In late 2011, Van Halen announced a new full-length album with former singer David Lee Roth was on the horizon for early 2012, finally putting an end to the often-agonizing wait for long time fans of the band. Depending on which school of thought you come from as an appreciator of Van Halen, you have either been waiting sixteen, fourteen or eight years for new material from your favorite band (Roth last recorded songs with the band in 1996, the last full length album was released in 1998 and Hagar last took the mic in 2004). Personally, I’m a rare breed of Van Halen fan, appreciating all eras and albums in their own way. I never got into the Roth vs. Hagar argument – I saw them as two different bands, each with some really excellent material. Plus, I liked the Gary Cherone-fronted Van Halen 3, unlike just about most of planet Earth. Additionally, I enjoyed the solo output of both post-Van Halen Roth and Hagar, even during their shakiest moments. In short, I am a fan of this band and all its current and former members. Well, at least until recently, that is.
Since Van Halen announced their intention to release new material with David Lee Roth, a seemingly scorned Sammy Hagar has done nothing but open his mouth and spew his opinion in the press, tarnishing his reputation as a laid-back, party-loving rocker in the process. In most cases, I have zero problem with somebody expressing their thoughts on a subject they have been close to at one time or another. After all, it seems logical for Sammy Hagar to hold an opinion on the current state of Van Halen, given the fact that he fronted the band for a number of years. The trouble is that Hagar has done nothing but speak in contradiction and fuzzy truths to make himself and his current project (the supergroup Chickenfoot) look like the better option. I suppose nobody told Sammy that nobody is required to choose one over the other.
When Van Halen announced this past November that they had signed with Interscope Records to release their new album is when Hagar first chimed in. When asked by Rolling Stone magazine what his thoughts were regarding the signing and subsequent album, Hagar answered, “How long has it been since they did a record? And that last one doesn’t count.” Clearly, Sammy isn’t a fan of Van Halen 3, which is no bold stance considering its large commercial and critical failure. But unlike the general public, Hagar has shared a stage with Cherone. During Boston stop on the the joint Hagar/Roth tour in 2002, Hagar had Cherone join himself and former Van Halen bassist Michael Anthony to perform two Van Halen hits, “Dreams” and “When It’s Love.” Hagar’s introduction to Cherone that evening? “I can’t sing this…ladies and gentlemen, local homeboy, Gary Cherone.” So, if Cherone wasn’t good enough to front Van Halen and you suggest his time in the band should be forgotten, why have him participate in your live show and perform Van Halen songs you admittedly can’t sing any longer? And what’s more, Hagar included the performances from that night on his 2003 live release, Hallelujah!
If that wasn’t enough to illustrate how Sammy Hagar might be somewhat disingenuous, he has continued to insert his foot firmly in his mouth in the press since. When music website Radio Metal asked the singer what he thought of the new Van Halen album A Different Kind of Truth upon its release in February 2012, Hagar had this to say: What I’ve heard so far, I wasn’t impressed with at all, personally…I think they chose to take the easy route and take some of their old stuff and and re-record it instead of writing new songs.” Now, by the band’s own admission, some of the songs on Truth were reworkings of those that appeared on their 1976 and 1977 demo tapes, prior to the release of their first album, Van Halen, in 1978. In most cases (illustrated by listening to said demos) the original music is slightly rearranged and Roth’s lyrics and melodies are almost entirely new. But this practice was only used on six of the thirteen new songs, or fewer than half. The others are completely new songs, which negates Hagar’s statement that the band did not write any new material.
While we’re on the subject of reusing old material, let’s take a look at Hagar’s 2008 solo release, Cosmic Universal Fashion. Three of that album’s ten songs (“Cosmic Universal Fashion,” “Psycho Vertigo” and “Peephole”) were previously recorded and shelved for years, presumably having not made the cut for any of his other records. The final track on the album is “Dreams/Cabo Wabo,” a medley of two Van Halen hits recorded live in concert. Also included is a rote cover of The Beastie Boys’ 1987 success, “Fight For Your Right To Party.” So, out of ten songs, five of them were actually written by Hagar for this particular release. Now, I’m not the best at mathematics, but Hagar seems to be phoning it in at a slightly higher percentage rate than he claims Van Halen is. I suppose, then, the statement that followed applied to himself just as much as he suggests it does for Van Halen: To me it makes a strange statement. It kind of says, ‘We don’t have anything, we’re not a band anymore, we’re not creative.’ Isn’t it a strange statement to you?” It certainly is, Sam. And it also shines a very bright light on why Cosmic was your last solo release before you formed a new band, Chickenfoot, in 2009.
Speaking of Chickenfoot (the supergroup featuring Hagar, Michael Anthony, guitar whiz Joe Satriani and Chili Pepper Chad Smith), Hagar felt the need to compare his new band to his former band in yet another public forum. While speaking with Ultimate Classic Rock, Hagar let this little gem make it to press: “If you take Joe versus Eddie, you take Dave versus me, Wolfie versus Mikey, Chad or Kenny versus Al… I mean, come on! You know what I mean? Man for man, who can sing the best? Dave or I, today? Who can play the best? Joe or Eddie, today? Who could play or sing the best? Wolfie or Mikey?” Okay, so Sam’s proud of his new band. And he should be, too. Chickenfoot has released two excellent records thus far and have given alot of rock band’s a run for their money in terms of music quality. But if you take a second to think about it, Hagar is essentially doing to Van Halen the same thing he bemoaned David Lee Roth for doing back in the late 80s, when Roth would compare his then-new solo band (featuring another guitar whiz, Steve Vai) to his former band, the Hagar-fronted Van Halen. That’s right…Hagar is currently doing the very thing he bitched about David Lee Roth doing back in 1986. How’s that for integrity and consistency?
If his most recent statements regarding the current state of his former band aren’t enough to demonstrate Hagar’s penchant for hypocrisy, more evidence can be found in his version of what happened before, during and after the ill-fated 2004 Van Halen reunion tour. By all accounts, Eddie Van Halen was in really bad shape during that tour, allegedly behaving in a very abusive manner and turning in mediocre performances due to his excessive drinking. Hagar would later recount the events of the tour in his 2011 autobiography, “Red: My Uncensored Life In Rock,” where the contradictions are abound. First, his statements about meeting with Eddie to attempt to bury the hatchet and get the band back out on the road: “I had been waiting at 5150 studios for more than an hour when Eddie finally showed up. I hadn’t seen him in a decade. He looked like he hadn’t bathed in a week. He certainly hadn’t changed his clothes in at least that long. He wasn’t wearing a shirt. He had a giant overcoat and army pants, tattered and ripped at the cuffs, held up with a piece of rope. I’d never seen him so skinny in my life. He was missing a number of teeth and the ones he had left were black. His boots were so worn out he had gaffer’s tape wrapped around them, and his big toe stuck out.” So Eddie turns up to your first meeting looking like a homeless junkie and you still entertained going out on tour with him? He justifies it like this: “This was Eddie Van Halen, one of the sweetest guys I ever met. He had turned into the weirdest fuck I’d ever seen, crude, rude and unkempt. I should have walked, but Eddie’s got a very charming, cunning side to him, where you feel like he’s got a good heart. He’s going to come through. He’s going to clean up and we’re going to get this thing done.” Okay, fair enough. Eddie is clearly in no shape to tour, but your past experience leads you to think he’s going to pull it together. Fair enough, Sam. You worked with him for years, you know him better than most.
Benefit of the doubt provided, let’s see what unfolded following that first meeting: “Our new manager, Irving Azoff, agreed to hold an intervention with Eddie. He brought a big, beefy security guard and met Al and me at 5150. Eddie walked in, carrying his wine bottle. Irving did all the talking. He told Eddie the tour was going to be difficult, that he needed to go away for a week or two, that we could postpone some dates if we needed. We all agreed Eddie needed to clean up.” Again, fair enough, Sam. You saw there was a problem and attempted to address it. Clearly, Eddie was in no shape to tour unless he went to rehab for a little while. Seems straightforward enough – no rehab, no tour, right?
Let’s check back in with Hagar: “From the start of the tour, Eddie made some terrible mistakes and it seemed like he couldn’t remember the songs. He would just hit the whammy bar and go wheedle-wheedle-whee.” Okay, so clearly Ed wasn’t up to it from the first night. If a man who has a reputation for his guitar playing and consistent performance quality comes onstage the first night playing poorly and acting strangely, something might be seriously up. Perhaps you should have pulled the plug then and tried harder to intervene and save a guy that you profess was once such a good friend and a genuinely nice guy. But no, instead: “They kept us apart as much as they could. We flew in different jets. We stayed at different hotels. We had our own limos. They had their bodyguards. Mike and I had ours. I stayed in my own dressing room on the other side of the hall. The only time I saw that guy was when we stepped out onstage.” Excellent…so instead of getting Ed off the road and into rehab, you soldiered ahead and had zero interaction with the guy except for when you went onstage. You couldn’t stand the guy, yet you performed with him every night. And you question the motives of the current Van Halen camp? Seems like you were in it for the money just as much as you suggest they are now.
I could continue on for quite a while longer pointing out the hypocrisy of the latter day Sammy Hagar, but it honestly brings this longtime fan alot of sadness. I always thought Sam was a real stand-up kind of guy and made sure to buy all of his post-Van Halen solo records to show him support for all the great years of music he afforded me while he was in the band. And for the most part, I really liked his post-Van Halen material. But from now on, I will always have a shade of utter disappointment whenever I hear or read anything about Sammy Hagar from this point forward. For a guy that regards himself as such a fan-friendly guy, he certainly let this one down considerably.
Amidst the bland mainstream scene that has unfortunately dominated the 2000s, the decade’s final year has been one of significant musical surprise. 2009 gave listeners some truly amazing records, ones that belong in each and every record collection out there. This is The Record Review’s list of the best albums of 2009, arranged in no particular order. If you’re still looking for that last minute holiday gift, either for yourself or somebody else, picking up one of these gems would certainly be a fine idea.
Before we get this thing rolling, The Record Review would just like to thank each and every one of its readers for dropping by over the last year. Have a happy holiday season and we’ll see you next year.
Okay, ready? Without further delay, The Record Review’s Best of 2009:
The Black Crowes – Before the Frost…Until the Freeze (Silver Arrow) Fresh off the road from the support tour for their 2008 release Warpaint, the Black Crowes hunkered down at Levon Helm’s studio in upstate New York, invited a couple hundred of their closest fans and recorded a double album of new material that is equal parts rock, country, bluegrass and folk and all add up to one staggeringly good showing for the veteran band. Highlights include: “Good Morning Captain,” “Been a Long Time (Waiting On Love),” “Shady Grove,” “What Is Home,” “Shine Along,” “Greenhorn” and “So Many Times” Buy Now
The Flaming Lips – Embryonic (Warner Bros) Always keeping things inspired and interesting, The Flaming Lips topped even themselves with their twelfth studio release. Reaching back into their neo-psychedelic past, Wayne Coyne and Co. turn in a collection of songs that are as haunting as there are melodic. Easily the band’s best album since 2002’s Yoshimi Battles the Pink Robots. Highlights include: “Evil,” “If,” “I Can Be a Frog” and “Watching the Planets” Buy Now
Neil Young – Dreamin’ Man Live 1992 (Reprise) A collection of live performances of Harvest Moon songs culled from Young’s 1992 tour, Dreamin’ Man proves to be a truly unique recording and the best release to date in the artist’s “Archive Series.” Gone is all the lush instrumentation and gentle backing vocals, leaving only Young, an acoustic guitar and the occasional piano and harmonica to handle the expressing. Highlights include: “Harvest Moon,” “You and Me,” “Such a Woman” and “War of Man” Buy Now
Phish – Joy (JEMP Records) After a five-year hiatus, Phish returns in spite of their previous claim that they would not and turn in one of the best albums in their catalog. Joy finds the band as spry and invigorated as on 1988’s Junta but with a little more wisdom sprinkled into the mix. One of the year’s biggest surprises, given the lackluster nature of their last effort, 2004’s Undermind. If Phish remain together and continue to make albums, this will be a tough one to top. Highlights include: “Backwards Down the Number Line,” “Kill Devil Falls,” “Time Turns Elastic” and “Ocelot” Buy Now
Wilco – Wilco (The Album) (Nonesuch) After Yankee Hotel Foxtrot, it’s hard to imagine Wilco could release an album that would have as much impact. Wilco (The Album) comes mighty close, in not approach but in quality. Merging together all the various stylistic avenues they’ve ventured down over the last decade and a half, Wilco turns in a collection of songs that are equal parts catchy and creative. The input of Jay Bennett is still sorely missed, but this is the best the band has done since his departure. Highlights include: “Wilco (The Song),” “Bull Black Nova,” “I’ll Fight” and “You Never Know” Buy Now
John Frusciante – The Empyrean (Record Collection) Perhaps the most prolific artist of the last twenty years, the Red Hot Chili Peppers guitarist releases his eighth solo album in as many years and it proves to be amongst the best (no small feat considering the high-watermark made by 2001’s To Record Only Water For Ten Days). Featuring a slue of guest musicians, The Empyrean is expectedly eclectic and always impressive. One can only hope that Frusciante has been recording more material of this caliber while The Peppers have been on hiatus. Highlights include: “Song to the Siren,” “Unreachable,” “Enough of Me” and “After the Ending” Buy Now
Van Morrison – Live at the Hollywood Bowl (Listen to the Lion Records) In honor of the 40th anniversary of his classic Astral Weeks record, Van Morrison performed said album in its entirety for two nights at the renown Hollywood Bowl. Just as with its studio counterpart, Hollywood Bowl is thoroughly mesmerizing and shows that Van Morrison is still an essential in-concert experience. Staying true to the original record, Morrison also opted not to flesh out the remaining running time with additional material. Highlights include: “Beside You,” “Slim Slow Slider,” “The Way Young Lovers Do” and “Sweet Thing” Buy Now
Arctic Monkeys – Humbug (Domino/EMI) Surviving all the hype surrounding them with their previous album, Arctic Monkeys quietly turned in Humbug in late August, resulting in the surprise success of the year. Going against a somewhat popular belief, Humbug shows that Arctic Monkeys are a band that surpasses most of its colleagues in terms of songwriting and performance ability. Every track here is essential to the others, making this one of the only real albums releases this year. Highlights include: “My Propeller,” “Potion Approaching,” “Dance Little Liar” and “Secret Door” Buy Now
Bob Dylan – Together Through Life (Columbia) On his 33rd album, Bob Dylan still manages to keep things interesting. His voice is still profoundly unique, his words still flow with poetic wonder and his music remains impressively perfect without ever showing a hint of sterility. What else is there to say? This is just another fine example of Dylan doing his thing. Here’s to the hope that he continues the trend well into the next decade. Or two. Highlights include: “Beyond Here Lies Nothin,” “My Wife’s Home Town,” “Jolene” and “This Dream of You” Buy Now
Jason Isbell – Jason Isbell and the 400 Unit (Lightning Rod Records) His second album after amicably leaving Drive-By Truckers in 2007, Jason Isbell and the 400 Unit is perhaps the year’s most melodic record, brimming with beautiful sounds and masterful lyrics. Quietly appearing in February, the album is a prime example of how to expertly merge country, rock and even pop elements to come up with a near masterpiece. Highlights include: “Seven-Mile Island,” “Sunstroke,” “Cigarettes and Wine” and “Streetlights” Buy Now
Truth & Salvage Co – The Truth & Salvage Co. EP (Silver Arrow) Released as a sampler of their forthcoming album (due out March 2010) and distributed primarily at live dates on the Black Crowes tour their served as opening act for, The Truth & Salvage Co. EP shows the Atlanta natives to be extremely adept at crafting melodic, heartfelt songs that echo all the best elements of their influences without stealing from them. If this EP is anything to go by, the full-length album is going to be an early contender for next year’s list. Highlights: “Call Back” and “Jump the Ship” Buy Now
To purchase any of the above titles, please click the “Buy Now” link within each summary.
Lynyrd Skynyrd – God and Guns
September 29, 2009
Victim of Loudness War? Yes
Listening to Lynyrd Skynyrd’s latest release, God and Guns, it’s hard to fathom how the band strayed so far from their original (and far superior) sound. Gone are the down-home grooves and simple-yet-brilliant lyrical themes present on the band’s classic material, the songs that built their legend and remain endeared by the masses since their debut over three decades prior. What remains are trite rockers and forced ballads, reminiscent of much of the country-pop scene that is dominating the Billboard charts as of late. The bulk of Lynyrd Skynyrd’s current recordings are nothing but throwaways, nothing more than an obvious cash grab wrapped in an effort to keep the present day lineup and its name on tour and raking in the dough. Continue reading
Phish – Joy
September 8, 2009
Victim of Loudness War? No
Typically, when a band reconvenes after publicly hanging it up and going their separate ways for a number of years, the magic just isn’t there. Usually, there is a distinct reason the band chose to end their run in the first place and more often than not that reason proves valid. In the case of Phish, the four members had decided that they had run out of creative gas after fifteen years and wanted to individually move into different projects. This was pretty apparent by giving a listen to either of the band’s last two studio releases, 2002’s Round Room and 2004’s Undermind. While both contain some truly excellent additions to the Phish catalog, both albums simmer rather than boil and never really reach the high standard the band had established for itself from its inception in the late 1980s.
Therefore, when Phish announced in mid-2009 that they were getting back together for a Summer tour and a new studio release, there was a certain amount of apprehension about the whole deal. Although the guys had been successful in their solo endeavours (particularly singer/guitarist Trey Anastasio, who continued to sell out theaters nationwide with the various incarnations of his touring band), none had matched the artistic or commercial success they had under the Phish banner. Plus, several members of the band had expressed their utter frustration and lack of motivation within the group and made it quite clear that the band would not reunite in the future. After all, they had already taken a two-year hiatus from late 2000 through New Year’s Eve 2002, so the fact that they closed up shop a mere two years later indicated that the spark that lit the fire was simply not there anymore. Everything seemed to add up to one big cash grab for all those involved. Continue reading
The Black Crowes – Before the Frost…Until the Freeze
August 31, 2009
Silver Arrow Records
Victim of Loudness War? No
The Black Crowes have long been established as one of rock and roll’s pre-eminent live acts. Over the last 20 years, they have pushed boundaries on stages across the world, refusing to play their hits, choosing to instead melt faces with soaring guitar duels, earthy jams, outtakes from album sessions, B-sides to singles, new originals, re-worked originals, or a myriad assortment of well-chosen and expertly executed covers. The unfortunate thing is, like a majority of bands who are vitally potent on stage, that vitality does not always translate onto record.
In the case of the Black Crowes, the studio catalog has been spotty at best. Discounting The Lost Crowes (a rarities collection released in 2006 comprised from unreleased sessions recorded from 1993-1997), the Crowes’ recorded output the past 10 years has ranged from tentative but earnest (last year’s “comeback” Warpaint) to non-cohesive experimentation (2001’s Lions), to a downright awful parody of themselves (1999’s By Your Side). Even a live album (2002’s Live), which should have been the Crowes’ “ace in the hole,” failed to impress, mostly due to conservative song selection light on the jamming which defines their live experience, a sub-par line-up, and a very murky mix (very much a victim of the “Loudness War,” it is almost unlistenable). Continue reading