Reception
This song was Aerosmith's biggest hit, debuting at number 1 on the U.S. Billboard Hot 100, where it stayed for four weeks in September, and reaching number 1 in many countries around the world, including Australia, Germany, Ireland, Austria, Norway, Italy, the Netherlands, and Switzerland.
The song was nominated for the Academy Award for Best Original Song, but lost to "When You Believe" from the film The Prince of Egypt. The song was also nominated for the Golden Raspberry Award for Worst Original Song, "losing" to "I Wanna Be Mike Ovitz!" from An Alan Smithee Film Burn Hollywood Burn. It is one of only three songs to be nominated for both awards, the others being "How Do I Live," from Con Air (also by Warren) and "Life in a Looking Glass," from That's Life! (music by Henry Mancini, lyrics by Leslie Bricusse), neither of which won either award.
The chorus of the song is highly reminiscent of an earlier song Diane Warren co-wrote, "Just Like Jesse James", which appeared on Cher's 1989 album Heart of Stone.
The song helped open up Aerosmith to a new generation and remains a slow dance staple.
It was one of many songs written by Diane Warren in that time period.
Read more about this topic: I Don't Want To Miss A Thing
Famous quotes containing the word reception:
“But in the reception of metaphysical formula, all depends, as regards their actual and ulterior result, on the pre-existent qualities of that soil of human nature into which they fall—the company they find already present there, on their admission into the house of thought.”
—Walter Pater (1839–1894)
“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own; which is the chief reason for that kind of reception it meets in the world, and that so very few are offended with it.”
—Jonathan Swift (1667–1745)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)