Eddie Van Halen http://www.guitarworld.com/taxonomy/term/293/all en Eddie Van Halen and Michael Jackson Perform "Beat It" Live in 1984 — Video http://www.guitarworld.com/video-eddie-van-halen-and-michael-jackson-perform-beat-it-live-1984 <!--paging_filter--><p>Yes, we've all <em>heard</em> Michael Jackson's 1983 mega-hit, "Beat It," which features Eddie Van Halen on guitar. But have you seen Eddie perform the song live with Jackson and his band?</p> <p>We hadn't — until we stumbled upon this pro-shot (but 50th-generation, apparently) video.</p> <p>According to the information provided with the clip, this performance took place July 14, 1984, in Dallas, Texas. Eddie (and his guitar) happened to be in town that night, so he joined Jackson on stage.</p> <p>We apologize for the poor sound and audio quality, but take note that Eddie's guitar is front and center in the mix during the solo.</p> <p>Jackson screams, "You got it, Eddie, Eddie, Eddie!" just as the solo kicks off. Enjoy!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/hGdxaehljZM" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-eddie-van-halen-and-michael-jackson-perform-beat-it-live-1984#comments Eddie Van Halen Michael Jackson News Tue, 15 Jul 2014 14:50:32 +0000 Damian Fanelli http://www.guitarworld.com/article/19115 Gary Moore's "White Knuckles" Vs. Eddie Van Halen's "Eruption"? You Decide ... http://www.guitarworld.com/gary-moores-white-knuckles-vs-eddie-van-halens-eruption-you-decide <!--paging_filter--><p>This morning we stumbled upon an old forum (from a random website) with the headline "White Knuckles" vs. "Eruption."</p> <p> We know which guitar performance we'd pick, but — just in case some of you aren't all that familiar with the late Gary Moore's solo-guitar shred showpiece, we thought we'd let the two ancient tunes duke it out in the space below.</p> <p>Just leave your comments and/or votes on Facebook!</p> <p>P.S.: "White Knuckles/Rockin' and Rollin'" is from Moore's 1980 album, <em>G-Force</em>, as you can tell from the lovely photo to our left.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/mY7ie6dnZd8" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/OCwigPhpiXs" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/gary-moores-white-knuckles-vs-eddie-van-halens-eruption-you-decide#comments Eddie Van Halen Gary Moore News Tue, 01 Jul 2014 14:50:32 +0000 Damian Fanelli http://www.guitarworld.com/article/21710 Secrets of Shred with Sammy Boller: Eddie Van Halen-Style Speed-Picking Technique — Video http://www.guitarworld.com/secrets-shred-sammy-boller-eddie-van-halen-style-speed-picking-technique-video <!--paging_filter--><p>In this lesson, I’ll be showing you a relatively unknown picking technique used by my favorite guitarist, Eddie Van Halen. It can be heard in countless Van Halen songs, including "I’m the One," "Spanish Fly" and "Jump."</p> <p>This technique is based on a combination of hammer-on notes and alternate-picked notes. Eddie likes to take a fingering pattern and hammer on the notes on one string, then alternate pick the same pattern on an adjacent string. </p> <p>This creates the illusion that he’s picking every note, when he’s really not. It allows him to rip up and down the neck with minimal effort from his picking hand. The technique is shown in <strong>EXAMPLE 1</strong> below and is demonstrated as a simple pattern in the key of B minor.</p> <p>Now, let’s take a look at <strong>EXAMPLE 2</strong>. This example takes the picking approach from <strong>EXAMPLE 1</strong> but extends the scale up the neck in the key of B minor. This time, the pattern utilizes only the B and E strings. This scale pattern allows you to quickly transition up and down the neck and not get caught in complex fingerings or picking. Even though a few notes are not completely diatonic, they provide color and sound great in many musical contexts.</p> <p><strong>EXAMPLE 3</strong> is the exact same pattern as <strong>EXAMPLE 2</strong>, just moved down an octave to the D and G strings. This is a great trick that every guitarist should know. Whenever you have a lick on the B and E strings, you can move it down an octave simply by sliding it down three frets and playing it on the D and G strings. For precision, make sure to use the same left-hand fingering so that it feels the same in both octaves.</p> <p>Expanding on this idea, <strong>EXAMPLE 4</strong> is the same pattern as <strong>EXAMPLE 3</strong> just moved down two more frets to the E and A strings. Remember to use the same EVH picking pattern: three hammer-on notes on the E string followed by three notes using alternate picking on the A string. Once you have the scale down on one grouping of strings (<strong>EXAMPLE 2</strong>), you should be able to play the scale at the same speed on the other two groupings of strings. (<strong>EXAMPLE 3, EXAMPLE 4</strong>)</p> <p>Finally, in <strong>EXAMPLE 5</strong>, we’re going to move back to our original position and play a run that combines patterns from all of our previous examples. This illustrates how you can take these patterns that move vertically up and down the neck and use them to create runs that stay in one position. If you play it quick, you’ll notice it sounds eerily similar to EVH.</p> <p>Once you have these examples down, try using this approach to create runs and different scale patterns of your own. Combining the EVH picking technique with these scale fingerings will hopefully open up some new doors for your playing, creativity and technique. Cheers. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/m69WeKUBErc?rel=0" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-06-27%20at%202.16.54%20PM.jpg" width="620" height="727" alt="Screen Shot 2014-06-27 at 2.16.54 PM.jpg" /></p> <p><em>Sammy Boller is the guitarist for the Detroit rock band <a href="https://www.facebook.com/citizenzero">Citizen Zero</a>. They’re touring and recording their first full-length album with Al Sutton and Marlon Young (Kid Rock, Bob Seger, Uncle Kracker). In 2012, Boller was selected by Joe Satriani as a winner of Guitar Center’s Master Satriani competition. He studied music at the University of Michigan. For more about Boller, or to ask him a question, write to him at info@sammyboller.com or follow him on <a href="https://twitter.com/sammyboller">Twitter</a>.</em></p> http://www.guitarworld.com/secrets-shred-sammy-boller-eddie-van-halen-style-speed-picking-technique-video#comments Eddie Van Halen Sammy Boller Secrets of Shred Videos Blogs Lessons Fri, 27 Jun 2014 18:21:34 +0000 Sammy Boller http://www.guitarworld.com/article/21688 Van Halen, "Panama" — Isolated Guitar Track http://www.guitarworld.com/van-halen-panama-isolated-guitar-track <!--paging_filter--><p>Remember when isolated guitar tracks from famous rock songs were all the rage on YouTube in 2010 and 2011? </p> <p>Let's relive the magic!</p> <p>Check out the stunning isolated guitar track from Van Halen's "Panama" below.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/DxA4WgIZmO8" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> <div class="field-item even"> <a href="/van-halen">Van Halen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/van-halen-panama-isolated-guitar-track#comments Eddie Van Halen Van Halen News Mon, 23 Jun 2014 18:01:41 +0000 Guitar World Staff http://www.guitarworld.com/article/21640 Hear Eddie Van Halen Play Eric Clapton's "Crossroads" Guitar Solo Note for Note http://www.guitarworld.com/hear-eddie-van-halen-play-eric-claptons-crossroads-guitar-solo-note-note <!--paging_filter--><p>For many years — I guess before Eddie Van Halen and "Eruption" came along — Cream's "Crossroads" was THE song to pull out at parties to impress friends, girls, uncles, cousins, neighbors, animals, etc.</p> <p>Below, you can hear Van Halen play Eric Clapton's famous guitar solo — pretty much note for note, we might add — during an 1984 interview with Lisa Robinson for a show called <em>The Inside Track</em>. Legend has it the interview took place in Van Halen's hotel room, which is where he's sitting when he plays Clapton's parts.</p> <p>Robinson starts things off by saying, "You can play many different styles of guitar, can't you? You were telling me before you can play 'Crossroads' note for note."</p> <p>Van Halen takes it from there.</p> <p>Not that you need to be reminded of how brilliant Clapton was during his Cream years, but be sure to pay attention to the phrasing of the solo as you hear Van Halen play it without bass and drums.</p> <p><strong><a href="http://www.youtube.com/watch?v=fxHP_dxB8rs">P.S.: You also can hear it here!</a></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/-1aqyFwGu2Y" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> <div class="field-item even"> <a href="/cream">Cream</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/hear-eddie-van-halen-play-eric-claptons-crossroads-guitar-solo-note-note#comments Cream Eddie Van Halen Eric Clapton WTF News Thu, 12 Jun 2014 15:19:20 +0000 Damian Fanelli http://www.guitarworld.com/article/19860 Les Paul's Junior: Eddie Van Halen Interviews Les Paul — from the Guitar World Archive http://www.guitarworld.com/eddie_van_halen_and_les_paul_les_paul039s_junior <!--paging_filter--><p><strong>Almost three decades ago, <em>Guitar World</em> writer Steven Rosen brought together Les Paul and Eddie Van Halen for a quick chat. It would be the beginning of a beautiful friendship between the two great guitar innovators.</strong></p> <p>In the summer of 1986, Guitar Center opened a mammoth music store on Sunset Boulevard in the center of Hollywood. Eddie Van Halen and Les Paul were being honored along with several other musical giants, including Stevie Wonder and amp builder Jim Marshall, as part of the store’s opening celebration.</p> <p>It seemed natural to take the opportunity to put Ed and Les together in the same room to talk about what they knew best—playing the guitar. The following is an excerpt from the story that originally appeared in the November 1986 edition of <em>Guitar World</em>.</p> <p><strong>EDDIE VAN HALEN</strong> When Leo Fender was doing his thing and you were doing yours, was there ever any competition?</p> <p><strong>LES PAUL</strong> No, not at all.</p> <p><strong>VAN HALEN</strong> Did you ever collaborate or talk about your ideas?</p> <p><strong>PAUL</strong> Absolutely. Leo Fender would come over, and so would his engineers. They saw the Log and some of the other guitars I had built. They saw it all happening. There was never any friction. It was just the opposite. </p> <p>Here’s the story of how Leo really helped me: When I developed my first solid-body guitar in 1941, I took it to Gibson and they dismissed it. They called it that “broomstick with the pickups on it.” From 1941 to 1951, I couldn’t convince Gibson to do a damn thing about putting out a Les Paul guitar. Finally, Leo decided to come out with the Fender solid-body line, and immediately Gibson said, “Find the character with the broomstick with the pickups on it!” </p> <p>And so they asked me to design a guitar. I thank Leo for coming out with his Broadcaster, because it woke Gibson up. Gibson was asleep and Fender was not asleep. That’s the way it goes. Fender was the first to market, but I was way, way out front.</p> <p><strong>VAN HALEN</strong> It’s kind of like the car business—Toyota woke up GM.</p> <p><strong>PAUL</strong> Sure. Sometimes you gotta wake somebody up, and sometimes I need some help from my friends. And I consider Leo Fender a very dear friend. To me, I am a Gibson man, but that doesn’t make any difference, because I also know exactly what Fender is all about.</p> <p><strong>VAN HALEN</strong> With my guitars, I guess I’m trying to bring together what you and Leo have done. There are things I’ve always liked about Gibsons and things I’ve always liked about Fenders, but neither one did everything that I wanted, so I’ve created a combination of the two. My guitar is essentially a Strat body with Gibson humbucking pickups.</p> <p><strong>PAUL</strong> I can’t always get what I want out of a standard Gibson guitar either. There are so many times that I’ll go into Gibson battling to win a point and come out with a compromise. The world is a compromise and so this is what you have to do. It can cost millions of dollars to retool and move something a quarter of an inch. I understand that some of my ideas would cost a fortune.</p> <p>Another thing that comes into the picture is the preoccupation with how something looks. I’ve had executives veto an improvement because their wives didn’t like the way it looked. They’re not thinking about the sound.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/atSdjLb0T14" frameborder="0" allowfullscreen></iframe></p> <p><strong>VAN HALEN</strong> I’ve had that problem with companies I’ve worked with. I’ve had difficulty getting something the way I wanted it, because they claimed that other people want it a different way.</p> <p><strong>PAUL</strong> Which may be right and may not be right.</p> <p><strong>VAN HALEN</strong> Yeah, yeah, but if they want my opinion, then I’m giving it to them. I’ve had to say, “I don’t want my name on it if it ain’t the way I want it.”</p> <p><strong>PAUL</strong> I had a case where they put out a guitar without my blessings and I tried to make ’em stop! The funny thing is they didn’t stop it, and it turned out to be their number-one seller. [<em>laughs</em>] So you can be wrong. Gibson put out an SG, and it wasn’t with my blessings at all. They put the pickup in the wrong place, they made the body too thin, and there were a lot of other things I didn’t like. </p> <p>So I said, “Clean it up a little bit, will ya, before you put my name on it.” So they took my name off of it and continued to make it, and it’s their best-sellling solid-body guitar to date. Sure, it’s a cheap guitar and it doesn’t sound as good as the others, but it’s a different thing. And it turned out I shouldn’t have said what I said.</p> <p><strong>VAN HALEN</strong> When you design guitars, do you design them for sound or cosmetics?</p> <p><strong>PAUL</strong> Sound. But don’t get me wrong, design is important.</p> <p><strong>VAN HALEN</strong> It’s got to look cool, but it better sound good.</p> <p><strong>PAUL</strong> Exactly. It’s nice to have both elements. I wanted the Les Paul to look good. That’s why we put that finish on it and made it with a [<em>sculpted</em>] top, so you could have that clean, violin look to the guitar. It makes it look like a Stradivarius, and you associate it that way, too.</p> <p><strong>VAN HALEN</strong> When you pick up a guitar, which guitar do you pick up?</p> <p><strong>PAUL</strong> I like the feel of my 1975 Deluxe the best. It’s actually a reject.</p> <p><strong>VAN HALEN</strong> Those are the ones I love. Got any extras around? I’m serious.</p> <p><strong>PAUL</strong> Yeah, sure.</p> <p><strong>VAN HALEN</strong> I’m serious. If it’s a reject and you like it, I know I’ll like it.</p> <p><strong>PAUL</strong> Well, not necessarily, because everybody has their own feel.</p> <p><strong>VAN HALEN</strong> I can guarantee you…</p> <p><strong>PAUL</strong> Everybody has a certain thing in their head of what they want to do and how to do it and their own technique. Everything about them calls for certain requirements.</p> <p><strong>VAN HALEN </strong>I’m getting the feeling from you that you go for the same goddamned fucking thing that I go for. It’s not the appearance of the goddamned thing. I don’t care if it’s a flametop or whatever. It’s the feeling of it and the way it sounds.</p> <p><em>NOTE: The November 1986 issue of </em>Guitar World<em> featured ZZ Top's Billy Gibbons on the cover. The photo above shows a portion of our March 1983 cover. To see a photo gallery of every </em>Guitar World<em> cover from 1980 to 1986, <a href="http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-1980-1986">head here.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> <div class="field-item even"> <a href="/les-paul">Les Paul</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/eddie_van_halen_and_les_paul_les_paul039s_junior#comments Articles Eddie Van Halen GW Archive Les Paul November 1986 Interviews News Features Magazine Mon, 09 Jun 2014 16:52:38 +0000 Steven Rosen http://www.guitarworld.com/article/2812 Review: EVH Striped Series Guitar http://www.guitarworld.com/review-evh-striped-series-guitar <!--paging_filter--><p>The EVH Wolfgang guitar is the only way to go if you want what Eddie Van Halen plays today. </p> <p>Of course, there are still vast numbers of guitarists who want what Eddie was playing in the Seventies and Eighties, and to satisfy that desire EVH recently introduced the EVH Striped Series. </p> <p>Based on Van Halen’s legendary Frankenstein guitar, the EVH Striped Series is a stripped-down speed machine with a single humbucker and volume control, plus Van Halen’s trademark striped finish in three different motifs—black and white, yellow and black, and red, black and white.</p> <p><strong>Features:</strong> While the EVH Striped Series doesn’t boast all of the innovations that went into the EVH Wolfgang, it does offer a few modern upgrades that Eddie’s Frankenstein didn’t originally have back in the day. </p> <p>Most notable are the light and resonant basswood body with a side-mounted output jack, the neck’s thumbwheel truss-rod adjustment, and the chrome-plated Floyd Rose double-locking vibrato with an EVH D-Tuna that allows players to instantly switch to drop-D tuning. The remaining features are classic Frankie, including the Alnico V Wolfgang humbucker mounted directly to the body, the single volume control with a Strat-style knob labeled tone, and the maple neck with a maple slab fretboard, hand-rubbed oil finish, 25 1/2–inch scale and 22 jumbo frets. </p> <p><strong>Performance:</strong> As someone who has spent years chasing the finer details of Eddie Van Halen’s classic brown sound, I can testify that this guitar will get players closer to that goal than any other piece of gear except perhaps the amp. The punch, clarity and presence of the Wolfgang humbucker is truly remarkable, combining the power and depth of a vintage PAF-style humbucker with the crisp attack and presence of a Strat single-coil. This pickup’s output is not overly hot, so it retains phenomenal definition even when played through a high-gain amp with over-the-top distortion. That elusive presence and zing heard in Eddie’s guitar tone on the classic VH six-pack is already there from the get-go.</p> <p>The EVH Striped Series guitar pairs well with any variety of amps. Of course, the 5150 III is its natural partner, and this combination is absolutely killer. But the guitar also sounds great through modern beasts, like Bogners, Diezels, Friedmans and Mesa/Boogies as well as vintage Fenders, Marshalls and Voxes. The single volume control rolls down smoothly to crystal-clear clean tones that retain all the presence and bass of the full up setting.</p> <p><strong>List Price:</strong> White/black or black/yellow $1,199.99; red/white/black, $1,398.95<br /> <strong>Manufacturer:</strong> EVH, <a href="evhgear.com">evhgear.com</a></p> <p><strong>Cheat Sheet:</strong> Three different finishes featuring Eddie Van Halen’s trademarked signature striped pattern are available for fans of different classic Van Halen periods.</p> <p>The Wolfgang humbucker combines the power of a vintage PAF with the attack and presence of a Strat single-coil.</p> <p><strong>The Bottom Line:</strong> The EVH Striped Series is a must-have for classic Van Halen fans, but it’s also an incredible-sounding ballsy guitar for modern players seeking an expressive speed machine.</p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3496413523001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="3496413523001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --> http://www.guitarworld.com/review-evh-striped-series-guitar#comments Eddie Van Halen EVH FMIC Specialty Brands June 2014 Electric Guitars News Gear Magazine Wed, 23 Apr 2014 18:51:30 +0000 Chris Gill, Video by Paul Riario http://www.guitarworld.com/article/21053 Thirty Guitar Legends — Including Eddie Van Halen, Dimebag Darrell and Jeff Beck — Choose the Song They'd Most Want to Be Remembered By, Part 1 http://www.guitarworld.com/thirty-guitar-legends-including-eddie-van-halen-dimebag-darrell-and-jeff-beck-choose-song-theyd-most-want-be-remembered-part-1 <!--paging_filter--><p><em>From the GW Archive: This feature originally appeared in the May 2002 issue of </em>Guitar World<em>. The story has a "time capsule" theme: We asked several veteran guitarists to choose the one song they'd most want to be remembered by after many years. Here we are, 12 years later (Does that qualify as "many"?), opening the time capsule to examine its contents! Enjoy!</em> </p> <p>A few decades ago, NASA sent a probe called <em>Voyager</em> straight out of the solar system. Its mission: to make contact with alien intelligence. </p> <p>The capsule was crammed with artifacts — including greetings in more than 50 languages — intended to convey information about Earth's cultures. But just in case those items failed to communicate across language barriers, NASA also included a recording of Chuck Berry performing his rock and roll masterpiece "Johnny B. Goode." </p> <p>For a while after <em>Voyager's</em> launch, the joke around the agency was that a reply had been received from an alien civilization: "Forget the scientific shit," went the message. "Send more rock and roll!" But what songs should be sent? We at <em>Guitar World</em> decided the logical place to start would be the musicians themselves. </p> <p>In a project that started almost five years ago (hence the inclusion of George Harrison), we began asking many of the most influential guitarists in rock, blues and metal one deceptively simple question: "If you had to put one of your songs in a time capsule to be opened sometime in the future, which would you choose, and why?" </p> <p><strong>Check out Part 1 of the story below.</strong><br /> <em>Look for Part 2 later this week.</em></p> <p><strong>Eddie Van Halen (Van Halen), "Jump"</strong><br /> <em>1984 (1984)</em></p> <p>"I'll probably be playing "Eruption" at every show for the rest of my life, but I guess my time capsule choice would have to be 'Jump.' At the time I really wanted to do something challenging. </p> <p><em>Diver Down</em>, the album just before <em>1984</em>, was half cover tunes, and I <em>hated</em> it. Our producer had told me his theory that if you redo a hit, you're halfway there. But I'd rather bomb with my own shit than make it with someone else's. </p> <p>So that's when I built my own studio, 5150, which was a major step for me — not to prove any point but just so I could be myself and experiment musically. People were telling me, 'You can't use keyboards, you're a guitar player!" So that's when I wrote 'Jump.' Musically, it was a real departure. We had the challenge of integrating the keyboards and synths with the guitar for the first time. </p> <p>"The word 'pop' comes from 'popular,' meaning a lot of people like it. Ninety-nine percent of the reason I make music is to, hopefully, touch people with it. And this one touched the most people — so far."</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/ap2J9RbXaP4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Dimebag Darrell (Pantera), "Fucking Hostile"</strong><br /> <em>Vulgar Display of Power (1992)</em></p> <p>"I think the kind of music we play will stand the test of time for however long. But if I had to pick just one, I'd go with the powerful, off-the-cuff statement that is 'Fucking Hostile.' </p> <p>"When it came out it definitely set the tone and pace for what we were about. I also think our boy Philip [<em>Anselmo, vocals</em>] got it perfectly right lyrically and we got it perfectly right musically. </p> <p>"So I believe that if somebody heard this song 500 million years from now, they'd go, 'Goddamn, these motherfuckers knew what they were talking about and sure had their jamming skills down'. Plus, I think people will always be hostile, which is another reason I went with this one."</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/E929gqIcwwI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>John Paul Jones (Led Zeppelin) </strong> </p> <p><strong>"D'yer Mak'er,"</strong> <em>Houses of the Holy (1973)</em><br /> <strong>"Stairway To Heaven,"</strong> <em>Led Zeppelin IV (1971)</em></p> <p>"I'd put 'D'yer Mak'er' in a time capsule so I would never have to hear it again or have to explain how to pronounce the title. There were only two types of rhythms that Bonzo [<em>John Bonham, drums</em>] hated playing — shuffles and reggae. </p> <p>"We were jamming in the latter style at Stargroves, the house we rented from Mick Jagger, and John was going along with it out of politeness, I think. Unfortunately, the jam turning in to a proper song. He did play some marvelous fills, but for me, the whole thing was buttock-clenchingly embarrassing. </p> <p>"I would also include 'Stairway To Heaven,' but for more positive reasons. It contains all the classic Zep elements, from folk/Celtic through jazz and r&amp;b to hard rock. It also encapsulates the soft-to-heavy dynamics that the band was famous for. </p> <p>"As for my own performance, it made me smile when a journalist once told me that he considered the bass line at the end of the song one of the finest ever recorded. Unfortunately, it happens to be underneath one of the finest <em>guitar</em> solos ever recorded!"</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/5xmVEqp17DU" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/w9TGj2jrJk8" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>Kirk Hammett (Metallica), "Motorbreath"</strong><br /> <em>Kill 'Em All (1983)</em> <p>"I chose it because it has the breakneck tempo we were so fond of in our early days — plus the lyrics set the tone for our lives over the next 10 years. </p> <p>"And unlike the songs we wrote later, 'Motorbreath' is under four minutes long!"</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/pqjHsV1fkhg" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Robby Krieger (The Doors), "Light My Fire"</strong><br /> <em>The Doors (1967)</em></p> <p>“I feel that ‘Light My Fire’ encapsulates the feel of the 1967 Summer of Love. Being in San Francisco or anywhere in California that summer seemed to be the beginning of a whole new way of life. One day at rehearsal, Jim [Morrison, vocals] suggested we all try and write some songs. I went home that night and wrote ‘Light My Fire’—it was the first song I’d ever written. </p> <p>"The long solo section was based on the modal playing of jazz great John Coltrane. Up until Miles Davis did <em>Kind of Blue</em> and Coltrane recorded ‘My Favorite Things,’ jazz had been mainly bebop, which involved a lot of fast, tricky chord changes. </p> <p>"So these guys thought, It’s easy to play over a bunch of chords and sound cool—but what can you do over just one or two chords? Can you play something that’s not just pentatonic—that’s based on a mode, a scale—over one chord, and take it farther out than anybody else has gone? </p> <p>"That was the start of modal playing, which influenced many rock musicians. My long, modal solo in this song was done over the same two chords John Coltrane soloed over on his version of ‘My Favorite Things’—A minor and B minor. So ‘Light My Fire’ helped light a fire for a new generation and opened people’s minds to a new vision. Almost four decades later, the song seems to remain timeless.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/cq8k-ZbsXDI" frameborder="0" allowfullscreen></iframe></p> <p><strong>Warren Haynes (Gov't Mule), "Mule"</strong><br /> <em>Gov't Mule (1995)</em></p> <p>"'Mule' is a uniquely Gov't Mule song. I've never hear another song that sounds similar to it. </p> <p>"There are riffs that could be traced back to some of our early influences — which stretch from Cream to Hendrix to Miles Davis and James Brown — but the way the thing is structured doesn't really remind me of another song. And that was always important to us — that most of our songs can't be traced directly back to other songs. </p> <p>"'Mule' was written at the last minute in rehearsal, right before recording, and it's a first take, so that solos were on the fly — totally spontaneous. It has an awesome bass like from Allen Woody and [Blues Traveler vocalist] John Popper guests on harmonica. </p> <p>"And it has a political message; the title refers to the fact that when the America slaves were free they were promised '40 acres and mule' by the U.S. government, which most never received. Here we used ti as a broader metaphor about social oppression in so many aspects of modern society."</p> <hr /> <p><strong>Joe Satriani, "Time"</strong><br /> <em>Live In San Fransisco (2001)</em></p> <p>“If we can assume that they have DVD players in the future, then I would pick ‘Time’ from the Live in San Francisco DVD, because, for better or worse, it captures what we actually do night after night around the world. </p> <p>"Although it’s near impossible for me to look at myself on a television screen, I’ve learned to accept that that’s what everyone’s been seeing and hearing for all these years, and I have not yet been thrown in prison for doing it.</p> <p>“The song is interesting to me, compositionally, because the verse is almost like a child’s melody played over the simplest riff. Then the second part of the song jumps into all of this complex harmony and a whole bunch of key changes. The solo section recreates the same scheme, and eventually the song changes meter. The song provides a wild journey of how to construct an interesting instrumental.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/jh-9il2Lw38?list=PL9F83FA973EEE68A2" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Ace Frehley (Kiss), "Shock Me"</strong><br /> <em>Love Gun (1977)</em></p> <p>“I picked this song not only because it’s a well-known Kiss anthem but because it has deep personal significance for me. The song is based on an actual life-threatening experience I had onstage with Kiss in the Seventies in Lakeland, Florida. </p> <p>"At the beginning of the concert I was coming down the staircase and when my hand touched the railing I was electrocuted, thrown back and knocked out for about 10 seconds. </p> <p>"The roadies carried me down the rear staircase, behind the wall of Marshalls. I woke up with electrical burns on my hands and totally shaken. Paul [Stanley] announced what had happened, and the concert was delayed for approximately 10 minutes. The whole audience starting chanting ‘We want Ace, we want Ace!’</p> <p>“I was so disoriented from the incident that I really didn’t think I was going to be able to do the show. But when I heard 15,000 people chanting my name, my adrenaline started pumping and all I could think was, The show must go on! I continued, even though I had almost no feeling in my hand for the remainder of the concert. All I can say is thank God my guardian angel was hovering above me that evening.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/3slccS4nslI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Jeff Beck, "Where Were You"</strong><br /> <em>Jeff Beck's Guitar Shop (1989)</em></p> <p>“This is probably the best thing I ever wrote, and it’s a milestone in my playing. It’s where I began to forge a unique new style. The key thing was discovering how I could use bent harmonics. </p> <p>"That’s basically taking false harmonics and, by bending the whammy bar, constructing melodies and tunes with it—which is something I took even farther on my last album, <em>You Had It Coming</em>. The inspiration for ‘Where Were You’ was the Bulgarian female choir record <em>Mystere des Voix Bulgares</em>. It’s so astonishing when you hear it—it’s like a religious experience. </p> <p>"When these women all hit a note together, it’s the most amazing sound you’ve ever heard. They sing these kind of broken scales with quarter-tone intervals. It’s extremely emotional music. I realized this was another tonal palette I could experiment with, because the guitar is capable of doing that, particularly with bent harmonics and the whammy bar.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/NomkmxUgzps" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Michael Schenker (M56) "Lipstick Traces"</strong><br /> <em>UFO-Phenomenon (1974)</em></p> <p>“This is one of the first songs I did with UFO, when I was just 18 years old. I’m sure I could pick it apart and find places where a bend is out of tune or something, but the song itself has always been magical for me. </p> <p>"I have always had very good technique and that has been important to me, but it is not an end in itself—it is a means of expressing just what you want to say, and I feel I did that with this beautiful melody. </p> <p>"I express every emotion I have through my music—from the darkest and angriest to the most passionate and joyful—but ultimately I have to pick the song that gives me the biggest sense of calm and pace. Because when it comes down to it, I am a romantic guy.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/az6SKfnf3QA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Tom Morello (Rage Against The Machine), "Killing in the Name"</strong><br /> <em>Rage Against The Machine (1992)</em></p> <p>“ ‘Killing in the Name’ contains some of my favorite elements of guitar playing: it’s got the huge riff, the propulsive chorus and the ‘angry insect’ guitar solo. </p> <p>"The song also features a dissonant breakdown, followed by the ‘cavalry charge’ outro, which makes for a fine rocking time all around. These are all things that I enjoy, and that was the very first time they all came together in one song. ‘Killing in the Name’ was RATM’s first single, and it launched our sound as a band as well as my sound as a guitarist in a defining way. </p> <p>"I have two parallel voices in my guitar playing—the quirky-noises-as-musical-passages concept and the anthemic riffage—and they are well-represented in this song.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/munNQPuhX3g" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Joe Strummer (The Clash), "If Music Could Talk"</strong><br /> <em>Sandinista! (1980)</em></p> <p>“On my recent album, <em>Global a Go-Go</em>, I had this breakthrough where I was able to do the album from my intuition rather than from my intellect. Me and the band just turned up every day, and it was like the music was telling us what to play. Music, lyrics, solos—it was all of one piece, done in the moment. </p> <p>"When I think back, the only similar experience happened when the Clash hit New York after touring, and we went right into the Sandinista! sessions. It was very similar in that we had nothing prepared, and a lot of the album just took off by itself. On ‘If Music Could Talk’ I recorded two vocals: one on the left side of the stereo mix, and the other on the right side. And the two vocals were done one right after the other. </p> <p>"I just love hearing those vocals, even though it doesn’t fuckin’ work that well, because I can hear myself extemporizing, straight off the bat, on my feet, in the moment. And as I was reminded on my last album, music really can talk—to us and through us.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/RwxNLgAkOq4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>George Harrison (The Beatles), "While My Guitar Gently Weeps"</strong><br /> <em>The Beatles (1968)</em></p> <p>“When we actually started recording this song it was just me playing the acoustic guitar and singing it [this version appears on the Beatles’ <em>Anthology 3</em>—GW Ed.], and nobody in the group was interested. Well, Ringo [Starr, drums] probably was, but John [Lennon, guitar/vocals] and Paul [McCartney, bass/vocals] weren’t. </p> <p>"When I went home that night I was really disappointed. I thought, Well, this is really quite a good song—it’s not as if it’s shitty! The next day I happened to drive back into London with Eric Clapton, and while we were in the car I suddenly said, ‘Why don’t you come and play on this track?’ </p> <p>And he answered, ‘Oh, I couldn’t do that—the others wouldn’t like it.’ Eric was reluctant because there hadn’t ever been any prominent musicians on our records. Finally, I said, ‘Well, sod them! It’s my song and I’d like you to come down to the studio.’ </p> <p>"So Eric showed up, and suddenly everybody started behaving and not fooling around so much. And the song came together nicely. Eric didn’t think his playing sounded ‘Beatles-ish’ enough. So we put the ‘wobbler’ on it, which is what we called ADT [Artificial Double Tracking, the basis of flanging—GW Ed.] </p> <p>"When I played it in concert with Eric over the years he would play it differently every night. Gary Moore did some shows with me and he also played exceptionally well on this one. I think guitar players like this song because it was structured in a way that gives them the greatest excuse to just wail away.” </p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/YXdE9wxg8YI" frameborder="0" allowfullscreen></iframe></p> <p><em>Stay tuned for PART TWO of "One for the Ages" Monday, November 18.</em></p> http://www.guitarworld.com/thirty-guitar-legends-including-eddie-van-halen-dimebag-darrell-and-jeff-beck-choose-song-theyd-most-want-be-remembered-part-1#comments Articles Dimebag Darrell Eddie Van Halen GW Archive Jeff Beck John Paul Jones May 2002 Interviews News Features Magazine Tue, 22 Apr 2014 15:04:50 +0000 Guitar World Staff http://www.guitarworld.com/article/19473 Watch Paul Gilbert Perform Van Halen's "Spanish Fly" http://www.guitarworld.com/watch-paul-gilbert-perform-van-halens-spanish-fly <!--paging_filter--><p>Below, check out a video of Racer X/Mr. Big guitarist Paul Gilbert playing "Spanish Fly," a classic 1979 instrumental tune by Van Halen.</p> <p>Although we're not sure when (or where) the brief clip was filmed, we <em>do</em> know it was posted to YouTube only a few weeks ago on March 21, 2014.</p> <p>Unfortunately, we are not able to embed the Gilbert video in our story; however, you can watch Gilbert perform the piece — on acoustic guitar, no less — <a href="http://youtu.be/wwxKqoUDE6o">by clicking HERE.</a></p> <p>For context, we've also included a clip of Eddie Van Halen performing "Spanish Fly." You can check out that video below.</p> <p><strong><a href="http://youtu.be/wwxKqoUDE6o">SEE GILBERT PLAYING "SPANISH FLY" HERE.</a></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/3LOM5Moni0Q" frameborder="0" allowfullscreen></iframe></p> <p>This is actually the second time in the past few days that we've seen clips of Gilbert performing Van Halen tunes. If you watch the video of this recent Gilbert guitar clinic, below, you'll see Gilbert launch into "Eruption" at 1:49:</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/iFr3TRN2CWk" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/paul-gilbert">Paul Gilbert</a> </div> <div class="field-item even"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/watch-paul-gilbert-perform-van-halens-spanish-fly#comments Acoustic Nation Eddie Van Halen News Paul Gilbert Videos News Mon, 07 Apr 2014 15:18:41 +0000 Damian Fanelli http://www.guitarworld.com/article/20950 Video: Eddie Van Halen Demos Peavey Wolfgang Guitar at 1996 NAMM Show http://www.guitarworld.com/video-eddie-van-halen-demos-peavey-wolfgang-guitar-1996-namm-show <!--paging_filter--><p>How cool would it be to stumble upon the legendary Eddie Van Halen doing a guitar demo at a NAMM Show?</p> <p>It happened in 1996, as this just-uploaded (March 14, 2014) video shows. The Van Halen guitarist was on hand to demo Peavey's Wolfgang Standard model guitar.</p> <p>Best of all, Van Halen takes requests from NAMM Show attendees as he fires off riff after riff. After about four and a half minutes, he invites a spectator up to the "stage" area to try out the guitar for himself. Don't worry: The ax is back in Eddie's hands by 5:38.</p> <p>Enjoy!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/wt6uEBya8XA" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-eddie-van-halen-demos-peavey-wolfgang-guitar-1996-namm-show#comments Eddie Van Halen NAMM 1996 Peavey Videos News Tue, 01 Apr 2014 11:14:20 +0000 Damian Fanelli http://www.guitarworld.com/article/20898 Van Halen Book by Guitar World Editors Chronicles '40 Years of the Great American Rock Band' http://www.guitarworld.com/new-van-halen-book-guitar-world-editors-chronicles-40-years-great-american-rock-band <!--paging_filter--><p><strong>The editors of <em>Guitar World</em> have <a href="http://store.guitarworld.com/products/guitar-world-presents-van-halen-40-years-of-the-great-american-rock-band/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=VanHalen40Years">compiled a book dedicated to one of the greatest rock bands</a> the US has ever produced: Van Halen. </strong></p> <p>The book, <em><a href="http://store.guitarworld.com/products/guitar-world-presents-van-halen-40-years-of-the-great-american-rock-band/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=VanHalen40Years">Van Halen: 40 Years of the Great American Rock Band</a></em>, tells you everything you ever wanted to know about Eddie Van Halen, David Lee Roth, Michael Anthony, Alex Van Halen and Sammy Hagar.</p> <p>The book is the ultimate collection of interviews with and stories about the mighty Van Halen — from their beginnings as a young rock act on the Sunset Strip through their critically acclaimed 2012 comeback album, <em>A Different Kind of Truth</em>. </p> <p>You'll learn everything there is to know about every era of Van Halen, including:</p> <p>• The 50 greatest Van Halen songs of all time, from “Runnin’ with the Devil” to “Tattoo” and every classic song in between. GW’s editors pick the best of the best.</p> <p>• The complete history of Van Halen — their early struggles as an unknown rock outfit to their ascension to worldwide superstar status, as well as the revolving door of singers that fronted the band after the initial departure of David Lee Roth.</p> <p>• The making of nearly every Van Halen record in the band’s extensive catalog, including <em>Van Halen, Van Halen II, Women and Children First, 1984, For Unlawful Carnal Knowledge</em> and <em>A Different Kind of Truth</em>. </p> <p>• Revealing interviews with Eddie Van Halen in which he details his guitar playing on nearly every Van Halen album, the gear he used during recordings and onstage, his relationships with his bandmates past and present and his longtime battle with alcohol.</p> <p>• A legendary roundtable discussion between Eddie Van Halen and his hero, guitar pioneer Les Paul.</p> <p>• In his own words, Wolfgang Van Halen: the teenage son of Eddie who became Van Halen’s permanent bass player after Michael Anthony’s departure.</p> <p><strong><a href="http://store.guitarworld.com/products/guitar-world-presents-van-halen-40-years-of-the-great-american-rock-band/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=VanHalen40Years">The book is available now at the Guitar World Online Store.</a></strong></p> <p>Through the years, <em>Guitar World</em> has been there to bring you in-depth, first-hand reports on Edward Van Halen’s tumultuous career. It’s been a wild ride for Eddie and Van Halen — and you can read all about it right here in this incredible collection of historic interviews and articles from the pages of GW.</p> <p><img src="/files/imce-images/GWVanHalen_TradeSC-hi%209-11-12%5B1%5D.jpg" width="620" height="847" alt="GWVanHalen_TradeSC-hi 9-11-12[1].jpg" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> <div class="field-item even"> <a href="/van-halen">Van Halen</a> </div> <div class="field-item odd"> <a href="/david-lee-roth">David Lee Roth</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/new-van-halen-book-guitar-world-editors-chronicles-40-years-great-american-rock-band#comments David Lee Roth Eddie Van Halen Van Halen Wolfgang Van Halen News Tue, 01 Apr 2014 10:39:50 +0000 Guitar World Staff http://www.guitarworld.com/article/16810 EVH Gear Revamps Website, Adds "Ask Eddie" Van Halen Feature and More http://www.guitarworld.com/evh-gear-revamps-website-adds-ask-eddie-van-halen-feature-and-more <!--paging_filter--><p>EVH has announced that its website — <a href="www.evhgear.com">evhgear.com — has been revamped.</a></p> <p>Probably the most notable addition to the site is the new <a href="http://www.evhgear.com/news/2014/02/ask-eddie-developing-the-floyd-rose/">“Ask Eddie” feature</a>, which allows fans to ask Eddie Van Halen questions about his career, his gear and whatever else comes to mind. </p> <p>Van Halen has already responded to questions relating to his effects chain, Wolfgang guitar design specifications and his infamous “Shark Guitar.” </p> <p>The site includes an updated timeline and new photo galleries, which feature photos of Eddie Van Halen through the years. It also offers several free wallpaper designs for computer desktops, plus a media page that lets readers peruse recent Eddie Van Halen interviews and an archive full of EVH catalogs, advertisements and price lists.</p> <p>As always, the site features all the information and images pertaining to the EVH line of guitars, amplifiers, accessories and the artists who endorse them; as well as the EVH Store, which sells EVH-branded apparel, accessories and collectibles. </p> <p>For more information, visit <a href="http://www.evhgear.com/">evhgear.com.</a></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/evh-gear-revamps-website-adds-ask-eddie-van-halen-feature-and-more#comments Eddie Van Halen EVH FMIC Specialty Brands News Tue, 04 Mar 2014 20:16:57 +0000 Guitar World Staff http://www.guitarworld.com/article/20641 Eddie Van Halen Looks Back on Van Halen's Landmark '1984' Album and the Creation of 5150 Studios http://www.guitarworld.com/eddie-van-halen-looks-back-van-halens-landmark-1984-album-and-creation-5150-studios <!--paging_filter--><p>When rock music fans first heard Eddie Van Halen’s radical, innovative tapping technique at the end of “Eruption,” many mistakenly thought that they were hearing a synthesizer. </p> <p>Six years later when Van Halen released their <em>1984</em> album, there was absolutely no doubt that a synthesizer was generating the majestic and mysterious sounds that they heard this time around. In fact, the first note of Eddie’s guitar wasn’t heard until two minutes and 10 seconds into the album’s first two songs. </p> <p>With the album’s initial single “Jump,” Ed proved that he could play keyboards every bit as well as he could play guitar, but even more importantly he also showed the world that he could craft a pop song that was as good as, if not better than, anything else out there at the time. </p> <p>Van Halen’s use of a synth on “Jump” ushered in a new era of appreciation for the instrument, which previously was associated mostly with new wave bands and electro pioneers like Kraftwerk, Gary Numan and Tangerine Dream. </p> <p>Almost overnight, sales of synthesizers increased exponentially, similar to the revolutionary boost in guitar sales that Van Halen influenced after the first Van Halen album made its debut and fortuitously coinciding with the introduction of the first affordably priced polyphonic synths. Music store keyboard departments were soon filled with the sounds of aspiring musicians playing ham-fisted versions of “Jump,” much the same way that guitar departments were subjected to novices attempting to play “Stairway to Heaven.”</p> <p>But there is much more to <em>1984</em> than “Jump,” which incidentally was Van Halen’s first and only song to reach the Number One spot on the <em>Billboard</em> Hot 100 singles chart. While three of the album’s nine songs are dominated by synths, the entire album features some of Eddie Van Halen’s hottest and most impressive guitar playing ever. </p> <p>The pumping groove of “Panama” and the heavy-hitting “House of Pain” rocked as hard as anything the band had offered on its five previous albums, while “Top Jimmy” and “Drop Dead Legs” introduced entirely new territory that paved the way for the band’s next chapter. </p> <p>Ed’s dazzling guitar solos even elevated the keyboard-dominated songs “Jump” and “I’ll Wait.” The showstoppers from a guitar perspective are “Hot for Teacher,” with its hot-rodded blues boogie shuffle, and “Girl Gone Bad,” featuring Van Halen’s signature harmonics, a dynamic progressive rock structure and a blazing solo filled with Allan Holdsworth–style legato runs.</p> <p>The fact that every song on the album was as strong as anything else in Van Halen’s catalog up to that point in time is also impressive. In total, the album delivered four singles—“Jump,” “I’ll Wait,” “Panama” and “Hot for Teacher”—which all remain staples of classic-rock radio today. <em>1984</em> went on to become one of Van Halen’s all-time best-selling albums, matched only by their debut album, which also sold more than 10 million copies in the U.S. alone. </p> <p><em>1984</em> is further notable for being one of the best-selling hard rock albums of all time, sharing lofty heights with company like AC/DC, Def Leppard, Guns N’ Roses, Led Zeppelin and Metallica.</p> <p>But perhaps the most noteworthy attribute of <em>1984</em> is that it is likely the only Diamond-certified (sales of 10 million or more) album that was recorded entirely in a home studio. [<em>Boston’s debut album is a close contender, but one of its songs was recorded in a pro studio.</em>] Of course, the facility now known as 5150 Studios is not the ordinary home studio. From the very beginning, 5150 was a fully professional facility, starting off as a 16-track studio equipped with classic gear that, while it seemed outdated during its time of installation in 5150, was more than up to the task of capturing Ed’s ideas in a polished, finished state that was suitable for release. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/ap2J9RbXaP4" frameborder="0" allowfullscreen></iframe></p> <p><em>1984</em> was the first album to come from 5150 Studios, and the studio has remained Van Halen’s home base for all of the albums the band has recorded since then. The studio was built during a particularly fertile period of creativity for Ed that was also marked by his desire to protect his creative vision and oversight of how Van Halen’s records should be made. Fortunately, engineer Donn Landee, who had recorded all of Van Halen’s previous five albums, saw eye to eye with Ed’s thinking and played an instrumental role both in building 5150 Studios and recording the <em>1984</em> album. </p> <p>Landee even came up with the studio’s name, adopting 5150 from the California Welfare and Institutions Code for involuntary confinement of a mentally instable person deemed to be a danger to himself and/or others. Donn overheard the code number one night while listening to police broadcasts on a scanner, and Ed and Donn jokingly called themselves “5150s” after many around them said that they were crazy to build their own studio. Both agreed that 5150 was the perfect name for their new “asylum.”</p> <p>Although Ed has never recorded a solo album and apparently never plans to, <em>1984</em> may very well be the closest thing to a Van Halen solo album that the world will ever get, as the record is overflowing with his creative input and inspiration. While <em>1984</em> is still a band record, distinguished particularly by Alex Van Halen’s powerful drumming and David Lee Roth’s street-poet lyrics and inimitable vocals, it also offers one of the most pure visions of Ed’s musical talents and breadth that he’s ever produced.</p> <p><em>1984</em> may have been released 30 years ago, but Ed Van Halen still fondly remembers many fine details of the album’s creation. The fact that Ed was able to complete this achievement during a tumultuous period that ultimately led to the band’s initial lineup breaking apart is somewhat miraculous, eclipsed only by the album’s phenomenal success.</p> <hr /> <strong>What inspired you to build your own studio at your home?</strong> <p>I used to have a back room in my house where I set up a little studio with a Tascam four-track recorder to demo songs. I really wanted to record demos that sounded more professional than what I was doing. </p> <p>I used to spend so much time getting sounds and writing. I have a tape of me playing in the living room at five A.M., and you can hear Valerie [Bertinelli, Ed’s ex-wife] come in and yell that she’s heard enough of that song. That was another reason why I built the studio.</p> <p>The bottom line is that I wanted more control. I was always butting heads with [producer] Ted Templeman about what makes a good record. My philosophy has always been that I would rather bomb with my own music than make it with other people’s music. Ted felt that if you re-do a proven hit, you’re already halfway there. </p> <p>I didn’t want to be halfway there with someone else’s stuff. <em>Diver Down</em> was a turning point for me, because half of it was cover tunes. I was working on a great song with this Minimoog riff that ended up being used on “Dancing in the Street.” </p> <p>It was going to be a completely different song. I envisioned it being more like a Peter Gabriel song instead of what it turned out to be, but when Ted heard it he decided it would be great for “Dancing in the Street.” </p> <p><em>Fair Warning</em>’s lack of commercial success prompted <em>Diver Down</em>. To me, <em>Fair Warning</em> is more true to what I am and what I believe Van Halen is. We’re a hard rock band, and we were an album band. We were lucky to enter the charts anywhere. </p> <p>Ted and Warner Bros. wanted singles, but there were no singles on <em>Fair Warning</em>. The album wasn’t a commercial flop, but it wasn’t exactly a commercial success either, although for many guitarists and Van Halen fans, <em>Fair Warning</em> is a hot second between either Van Halen or <em>1984</em>. The album was full of things that I wanted, from “Unchained” to silly things like “Sunday Afternoon in the Park.” I like odd things. I was not a pop guy, even though I have a good sense of how to write a pop song.</p> <p><strong>How did 5150 go from being just a demo studio to a fully equipped pro facility?</strong></p> <p>When we started work on <em>1984</em>, I wanted to show Ted that we could make a great record without any cover tunes and do it our way. Donn and I proceeded to figure out how to build a recording studio. I did not initially set out to build a full-blown studio. I just wanted a better place to put my music together so I could show it to the guys. I never imagined that it would turn into what it did until we started building it. </p> <p>Back then, zoning laws disallowed building a home studio on your property. I suggested that we submit plans for a racquetball court. When the city inspector came up here, he was looking at things and going, “Let’s see here. Two-foot-thick cinder blocks, concrete-filled, rebar-reinforced… Why so over the top for a racquetball court?” I told him, “Well, when we play, we play hard. We want to keep it quiet and not piss off the neighbors.” We got it approved.</p> <p>Donn was involved with the design. I certainly didn’t know how to build a studio. It was all Donn’s magic. We built a main room and a separate control room. When we needed to find a console, Donn said that United Western Studios had a Bill Putnam–designed Universal Audio console that we could buy that he was familiar with. </p> <p>We went to take a look at it, and it was this old, dilapidated piece of shit that looked like it was ready to go into the trash. Donn said, “Let’s buy it,” and I was going, “What the hell are you thinking?” He said that he could make it work, so we paid $6,000 for it and lugged it up here. He rewired the whole console himself using a punch-down tool. Donn used to work for the phone company, so he was an expert at wiring things.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/hGdxaehljZM" frameborder="0" allowfullscreen></iframe></p> <p>We also needed a tape machine, so we bought a 3M 16-track. Slowly, the studio turned into a lot more than I originally envisioned. Everybody else was even more surprised than I was, especially Ted. Everybody thought I was just building a little demo room. Then Donn said, “No man! We’re going to make records up here!” When Ted and everybody else heard that, they weren’t happy.</p> <p><strong>It sounds like Donn wanted as much creative freedom as you did.</strong></p> <p>Oh, definitely. We had grown really close and had a common vision. Everybody was afraid that Donn and I were taking control. Well…yes! That’s exactly what we did, and the results proved that we weren’t idiots. When you’re making a record, you never know if the public is going to accept it, but we lucked out and succeeded at exactly what my goal was. I just didn’t want to do things the way Ted wanted us to do them. I’m not knocking <em>Diver Down</em>. It’s a good record, but it wasn’t the record I wanted to do at the time. <em>1984</em> was me showing Ted how you really make a Van Halen record. </p> <hr /> <p><strong>You really were overflowing with creativity during the period between <em>Diver Down</em> and the middle of <em>1984</em>. During that time you also recorded “Beat It” with Michael Jackson, the Star Fleet Project with Brian May, <em>The Seduction of Gina</em> and <em>The Wild Life</em> soundtracks, and you and Donn produced a single for Dweezil Zappa.</strong></p> <p>I had a lot of music lying around, because all I did was write. I remember, we were rehearsing for the <em>Diver Down</em> tour at Zoetrope Studios when Frank Zappa called me and asked if I would produce a single for his son Dweezil. </p> <p>I also did the Brian May Star Fleet Project then and the session with Michael Jackson. Val asked me to write some music for a TV movie she was doing. Until you mentioned it, I had forgotten that I had recorded the Wild Life soundtrack back then. Now I remember that Donn wasn’t very happy, because he had to mix it on his own. I had to leave to go on the tour that we were doing with AC/DC in Europe that summer.</p> <p>We also did the US Festival in the middle of recording the <em>1984</em> album, and before that we toured the U.S., Canada and South America and played about 120 shows. And I also had to build the studio during that period too! I don’t know how I pulled all of that off.</p> <p><strong>The US Festival proved that Van Halen were the biggest band in the world at the time. </strong></p> <p>What’s funny is that we made the <em>Guinness Book of World Records</em> for making $1.5 million for that one show. I remember hearing a DJ on the radio saying that we made so much money per second. What he didn’t realize is that we put every penny of that into the production. We didn’t make a fucking dime when it was all over. </p> <p><strong>You also spent about a month just preparing for that one show.</strong></p> <p>There was so much going on. We did that in the middle of making a record and I was doing all of this outside stuff. Then again, the Michael Jackson session only took 20 minutes, so it wasn’t like all of these things were taking that much time.</p> <p><strong>What is the first song you recorded at the studio?</strong></p> <p>That was “Jump.” Once Ted heard that song, he was full-hog in. He said, “That’s great! Let’s go to work.” When I first played “Jump” for the band, nobody wanted to have anything to do with it. Dave said that I was a guitar hero and I shouldn’t be playing keyboards. My response was if I want to play a tuba or Bavarian cheese whistle, I will do it. </p> <p>As soon as Ted was onboard with “Jump” and said that it was a stone-cold hit, everyone started to like it more. But Ted really only cared about “Jump.” He didn’t care much about the rest of the record. He just wanted that one hit.</p> <p>Alex was very supportive of everything we were doing. He wasn’t happy with his drum sound, especially on the first and second records. There was only one room at 5150 at the time, so we were very restricted. Recording drums there was a challenge. It really was a racquetball court, where one third of the space was the control room and the rest was the main room. </p> <p>Because the space was so limited, Alex had to use a Simmons kit except for the snare. We all played at the same time. I had my old faithful Marshall head and bare wooden 4x12 cabinet facing off into a corner and Al was in the other corner. We set up some baffles to have isolation between my guitar and the drums. I would sit right in front of my brother and play without headphones. All I needed to hear was his drums. There were a lot of limitations.</p> <p><strong>You wouldn’t know it though when you listen to the end product. The sounds on that record are impressive.</strong></p> <p>I have to give all of the credit to Donn. His approach to everything was genius. I used the same Marshall amp to record the first six Van Halen albums, but my guitar sound on each album is different. The drum sounds are different too. That was all Donn. He is a man-child genius on the borderline of insanity. He would wear what looked like the same pants, shirt, socks and shoes every day of his life. Then you go to his house and see that he has a closet full of all the same type of clothes. He’s just like Einstein.</p> <p>Alex and Donn got a lot closer on <em>1984</em> as well. “Drop Dead Legs” and “I’ll Wait” were more towards Al’s liking, as opposed to the first record. I remember when Al and I went to Warner Bros. to pick up the cassettes of the very first 25-song demo tape we did for them in 1977. </p> <p>We popped it into the player in my van and expected to hear Led Zeppelin coming out, but we were kind of appalled by what we heard. It just didn’t sound the way we wanted it to sound. The first album sounds a little better, but it still wasn’t the way we imagined it should sound. It’s very unique sounding. I wouldn’t even know how to duplicate it, to tell you the truth. </p> <p><strong>Don’t ever venture into an amp or guitar forum. You’ll see page after page of arguments by people who still can’t figure it out either.</strong></p> <p>The overall guitar sound on the first record isn’t that difficult to duplicate, but the overall package of how the whole band sounded was not what Alex and I expected it would be. There is so much EMT plate reverb on it, which is something I never had really heard before. It still holds up today to a certain extent. It’s not in your face or all that heavy, but the songs are great. If you heard us live, we sounded different. We were much heavier, and that’s what Alex and I expected to hear on the record. </p> <p><strong><em>1984</em> not only sounds different than Van Halen’s previous records but each song also sounds different than each of the other songs on the album.</strong></p> <p>Someone played me his new record once, and every song on it was the same beat. Most of the songs were even in the same key. You could barely distinguish between the songs. He said, “Once you’ve got them, you don’t want to lose them.” That was so opposite of the way I think. I like to listen to records that go through changes and take you for a ride. I like things that come out of left field and keep your interest, where each song holds up individually and together they make a well-rounded collection. I prefer to make records that you listen to from beginning to end. I’m really not into recording just singles.</p> <hr /> <p><strong>And then you recorded “Jump,” which became the band’s biggest single ever—even bigger than any of the cover songs Van Halen ever recorded.</strong></p> <p>“Jump” was the only Number One single we ever had. Outside of “Jump,” most of the other material was already written when we started to record the album. </p> <p>For the first six records and tours, we all traveled together on the same bus, which Dave called the disco sub. All I did was write. You can hear the bus generator on all of the demo tapes I recorded. </p> <p>I wrote “Jump” on a Sequential Circuits Prophet-10 in my bedroom while the studio was being built. Everytime I got the sound that I wanted on the right-hand split section of the keyboard, it would start smoking and pop a fuse. I got another one and the same thing happened. A guy I knew said I should try an Oberheim OB-Xa, so I bought one of those and got the sound I wanted. </p> <p>I always carried a microcassette recorder with me. I recorded my idea for “Girl Gone Bad” by humming and whistling into it in the closet of a hotel room while Valerie was sleeping. I pretty much wrote the entire song in that state, and then when I got home I put it all together.</p> <p>When the guys once asked me to write something with an AC/DC beat, that ended up being “Panama.” It really doesn’t sound that much like AC/DC, but that was my interpretation of it. </p> <p>For “Top Jimmy” I had a melody in my head and I tuned the guitar to that melody. Steve Ripley had sent me one of his stereo guitars that had 90 million knobs and switches on it. That was too much for me to comprehend, so I asked him for a simpler version. He sent me one with a humbucker in the bridge and two single-coils at the middle and neck positions. It was just a prototype. </p> <p>For some strange reason I picked up that guitar, tuned it to “Top Jimmy,” and that’s what I ended up using, because it sounded interesting. That rhythm lick I play after the harmonics sounds cool ping-ponging back and forth. You can’t really hear it unless you’re wearing headphones. It just fit the track.</p> <p><strong>“Drop Dead Legs” is one of the most unique songs on the album.</strong></p> <p>That was inspired by AC/DC’s “Back in Black.” I was grooving on that beat, although I think that “Drop Dead Legs” is slower. Whatever I listen to somehow is filtered through me and comes out differently. “Drop Dead Legs” is almost a jazz version of “Back in Black.” The descending progression is similar, but I put a lot more notes in there. </p> <p><strong>The solos almost always go into a different place than the rest of the song. Sometimes you even change keys, like on “Jump,” “Top Jimmy” and “Panama.”</strong></p> <p>I view solos as a song within a song. From day one that is just the way that I write things. I always start with some intro or theme and establish a riff, then after the solo there’s some kind of breakdown section. That’s there in almost every song, or else it returns to the intro. </p> <p><strong>What inspired you to record actual engine growls from your Lamborghini on “Panama”?</strong></p> <p>Having the studio here gave Donn and I the luxury and freedom to do all kinds of things. They thought we were nuts to pull up my Lamborghini to the studio and mic it. We drove it around the city, and I revved the engine up to 80,000 rpm just to get the right sound. </p> <p>We’ve done all kinds of silly things up here. One time a septic tank needed to be removed. Donn lowered a mic into it, and we threw an Electrolux vacuum in there. We called it “Stereo Septic.” I have a tape of it around here somewhere, although I’ve never used it on anything. It’s fucking hilarious. </p> <p>I basically lived in the studio back then. If Valerie ever needed to find me, she just had to look in the studio, because I was always there. Even when we weren’t recording music for the band, Donn and I would be in there every day, putzing around, making noise, coming up with riffs, playing piano, or doing whatever. </p> <p>It was a bummer when we stopped working together. Donn just totally left the music business. I went to his house once and asked him to reconsider. He said, “Nah. I probably wouldn’t even remember how to do it.” I said, “That’s bullshit. Everything we did we didn’t know what the fuck we were doing anyway!” We were just experimenting and having fun all the time.</p> <p><strong>It sounds like everyone was having fun on “Hot for Teacher.” </strong></p> <p>I’m a shuffle guy. I love fast shuffles. I think that stems from my dad’s big-band days. Every Van Halen record has a song like that—“I’m the One,” “Sinner’s Swing.” It was an extension of that—more of me! I distinctly remember sitting in front of Al on a wooden stool and playing that part during my solo where it climbs. Well, I can’t count, so Al needs to follow me. I’d sit right in front of him, and then he’d look at me like, “Now!” </p> <p><strong>Al’s drums on the intro sound like a dragster warming up before a race.</strong></p> <p>When he started putzing around with that, we were going, “Holy shit!” It really does sound like a hot rod or dragster. You can only pull that off with Simmons drums because they sound so unique. Regular drums don’t sound the same. </p> <p>There’s something to be said about the years that we used Simmons. The only bad part was how those drums affected Al’s wrists. When you hit those things there’s no bounce or give. It’s like pounding concrete, and thanks to the amounts of Schlitz malt liquor we drank, we hit everything twice as hard. Al would hit them with sticks that were like baseball bats.</p> <p>That first drum fill on “I’ll Wait” right before the vocals was an accident. It’s one of my favorite parts of the song. Al hit the hi-hat instead of the cymbal. The only way we could record in that room was to have Al play just the drums and then later overdub the cymbals. He just forgot to hit the cymbal. It reminds me of Ginger Baker on “White Room” where Ginger does a similar thing on the first verse.</p> <p><strong>You've said that “I’ll Wait” got the most resistance from others.</strong></p> <p>Ted hated that song. When I played it for him, he kept humming “Hold Your Head Up” by Argent just to piss me off. It doesn’t sound anything like that. </p> <p><strong>“House of Pain” originally dates back to the demos you recorded with Gene Simmons and the Warner Bros. demos, but the version on <em>1984</em> is different. How did it finally make the cut six albums later?</strong></p> <p>The only thing that’s the same is the main riff. The intro and verses are different, I guess because nobody really liked it the way that it originally was. </p> <hr /> <p><strong>You also mixed the album at 5150. Was that a challenge?</strong></p> <p>The funniest story about the whole record was near the end, when Donn and I were mixing it. Ted seemed to think that we were already done, and we had a deadline to meet. </p> <p>The original plan was to release the album on New Year’s Eve of 1984, but Donn and I weren’t happy with everything on it. Donn and I would be in there mixing and the phone would ring. It would be Ted at the front gate to my house, wanting to come in. </p> <p>To this day, I don’t think that Ted knows what actually went on. My whole driveway is like a big circle. So Donn would grab the master tapes, put them in his car, go out the back gate, and wait as Ted was coming through the front gate because Ted wanted the tapes. He’d ask where Donn and the tapes were, and I’d say that I had no idea. </p> <p>This went on for about two weeks. Little did he know that Donn was sitting outside the back gate, waiting for him to leave. We had walkie-talkies and I would tell Donn when Ted was leaving. Then Donn would drive down the hill and come back in through the front gate, and Ted never saw him as he was going out behind him. It was a circus! </p> <p>Nobody was happy with Donn and me. They thought we were crazy and out of our minds. Ted thought that Donn had lost it and was going to threaten to burn the tapes. That was all BS. We just wanted an extra week to make sure that we were happy with everything. Ted just didn’t see eye to eye with the way I looked at things. That was my whole premise for building the studio. I wanted to make a complete record from end to end, not just one hit. As soon as “Jump” was done, he looked at the rest of the album as filler. It wasn’t that to me. It’s a good record because it was different. </p> <p><strong>It’s ironic that the only thing that kept <em>1984</em> out of the Number One spot on the Billboard 200 albums chart was Michael Jackson’s <em>Thriller</em>, which you also played on.</strong></p> <p>We had the Number One single, but he had the Number One album. Of course everyone blamed me. They said, “If you hadn’t played on ‘Beat It’ that album wouldn’t be Number One.” We’ll never really know who helped who more. I do know that when I played on his record, it helped expose Van Halen to a different audience. </p> <p><strong>Some of the best-selling rock albums of all time never made it to Number One on the charts, like AC/DC’s <em>Back in Black</em>, <em>Led Zeppelin IV</em> and Boston’s debut album. Peak chart positions aren’t always an indicator of success.</strong></p> <p>We were projected to go to Number One the week when Michael Jackson was filming that Pepsi commercial and burned his hair [on January 27, <em>1984</em>]. Then that happened. Everyone was going, “Oh, Michael burned his hair! We’d better go buy his record.”</p> <p><strong>A similar thing happened with [Van Halen’s 2012 album] <em>A Different Kind of Truth</em>. It was supposed to debut at Number One, but it was released the same week as the Grammys when Adele won a bunch of awards, which suddenly spiked her album’s sales.</strong></p> <p>I knew that was going to happen. We sold close to 200,000 records, which would have made the album number one almost any other week of the year. But being number one doesn’t really mean jack fuck all. We sold twice as many records as other records that year that landed in the Number One position. <em>1984</em> and <em>Van Halen<em> are among a very small group of albums that have won RIAA diamond certification for selling more than 10 million copies. Neither one of those records ever went to Number One.</em></em></p> <p><strong>The <em>1984</em> tour was also one of the band’s biggest tours ever. </strong></p> <p>Our live show for the <em>1984</em> tour just could not get any bigger, but it was so over the top that we never made any money from it. We had 18 trucks hauling the stage and equipment. That was unheard of. The standard lighting rig had 500 to 700 lights, and we had over 2,000. We could never have topped that. We had the banners with the Western Exterminator guy on them [an illustrated character with a top hat, sunglasses and a large hammer, used in the company’s marketing]. We filled the entire place with equipment and lights. Great memories. </p> <p><strong>Was the Frankenstein still your main guitar in the studio on that album?</strong></p> <p>I had actually retired the Frankenstein by then. I’m pretty sure I used the Kramer 5150 guitar the most on that album—“Panama,” “Girl Gone Bad,” “House of Pain,” the solos on “Jump” and “I’ll Wait.”</p> <p><strong>You used a ’58 Gibson Flying V on several songs as well, particularly “Hot for Teacher” and “Drop Dead Legs.”</strong></p> <p>You are very right. The ride out lick that I play on the last minute and a half of “Drop Dead Legs” came afterward. We had already finished recording the song, and then I came up with that part, which I thought would sound great at the end of the song. I’m not sure how Donn put it together, but we recorded it separately and added it to end of the song, even though it sounds like it was recorded at the same time. That ride out solo was very much inspired by Allan Holdsworth. I was playing whatever I wanted like jazz—a bunch of wrong notes here and there—but it seemed to work.</p> <p><strong>Your solos on the entire record are some of your most innovative playing ever. You really were going outside of your comfort zone and playing new, unusual lines, especially on your solo to “Girl Gone Bad.”</strong></p> <p>Allan really inspired me. There weren’t any other guitarists out there who were blowing my mind at the time other than him. I don’t think anyone can copy what he does. He can do with one hand what I need two to do. How he does it is beyond me. But sometimes his playing is so out there that people don’t get it. </p> <p>I got Allan a record deal with Warner Bros., and I was supposed to co-produce the album with him, but he wouldn’t wait two or three weeks for me to get back from tour in South America, so he did it himself. I really wish that he would have waited. I believe I could have helped him a lot. </p> <p>He had this one riff on his demos that I heard completely different than how it ended up on his record. That lick could have been a monstrous Zeppelin-style riff, but instead it turned into a lounge song. I feel bad for Allan because the album could have really been something good for him. I did everything I could to help him. It wasn’t his only shot, but it was a hell of a shot. If he only would have waited a few weeks, things could have turned out very different.</p> <p><strong>What is creating the chorus-like sound on the intro to “Drop Dead Legs”?</strong></p> <p>I really don’t remember. That was all Donn, although Donn never added any flanging or phasing to my guitar. I think I may have used a little MXR Phase 90 on that. I played through the Eventide Harmonizer all the time back then, but I used it mostly to split my guitar signal so it came out of both sides. Back then I didn’t play in the control room—I was always out in the main room—so I never really knew what Donn was doing while I was recording tracks. I wouldn’t hear it until we were done playing, and I usually liked what I heard. </p> <p><strong>Your tone got drier on each successive album. On <em>1984</em>, I really only hear reverb on “House of Pain,” “Panama” and parts of “Girl Gone Bad.” </strong></p> <p>That came from my dislike of that EMT plate reverb that our first album is bathed in. It had its time and place, but it strikes a bad nerve with my brother and me. </p> <p><strong>You didn’t get caught up in all of the production gimmicks that were prevalent during that period in the Eighties. As a result <em>1984</em> doesn’t sound dated like most other albums that came out back then.</strong></p> <p>I’ve never been in touch with what is going on in the world because I rarely ever listen to anything else. I think that the record did well because it was ahead of its time and it was simply different. It was even different for Van Halen, particularly because it had two keyboard songs on it. Having built 5150, it was a very special time in my life, and that shows in the music. </p> <p><em>Photo: Neil Zlozower/Atlas Icons</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> <div class="field-item even"> <a href="/van-halen">Van Halen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/eddie-van-halen-looks-back-van-halens-landmark-1984-album-and-creation-5150-studios#comments Eddie Van Halen February 2014 Van Halen Interviews News Features Magazine Wed, 26 Feb 2014 16:29:49 +0000 Chris Gill http://www.guitarworld.com/article/20113 Video Finds: Van Halen Goes Acoustic http://www.guitarworld.com/acoustic-nation-video-finds-van-halen-goes-acoustic <!--paging_filter--><p>In honor of <em>Guitar World's</em> February 2014 Van Halen cover, here's a little acoustic Van Halen for your listening pleasure. </p> <p>This live in-studio recording is from a DVD called <em>The Downtown Sessions</em>, which was included within a special package of the band's 2012 album, <em>A Different Kind of Truth.<em> </em></em></p> <p>The recording features David Lee Roth on vocals, Eddie Van Halen on guitar, Wolfgang Van Halen on bass and Alex Van Halen on drums.</p> <p>The DVD contains several songs shot live acoustically, including "Panama," "You and Your Blues" and "Beautiful Girls." </p> <p>Here's their Kinks cover, "You Really Got Me." Enjoy!</p> <p><iframe src="//player.vimeo.com/video/35143278" width="620" height="365" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe> </p><p><a href="http://vimeo.com/35143278">You Really Got Me</a> from <a href="http://vimeo.com/vanhalen">Van Halen</a> on <a href="https://vimeo.com">Vimeo</a>.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/van-halen">Van Halen</a> </div> <div class="field-item even"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/acoustic-nation-video-finds-van-halen-goes-acoustic#comments Acoustic Nation Eddie Van Halen Van Halen Blogs Videos Fri, 10 Jan 2014 02:55:58 +0000 Acoustic Nation http://www.guitarworld.com/article/20167 Photo Gallery: Eddie Van Halen Guitar World Covers Throughout the Years http://www.guitarworld.com/photo-gallery-eddie-van-halen-guitar-world-covers-throughout-years <!--paging_filter--><p>In celebration of the new February 2014 issue of <em>Guitar World</em>, which features Eddie Van Halen on the cover, we present this photo gallery of every EVH appearance on a GW cover.</p> <p><a href="http://store.guitarworld.com/collections/guitar-world/products/guitar-world-february-14-van-halen/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=EVHCoversGallery">The new issue is available now at the Guitar World Online Store</a>.</p> <p>The new issue rewinds 30 years to the making of Van Halen's masterpiece, <em>1984</em>. Van Halen details how he built his own home studio and took control of his group's musical direction. The result was <em>1984</em>, the album that established Van Halen as chart-topping superstars. For an excerpt from the new interview, <a href="http://www.guitarworld.com/eddie-van-halen-looks-back-van-halens-landmark-1984-album-and-creation-5150-studios">head HERE.</a></p> <p>We also mark the 25th anniversary of <em>No Rest for the Wicked</em>, as Ozzy Osbourne and Zakk Wylde recall the audition, rehearsals and recording sessions that resulted in their auspicious debut outing. </p> <p><strong><a href="http://store.guitarworld.com/collections/guitar-world/products/guitar-world-february-14-van-halen/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=EVHCoversGallery">For more about the new issue, visit the Guitar World Online Store.</a></strong></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/van-halen">Van Halen</a> </div> <div class="field-item even"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/photo-gallery-eddie-van-halen-guitar-world-covers-throughout-years#comments Eddie Van Halen Van Halen Galleries News Features Fri, 03 Jan 2014 18:00:57 +0000 Damian Fanelli http://www.guitarworld.com/article/13631