Brian BoyleHaving sold 10 million copies of their 1984 album in the US alone, the last thing Van Halen fans were expecting was the untimely departure of their brazenly overt frontman David Lee Roth. Rising tensions in the band eventually came to a head and meant that a period which brought us classic 80’s rock like “Hot For Teacher”, “Panama” and the eternally youthful ‘Jump’, didn’t prove a catalyst for further global domination, but more a gigantic kiss of death.
But with Roth having already laid the foundation for a successful solo career with the release of his Crazy From The Heat EP, Eddie and Alex Van Halen along with bassist Michael Anthony were at a crossroads.
Just like Jagger was to The Rolling Stones, Bono to U2, and Mercury to Queen, Roth was a key fulcrum in the machine, so their next move was to be their most crucial at that point.
The Search for a New Voice
There were ludicrous rumours of potential candidates floating about. Bizarrely, Ozzy Osbourne and Phil Collins were mentioned, and while the former sounded the more plausible of the two, The Prince Of Darkness and his juggernaut of chaos would’ve surely of been too much for the Pasadena boys, who in comparison were like alter boys. Another dodgy whisper was America darling Daryl Hall, who declined having had “his own shit going on” at the time.
Clearly not going for a Roth doppelganger, EVH even offered the role to former Scandal singer Patty Smyth, who at the time was heavily pregnant and also sober, so linking up with a band who liked a party was never an option.
One that looked a good fit was the potential of Australian legend Jimmy Barnes joining the band. But having just launched a solo career, the former Cold Chisel man politely declined.
Enter the Red Rocker
Eventually the stars did align and white smoke appeared in the form of one Sammy Hagar.
Also known as the Red Rocker, the Californian first came to prominence as lead singer of the riff-driven Montrose. Due to clashes with band leader Ronnie Montrose, his tenure only lasted two years, but that period still produced much loved American rock classics like Rock Candy, Bad Motor Scooter and Space Station.
As a solo artist, his career was a slow burner until 1982’s Standing Hampton gave him his first platinum status in the US. Big roaring anthems like “There’s Only One Way To Rock”, ” Baby’s On Fire” and the riotous “Heavy Metal“ properly announced him in the big league.
The Call That Changed Everything
Although EVH was a massive fan of his previous work in Montrose, bizarrely, it was at the suggestion of their mutual mechanic Claudio Zampolli that Hagar should join the band . Hagar and Van Halen had crossed paths before, having shared a bill with Boston and Black Sabbath at the Anaheim Stadium in 1978 for the prestigious Summerfest.
When Hagar got the call from the mechanics office, he initially thought it was a joke, but the offer was very real, and four months later he was in Eddie Van Halen’s now iconic 5150 studio in Coldwater Canyon, Los Angeles to record the bands most pivotal album.
5150 Studio: Chaos and Chemistry
Hagar’s first impressions of the studio was one of disbelief. He recalls, “it was a mess, there must have been 300 beer bottles and cans laying around. Half of them had beer in them and old cigarettes. Every ashtray was overflowing with cigarette butts. There were butts left burnt on the floor. That place stunk like a fucking bar that hadn’t been cleaned for a hundred years. Eddie’s guitars were everywhere – maybe 30 guitars, laying against walls, on the floor, just knocked over.”
Despite all that, the chemistry was instant. Upon hearing the riff to what eventually became Summer Nights, Hagar had the lyrics and melody in the bag, and they were off and running.
However the new era didn’t mean everything was rosy in the garden. Long time engineer of the band Donn Landee was given a co-producer role alongside the band, but threw an almighty wobbly after EVH employed the services of Foreigner’s Mick Jones to also produce. Such was his disgust, he locked himself in the studio for a day, threatening to burn the studio to the ground with the master tapes in it.
Track Highlights
The lunacy eventually calmed, and harmony ensued, which brought about a monster of an album that went on to shift 6 million copies in the US alone.
“Good Enough”
Hagar’s cheeky scream of “hello bayyyyyby” announced the second coming of Van Halen. This track proved they hadn’t lost any of their tongue in-cheek humour. Without doubt, one of the best album openers of the 80’s rock era.
“Why Can’t This Be Love”
The first single off the album, and what a way to announce your return. The iconic keyboard sound still makes the jaw drop and many thought it to have been more supernatural guitar wonder from EVH. A song that still lights up the airwaves the world over and definitely the most important one they ever wrote
“Get Up”
The song that convinced Mick Jones to come on board. He stated, “I’d never heard anything like it in my life. It sounded like four guys fighting inside the speaker cabinets, beating the shit out of each other!”.
Out of all the nine tracks, this is as close as you get to their so called classic era.
“Dreams”
Probably Hagar’s best vocal on the album, the power he projects is completely off the charts, and little wonder he can’t physically sing it today. The luscious chorus and EVH’s tapping towards the end just keep you coming back for more. If the bullet train was a song, this would be it, an absolute goosebumper.
“Summer Nights”
This was Hagar’s first collaboration with the band, and the off the cuff feel good vibe really does put you in the mood for sitting out with a few cold ones. Another belter of a chorus with a lingering hook.
“Best Of Both Worlds”
A timeless EVH riff is the star on this big bruising tune which became a live stalwart, and launched the “5150 Walk”, which Hagar still does today. Not regarded as one of their big hitters, but it’s rousing resonance ensures it will never be in the shadows.
“Love Walks In“
The eighties was a decade that gave us some memorable ballads, and this gargantuan gem stands head and shoulders over the majority of them. When EVH rattled out a keyboard intro, he always made it stick, and this was no different.
“5150”
The album’s longest tune and could be said the most musical. With Pop, Hard Rock and Prog elements, there’s so much to get your teeth into. The all action riff and constant flow of melody make for a wonderful balance. Another understated and under the radar Van Halen classic.
“Inside”
In comparison to what went before it, “Inside“ is probably the weakest track on the album, so it’s bottom of the table position is fitting. But while it smacks off an afterthought, it’s by no means a turkey. The funky groove and Hagar’s impeccable scream vocals make it a worthwhile inclusion.
Legacy of the Hagar Era
There is still a hell of a lot of pro-Roth gatekeepers who won’t acknowledge Sammy Hagar and his role in the history of Van Halen. The sneering digs of “Van Hagar” and “Sam Halen” still continue to this day. On the positive side, you only have to look at the numbers he’s pulling in on his Best Of All Worlds Tour to know there is still and will always be a devotion to this mark of the band.
