"The Ched Chunkhead Opens His Insufferable Piehole And Inserts Both Feet" Thread

[Etienne]

AVC: Van Halen started doing more love songs once you joined. Were you trying to broaden the band’s audience?

SH: What happened was, when Eddie heard my vocal range, he got inspired and started busting out keyboards. Because he would try to do it before and it wouldn’t work, because you have to sing a certain way to be a little more melodic. Dave was great with screaming over the top of a good hard riff—that’s his forte, and where his limitations were. Whereas I had more of a vocal range.

This vocal range thing makes me mad every time I read it.

If you have to screech to reach higher notes then that's not a natural vocal range.

This is real musicality, Dave's singing Ashley Abernathy:

[DavidLeeNatra]

Dance the night away..."and I feel her from across the room"...Dave swings in the line, hits the scream, laughs about it and brings it home with the next line...Sam NEVER nailed a line like that in his whole career...as I said before...Pavarotti was fat, had a bigger range and was sporting a goatie...but I didn't want him to sing in VH either...

[NIN1211]

flying Dave,



kick it, fatso...

Guy no top-----make Mr.Miyagi proud
Guy on bottom------Miyagi ashamed!

[Etienne]

I've recently read a Chickenfoot interview in a german guitar magazine.

First of all Hagar complains that he always had to do the arrangements in Van Hagar. Because EVH allegedly wasn't capable to do it. Hagar had to explain to EVH, this is a bridge, this is the chorus, play it twice for my lyrics. Something like that.

Hagar about Tattoo. He doesn't like it because it's an outtake of an old 70's EVH idea. Not good enough for Diver Down or so. Dave sings horrible, Hagar says, Dave doesn't sing here, he mumbles.

[katina]

This is real musicality, Dave's singing Ashley Abernathy:

AND WHAT A KIND OF HUMAN BEING HE IS

AP, Sep 7, 2006 10:38 am PDT
When Ashley Abernathy was 9 years old and suffering from leukemia, her spirits were lifted by a serenade from David Lee Roth.
The former Van Halen frontman recorded a heart-rending tune especially for Ashley.

"Who deals the cards? Ashley Abernathy," Roth sang. "Who steals your heart? Ashley Abernathy. Ashley Abernathy makes you happy!"

"It was just amazing, really cool, to think that a rock star would've recorded a song for me," said Ashley, now 15 and starting 10th grade in Gastonia, N.C. Her leukemia has been in remission for almost five years.

The song was produced by the Songs of Love Foundation, a Queens-based nonprofit that records personalized tunes for chronically or terminally ill children and young adults. This month, the foundation expects to reach a milestone with its 10,000th recording.

The foundation plans to celebrate during a Black Eyed Peas concert Sept. 8, when it will enlist assembled fans to sing tune number 10,000. The song is for Saeed Boynes, 14, who has sickle cell anemia and is being treated at the Children's Hospital at Montefiore in the Bronx.

Other artists who have worked with the foundation include Michael Bolton, Ronnie Spector, Jamie-Lynn Sigler, who plays Meadow Soprano on HBO's "The Sopranos," and the cast of the Broadway show "Titanic," according to the organization's Web site.

The Songs of Love Foundation was founded in 1996 by John Beltzer, 46, a musician and songwriter whose Queens apartment doubles as a recording studio. It is named after a song written by Beltzer's brother Julio, who committed suicide 12 years earlier — the final act of a struggle with depression and schizophrenia.

"I really believe that this was his gift," Beltzer said. "The seed he planted, after a 12-year incubation period, that seed sprouted in January 1996."

Songs of Love works with hospitals and families around the country to identify a patient for whom the foundation can record a song.

The child or young adult's family completes a biographical information sheet, which they send back to the foundation. The group then commissions someone from its team of songwriters to craft a tune based on those details — name, age, favorite hobbies — and within 25 days, the song is recorded, transferred to a CD and shipped to the child. The CD is given as a gift.

Songwriters are offered a $75 to $100 stipend per song to help cover the costs of writing, producing and recording. The organization, which has 12 full- and part-time employees, is supported through individual and corporate donations and grants.

The melodies aren't meant as musical get-well cards, but, as Beltzer describes it, serve as "a constant reinforcement of their healthy selves."

Ashley Abernathy says her song still resonates with her.

"I love listening to it," she said.

[sadaist]

Sep 7, .

Hey...that's my birthday!



LOL. Never in a million years would you expect to hear Dave say "Beanie Babies". The man never fails to deliver & surprise me. I think we picked a good one 30+ years ago to follow folks.

[Yount]

For anyone who isn't playing close attention, that article is over a year old.

Ah I left that detail out on purpose, very shifty. It's 2011 I'm pretty sure. However these comments are not dissimilar to the ones he is currently making. Hagar throughout his career - despite being perhaps the luckiest man alive in the 80's (or unluckiest depending on how you look at it) - has always come across as an excuse maker, a liar, and a flat out shark businessman. Love is such and overused and exploited theme and is used by the Fat Wobbler to brainwash the general public. He thinks he's in the same league as VH & DLR, who (in my opinion) have risen to the top simply because their art is REAL. I can picture Sammy giving many a blow job and taking many an anal rod in the buttcheeks to get gigs and fame and any attention in the music bizz.

[SunisinuS]

SH: What happened was, when Eddie heard my vocal range, he got inspired and started busting out keyboards. Because he would try to do it before and it wouldn’t work, because you have to sing a certain way to be a little more melodic. Dave was great with screaming over the top of a good hard riff—that’s his forte, and where his limitations were. Whereas I had more of a vocal range.

I'm so tired of hearing this bullshit! And that IS what it is!

David Lee Roth: G1-G♯5

Sammy Hagar: E2-F♯5

Add that shit up.... Singing higher doesn't mean more. He's a lying piece of shit and I'm tired of him getting away with it every fucking time he opens his peter beaters. Why doesn't the interviewer ever call him on his bullshit?

And that bit about keyboards is priceless. "You have to sing a certain way to be more melodic"? PUHLEASE! "Just Like Paradise" is more melodic than anything that ass has ever written and its NOT A LOVE SONG!

Now, I know it doesn't matter who has more range. Hell, I wouldn't care about it if it were true. I would still prefer CVH over Van Hagar. I just have a pet peeve where I can't stand it when people make provably false claims and don't get called on it. I don't care what the avenue whether its this delusional eunic and vocal range or some P.O.S. politician. It just bugs me.

Sorry for venting!!!!

Little Girls can sing lower than Sammy Hagar. Ever hear him ONCE go low? It is called a "Range" people....Low TO High: Dave has it....Sammy Doesn't.





1. 0:00 - Singing down to C♯2 in a backing vocal from "King Of The Hill" (1998), with some short notes up to E5 in there too!
2. 0:17 - Sung C♯2s from "No Big 'Ting" (1994), Roth's attempt at reggae.
3. 0:34 - A spoken bit from the end of "Indeedido" (1998) reaching C♯2 in full voice and G♯1 in vocal fry.
4. 0:42 - A spoken section from "Counter-Blast" (1998), bottoming a C2.
5. 0:54 - A C2 from "The Full Bug" (1982).
6. 1:00 - Full voice notes down to C2 and fry down to G1 from "Tight" (1998).
7. 1:11 - A low rap from the "You're Breathin' It" Urban NYC mix (1994), bottoming at B1.
8. 1:29 - A short F♯5 and several strong low notes down to B1 from "Counter-Blast" (1998)!
9. 1:34 - Some lows down to B1 from the very random vocal solo "Act One" (2003).
10. 1:48 - The verse from "Tight" (1998), in which Roth features very strong low notes down to Bâ™1 in full voice and E1 in fry.
11. 2:16 - A breathy slide down to Bâ™1 from "Experience" (1994).
12. 2:21 - A slide down to Bâ™1 from the end of "Wa Wa Zat!! (1998)"
13. 2:29 - A great passage for low notes from the end of "Big Train" (1994). Bottoms at A1.
14. 2:44 - A very long passage from "If 6 Was 9" (2003) that really showcases Roth's low range. Reaches A1 in full voice and E1 in fry.
15. 4:11 - Low notes from the bridge of "Me Wise Magic" (1996), bottoming at A1 in full voice and F♯1 in fry.
16. 4:31 - The verse of "Let It All Hang Out" (2003), which is an entire song full of spoken lows. This clip reaches G♯1 in full voice and E1 in fry.
17. 4:55 - Strong G♯1s from "Little Texas" (1998).
18. 5:01 - A spoken passage from the end of "If 6 Was 9" (2003), this time reaching G1.
19. 5:08 - A very strong low passage from "Slam Dunk!" (1998), with several G♯1s and one that touches on G1!
20. 5:23 - The last verse of "Let It All Hang Out" (2003), where Roth hits a full G1 in the last phrase, then slides down to an F♯1 in whispery fry.
21. 5:34 - Roth's lowest fry note: a gurgly D1 from "Can't Get This Stuff No More" (1996).
22. 5:43 - Now we begin with Roth's surprisingly extensive high range! First is some singing around D5 from "Counter-Blast" (1998).
23. 5:54 - Formidable singing up to D5 from "Big Train" (1994).
24. 6:04 - A strong D5 from the country version of "Jump" (2006).
25. 6:09 - Entire lines at Eâ™5 from the swing version of "Ice Cream Man" (2003)!
26. 6:28 - Singing up to Eâ™5 from "Indeedido" (1998).
27. 6:49 - A surprisingly emotional(!) Eâ™5 from "Experience" (1994).
28. 6:54 - A whole line sung at E5 from "Little Texas" (1998)!
29. 6:58 - A sustained E5 from the same song, with a whistle Eâ™6 right after.
30. 7:10 - A sustained E5 from the ending of "Blacklight" (1998).
31. 7:16 - Multiple F5s from the end of "She's My Machine" (1994).
32. 7:50 - Another set of numerous F5s from "Weekend With The Babysitter" (1998)!
33. 8:14 - A glissando from Eâ™2 to F5 from "Right Tool For The Job" (1998)!
34. 8:19 - A strong but short F♯5 from the beginning of "A Lil' Ain't Enough" (1991).
35. 8:25 - A short F♯5 from "King Of The Hill" (1998), followed by a short D5.
36. 8:30 - Strong F♯5s and F5s from the ending of "Slam Dunk!" (1998).
37. 8:46 - A shouted countdown from "Big Train" (1994), getting as high as G5.
38. 8:52 - Several yelps from "You Got The Blues, Not Me..." (2003), hitting F♯5 several times and G5 once.
39. 8:57 - A short G5 from "Me Wise Magic" (1996), right after a sung C♯2!
40. 9:04 - A brief yelp from "Big Train" (1994), touching on Roth's highest full voice note: G♯5!
41. 9:09 - Another G♯5, from "Weekend With The Babysitter" (1998)!
42. 9:14 - A falsetto Bâ™5 from "I'm The One" (1978).
43. 9:19 - A non-modal F6 from "Goin' Crazy" (1986).
44. 9:24 - Multiple whistle G♯6s from "You're No Good" (1979).
45. 9:35 - A whistle A6 from "Hot For Teacher" (1984).
46. 9:40 - A whistle Bâ™6 from "Bottoms Up!" (1979).
47. 9:45 - A short whistle C7 from "Elephant Gun" (1986).
48. 9:52 - Roth's highest notes overall: whistle up to D7(!) in the background during "You Really Got Me" (1978).

[Yount]

Holy shit SunisinuS how do you know all of that??

[Yount]

"We're dealing with a generation now when you say Sammy they think Sammy Hagar, not Sammy Davis Jr. That's unfortunate." - DLR

Here today, gone later today.

If you went out on the street, 9 in 10 would think you were talking about Sammy Newman. Footy beer pies.

[Diamondjimi]

Spam would never come back without Mike...it aint happening

Wanna bet???

[ThatArtGuy]

Spam would never come back without Mike...it aint happening

The businessman would throw his whole family under a bus for the chance to sell more liquor, I mean sing, I mean front for VH again.

[Seshmeister]

[chefcraig]

[katina]