Van Halen- Fair Warning

When critics discuss Van Halen, they usually focus on their self-titled debut or the multi-platinum juggernaut of 1984. This makes a lot of sense, because those records sum up everything that was great about Van Halen. The riffs, the songs, and the attitude were perfectly in place. Both records established the myth that Van Halen was America’s greatest party band. However, one record nearly destroyed the band’s carefully constructed good-time image.

The early Van Halen records follow an arc. Van Halen I and II show a young, hungry rock band desperate for stardom. The songs are carefree, energetic and eager to please. On Women and Children First, Van Halen are legitimate rock stars, indulging in all the spoils. A year later, the stardom was beginning to take its toll. Fair Warning shows a band under considerable strain. It is not so much an album, but a war between two dominant personalities.

The tension between David Lee Roth and Eddie Van Halen has always been the force behind Van Halen. Their partnership follows an age-old rock n’ roll cliché: The extroverted showman and the guitarist with mystique. Roth and Eddie were able to keep the peace for three albums, but by Fair Warning they were jockeying for position.

Eddie’s intense solo in the beginning of “Mean Street,” sets the tone for the entire album. If “Eruption” was a cocky kid showing off his revolutionary style, then “Mean Street” is the mature musician who is confident in his ability. The solo is only a few bars, but the message is clear: “This is my band!”

Eddie’s guitar is the most dominant trait on Fair Warning. Roth attempts to rise above it with his usual chatty banter, but Eddie’s guitar chops him down to earth with a blast of distortion. Eddie’s guitar solos are still technically brilliant, but are much more focused. The signature hammer-ons, pull-offs and two hand tapping are structured so every note means something.

Eddie’s tougher guitar sound gives way to tougher songs. David Lee Roth tries hard to keep up his heavy metal lounge singer persona, but it seems transparent. “Dirty Movies” is the most obvious example of this. On an earlier record, this song would have been a joyous ode to adult entertainment. On Fair Warning, Diamond Dave is clearly getting sick of hotel room VCRs loaded with the finest in silicone based cinema.

Fair Warning’s greatest moment comes in the middle. If “Unchained” is not the best song Van Halen ever recorded, it is certainly the heaviest. It is the one moment on the album where Eddie and Dave come together. Eddie’s riff tries to subdue Dave, but Dave’s personality finally breaks through with a triumphant “ALLLLRIIIIGHT!” When Dave says that line, you can imagine him jumping off a drum riser. It is the most vivid moment of the Roth era.

Fair Warning is the lost album of the David Lee Roth era. It is an album of anger, resentment and weariness sandwiched between albums about pretty women and dancing in the street. Fair Warning gave us the real Van Halen, not the myth that we all wanted to see. This was Van Halen unchained.

Kevin DuBrow 1955-2007

Author's note: This blog was originally part of 411Mania's Year End Tributes. It can be found here:

http://www.411mania.com/music/columns/66579

hen Kevin DuBrow passed away on November 19th, the condescension was palpable. The elite music magazines and websites acknowledged DuBrow's death, but you could almost see the smirk on the writer's face as he was typing the obit. After all, Kevin was the lead singer for Quiet Riot, and Quiet Riot was a living, breathing Spinal Tap. It was as if they couldn't fathom why anyone would care.

Quiet Riot never had much credibility to the rock elite. They were never the heaviest band or the sleaziest band. Other bands had much cooler frontmen than the balding, cartoonish DuBrow. However, Kevin DuBrow and Quiet Riot deserve much more respect than they are given. Quiet Riot was the first metal band to hit number one on the Billboard charts, and their success paved the way for dozens of bands. Def Leppard, Metallica, Guns n' Roses and Pantera all owe Quiet Riot a debt of gratitude, because they cemented metal as a commercially viable genre. For many people, Metal Heath was their first exposure to the genre.

I saw Quiet Riot a few years ago at the Recher Theatre in Baltimore, MD. The club was half full, but DuBrow performed like he was onstage at Madison Square Garden. After the show, he stuck around and signed autographs for anyone that wanted one. He was grateful for every fan that came out to support him.

Kevin DuBrow never set out to be a serious rock musician. All he wanted to be was a rock star, and for a few fleeting years he was one of the biggest. He might not have made any "important" albums, but he certainly had a lot of fun. I think that is one thing that music has lost, and will never get back.

Rest in peace my friend.

-John Nagle

Top Seven of 2007 and Other Superlatives

Author's Note: This blog originally appeared as part of 411Mania's Year in Review feature. It can be found here:

http://www.411mania.com/music/columns/66364/411-Music-Presents...2007-Year-In-Review:-Part-1.2---Staff-Picks,-Vol.-2.htm


Top Seven Albums of 2007:

1. The Wildhearts - The Wildhearts. Just when I think my love affair with hard rock has reached a plateau, a record like this pulls me back into the fold. Once again, Ginger has proven that he is the most underrated songwriter in all of hard rock. He keeps a delicate balance between pop melodies and heavy guitar riffing, never letting one outshine the other. He even adds a new layer to the classic sound by trading dueling guitar solos with guitarist CJ. Unfortunately this record has only been released in Europe and the UK, but it is worth every penny of the import price.

2. Rilo Kiley - Under the Blacklight. I was slightly disappointed when I found out that Jenny Lewis was going back to Rilo Kiley, but my disappointment was short-lived. There is an undercurrent of danger that runs throughout this record, especially on songs like "The Money Maker." Blake Sennett's guitar is soaked in sex, and Lewis has never sounded more seductive.

3. The Joneses- Keeping Up With the Joneses. The Joneses were victims of bad timing. Originally released in 1986, this record was too raw for the mainstream hair metal fan. If the album had been released a year later, it would have been huge. All the elements of great sleaze rock are in place: Great Stonesy riffs, simple songs, and truckloads of attitude. Their cover of "Crocodile Rock," is especially noteworthy, because it takes the innocence of the original and turns it on its head.

4. Bruce Springsteen - Magic. I breathed a sigh of relief when I heard "Radio Nowhere" for the first time. Bruce's folk diversion was pleasant, but if I want to hear "Froggy Went A-Courtin'," I'll listen to Raffi. The striking thing about Magic is that it gets better with repeated listens. The first time I listened to the album all the way through, I remember thinking that "Girls in Their Summer Clothes" was contrived. However, with each listen I heard something new, and now it is my favorite song on the record. Once again, Bruce Springsteen has shown that he is one of music's most valuable songwriters.

5. Motion City Soundtrack - Even If It Kills Me. I want to make this perfectly clear: Even If It Kills Me is NOT an emo record. Yes, the music is fast-paced and poppy. Yes, all the songs deal with relationships in one form or another. Yes, the lead singer wears horn-rimmed glasses. So how is this album anything other than emo? The wittiness and complexity of Joshua Cain's lyrics place it firmly in the realm of power pop. Cain's lyrics often come close to being corny, but they are delivered with such sincerity that it is impossible to hate them. Don't we all want a girl who loves Cap'n Crunch and listens to the Ben Folds Five?

6. Bright Eyes - Cassadaga. I feel like Strong Sad when I listen to this album, but the richness of the music sucked me right in. The thing that sets Oberst apart from a million other indie singer songwriters is that he uses metaphors that nobody else uses. A soul singer in a session band? It's amazing nobody has thought of that before. The way he moves from country-ish sounds to complex orchestrations is also really impressive. Somehow Oberst has found a way to make music that sounds pretentious on paper, but doesn't sound pretentious at all.

7. Knugen Faller - Lugna Favoriter. This band is from Sweden, and they sing in Swedish. Therefore, I have no idea what they are talking about. According to their MySpace the album is "a three chord journey through the new right wing Sweden." All I know is that this band has written some of the best power pop this side of The Go-Go's. It's probably better that I don't know what they are talking about.

Honorable Mention: The Carbonas - The Carbonas, Nine Inch Nails - Year Zero, The Fratellis - Costello Music, Sebastian Bach - Angel Down, Down - Down III: Over the Under, Fountains of Wayne - Traffic and Weather, Arctic Monkeys - Favorite Worst Nightmare, The White Stripes - Icky Thump, Arcade Fire - Neon Bible, Ryan Adams - Easy Tiger, Radiohead - In Rainbows

Most Annoying Album of the Year: Good Charlotte - Good Morning Revival. I don't think I've ever felt such visceral hatred for a record. The remarkable thing about Good Charlotte is not their music, but their ability to rip off whatever influence is popular at the time. Four years ago it was cool to namedrop The Cure, so the band went goth for The Chronicles of Life and Death. New wave has become popular again, so Good Charlotte has picked up a synthesizer. To be a great new wave band, you have to be stylish and glamorous. No matter how many parties they attend, or how many anorexic blond starlets Joel Madden dates, there is NOTHING glamorous about Good Charlotte. As the final cherry on the cake, Madden wrote lyrics decrying the vapid Hollywood scene with a straight face. Do you actually think dating Hilary Duff makes you any better Mr. Madden?

Biggest Music News of the Year: The Continuing Saga of Britney Spears or How to Lose Your Remaining Sex Appeal in 12 Months. I don't really have much to say, except this is the biggest trainwreck I have ever witnessed. I'm actually amazed that she is still alive, because I was kind of waiting for it to happen. This is shaping up to be one of the biggest Hollywood tragedies of all time. She has become the female version of 70's Elvis.

Favorite Concert of the Year: Bruce Springsteen and the E-Street Band. I was lucky enough to see some great concerts this year, but Bruce Springsteen is the greatest show I have ever seen. It was not really a concert, but more like a pep rally and a revival meeting rolled into one. There was so much emotion in that room, and the emotion was not based on hype or pyrotechnics, but based on the power of the music. It's something that you have to experience to understand. I wish I could bottle up how I felt on that night and feel that way all the time.

Biggest Disappointment of the Year: Iggy and The Stooges - The Weirdness. I usually don't get my hopes for reunion albums, but the reunited Stooges' live performances set my hopes sky-high. I should have known better. The Weirdness tarnished The Stooges' perfect batting average forever. The most disheartening thing about it was Iggy's performance. He sleepwalks through every song, and the lyrics are inane and uninspired. The man who once proclaimed that he was a "street walking cheetah with a heart full of napalm," reduced himself to "My idea of fun is killing everyone." Pathetic.

Biggest Surprise of the Year: Van Halen Reunites. I never thought I'd witness it in my lifetime. Money talks.

Best Breakthrough Artist of the Year: Amy Winehouse. How do you sell an artist that has no track record in the US? Exploit her addictions and personal problems for all they are worth. It worked like gangbusters, because Back to Black was the one record we all had to have in 2007. I want my $9.99 back please.

Comeback Artist of the Year: The Wildhearts. The Wildhearts did not make the headlines like Led Zeppelin, Van Halen or the Eagles did. They didn't top year end best lists like Rilo Kiley did. In fact, the only way you got word that they had a new album out is if you were a fan. However, I think The Wildhearts comeback is more noteworthy than the big three, simply because it wasn't a cash grab. These guys quietly went into the studio and arguably made the best record of their career. Cheers Ginger, you did well.

Sebastian Bach- Angel Down

It’s easy to view Sebastian Bach’s new album with a haze of cynicism. Bach is in the middle of a publicity windfall thanks to his appearance on MTV’s Celebrity Rap Superstar, so a new record seems very convenient. However, Angel Down has been in the works for seven years, and is Bach’s first real solo record since leaving Skid Row in 1996. Although 1998’s Bring ‘Em Bach Alive contained five new songs, it was mostly a live record, with Baz shouting out Skid Row classics. The new songs were decent enough, but contained little of the fire of his previous band.

Angel Down is Sebastian Bach’s triumphant return to the metal throne. Bach has not sounded this focused since 1995’s Subhuman Race. With its lean production and razor sharp guitar riffs, Angel Down is almost an extension of that record. Bach’s titanium pipes are still in tact and he hits every high note effortlessly. Many of these songs have been floating through Bach’s live sets for several years, and they reach their full potential here.

The title track continues the grand metal tradition of a soft intro followed by a roaring chorus. This technique has been used by so many bands that it could easily morph into self-parody. Bach diffuses the cliché by using the intro as a warning. Once the guitars kick in, the song does not let go. The band spends about ten seconds on the opening riff before Bach comes in with a devastating roar.

One of the more puzzling aspects of Angel Down is the presence of Axl Rose. Rose comes out of his artistic coma to lend his voice to three tracks. Rose is in surprisingly good form vocally, but his contributions are a mixed bag. He fits in well with the album’s ridiculously titled first single, “Love is a B*tchslap,” a gleefully chauvinistic romp that sounds like a leftover from Appetite for Destruction. The lyrics cannot be repeated here, but it is impossible to take them seriously.

The album’s only misfire is Bach’s cover of Aerosmith’s “Back in the Saddle.” The song is performed as a duet with Axl Rose, and the dynamic duo completely misinterpret the song. The raunchy blues groove of the original is mutated into generic heavy metal. Every element of this song is out of place, from Bach’s overdrawn screaming to an embarrassingly metallic solo. When have you heard Joe Perry play a million notes in rapid succession? That’s right. You haven’t.

Fortunately, “Back in the Saddle” is one weak moment in an album of greatness. Angel Down won’t change the world and doesn’t have anything particularly “important” to say, it’s just a heavy metal record. Bach’s loyalty to the genre is part of what makes Angel Down such an enjoyable listen. This has everything you want out of a metal album: It’s fun, unpretentious and sounds best when played at high volumes. Sebastian no longer has the youth, but he remains forever wild.

The Rock n' Roll Stormtroopers- On Fire

Author's Note: This review was originally published on The Label Project. It can be found here:

http://www.labelproject.com/fullbreachkicks/fbk006.html

One look at the Rock n’ Roll Stormtroopers tells you what kind of band they are. The clichés are all present and accounted for. There’s hellfire, cutoff denim vests, devil horns and several assurances that this record will rock your face off. All of this is extremely charming and somewhat reassuring, because as Twisted Sister once put it: We all wanna rock. Unfortunately, On Fire doesn’t deliver. My face is still present and accounted for.

The main problem with On Fire is that the Stormtroopers are too self-aware. They know the image is ridiculous and every song is delivered with a wink and a nod. There is nothing wrong with being in on the joke, but there has to be at least one serious element. For example, 90% of AC/DC’s lyrical content is utterly ridiculous, but Angus Young’s guitar work keep them from being court jesters. The Stormtroopers don’t have that, and the shtick gets old very quickly.

The Stormtroopers’ saving grace is their boundless enthusiasm. Lead singer Tex Tornado (How’s that for a rock n’ roll name?) and the boys sound like they are having a great time. The band’s heavy German accents also set them apart from a million other bands, simply because you don’t often hear such heavy accents within this genre. Unfortunately this positive trait is undercut by static production that sucks the energy out of the songs

The album’s opening track, “Bulldozers on the Loose,” sets the tone for the entire record. Tornado repeats the title of the song for a minute or so, before crooning some generic lyrics about mindless destruction. Repeat chorus. Add in a few uninspired AC/DC riffs and you have the crux of the Stormtrooper sound. “Bulldozers on the Loose” is a catchy tune, but only because the chorus is repeated ad nauseam. Every other song on the record follows this basic template, with a few minor changes to mix things up a bit. The three themes: Rock, parties, and the almighty power of rock.

The Stormtroopers have the basic idea of party rock down but they fail to understand what makes it work. It’s not really about being original, but about taking the clichés and putting your own twist on them. All the elements are in place, but the Stormtroopers haven’t figured out how to make the genre their own.

Despite these minor setbacks, the Rock n’ Roll Stormtroopers have a lot of potential. If they lose some of the shtick and tighten up their songwriting, they could be a force in the sleaze rock scene. As it stands, they are all smoke and no fire.

The Who- Meaty Beaty Big and Bouncy

How do you start listening to The Who? This sounds like a stupid question right? Tommy, Who’s Next or Quadrophenia would probably be typical answers. Those records are incredible works of art and showed how far rock n’ roll could be taken. As great as those records are, they would not be a good place to begin. Why? The complexity of those records can be quite intimidating for a newcomer, and they would probably be turned off. A compilation would be a more logical choice.

Choosing a Who compilation is often more confusing than choosing a proper album. Most Who compilations tend to focus on their arena rock heyday, virtually ignoring their early singles. Instead of getting a balanced view of the band’s musical career, the listener is only hearing one side. Fortunately, one compilation distills everything great about the Who into a single disc.

Meaty Beaty Big and Bouncy is one of the best compilations in the history of rock n’ roll. Unlike the later Who compilations, Meaty Beaty Big and Bouncy has a purpose. Like their contemporaries The Beatles and The Rolling Stones, The Who’s early singles were never released on an actual album. Therefore this record was intended to collect all those early singles in one handy place.

Although it was a greatest hits collection in England, Meaty Beaty was considered a rarities album in the United States because none of the early Who records had charted. We tend to think of the Who as just behind The Stones in terms of popularity in the 1960s, but on their first tour of America they actually opened for Herman’s Hermits! Think about that for a second.

All of the major singles are here, from “I Can’t Explain” through “Pinball Wizard.” The songs are very poppy and on the surface seem like the typical British Invasion sound. The jangly guitars, high harmonies and catchy hooks are abundant, but the lyrical content sets them apart from peers like The Dave Clark Five. Although Pete Townshend was still finding his voice as a writer, his trademark vulnerability runs through the seemingly happy tunes. He is insecure in “Substitute,” (“I’m a substitute for another guy.”), and slightly paranoid on “The Kids are Alright,” (“I know I gotta get away/cause if I don’t I’ll go out of my mind.”). Even the sing-song chorus of “I Can’t Explain” is self-doubting.

The other element that sets The Who apart is the manic drumming of Keith Moon. In a time when drummers played simple beats, Moonie bashed the entire kit. His drumming gives the music a propulsive energy that other bands of the era can’t match.

This energy is the reason why Meaty Beaty Big and Bouncy holds up better than other Who compilations. There is a visceral thrill in hearing The Who when they young, hungry and trying to prove themselves. Their music became louder and more complex, but The Who never rocked as hard as they did on these early singles. There is no pretension on this record, just maximum R&B.

Puddle of Mudd- Famous

Author's Note: This review originally appeared on 411Mania.com It can be found here:

http://www.411mania.com/music/album_reviews/61796/Puddle-of-Mudd---Famous-Review.htm


Nearly seven years ago, Puddle of Mudd released their debut album, Come Clean. Thanks to a couple catchy singles, the album rose to multiplatinum status, briefly putting Puddle of Mudd on top of the modern rock scene. Unfortunately, 2003’s Life on Display failed to set the world on fire, and Puddle of Mudd faded into obscurity. Five years later, they hope to recapture some of their former glory with Famous.

Five years is an eternity in the world of pop music, but Puddle of Mudd lives in a world of eternal stasis. From the first power chord to the final fadeout, you immediately travel back to the early 2000s. The cleanly sanitized grunge riffs, the snarling Eddie Vedder-like vocals, and bland arrangements hearken back to a time when Creed was king. The only difference between Famous and Come Clean is the lack of decent singles.

Puddle of Mudd can’t be faulted for having a signature sound, but their signature sound belongs to other bands. Nirvana, Alice in Chains, Stone Temple Pilots and Pearl Jam are all present and accounted for. Lead singer Wes Scantlin cribs freely from these bands, but fails to pick up on the songwriting behind the riffs. Nirvana was loud and distorted, but the distortion was backed up with clever wordplay, irony and genuine emotion. There is nothing clever about Wes Scantlin’s lyrics; everything he says is meant to be taken literally. This results in one missed songwriting opportunity after another.

The title track is the biggest misstep of all. In the hands of a more talented band, “Famous” could have been a sly nod the fact that Puddle of Mudd is losing ground. Nope. What we get is yet another song warning the world about the shallowness of the Hollywood scene. Gee, a song like that has never been written. The song would have comic value, except that Scantlin delivers each word with unnecessary seriousness.

The rest of the record alternates between shallow angst and shallow introspection. The problem is that it’s hard to tell what emotion Scantlin is trying to convey, since his vocal inflection never changes. The only time Scantlin’s voice shows any life is his occasional shouts of “YEAAAAAAH!”, which is supposed to signify anger. The charisma that the band showed on singles like “Control” and “Blurry” has disappeared and Puddle of Mudd seem to be content to sink into mediocrity.

Not all of the blame falls on the band. Corporate rock superman Brian Howes was brought in to give the band some hooks, but there are no hooks to be found. “Lips of an Angel” is a terrible song, but it least it was catchy. Howes leaves Puddle of Mudd to their own devices, and there is not a single memorable song on the album.

To be fair, nobody expects a classic rock album from a band like Puddle of Mudd, but the lack of singles is surprising. If the songwriting was better, if the riffs were punchier and the charisma was there, Puddle of Mudd could have made a decent little rock album. Instead, it’s just another banal slice of corporate rock n’ roll.