Origin of the species: You name it. VAN HALEN was formed in the early 70s, the product of enormous backyard parties in Pasadena, CA. Brothers Edward and Alex were Dutch-born jam-rock junkies, looking to re-create the sounds of their favorite records like "Made in Japan", "Fresh Cream", and "Live at Leeds". Their association with future frontman David Lee Roth and his obsession with "danceability" (primarily to increase the numbers of female spectators and potential bar gigs) created a remarkable tension between pop rock brevity and classic rock exhibitionism. Unlike many of today's misunderstood, tortured artists, VAN HALEN cut their teeth playing boatloads of covers.

From GRAND FUNK to BLACK SABBATH to KC AND THE SUNSHINE BAND, it's all in there somewhere. Classic rock, soul, and pop are practically ground into the original band's DNA, which explains the frequent covers and nods to classic pop culture throughout the VH discography.

"Van Halen", 1978: Pure and simple, VAN HALEN's debut shook the foundations of heavy rock. Producer Ted Templeman captures the barnstorming, cocksure, lock-up-your-daughters brilliance of the foursome for the entire world to hear. It's a musical three-ring circus, sounding like everything and nothing you've heard simultaneously. Ed's pre-show warm-up "Eruption" would become the decade-long blueprint for arena rock guitar solos. David Lee Roth, smart enough to recognize his own vocal limitations, douses the proceedings with charismatic jive-shuckin' goofery. The performance of "I'm the One" is absolutely sick, Edward grinning broadly, shifting

back and forth between stratospheric leads and iron-wrought rhythms, brother Alex's jackhammer percussion snaking in and out of hairpin turns. The cover of "Ice Cream Man" is timeless, guitars and drums storming in big-band style to follow Roth's acoustic intro. As a whole, "Van Halen" is a performance that sent many a hopeful artist back to the drawing board. The vocal harmonies, the attitude, the guitar insanity - it would raise the bar significantly while creating a thousand imitators. It's been nearly thirty years, and folks are still flipping Frisbees to "Jamie's Cryin'" and "Runnin' with the Devil".

"Van Halen II", 1979: 'Twas a daunting task, simultaneously duplicating the take-no-prisoners quality of the debut and competing against pop heavyweights like DIANA ROSS and CAPTAIN AND TENNILE for airplay, but the VH lads managed to pull it off. While it doesn't receive the musical mile marker kudos of the debut, the sophomore disc is chock full of classic VH charms. Roth squeals and scats robustly throughout the proceedings, supplying strong vocals along with heavy doses of wit and mirth in tracks like "Bottoms Up!" and "Beautiful Girls". Despite Edward's growing guitar-legend status, the album's single, "Dance the Night Away" curiously features no solo.

The stop / start riff muscle of "Outta Love Again" is worth the price of admission alone, Roth firing off high-pitched screams and hollers with mucho gusto. The titanic riff of "D.O.A" may be the band's heaviest ever, and the harmonic intro to "Women in Love" is absolutely gorgeous. They were tighter than Bo Derek's swimsuit, and ready to take on the world.

"Women and Children First", 1980: "Women and Children First", another collection of five-alarm odes to hotel wrecking, finds Roth and the boys stretching out sonically while concocting some of their heaviest material to date. The hypnotic, sex-crazed jungle beats of "Everybody Wants Some" lured ZZ TOP and AC/DC fans to record stores like zombies, money in hand. EVH's burgeoning wealth of riffs towers over the proceedings like Godzilla over Tokyo, but Roth's flair for potency and brevity represents the cure for the common jam band. Both "Fools" and "Take Your Whiskey Home" reek of Clapton-esque blues aptitude, and "Could This Be Magic" sounds like a

back-porch tribute to Don Ho. The whole thing ends in a spectacular finale, the soaring "Who's Next" - style rocker "In a Simple Rhyme". Voila! Another perfect soundtrack for backyard parties is conceived.

"Fair Warning", 1981: It's tough to nail down what makes "Fair Warning" so appealing. Listening to it is a kid-in-a-candy store sort of experience for headbanging rock fans. There's so much to enjoy -- the colossal riffs of "Mean Streets" and "Unchained", the bass harmonics and piledriving drums of "Dirty Movies", the subsonic keys of "Sunday Afternoon in the Park", the list goes on and on. Roth's philosophizes with typical drollness, "I grabbed that telephone / I thought we were alone / telling me there's company / your husband's comin' home!" The funky near-disco pulse of "Push Comes to Shove" provides a canvas for one of the most breathtaking solos of Ed's career before the track capsizes in

a premature fade-out. "Fair Warning" is the dark horse of the early VH catalog; the lighthearted radio-friendly material of previous discs is mysteriously absent. Years later, Ed publicly admitted a desire to leave the band first surfaced during the making of this record. Perhaps it was the anger and infighting that made "Fair Warning" such a heavy beast. At any rate, it's a must for metalheads.

"Diver Down", 1982: It would be easy to say that VH was coasting at this point. Besides the lame album cover and inexplicable title, the record contains no less than four (five if you count "Happy Trails") cover songs, as well as a handful of intros / instrumental tracks that could be labeled filler material. But the band pulls it off like an indestructible teenager after an all-night partying binge. "Hang 'Em High" and 'The Full Bug" are both excellent, Roth's voice settling into a bluesy, confident midrange for the proceedings. Eddie's solos cruise along at maximum velocity, jumping in and out of wild turnarounds fueled by his brother's percussion. "Little Guitars" moves from a mock-flamenco acoustic

intro to a gorgeous WHO-inspired melody and twists galore. "Big Bad Bill (Is Sweet William Now) was an AM-radio favorite of Roths, recorded with Eddie's father Jan on clarinet, creating the perfect Andy-Griffith-on-the-front-porch vibe. Overall, "Diver Down" is a good representation of the humor, poise, and fun that the band emanated during the Roth era. The true musical crimes were yet to come.

"1984", 1984: "Man, I think the clock is slow!" The disc that really launched them into the stratosphere, "1984" was rife with radio singles, cutting-edge production, and lots of mindbending guitar from Edward. Constant fights and hostility within the band was reaching an all-time high, but based on the good-time party-rock vibes and tight musicianship of "1984", no one would have ever guessed. The interplay between riffs, harmonics, and drums in the hilarious "Top Jimmy" is an album highlight. The representation of "House of Pain" (a staple from their early club days) is serviceable, but doesn't touch the version from the original "Zero" demo. But the sleazy, robotic keys of

"I'll Wait" and ridiculous drums and lyrics of "Hot For Teacher" demonstrated that VH were still firing on eight cylinders, and full of new ideas. Some prophetic fans remarked that the pop-driven keyboards of "Jump" would signify the end of the band. In hindsight, were they correct? Perhaps.

DAVID LEE ROTH, "Crazy From the Heat", 1984: A just-for-fun covers EP which includes a bold, brassy remake of "Easy Street", a track originally made famous by the EDGAR WINTER GROUP (this version was featured in the classic 80s movie, "One Crazy Summer"). Evidently Roth's flat surfer drawl was just what the doctor ordered for a remake of THE BEACH BOYS' "California Girls", a track that made quite a dent in Casey Kasum's top-forty countdown. It was obvious that Roth wasn't trying to cure cancer with this stuff, and it certainly wasn't the type of material one would compare with classic VH. But there would come a day that youth would pass away- what would they say about

him? 2007 may be the year we find out the answer.

"5150", 1985: It's fascinating how guitar-driven bands view new vocalists as 'just another lineup change.' Is it perhaps, a supreme display of arrogance that BLACK SABBATH, ANTHRAX, RAINBOW, and VAN HALEN change vocalists without changing the name of the band? Is any thought give to the problems and complications it causes further down the road? Isn't it obvious that people view Joe Lynn Turner's version of DEEP PURPLE as a completely separate band from Ian Gillian's? Or is it just record company pressure that fuels these types of decisions? At any rate, it's difficult to come up with an analogy to describe Sammy Hagar replacing David Lee Roth.

Imagine John Mayer replacing Anthony Kiedis in THE RED HOT CHILI PEPPERS or Lenny Kravitz taking over the vocals for GREEN DAY. It all made sense to somebody, and to be fair - the band actually pulled it off. Armed with about half an album's worth of material already in the can, the first collaboration with Hagar combined EVH's punchy blues riffs and intense solos with Sam's AOR-friendly songwriting and impressive vocal range. The band's popularity grew, as they were now armed with something Roth would never allow - prom themes! Singles like "Love Walks In" and "Dreams" ushered in a new era for the band. The disc isn't without some gems - "Summer Nights" and "Get Up" are potent riff rockers, (although both include some incestuous-sounding Roth imitations from Hagar), and the high-pitched voice/guitar interplay prior to the final chorus of "Why Can't This Be Love" is something that Roth could have never pulled off, vocally speaking. It wouldn't be long before the circus tents in the VH camp would be replaced with easy chairs.

DAVID LEE ROTH - "Eat 'Em and Smile", 1986 : Undeterred, Roth opens up a new three-ring circus in 1986. Originally designed as the soundtrack to his movie debut, "Eat 'Em And Smile" is a technicolor stereo explosion encompassing everything from jungle warpaint to Sinatra; from lounge rock to coconuts. Former Zappa guitar prodigy Steve Vai peppers every track with remarkable, hook-laden blues guitar, played at ridiculous velocities. Vai's skillful horn arrangements in "That's Life" and "I'm Easy" add an air of musical credibility to Roth's madcap delivery. The band is exceptionally tight throughout the record, delivering a dizzying version of TALAS' "Shy Boy", and a flashy, bold

take on the 60s NASHVILLE TEENS hit "Tobacco Road". It's wacky and wild, and packaged up like a boat drink with a giant cocktail umbrella. Unfortunately, Roth's blockbuster movie never came to pass, but the album proved to be his strongest musical venture since "Diver Down".

SAMMY HAGAR - "I Never Said Goodbye", 1987: As a testament to how hunky dory things were between VH and their new frontman, this 1987 solo record includes production credit, bass contributions, and even some solos from none other than Edward himself. Tune-wise, "I Never Said Goodbye" is a decent pick-up for AOR fans, constantly checking websites for that DAMN YANKEES reunion tour. "Privacy" strikes like a sort of a fluffy version of GOLDEN EARRING's "Radar Love". "Give To Live" and "Eagles Fly" have become two of Hagar's more popular ballads of enlightenment, and "Back Into You" could be a JOURNEY song. A lot of the material on the disc is saddled with very

outdated production (thanks to Eddie), like the bouncy keyboards and 'whoa-ohs' of "Boys' Night Out". Ease up, youngsters -- that stuff sounded totally bitchin' at the time.

"OU812", 1988: "OU812" is the apogee of the Van Hagar era. Gone are the blasphemies of Sammy's Roth imitations. Instead, the band delivers a collection of songs that are dynamic, diverse, and well-executed. Hagar's propensity for preachy lyrics and sappy ballads take a back seat to his broad vocal range and musical chameleonism. After enduring the obligatory prom theme ("When It's Love), the listener is greeted with mature, upbeat rockers like "A.F.U (Naturally Wired)" and "Source of Infection", both shining with charismatic vocals and familiar six-string wizardry from EVH. The clean guitar and off-the-cuff vibe of "Finish What Ya Started" is simultaneously bold and relaxed.

The smoldering "Black 'n Blue" and the cover of LITTLE FEAT's "A Apolitical Blues" swagger along with enough fire and smarts to win over hardened skeptics. The band is once again firing on eight cylinders.

DAVID LEE ROTH - "Skyscraper", 1988: "Skyscraper" certainly isn't without strong points. Steve Vai continues to pretzel-twist Roth's ideas into impossible-sounding stunt guitar party favors like "Knucklebones", "Hot Dog and a Shake" and "Two Fools a Minute". But the obvious stab at top forty pop, "Just Like Paradise" and ensuing tour with POISON began to erode at Roth's rock icon status. It appeared that Roth was kowtowing to the 'hair metal' market (although that phrase did not exist at the time), a move that seemed beneath such a well-known and prolific frontman. Plus, stuff like "Hina" was just plain weird. Vai was restless; there were weird time signatures and guitar endorsements

calling him by name. The "Eat 'Em and Smile" band would soon be dissolved, and Roth's position was slipping into one of rock parody.

DAVID LEE ROTH - "A Little Ain't Enough", 1991: Quite a few pages had been torn from the calendar since the demise of Roth's "Eat 'Em and Smile" band. He does an admirable job attempting to keep his finger in the dike with 1991's "A Little Ain't Enough", recruiting Bob Rock for production duty. Guitar flash is handled by hotshot Shrapnel Records alumnus Jason Becker and seasoned rock veteran Steve Hunter (ALICE COOPER, LOU REED). There's quite a bit of filler, like the aerobic workout tune "Shoot It", and the trite-sounding faux blues of "The Dogtown Shuffle". But overall, there are enough winners to make it a worthwile purchase. "Hammerhead Shark", is an uptempo VH-style rocker

that shines with high-octane lick trading from Becker and Hunter. "Sensible Shoes" is a bit of a downer compared to the high-kicking arena rock of previous Roth singles, but the lyrics are entertaining and Hunter's slide guitar action steals the show. Sadly, Jason Becker's diagnosis of Lou Gehrig's disease would prevent him from participating in performances.

"For Unlawful Carnal Knowledge", 1991: Rather than sustain the quality of "OU812", the VH boys crash into the nineties coasting on the strength of past victories. "For Unlawful…" is built on the backbone of a few strong singles: the plodding "Poundcake", the "Little Guitars"-esque "Top of the World", and future Pepsi piano jingle, "Right Now". While slapdash hook-fests like "Dream Another Dream" demonstrate how easily this band can bang out picayune stadium rock, obvious filler like "Man on a Mission" and "In 'N' Out" account for the numerous copies of "F.U.C.K" clogging up used CD bins within a year of release. Eddie's guitar gymnastics sound stiff and recycled, the usual eyebrow-raising

moments practically non-existent here. Even the corniest cover songs from the Roth era sound inspired after enduring this album. Thankfully, kids can now listen to audio samples beforehand to avoid musical trojan horses like these. Thank god for the internet - we won't get fooled again.

"Live: Right Here, Right Now", 1993: It's a quandary most of us have encountered. The band's been around a long time, and the older, classic songs are really the reason to see them perform. But there's always that nagging feeling; you'll have to endure some of the dreaded 'new stuff' they'll be peddling. Is it worth it? Well, VAN HALEN thought so - they released a two CD set of their third-tier crapola to prove it. Sammy Hagar's contribution to the last few records was like watching your best friend date 'the wrong girl.' This album is like being at their wedding reception. The set includes a mind-numbing 9 tracks from the lackluster "For Unlawful Carnal Knowledge" record.

Only three songs from "OU812" are included (as opposed to two tracks from Hagar solo albums). "Finish What Ya Started" is particularly disappointing, trading the back porch charm of the studio version for an extended arena-style solo jam. The cover of "Won't Get Fooled Again" is the only keeper, Hagar nailing Daltrey's godlike screams like Roth never could. Otherwise, this release is blasphemy defined. Hagar even takes cringe-worthy stabs at Roth-era classics like "Panama", "You Really Got Me", and "Jump" (it's doubtful that this was Hagar's idea -- chances are, he hated performing them as much as we hate hearing them). Plus, there's lots of instrumental breaks, a drum solo, bass solo - does EVH think this is the second coming of "Wheels of Fire" for chrissake? So instead of an arse-kicking live set from the "Diver Down" tour, fans are saddled with a collection of lighter-waving indulgences from The Man On A Mission Band as VH's only live document. Shameful.

DAVID LEE ROTH - "Your Filthy Little Mouth", 1994: Roth's last album backed a Warner Brothers production budget doesn't fail to pull out all the stops, featuring guests like country star Travis Tritt, and production from R&B guitarist/arranger Nile Rodgers. Abandoning the heavy rock guitar flash of previous discs, "Your Filthy Little Mouth" is a curious exploration of Dave's personal musical influences borne from his years of living in New York City. Of course, he doesn't wander too far off the usual course: "She's My Machine" and "Land's Edge" sound like old VAN HALEN songs. "Experience" grows on the listener like mold, recalling slow-burners like "Ladies Nite in Buffalo". Wacky horns and

Steve Hunter's guitar contributions make "Little Bit O' Luck" one of the disc's strongest tracks. But filler like "No Big Thing" and "You Never Know" dilutes the album's overall staying power. From a collector's standpoint, the disc's packaging and liner notes are pretty neato - complete with zany cartoons and printed lyrics like, "I saw this TV show on toxic waste / just when I'm getting' kinda used to the taste." It's a touch of detail that makes YFLM worth picking up for hardcore Dave fans.

SAMMY HAGAR - "Unboxed", 1994: Perhaps sensing that these VH guys aren't the world's most productive bunch, Hagar dusts off a bare-bones greatest hits collection, heavy on the material from his "Standing Hampton" (1981) and "Three Lock Box" (1982) albums. The rockers represented here are definitely worth having, "Three Lock Box", "There's Only One Way to Rock", etc. But there are about half a dozen other compilations and live collections available that include "Give to Live" and "I Can't Drive 55", so look around a little. New track-wise, the Mike Clink-produced "High Hopes" is one of Hagar's hardest-rocking tracks to date. Curiously, there's hardly any mention of Eddie Van Halen

this time around (save the production credits for "I Never Said Goodbye" tracks). Perhaps things aren't as euphoric in the VH camp as they used to be.

"Balance", 1995: The face of radio-friendly hard rock had changed quite a bit since VH's last studio album, but our heroes are unaffected by such matters. Unfortunately, spending the last few years milking a live album doesn't put any additional wind in the sails. The ironically titled "Balance" is the most half-assed sounding record of the Van Hagar era. It's not the fact that there are three instrumentals (including a studio drum solo?) that make the disc so unbearable - their entire back catalog is filled with instrumentals and cover tunes. The problem with "Balance" is that the filler really sounds like filler. In the Roth era, instrumentals like "Eruption", "Sunday Afternoon in the Park",

and "Spanish Fly" were interesting, and typically followed by ass-kickers. Here, the curious piano-sawing instrumental "Strung Out" is followed by a rehashed prom theme ("Not Enough"), and the SATRIANI-esque "Baluchitherium" is followed by a family barbecue remake of "Cabo Wabo" appropriately entitled "Take Me Back (Deja Vu)". Luckily, it isn't a total waste. Eddie does rip out a surprising jazzy solo that snazzes up the otherwise dreary "Big Fat Money." Plus, he proves that with a haircut, beard, and sunglasses, he can look exactly like the dead guy from "Weekend at Bernie's".

"Best of Van Halen, Volume 1", 1996: Eddie and Alex find the simple life ain't so simple when record company pressure over this project causes them to alienate both vocalists. The marketing geniuses don't just want those thirtysomething yuppies picking up this disc for nostalgic high school dance purposes, they need to create major demand. So everybody's favorite melodic rock song-helper-outer-guy Desmond Child (KISS, BON JOVI, AEROSMITH) is brought in to collaborate with the band on a track or two (although it's unclear exactly what he wrote during the sessions). The additional songs feature a very tired-sounding David Lee Roth on vocals and consequently suck, but it was just the

touch the record company needed to push sales into the bajillions for this lame compilation. Where's "Little Guitars"? Where's "Mean Streets" and "Everybody Wants Some!"? The title of the disc must have taken hours to create, "Best of Volume 1" -- sheer marketing genius. The liner notes are pathetic, lined with pictures of Eddie's guitars. Luckily, passive fans of VH can now download a much better compilation than this one. Get clickin', people.

SAMMY HAGAR - "Marching To Mars", 1997: After a bitter dismissal from the VAN HALEN camp, Hagar comes barreling back with a headbanging collection of rockers that rival the first MONTROSE record!! Ha, ha…that was a good one. "Marching to Mars" does start out with the promising rock nugget, "Little White Lies" featuring some fiery licks from guest guitarist Slash. "Salvation on Sand Hill" continues to respect the rock via guest guitarist Damon Johnson of BROTHER CANE, but legendary funk bassist Bootsy Collins is unable to light a fire under the monotony of "Would You Do It For Free". Pretty soon, Hagar's soporific ballads of enlightenment take over the album in the form of

"Leaving the Warmth of the Womb" and "Kama", both straddling the line between Clapton's geriatric hit "Wonderful Tonight" and everybody's dance-with-mom anthem, "Wind Beneath My Wings". We're not exactly rockin' the paint off anybody's walls with those. He does end things on a positive note; "Amnesty is Granted" and the title track both end the disc on a particularly VAN HAGAR-ish note. However, we could all do without the picture in the liner notes of Hagar's underwear hanging' out of his spacesuit. Yuck.

"Van Halen III", 1998: The VH boys' biggest blunder with "Van Halen III" was simple - the band expected too much from their listeners. After the release of "Greatest Hits, Volume 1' and the near-reunion disaster with Roth, longtime fans yearned for his return and a collection of good-time odes to skirt chasing. "Van Halen III" went completely in the opposite direction. It isn't a bad album; new frontman Gary Cherone (EXTREME) exudes more than enough vocal talent and Eddie peppers the proceedings with daring, experimental guitar gambles. "Dirty Water Dog" recalls "OU812"-era stuff like "Naturally Wired", and "Fire in the Hole" could be an outtake from the "5150" sessions.

"Once" includes some new-ground jazz noodling from EVH; he actually sounds like he gives a shit about this music and stretches into some new territory. But it's just not what the fans wanted to hear. Most of the songs wear out their welcome, unnecessarily stretching past the five and six-minute mark. "From Afar" is a dark, WHITESNAKE-ish ballad, and "Josephina" is a bloated, jaunty affair and anything but a toe-tapper. Switching vocalists is the musical equivalent of a heart transplant, and VH had already gone to that well once successfully. While "5150" was a near-perfect transition record between Roth and Hagar. "Van Halen III" is an ill-timed, experimental pratfall that fans refused to embrace. In subsequent interviews, Eddie compared it to "Fair Warning", another album that didn't sell as well as predecessors (obviously, these types of statements demonstrated Edward was losing touch with reality). Soon Cherone was gone, and within a few years, the once-great VH was dropped from the Warner Bros label.

DAVID LEE ROTH - "DLR Band", 1998: You have to admire Dave's spirit. Despite the reunion debacle, he's more determined than ever to deliver that hotshoe-burnin-down-the-avenue guitar rock that the fans are craving. So, without the assistance of big-label backing, he assembles another shit-hot band around himself and young guitar studs Mike Hartman and Terry Kilgore. For the most part, "DLR Band" is just what the doctor ordered for Roth's fans. From the "Mean Streets" mimicry of "Lose the Dress (Keep the Shoes)" to the smoky, acoustic blues of "Going Places", there's plenty here to excite fans of Dave's heavier heyday stuff. However, a couple of painful

drawbacks separate it from the classics. First, Dave's voice can't handle the high-pitched screams and whoop-de-woos like the early days. Second, the album sounds at times like he's fronting his own cover band. Eh, just give 'em a few of those high kicks and wear the glittery pants, Dave. They'll never know what hit 'em.

SAMMY HAGAR - "Red Voodoo", 1999: Those that make it through the GARY GLITTEResque stadium anthem "Mas Tequila" will find a much-improved Hagar effort, especially compared to the pitiful "Marching to Mars" project. He beats your poor psyche to death with tried-and-true AOR phrases like "Lay your hand on me" and "High & dry" until the listener is forced to submit. Truthfully, "Red Voodoo" drips with hooks, and tracks like "Shag" are much closer to what rock 'n roll are all about than some of Hagar's previous sappy soapbox crusades. His backing band, THE WABORITAS sound stronger and more vibrant than anything the VH camp has churned out recently (not that that's

much of a feat, but you get the idea). Recommended.

SAMMY HAGAR - "Ten 13", 2000: Comfortable with his new band, Hagar lets loose a collection that shines with robust songwriting, howling heavy guitars, and dark piano melodies. "Serious Ju Ju" should be required listening for budding melodic rock bands, as it serves up high quality old-school vocals combined with modern metal guitar rumble and champion stickwork from David Lauser. Riff monsters like "3 in the Middle" are excellent examples of how far the man has come since the VH era. But perhaps the most impressive aspect of "Ten 13" are ballads like the lyrically brilliant "Little Bit More" and hook heavy "Deeper Kind of Love". Most impressive indeed, considering Hagar

still writes most of his own songs and music, as opposed to the collaboration-heavy efforts of Roth. It's rock candy, baby.

SAMMY HAGAR: "Not 4 Sale", 2002: Y'know, some people that constantly talk about their wonderful life can be annoying, creating suspicions that it's just a front to cover up misery. But when Hagar sings, "All the money in the world wouldn't change my life", it sounds genuine. One has to admit, the man works for a living, delivering 6 albums in ten years (plus DVDs, tours and outside projects). As an album, "Not 4 Sale" doesn't quite reach the lofty heights of "Ten 13", but there are quite a few hotspots like the chugging KINGS X-ish opener, "Stand Up" and the hard-charging "Hallelujah". The medley of Zep tunes entitled "Whole Lotta Zep" recalls the late 1980s when every hard rock band with

tight pants included some type of Zep tribute on their albums. But the shining star of the bunch is the trippy closer "Karma Wheel", providing more evidence that Hagar seems to get better with age.

TRIBE OF JUDAH - "Exit Elvis", 2002: It took a few years for Gary Cherone to put together a new band for his first post-VH offering, but the results were worth the wait. Consider this fair warning, however (no pun intended) - the programming, down-tuned riffs, and brief excursions into funk and cabaret-style rock won't be idyllic fare for every classic rock fan. Remarkably, on this outing, young Cherone creates a collection of dark metal songs that absolutely eclipses anything Hagar or Roth have done in the last ten years. Tracks like "No One" and the magnificently titled "Ambiguous Headdress" soar with slithery riffs, menacing vocals, and hard-hitting percussion. We're a long way from

"Runnin' With the Devil" here, but for rock fans that can appreciate the finer points of both QUEEN and STABBING WESTWARD, "Exit Elvis" should be an extremely worthwhile purchase.

SAMMY HAGAR - "Live: Hallelujah", 2003: For an AOR guy with so many slick studio albums, this live offering sounds particularly unbuttoned. "Live: Hallelujah" is a musical catharsis celebrating all things Hagar, with guest appearances from Michael Anthony and even Gary Cherone spicing up the sonic extravaganza. It's a keeper, largely due to the fact that Hagar focuses more on raising fists than raising lighters. The tracklisting includes lumps 'n all live versions of rockers like "There's Only One Way to Rock", "Little White Lies", and "Three Lock Box". He even throws in a little MONTROSE ("Rock Candy") and that "Heavy Metal" song from the 1981 movie soundtrack. In fact, other than some

overbearing, glass-shattering background vocals and the obligatory Van Hagar fluff, this disc may represent his best "greatest hits" package. Interestingly, Hagar demonstrates his knowledge of the changing times during the show, insisting the fans chant "I can't drive 65" for the chorus of his biggest solo hit. Perhaps he should update the lyrics for future shows, advising fans that fines double in construction areas, and that cell phones are illegal while driving in New Jersey.

DAVID LEE ROTH - "Diamond Dave", 2003: At this point, Roth has come full circle. Bands have formed and dissolved, the reunion disaster of the 90s has come and gone, and intermittent contact with the VH camp has produced nothing. So Dave creates an album of cover tunes and VH-style goofery recalling his 1985 "Crazy From the Heat" EP. Luckily, he largely avoids those o-ring busting attempts at the high pitches, instead favoring slow-burning blues warbles. Dave demonstrates he hasn't lost his touch, from the clever, sultry arrangement of Hendrix's "If 6 Was 9" to the clever last-call ode, "Bad Habits". Evidently, Roth is quite the SAVOY BROWN fan, as three of the songs included

are borrowed from British blues rockers. The cover (of his cover) of "Ice Cream Man" gets the full big-band treatment, and features guest appearances from EDGAR WINTER and NILE RODGERS. The disc won't be ousting "Blonde on Blonde" or "Pink Moon" in the annals of rock history, but "Diamond Dave" is loads of fun - exactly what a DLR album should be. The liner notes are chock full of colorful, wacky scenes, in the style of his legendary videos. This one, along with "Eat 'Em And Smile" are really the only Roth solo discs you need.

"Best of Both Worlds", 2004: VAN HALEN Inc. takes a page from the KISS book of merchandising: Any encounter with an ex-member, is an opportunity to push product. Looking on the bright side, this Hagar-heavy collection does include some decent packaging and photos. Plus, they begrudgingly included "Everybody Wants Some!" along with the handful of Roth tunes present on this compilation. But overall, new lows are reached by again including the live blasphemies of Hagar doing "Ain't Talkin' Bout Love", "Panama" and "Jump" from the "Right Here, Right Now" live package -- as if we weren't sufficiently punished the first time. It's actually disappointing that Hagar lowered

himself to rekindle his association with this bunch, considering the quality of his last few releases. The newly recorded tracks like "Up For Breakfast" and "It's About Time" are what you would expect from this version of VH, now eligible for senior citizen discounts. It's "Balance"-type material, stuck in the fridge for a few years and freshly microwaved. Hearing Hagar croon "She puts the cream in my coffee" sounds down-right gross at this point. Another brilliant release from the VAN HALEN rocket science department.

SAMMY HAGAR - "Livin' It Up", 2006: Apparently, Hagar is now crazy from the heat. "Livin' It Up" revisits the themes first introduced in the VH "Cabo Wabo" tune, and expands them into a full album's worth of material. Compared to Roth's focus on surfing and bikini-chasing, Hagar sounds particularly tame (think Glen Frey or Buffett), crooning about the joys of fishing and drinking in "Livin' on a Coastline". There are quite a few departures from Hagar's usual arrangement style. "Mexico" includes a Caribbean-style drum break, and there's a little lap steel woven into "Halfway to Memphis". The CMT-style strummer "I Love This Bar" sounds like a halftime performance selection at the NFL

Pro Bowl. It's really not as bad as it sounds, but may be a tough pill to swallow for the casual Hagar fan.

Parting thoughts: Ain't life grand when you finally hit it? Despite the soap opera aspects of the VAN HALEN saga, the original band produced some remarkable rock 'n roll records. For 2007, an ambitious reunion tour with David Lee Roth has finally become a reality, with shows booked all over the USA and Canada throughout the fall and winter months. While some have expressed concern at EVH's choice of his son Wolfgang replacing Michael Anthony on bass and the strength of Roth's voice, it'll be sensational to hear live versions of "Romeo Delight" and "Somebody Get Me a Doctor" after all these years. Any fan of classic VH will tell you that a bad night with Roth is better than a good night with Hagar

any day. With their volatile history and illustrious management team, the carnival could grind to a screeching halt tomorrow, so enjoy the moment.

- Marchman

OFFICIAL SITE: www.van-halen.com

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