frankenstein cemented him as an era-defining, generational force to be reckoned with behind the camera, which was quite the achievement, considering so much of it was built on scattershot humour, sight gags, and fart jokes<\/a>.<\/p>\n However, despite being one of the most award-laden veterans around, the centenarian helped usher in a brand new, bold, and ultimately transformative period for recording artists everywhere by doing nothing. Well, not nothing, since he wrote and directed Young Frankenstein, but in the strictest sense, still nothing.<\/p>\n In December 1974, Aerosmith\u2019s Joe Perry was tinkering with a riff before a gig in Honolulu, and little did he know, history was in the making. His strumming eventually snowballed into the band\u2019s original 1975 version of \u2018Walk This Way\u2019, but while the music was falling into place, it still needed lyrics and a title.<\/p>\n \u201cWhen we needed lyrics, we would go out for walks,\u201d Jack Douglas, who produced the group\u2019s third album, Toys in the Attic, recalled. \u201cBeing Sunday afternoon, there was absolutely no one on the street. When we got to 42nd Street, Young Frankenstein was playing in one of those theatres.\u201d<\/p>\n Nobody could have guessed at the time, but it was a seminal moment<\/a>. \u201cThe whole band went in to see the movie, and when that line came up, \u2018Walk this way\u2019, we were all in hysterics,\u201d Douglas added. \u201cAnd when we got back to the studio, I started walking around like Marty Feldman.\u201d <\/p>\n Further reading: Cutting Room Floor<\/p>\n Suddenly, \u2018Walk This Way\u2019 had a title, and when Run-DMC got involved in 1986, things were taken to another level.<\/p>\n In addition to relaunching Aerosmith\u2019s stagnating career, after reaching number four on the Billboard charts, it became Run-DMC\u2019s biggest hit and the highest-charting hip-hop single of all time. Beyond that, the crossover between guitar-crunching rock and rap music introduced each genre to audiences who wouldn\u2019t otherwise have been listening to one or the other, enhancing hip-hop\u2019s mainstream visibility.<\/p>\n For better or worse, if there wasn\u2019t \u201986\u2019s \u2018Walk This Way\u2019, then there may not have been Rage Against the Machine, Faith No More, Anthrax and Public Enemy\u2019s \u2018Bring the Noise\u2019, or the entire nu-metal era, which is why we said for better or worse<\/a>. It all began when Aerosmith decided to watch Young Frankenstein when in need of inspiration, and if they\u2019d chosen something else to see in December of \u201974, they might have ended up taking a line from The Towering Inferno, The Godfather Part II, or The Man with the Golden Gun instead.<\/p>\n<\/p>\n
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