david lee roth

REVIEW: Van Halen – Diver Down (1982)

VAN HALEN (Not Van Hagar!) Part 6: Intruder

My latest series of reviews at mikeladano.com is an in-depth look at all the classic VAN HALEN albums, with David Lee Roth.  Dig in!

Part 1: The Early Years (Zero – 1977)
Part 2: On Fire (Van Halen – 1978)
Part 3: Somebody Get Me A Doctor (Van Halen II – 1979)
Part 4: Everybody Wants Some!! (Women and Children First – 1980)
Part 5: Push Comes to Shove (Fair Warning – 1981)

VAN HALEN – Diver Down (1982 Warner)

Of all the classic Van Halen discs in the canon, I find Diver Down hardest to review.  After the pugnaciously perfect Fair Warning, the band really started battling over direction.  Deciding to try for some hits rather than continue experimenting musically, Van Halen turned in the 31 minute Diver Down, a collection of covers, instrumentals and joke tunes with only a couple of serious rockers.  Yet every time I listen to it, don’t I absolutely enjoy Diver Down?

To my ears, Diver Down sounds like an intentional return to the party rock sounds that launched Van Halen in the first place.  It certainly does not sound like an album that should follow Fair Warning.  Now, we’re back into covers:  The Kinks’ “Where Have All the Good Times Gone!” opens the record.  Eddie pointed out that the song and album are loaded with errors.  He misses some harmonics in “Where Have All the Good Times Gone!”…and it’s fucking perfect.  There’s nothing wrong with Van Halen showing up to play a drunken party again in the old neighborhood, is there?  Even if they’re the big kids now?

“Hang ‘Em High” was an older song that the band exhumed for Diver Down.  It immediately evokes the heavier material from some of the earlier records.  Only now, Van Halen had learned to work in a recording studio and were taking advantage of some of the tricks they had picked up over the years.  Eddie’s extended solo sounds spontaneous and live.

“Cathedral” is a trick of guitar volume swells.  By physically manipulating the volume knob on his guitar, Eddie created a sound that reminded him of a church organ.  Tonally it resembles where Van Halen would go on the next album.  This is just an intro (a beautiful one at that) to “Secrets”, a laid-back original.  “Secrets” has vibe, and this is as good a time as any to point out the ace rhythm section of Alex Van Halen and Michael Anthony.  These guys were a big part of the overall Van Halen sound.

By 1982, David Lee Roth was starting to become interested in the new medium that was music video.  He directed the concept video for “(Oh) Pretty Woman”, a Roy Orbison cover.  Dave’s classic ingredients were all there:  a cavalcade of characters, little people, and a joke-a-minute style of cool.  The video however ran too long once edited together.  The song was not even three minutes long, and Dave didn’t want to make further cuts.  Instead he played synthesizer, while Eddie made guitar noises with a beer can on the neck, and they called that “Intruder”.

“Pretty Woman” features the biggest mistake on the entire album (which is just loaded with ’em, just listen).  Where Roy Orbison sang this:

“‘Cause I need you, I’ll treat you right,”
Come with me baby, be mine tonight.”

Roth unwittingly sang just this:

“‘Cause I need you, need you tonight…”

VH DD_0002Side Two commenced with yet another cover.  David Lee Roth really wanted to do “Dancing in the Street”, but Eddie wasn’t into it.  Eddie already had a unique synthesizer part he was working on for his own song, and Roth suggested they use it for “Dancing in the Street”, which they did.  If there was one song I’d skip on Diver Down, it would be this one.  It does get a fair bit of radio play, though.

“Little Guitars” (and the intro that precedes it) is a bonafide Van Halen classic.  Eddie was intrigued by flamenco guitar but couldn’t get the fingerpicking.  Instead he used his own tricks (and a pick) to make it sound similar to what the flamenco players were doing.  The song itself is a sassy mid-tempo rocker with a shiny melody.  Once again the classic ‘Halen harmonies are to thank.

VH DD_0003There are two schools of thought on “Big Bad Bill (Is Sweet William Now)”.  One is that it’s a joke cover tune that shouldn’t have been on an album.  Another is that while the song is humorous, it is also very special.  This is a song from 1924 that Roth had discovered on the radio.  Then, Dave suggested that they invite Jan Van Halen, the father of Eddie and Alex, into the studio to play clarinet.  I get chills up my spine listening to Jan’s lyrical playing.  Alex is playing with brushes, the others are on acoustics, and Dave is absolutely at home.  This song is quintessential Dave Lee Roth, and conjures up that ol’ timey Al Jolson sound.

Dave plays the acoustic intro to “The Full Bug”, and then Eddie kicks in with that riff.  Alex and Michael create that classic Van Halen shuffle as the band careens to the end of the record.  Roth throws down a ballsy harmonica.  This track could also be considered a bonafide Van Halen keeper.

Concluding with “Happy Trails” is only logical.  The boys sound absolutely blitzed as they drunkenly sing acappella, before they all crack up at the end.  Diver Down, undoubtedly a party rock album, is over.

While Diver Down is still fun to listen to, it seems like a blip in the overall Van Halen trajectory.  It’s clear that it is not as innovative as some albums previous, nor does it rock as heavy.  Yet, it’s likable.  It still sounds great in the summertime.  As Craig Fee pointed out, “I still think DLR’s version of ‘Where Have All The Good Times Gone?’ is way better than the original.  For every shitty cover (‘(Oh) Pretty Woman’ comes to mind), you have original gems like ‘Little Guitars’ to make up for it.”

But how the hell do I rate it?

4/5 stars (?)

VH DD_0005

 

REVIEW: Van Halen – Fair Warning (1981)

VAN HALEN (Not Van Hagar!) Part 5: Push Comes to Shove

My latest series of reviews at mikeladano.com is an in-depth look at all the classic VAN HALEN albums, with David Lee Roth.  Dig in!

Part 1: The Early Years (Zero – 1977)
Part 2: On Fire (Van Halen – 1978)
Part 3: Somebody Get Me A Doctor (Van Halen II – 1979)
Part 4: Everybody Wants Some!! (Women and Children First – 1980)

VAN HALEN – Fair Warning (1981 Warner)

If Women and Children First was the point where the party got dark and a little ugly, then Fair Warning is the hangover.  It was also the point where, according to Edward Van Halen, the band started butting heads.  Eddie was interested in pushing his guitar, and himself, to new limits.  Other influences were more interested in the band continuing to create hits.  The conflict seeps through the grooves of what might be called an angry hard rock album.

A year prior, the band had planned on opening album #4 with “Growth”, a riff that was to continue on from the outro to Women and Children First.  That concept was abandoned in favor of a bold move: inaugurating the album with a funky guitar solo piece.  Edward tried slapping the strings like a bass player would for the unique intro to “Mean Street”; then this changes to his patented tapping technique.  There is only one guitar player who naturally sounds like this, and that’s Eddie.  Then it’s off to “Mean Street”, a chugging rocker with Roth offering us an ominous warning:

See, a gun is real easy on this desperate side of town,
Turns you from hunted into hunter, Go and hunt somebody down.
Wait a minute, somebody said “Fair Warning, Lord!”
Lord, strike that poor boy down!

What a killer opener to a killer album.  Now you know what you’re up against.  Van Halen, as heavy as ever, give no quarter on Fair Warning.  Maybe that’s why it is such a fan favourite today.

“‘Dirty Movies'” turns in some more stunningly original fretwork.  This dark rocker has a catchy chorus and more wickedly cool Roth lyrics.  Mike and Alex lay back and let the song breathe.  Another classic, “Sinner’s Swing!” doesn’t let up.  The Van Halen harmonies are intact, and this is the first upbeat track of the album.  Saving the best for last, “Hear About It Later” closes Side One.  This is one of my all-time favourite Van Halen tracks.  It captures all the classic ingredients:  innovative guitar, a smokin’ riff, a great chorus with the VH harmonies, and a whole lot of that Roth attitude.

VH FW_0004

 

It’s hard to follow a track like that, unless it’s “Unchained” doing the following.  Side Two’s classic opener kicks your ass, my ass, and any asses left in the room.  Edward puts the flanger on overdrive for that killer riff.  Roth throws down one of his classic spoken word breaks in the middle:  “Hey hey hey hey!  One break, comin’ up…”

“Unchained” is one of the most important Van Halen tracks in the canon.  Some would consider it a peak for this band, and I think that theory holds water.  It’s definitely a high water mark, a flawless combination of all the crucial components.  “Unchained” is a memorable classic on an album that, at times, can be more difficult to penetrate on first listen.

One of Fair Warning‘s hidden gems is “Push Comes To Shove”.  It features a slow disco beat and a funky, slippery bass intro.  Eddie’s innovative guitar work is a highlight, but the song is soaked with a cool whiskey-stained vibe.  Roth would later explore similar territory on his solo track “Ladies Night in Buffalo?”

“So This Is Love?” was, like “Unchained”, chosen as a single.  It has a cool walking bass line by Michael Anthony, something I associate with early Van Halen quite a lot.  The track is upbeat and irresistible.   It’s a mere reprieve though before “Sunday Afternoon in the Park”.  This forboding experimental synthesizer piece acts as an intro to the final song, “One Foot Out the Door”, but the two parts are actually equal in length (just under two minutes each).  You can hear the foreshadowing of what would come later on the 1984 album.  The synthesizer merges with the whole band on “One Foot Out the Door” which is as heavy as synth-based rock can get.  It’s a smoking track regardless of what instruments are playing it.  Fear not, Eddie throws in an amazing extended guitar solo with which he closes the song, and album.

Of note is the cover art, a painting called The Maze by William Kurelek.  It depicts childhood bullying, and reflects the some of the darker tones inside.  Van Halen were changing, and their album artwork alluded to this.

Fair Warning did not sell as well as Women and Chidren First, though it is equal to and arguably superior in quality.  The downturn in sales influenced the direction of the next album, which would appear one year later.

5/5 stars

REVIEW: Van Halen – Women and Children First (1980)

VAN HALEN (Not Van Hagar!) Part 4: Everybody Wants Some!!

My latest series of reviews at mikeladano.com is an in-depth look at all the classic VAN HALEN albums, with David Lee Roth.  Dig in!

Part 1: The Early Years (Zero – 1977)
Part 2: On Fire (Van Halen – 1978)
Part 3: Somebody Get Me A Doctor (Van Halen II – 1979)

VH WACF_0001VAN HALEN – Women And Children First (1980 Warner)

Three albums in, Van Halen started to stretch their wings.

The band were selling millions of records and touring was strong.  Eddie’s desire to grow as an artist began to stir, slightly.  The signs were beginning to show on Women And Children First, Van Halen’s first album of the 1980’s.  With producer Ted Templeman still in tow, Van Halen went heavier, and darker.

Eddie’s flanged guitar opens the record with “And the Cradle Will Rock…”, a song which should make virtually any Van Halen road tape.  For the first time, you can discern keyboards, accompanying Eddie’s guitar.  For the first time, there are multi-tracked guitars used to great effect.  Eddie coaxes different tones for different sections from his instrument, and experiments with the stereo field.  Not to be outshone is frontman David Lee Roth, with his menacing howls and hip lyrics.

“Everybody Wants Some!!” is just as adventurous.  It opens with over a minute of drums and guitars, with Roth making jungle sounds and welcoming us inside.  Again, Van Halen uses multiple tracks and his guitar in innovative ways to paint an aural picture.  Once the song kicks in, it’s off to the races.   Roth’s as sassy as ever, the best party frontman in any rock band in the country.  His squeals and shrieks are as important (if not more) than the lyrics he’s singing.  It’s more about the sounds and the images they evoke, but everyone’s invited:

Everybody wants some!
I want some too, whoa
Everybody wants some!
Baby how ’bout you? Yeah

Some bluesy bends intro the 6-minute “Fools”, a rare long bomber for this band.  Much of it is intro, a treat of Van Halen’s fingers on the fretboard, before the main riff kicks in at 1:20.  The band lock into a heavy groove, and Roth turns in another cool lyric: “Why behave in public if you’re livin’ on a playground?”  The harmony vocals of Michael Anthony and Edward himself seal the deal, as they take center stage on the chorus.  Roth’s scat outro reveals influences far deeper than rock and roll.

“Romeo Delight” concludes Side One with a racing guitar riff and a cool vibe.  It takes a frontman like Roth to hold his own in a song like this against a player like Edward, and he does.  He’s the ringleader of this party and he makes sure you don’t forget it.  Each “yeeah!” and “hey!” is placed with precision.

VH WACF_0005

You just gotta take a breath after a song like that.  It’s a good time to flip the record, and Side Two opens with a guitar intro called “Tora! Tora!”.  God knows how he’s tormenting that instrument to make the sounds he does.  Roth’s shrieks introduce “Loss of Control”, Van Halen’s fastest boogie.  I wouldn’t advise trying to dance to this one, and headbanging could induce damage to the neck.  Eddie’s solo is another stunner, but equally impressive are all the fills, licks and sounds through the whole song.

Acoustic picking introduces “Take Your Whiskey Home”, as Van Halen get swampy.  Roth nails that bluesy vibe, but it’s just a fake-out.  Van Halen really seem to like to switch gears, and when this sucker goes electric, hang on.  The riff is menacing and Dave’s lyrics are some of his best.  He’s always had a way with words and this is a great early example of Dave’s type of poetry:

Some goes to women, some goes to Jesus,
though I’m absolutely certain both’s all right.
But it takes me at least halfway to the label
‘fore I can even make it through the night.

The acoustic guitars are back out for “Could This Be Magic?”  Yes, it certainly is magic.  Van Halen capture an earlier era, one of simpler scratchy recordings. You can even hear the rain, which was recorded and added to the track.  Nicolette Larson sings backing vocals on the chorus, but this sounds like a drunken party.  It’s the best singalong you’ve never been invited to, and the vibe is killer.

“In A Simple Rhyme” is an upbeat closer.  Women and Children First is a varied ride; it is the point in the party when people start getting a bit drunk and crazy and things look like they could get out of control.  “In A Simple Rhyme” is melodic like Van Halen hits past, with a singable chorus and classic ‘Halen harmonies.  But wait…this is not the end!  Utilizing the concept of the hidden track, an unlisted instrumental is the coda.  The doomy riff, called “Growth” was one that Van Halen had played around with, and planned to use again to open their fourth album.  Perhaps the name “Growth” indicated where Eddie planned to take the band in the future.

Women And Children First represents growth and…”maturity” is not the word.  Perhaps the start of a new world-weary wisdom is evident here.  Whatever the case, the success of this album assured Van Halen that they would be able to carry out the sonic experiments they desired.

5/5 stars

REVIEW: Van Halen – Van Halen II (1979)

VAN HALEN (Not Van Hagar!) Part 3: Somebody Get Me A Doctor

My latest series of reviews at mikeladano.com is an in-depth look at all the classic VAN HALEN albums, with David Lee Roth.  Dig in!

Part 1: The Early Years (Zero – 1977)
Part 2: On Fire (Van Halen – 1978)

VAN HALEN – Van Halen II (1979 Warner)

The 1970’s were much kinder to rock bands than the present.  A debut album charting at #18 was considered a great start back then.  Today, that is no guarantee.  Van Halen II went to #6, and was recorded in only three weeks.  Imagine that today, when four to five year gaps between albums is the norm!

Edward Van Halen is said to be not-so-fond of Van Halen II, where Michael Anthony felt II had stronger songs than I.  The two albums are very similar sonically, although this time Edward was allowed to do more guitar overdubs.  On “Dance the Night Away” you can hear some melody guitar playing over the rhythm, but most of the guitars are still panned hard to the left.

“Dance the Night Away” is one of the brightest stars on Van Halen II.  Its catchy melodies recall some of the more pop material on the first album, such as “Jamie’s Cryin'”  It is sandwiched between “You’re No Good” (the album opener) and “Somebody Get Me A Doctor”, this writer’s favourite track.  “Doctor” is smokin’ and heavy, Roth shrieking about needing ambulances.  Edward’s riff is one of his more legendary.  Riffs like these helped establish Edward as more than just a soloist and player, but also a rock-solid writer.  “You’re No Good” is dark and ominous, reminiscent of “Little Dreamer” from album #1, even though it is actually a cover of a 1960’s easy listening hit.

“Bottom’s Up!” demonstrates Van Halen’s ability to write killer party rock.  It’s hard to resist singing along to the drunken, live sounding group vocal section in the middle.  Edward plays a sexy solo in the right channel while the rhythm remains on the left.  “Outta Love Again” features a stuttery rhythm and some of those patented Roth shrieks, and it closes Side One.

“Light Up the Sky” is as electric as the title implies.  It opens Side Two with an ascending lick and chugging riff, fully in metal territory.  Edward’s solo is one of the album’s highlights.  “Spanish Fly”, the album instrumental, features Eddie fingerpicking on a nylon string guitar.  Regardless, there is no mistaking the artist behind the instrument, as all the technique is there.  The segue leads into the riffy “D.O.A.”.  “D.O.A.” remains a classic Van Halen song, very much an example of their early sounds.

“Women in Love…” is a mid-tempo song, with a stunningly shimmery tapped intro by Eddie.  It one one of Van Halen’s catchiest choruses.  As important as the guitar is to Van Halen’s sound, so too are the backing harmonies.  Finally the album concludes with “Beautiful Girls” which is considered to be another Van Halen party classic.

The songs on Van Halen II are not as well known as those on Van Halen, but there is very little difference in quality.  Van Halen II is probably less stunning simply because it came second.  It’s hard to jump so quickly into a second album and make jaws drop exactly the same way.

There would be no reprieve.  After a tour, and almost exactly one year later, Van Halen would release their third album in as many years.

4.5/5 stars

REVIEW: Van Halen – Van Halen (1978)

VAN HALEN (Not Van Hagar!) Part 2: On Fire

My latest series of reviews at mikeladano.com is an in-depth look at all the classic VAN HALEN albums, with David Lee Roth.  Jump in!

Part 1: The Early Years (Zero – 1977)

VH_0001VAN HALEN – Van Halen (1978 Warner)

Then, the inevitable happened:  Van Halen signed with Warner Brothers in 1977, and went into the recording studio with Ted Templeman.  The producer, probably best known for his work with the Doobie Brothers (though he did have a Captain Beefheart record under his belt), helped hone Van Halen’s sound to a razor-sharp edge.  The relationship was to be a long and fruitful one.  Templeman was responsible for every classic Van Halen album, before helming David Lee Roth’s Eat ‘Em and Smile in 1986.  Templeman even returned to co-produce the Van Hagar album For Unlawful Carnal Knowledge.  One might venture that the producer had a huge impact on the overall sound of early Van Halen.

Their first collaboration was released in February 1978.  Van Halen.  When my dad first heard the name, he responded, “Van Halen? Sounds like some kind of tropical disease.”  But they had built an audience playing legendary gigs at Gazzarri’s in West Hollywood, and with the help of a 1978 tour they propelled the album to #18 in the US.  Not bad for a rock band in the middle of punk.

It’s impossible to talk about the songs without talking about the players.   Edward Van Halen’s guitar work here set a very high bar, even for himself.  His biggest complaint about the guitar on Van Halen is that it is mixed hard to the left channel.  This old fashioned recording technique failed to create the beefy sound Van Halen had heard in his head.  As he put it himself, if you were in a car with the left speaker blown, you wouldn’t hear any guitar, only its faint shadow on the right.

Van Halen may not have introduced techniques such as tapping,  pick slides, pinch harmonics, and whammy bar dives but he did use them in new, in-your-face ways.  He turned these simple tricks into music, and on Van Halen, he did it mostly without overdubs.  Much of the album consists of a single track of guitar.  Templeman was trying to capture their live sound, but Edward would later get his way when it came to the guitar.

David Lee Roth was the most exciting rock frontman of the era, in this writer’s opinion, and he managed to bring that to vinyl.  He’s raw, menacing, and cool.  Every shriek, every sigh, every squeal is scientifically designed for maximum impact at the exact right moment.  Meanwhile, Michael Anthony’s backing vocals helped create that “Van Halen sound” — hard rock with harmonies.  Like only a few others (Hendrix for example), Van Halen managed to extend their own sound into the covers they did, to the point that their cover versions are as well known as the originals.  “You Really Got Me” (The Kinks) is an apt example.

It is not difficult to argue that every song on Van Halen, from the originals to the covers to the 1:45 guitar solo, is classic.  There is not much more to be said about these tracks.  They had been stewing in Edward’s head and fingers for years, and had acquired a deadly tightness.  Side One is one of the heaviest sides of rock and roll in the 1970’s.  From the slow burnin’ “Runnin’ With the Devil” to the explosive “I’m the One”, the first side is non-stop smoke.  Putting a guitar solo as track #2 might be suicide for some records, but on Van Halen, “Eruption” only serves to whet the appetite for more.

“Ain’t Talkin’ ‘Bout Love” is menacing, ominous, forboding, and heavy.  Roth’s banshee wails are unholy enough to frighten wild beasts.  For songwriting, “Ain’t Talkin’ ‘Bout Love” is a highpoint of Van Halen’s entire canon.  They continued to play it live with Sammy Hagar on the 5150 tour.

VH_0002Side Two lets up a bit and introduces Roth’s early pop tendencies with “Jamie’s Cryin'”.  Edward’s inimitable riff was later sampled by Tone Lōc for his hit “Wild Thing”, introducing Van Halen to yet another new audience.  The reprieve is brief; next is a stampede from the “Atomic Punk”.  Although the guitar work is miles above and beyond any punk band, the loud spirit is there and menacing as any other.  Switching gears yet again, “Feel Your Love Tonight” is catchy and danceable.  The harmonies of Michael Anthony and the Van Halen brothers make the chorus something special, and Eddie’s guitar solo throws in lots of those signature licks that you know and love.  “Little Dreamer” is darker, another side that Van Halen does very well.  Roth and Edward gel together to paint an aural picture, while Michael and Alex stay out of the way.

David Lee Roth plays the acoustic guitar on “Ice Cream Man”, a blues song by John Brim dating back to 1953.  Brim never could have envisioned where Van Halen take the song after the first minute.  The space-age guitar solos would have been unimaginable to a bluesman of the 1950’s.  What Edward did with the blues on “Ice Cream Man” can only be described as completely original.  And let’s not forget about David Lee Roth!  “Guarantee-ee-ee-ee-ee-eed…to satis-a-fy!”

Finally, “On Fire” (which opened the Gene Simmons-produced Zero demo) closes this rollercoaster album.  Pure heavy metal with burning fretwork is an apt description.  Roth has mentioned in the past Van Halen’s early Black Sabbath influences.  Here, Van Halen anticipate where Black Sabbath would go with Ian Gillan on Born Again.

Even their logo was bad ass.  Van Halen has it all.

5/5 stars

As great as Van Halen still is today, and as highly as I rated it…the best was still yet to come.

REVIEW: Van Halen – Zero (1976)

VAN HALEN (Not Van Hagar!) Part 1: The Early Years

Time for the newest series of reviews at mikeladano.com!  I hinted at this one a while ago.  It’s time to take an in-depth look at all the classic VAN HALEN albums, with David Lee Roth.  We’ll go from the very beginning to 1984.  But don’t fear – I’ve already reviewed most of the Van Hagar discography.  See below for a list of other Van Halen reviews.

VAN HALEN – 3 (Collectors’ tin 1998)
VAN HALEN – 5150 (1986 Warner Bros.)
VAN HALEN – A Different Kind of Truth (2012)
VAN HALEN – Balance (1995 Warner – Japanese version included)
VAN HALEN – “Best of Both Worlds” (1986 Warner 7″ single)
VAN HALEN – The Best of Both Worlds (2005 Warner)
VAN HALEN – “Can’t Stop Loving You” (Parts 1 & 2, inc. collector’s tin)
VAN HALEN – “Right Now”(1992 cassette single, Warner)
BRIAN MAY & FRIENDS – Star Fleet Project (w/ Edward Van Halen)

Alright!  Let’s rock!

ZEROVAN HALEN – Zero (1976 Gene Simmons demos)

Van Halen: unquestionably one of the most influential hard rock bands of all time. By the mid-1980’s, every band had to have a “hot shot gun slinger” guitar player; such was the impact of Eddie’s innovative fretwork. David Lee Roth set the frontman bar extraordinarily high. Where Ozzy Osbourne, Robert Plant and Freddie Mercury had mastered the art of driving a crowd wild, David Lee Roth took it airborne.

Van Halen formed in 1972, and released their debut album in 1978. Originally known as Genesis and then Mammoth, the original lineup featured Eddie and Alex Van Halen, plus bassist Mark Stone. By 1974 they had replaced Stone with Michael Anthony, and added the flamboyant frontman Roth. This legendary lineup would go on to record several landmark demos, many of which would be re-recorded later. Some songs appeared on the first few Van Halen records. Some wouldn’t appear on album until 1984 and A Different Kind of Truth (2012).

Famously, Van Halen hooked up with Gene Simmons to record a 10-song demo. Simmons wished the band to change their name to “Daddy Longlegs”, and we should be grateful that this never occurred. The Simmons partnership was shortlived. According to Simmons in a 1988 MuchMusic interview, record label heads thought David Lee Roth looked too much like Jim Dandy from Black Oak Arkansas. Simmons also claimed that labels “didn’t get” why there was no backing guitar when Eddie took a solo. Unable to land Van Halen a deal, Simmons tore up the contract he had with the band.

Other fruit from this period included three Kiss demos, still unreleased to this day. Eddie and Alex Van Halen played on Gene’s demos for “Have Love Will Travel” (aka “Got Love For Sale”), “Christine Sixteen”, and “Tunnel of Love”. These songs were demoed for Love Gun, but “Tunnel of Love” would not be released until Gene’s 1978 solo album, in re-recorded form. These songs are considered a holy grail for Van Halen and Kiss fans alike, and to my knowledge they have never been bootlegged.

One demo that has been heavily bootlegged are the 10 songs Van Halen recorded with Simmons in LA and New York, referred to as the “Zero” demo. It has never been officially released anywhere. Fans hope that one day it will be released in a Van Halen box set of some kind. In the meantime, we have low-quality bootlegs to study and enjoy.

Even then, Van Halen were writing monstrous riffs and hooky songs. The talent of Eddie Van Halen was already apparent, but the full thunderous pyrotechnic sounds of the debut album were not yet there.  “On Fire”, for example, is 90% intact but the guitar solos are tentative and yet to achieve the heights on record.

“Let’s Get Rockin’” was re-written on A Different Kind of Truth as “Outta Space”. “She’s the Woman” was also partially re-written for that album. The riff from “Put Out the Lights” was re-used on “Beats Workin’”. “Big Trouble” became “Big River”, an amazing song.  Interestingly, the intro to “Running With the Devil” was originally the outro to “House of Pain”, which preceded it!

Clearly, Van Halen were writing great material from the early days, since nearly every idea from this demo was used on an album, sooner or later. “Babe, Don’t Leave Me Alone” is the only song that I don’t recognize from an album, but that doesn’t make it a bad song. Perhaps Van Halen will finally finish it for the next album.  “Woman in Love” barely resembles “Women in Love” from Van Halen II, only in superficial ways.

The Zero demo is one of those unreleased hard rock cornerstones. Like a fountain it never seems to stop giving. These songs were played live many times by the band before Simmons recorded them, and they are tight. Roth’s voice is high, youthful and powerful. If anything, the band sounded a little generic. It would take Ted Templeman and the debut record for Van Halen to find their own unique sonic niche.

4/5 stars

ZERO 2

Part 1: The Early Years (Zero – 1977) VH_0003
Part 2: On Fire (Van Halen – 1978)
Part 3: Somebody Get Me A Doctor (Van Halen II – 1979)
Part 4: Everybody Wants Some!! (Women and Children First – 1980)
Part 5: Push Comes to Shove (Fair Warning – 1981)
Part 6: Intruder (Diver Down – 1982)
Part 7: House of Pain (1984 – 1984)
Coda: Can’t Get This Stuff No More (Best Of Volume I – 1996)

Part 276: Character Study – HH and Rasputin

RECORD STORE TALES Part 276:  Character Study – HH and Rasputin

HH (aka “Hobbit”) and Rasputin were regulars.  They came to T-Rev’s store first, always selling, never buying.  HH was known for her outrageous makeup.  Usually the lipstick started somewhere below the nose and went down to the chin.  Trevor used to say, “She looks like that woman from David Lee Roth’s ‘Just A Gigolo’ video!  Remember her?”

“DAVID! DAVID!  MY KIDS WILL DEFINITELY KILL ME IF YOU DON’T SIGN THESE PICTURES FOR THEM!”

That’s kind of how she looked.  Very close.  In the summer, HH wore these short skirts that were just way too little clothing.  T-Rev had to deal with her more often than I did.  I don’t know how he didn’t claw his own eyes out.  T-Rev tells me that once, HH pulled up to his store riding a little banana seat bike, wearing that short skirt.  He remembers her so clearly.  “Yeah!   The ‘hobbit’, the ripped nylons and the short skirt with her ass hanging out…yuck.  She looked like she had a Botox stroke in her face!” he says.

Rasputin, unsurprisingly, looked a lot like Grigori Rasputin, the famous “mad monk” of Russian history.  All he lacked was the long hair.  His long trench coat even remotely resembled Rasputin’s long monk robes.  T-Rev nicknamed him Rasputin, or Razzy for short.  He had a lazy eye.

They would come in, selling crappy scratched used CDs.  HH would often say she was selling them for her son.  That meant she had procreated, a scary thought in itself.  She never specifically identified Razzy as the father, but that certainly could have been the case.  Razzy never spoke.  When we would make an offer on the CDs, HH would turn to Razzy.  Razzy would either nod yes, or shake his head no.  Then they’d try to haggle.  Their CDs were rarely worth haggling over.  But haggle they did.  According to Trevor, “I remember her always haggling for a better price out of me…like ‘this CD is really popular right now with the kids’.  Fuck you!”

Those summers of HH and Razzy are long gone, now. I wonder if Razzy ever shaved off that black beard.   I wonder if she’s still riding that bike in her skirt.  I may never know…I don’t really want to know.

REVIEW: John Lennon vs. Van Halen – “Imagine a Jump” mashup

JOHN LENNON vs. VAN HALEN – “Imagine A Jump” mashup by “Mighty Mike”

I love it. It’s certainly not complex but it’s brilliant how the two songs fit together, given a little fidgeting with the timing. I really like this. I never would have “imagined” (see what I did there?) these two songs fitting together like this.

One of the cool things about the internet, digital music, and computers in every home is that people can create something like this themselves. While it’s not the same as writing and recording your own original music, I think there’s a certain amount of creativity involved in envisioning a mashup this well executed.

Lennon’s vocal has been erased and we’re left with just the piano and drums from “Imagine”. Dave’s vocal from 1984 has been reduced to a capella, and it melds seamlessly with Lennon’s piano recorded in 1971. I think I will always think of one song, when I hear the other in the future.

Very enjoyable. Time to listen again!

4/5 stars

IMAGINE A JUMP

REVIEW: Alcatrazz – Disturbing the Peace (1985)

ALCATRAZZ – Disturbing the Peace (1985 EMI, 2001 Light Without Heat)
Released as part of Steve Vai’s The Secret Jewel Box

This is the only Alcatrazz album I own.  The reason I own it is Steve Vai.  I’m a Steve Vai fan before I’m a Graham Bonnet or Yngwie Malmsteen fan.  Plus, this album was reissued exclusively in Steve’s stunning looking Secret Jewel Box (2001) as CD 2.   The collector in me wanted that box set and I was glad Steve was so thorough as to include collaborative efforts like this one in his box set.  According to Steve’s 2001 liner notes, Alcatrazz was one of his favourite band experiences and I think you can hear that.

Disturbing the Peace, Alaztrazz’s second LP, is very idea-heavy.  It’s dense musically and conceptually while still being straight-ahead rock music.  It’s the same trick Steve pulled on David Lee Roth’s universally acclaimed Eat ‘Em and Smile record.  Vai is credited as a co-writer on every track, except the instrumental “Lighter Shade of Green” on which he has sole credit.  Clearly, his input on the album is tremendous as it is literally covered with his fingerprints.  His style is all but fully formed (he had already recorded and released his experimental first solo album, Flex-able).  His guitar sound was certainly well on its way, and the way it shimmers with multiple layers is omnipresent on Disturbing the Peace.  Hell, Vai even recycles melodies from Flex-able, which he would recycle yet again on Passion & Warfare!

(Note:  I’m referring to the melody from Steve’s “Answers” from Passion and Warfare, which is also in “Wire and Wood” on Disturbing the Peace and “Little Green Men” on Flex-able.  While this is strictly conjecture, I assume this melody to be among the many that Steve “heard” in his lucid dreams that inspired the Passion and Warfare album.  Another such melody is “Liberty”, which was based on recollections of a lucid dream.)

There are some really great songs on Disturbing the Peace.  “God Blessed Video” (which had its own great video that featured Steve extensively) is a great example of the kind of powerful, melodic hard rock Graham Bonnet can produce.  It superficially resembles Rainbow’s “Death Valley Driver” (surely a coincidence) and has the same relentless drum stomp and chugging riff.  This is all left in the dust by Steve who anticipates his role as the “Devil’s Guitarist” from the movie Crossroads by stewing up an unconventionally wicked guitar solo.

The more straightforward metal of “Mercy” is credited to the whole band, also including Gary Shea (bass), Jan Uvena (drums) and Jimmy Waldo (keyboards).  That’s probably why it’s much more standard in construction.  Bonnet’s pipes get quite a workout, and Steve’s solo is jaw dropping.  The solo section here absolutely sounds like a prototype for Passion and Warfare.  “Will You Be Home Tonight” is steamy, a bit more laid back and heavy with atmosphere.  None of this prevents Bonnet from wailing, nor Vai for throwing down some space-age bluesy licks.  This kind of thing would come in handy for Whitesnake, later on.

The aforementioned “Wire and Wood” is actually the most Rainbow-like of the songs.  At times it almost sounds like a leftover from Down to Earth, but then Vai reminds us that this it was now 1985 and there’s a new kid on the block.  Side one closed with “Desert Diamond”, Steve Vai on Choral sitar this time.  This time I’m reminded of a similar gimmick on “My Little Man”, which Steve co-wrote for Ozzy’s Ozzmosis album.

“Stripper” is pretty far from lyrically sophisticated.  While “A dark and crowded room / Warm beer that’s stale” does set the scene, it’s not really a story that needed telling, I suppose.  Similarly, “Painted Lover” could not misconstrued as poetry.  “She just wants that hard stash, hot from your pocket.”  I’m sure, Graham.

It’s kind of weird hearing trashy lyrics like this sung over Steve’s schooled and intricate melodies and tricks.  It’s like the smartest kid in class helping out a less talented classmate or something.  Nothing against Graham of course, he’s had more hits than I have, so what do I know?

SKYFIRE

“Skyfire”

Steve’s “Lighter Shade of Green” solo is a brief intro to “Sons and Lovers”, one of the most accessible hard rock songs.  It has a grand chorus, courtesy of Graham, the kind of thing he’s very good at.  “Skyfire” (surely named after the 1985 Transformers character, right?) is a very 1980’s sounding groove.  I like the fast chuggy parts, the strong melodies, and Steve’s guitar bits.  I also like that I’m going to start a rumor that it’s named after the Transformers character.  (It’s actually about a UFO that Graham sighted.)

The only song I kinda don’t like is the last one, “Breaking the Heart of the City”.  It’s here that I feel the Vai/Bonnet experiment fails somewhat.  It sounds like it wants to be dark, heavy, and ominous, but Steve is whimsical at times, space-y and too smart.  Meanwhile I’m feeling that the song needs something gritty, some more chug, a little bit of grind, you know?

After revisiting Disturbing the Peace, I now feel an urge to get No Parole From Rock ‘n’ Roll and compare.  Steve Vai and Yngwie Malmsteen are polar opposites stylistically and it’ll be interesting to hear Yngwie’s version of Alcatrazz.

4/5 stars

Interestingly, Disturbing the Peace was produced by Eddie Kramer!

REVIEW: David Lee Roth – Greatest Hits/The Deluxe Edition (2013 CD/DVD)

NEW RELEASE – nov. 19 2013

DLRGRHITS_0001DAVID LEE ROTH  –  Greatest Hits/The Deluxe Edition (2013 Warner CD/DVD)

Dear LeBrain readers,

I’ve been here writing reviews for the better part of 21 months now.  I think we know each other well enough, you and I, that I can skip the formalities in some instances.  I don’t think I need to describe in detail classic David Lee Roth recordings such as “California Girls”, “Just a Gigolo”, or “Just Like Paradise”.  I’m willing to bet that with exception to the 1990’s material, most readers already know most of the songs on this album.  If you happened to stumble upon later albums like A Little Ain’t Enough or Your Filthy Little Mouth, then you probably know them all.

If you’re familiar with David Lee Roth but don’t own any as of yet, then your next question is likely to be, “Is this a good place to start?”  Sure, why not?  Dave’s latest “hits” compilation, simply called Greatest Hits (his last one was called The Best), does the trick in most regards.  It even includes Dave’s entire first solo EP Crazy From the Heat albeit not in the original running order.  (1. “Easy Street” 2. “Just A Gigolo” 3. “California Girls” 4. “Coconut Groove” in case you feel like re-arranging the tracks as originally released.)  “Easy Street” is an Edgar Winter Group original, and Dave has Edgar guest on his version too.

Some of the best songs are distilled from Eat ‘Em and Smile, but that’s a 5/5 star album that needs to be owned on its own regardless.   From Skyscraper is “Just Like Paradise” and “Hot Dog and a Shake”, but not the single “Stand Up” interestingly enough.   Present are the three singles from A Little Ain’t Enough: the bluesy “Tell the Truth,” the title track and the swanky “Sensible Shoes”.   Three tracks are included from Your Filthy Little Mouth, only one of which is a head-scratcher (the reggae infused “No Big ‘Ting”) but by-and-large this an acceptable slice of Warner Brothers era David Lee Roth.

What you readers are likely to be most interested in is the bonus DVD.  This “Deluxe Edition” (there’s no other edition available) includes most of Dave’s groundbreaking, genre-hopping classic music videos.  The “Dave TV” segment has uncut videos for “California Girls” and “Gigolo” interspersed with Dave’s commentary.  Continuing the fun are Dave’s first two “band” videos, “Yankee Rose” and “Goin’ Crazy!” along with Dave’s cast of characters.  These of course includes the fabulous Picasso Brothers!

As an added bonus they also included the Spanish version of “Goin’ Crazy!” (“¡Loco Del Calor!”) which appears to be an entirely unique cut, based on the same video shoot.  There are fewer costume changes and stunts, but it’s cool that Dave’s attention to detail included lip-synching an entirely separate video for another territory.

The odds and ends on this disc are pretty scarce, such as the videos for “Sensible Shoes”, “The Nightlife”, and “Tell the Truth”.  None of these videos are nearly as entertaining as the colourful classics.  Let’s face it, Dave’s great in front of a camera, but he’s at his best when it’s one hell of a party happening behind him.

In Canada, this is an import and I paid about $26.  In the US it’s under $19 which is a much more reasonable price.  For fans who don’t own anything, get this, it just makes sense to.  For fans who already have all the albums, you are now forewarned that you’re buying this solely for the DVD.  There’s nothing much else special in terms of packaging, although lyrics are included.

The CD:  3.5/5 stars

The DVD:  5/5 stars

Blended rating:  4.25/5 stars

More DAVID LEE ROTH at mikeladano.com:

Sonrisa Salvaje (Eat ‘Em and Smile 1986 – Spanish version) – Skyscraper (1988) – “Stand Up” promo remix – Your Filthy Little Mouth (1994 Japanese version) – DLR Band (1998) – Diamond Dave (2003)