Just wondering but he had to have received some sort of payment in a lump sum perhaps in exchange for a confidentiality agreement? Could he get some residuals for album sales, even? He had three different versions of 5150 songs supposedly....
Just wondering but he had to have received some sort of payment in a lump sum perhaps in exchange for a confidentiality agreement? Could he get some residuals for album sales, even? He had three different versions of 5150 songs supposedly....
One would think so, because all he would have to do is produce a tape of those sessions, and it would be obvious that the songs were written - in one form or another - before Sammy slithered in the door.
Now on the other hand, if anything on ADKOT had been written during the Van Hagar years, you can bet that the Ched Rocker would be shipping cases of tequila to any lawyer willing to take it to court.
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I somewhat doubt Dave got anything from 5150 royalties... They had good lawyers and there was a lot of record company mouths fed off VH's money machine beyond the band members back in those days.
"If you want to be a monk... you gotta cook a lot of rice...”
I'd tend to think not, if only because the work Dave did at the beginning of the 5150 sessions - according to both Eddie and Dave - never reached anything beyond the rehearsal/songwriting stage. I've never even heard anything from anyone stating that Dave even made any attempts to record or demo anything they were rehearsing for the few 5150 tunes CVH jammed on. I seem to recall Ed saying he had maybe 3 of the tunes worked out when Roth was rehearsing with them, and Summer Nights was one of them, but I've never heard anything along the lines that all the songs that ended up on 5150 were already done before Sammy joined the band.
So the material never even reached a point with Dave where he got any songwriting credit in terms of the publishing.
Roth also claims he never asked for any type of settlement when he left the band in 1985, but one would have to imagine some type of agreement was worked out regarding percentages of album sales on the 6-pack stuff.
Scramby eggs and bacon.
Would have been awesome to see how good "5150" could have actually been, instead of the mostly commercial crap it was.!
On a strictly instrumental level referencing the guitar work, I thought the title track to 5150 was quite good. Same goes for Summer Nights. Get Up was a high-octane rocker. The rest of the material, even on an instrumental level, is a bit trite. Plus, the production tone ruined that album as much as the weak songs did, to my ears: mid-range mush.
IDK, I think those three songs were more or less finished or close to being so in demo mode. "Summer Nights" was essentially a reworking of virtually completed song with Dave called "Eat Thy Neighbor!" according to Brett at the Links...
Pretty sure Ed burned everything after 5150 was finished...
A Roth version of that album would have been very different IMHO.
"Good Enough" - Better vocal melody/lyrics with Roth
"Why Can't This Be Love" Better vocal melody/lyrics with Roth
"Get Up" Better vocal melody/lyrics with Roth
"Dreams" - Possibly dropped or another I'll Wait.
"Summer Nights" Better vocal melody/lyrics with Roth
"Best of Both Worlds" Better lyrics
"Love Walks In" - Dropped
""5150"" Better vocal melody/lyrics with Roth
"Inside" - This is filler. I haven't listened to it in years but it's not even a song on the album. Probably dropped.
5150 with Roth could have ended up being 6 of those plus 2 covers. I think it would probably been weaker than 1984 because I don't think Roth could turn any of those tunes into a HFT, Panama or make WCTBL repeat the success of Jump.
Good Enough might have been interesting in terms of Roth taking a pass at it, although to be honest musically it was a bit pedestrian. It's sort of Van Halen by-the-numbers: nothing surprising, yet nothing exceptional, either.
Why Can't This Be Love I can do without, and certainly without Dave's take on it. Mundane, and sort of lacking identity: sounds like it could have been churned out by any top 40 pop band.
Get Up is an energetic rocker. Nothing earth shattering in terms of breaking new ground, but perhaps Roth's lyrical or vocal take on it would have made it slightly better.
Dreams, much like Why Can't This Be Love, I can do without. This isn't the type of stuff I ever wanted to hear from Van Halen to begin with.
Summer Nights isn't a bad tune at all. In point of fact, Summer Nights and the 5150 title track are really the only two tunes I liked from the guitar aspect. I'd be up for hearing what Dave could do with that.
Best Of Both Worlds...that main chord sequence is just...like, by the time the second chorus comes around, I'm literally bored with it. It's a very simple song, and shows a lot of restraint on Eddie's part: he's literally just playing what was needed for a simple tune. But it's a little bit like the Where Have All The Good Times Gone? cover in the respect that the main riff is played to the point of overkill. It's almost as if Best Of Both Worlds is missing an additional chord sequence, and it sounds a bit lazy and uninspired to me.
Love Walks In - again, this isn't something I want to hear from Van Halen. While this was clearly something Eddie wanted to do, it's not the type of thing I want to hear from him: it's mundane synth pop of such a schmaltzy nature that - much like Why Can't This Be Love - sounds like it could have been written by anybody.
5150 - Great tune. Probably Eddie's best work on the album. Doubtless Roth could have improved on the lyrics, but really it's only this tune and Summer Nights that reminded me why I liked Van Halen so much to begin with.
Inside - Indeed, that IS just charmless filler. Something that would have been better served left in the vault: 5150 ending on the title track would have served the album slightly better.
Agreed, but with Dave involved I think the song structure would have been much different.
Even Summer Nights, although one of the better tunes, could have done with some re-arranging.
In my mind 5150 is the most complete VH tune that could literally have Dave insert his own lyrical treatment.
For some reason I always got the feeling that "Good Enough" should have been "Yankee Rose" and "5150" would have been "Going Crazy" if Dave had stayed in the band. Music is not an exact fit, but then Dave couldn't have Vai playing Eddie's music on the record, so it would have had to be re-written anyway.
Of course and I get that and however I would say sit back and imagine the situation where Sammy Hagar is presented with the music to Jump and try to imagine what the vocal melody would have been.
Similarly imagine what Hagar would have done with the music to 'Hot For Teacher'.
Hey, love ya, babe, but is it okay if I DON'T try and imagine what Hagar would have done with the CVH music? Just having heard him try and cover the half dozen CVH tunes he did when he was in the band was more than enough to not want to hear him butcher any others.
But your point is completely taken. Hagar and Roth don't have the same tonality to their voices, they have different strengths as singers and completely different approaches to lyrics and phrasing. So even with my own preferences to the side, it's only natural that they both would approach the same piece of music two different ways.
Out of any of the tracks on the album, the tune 5150 is really the only one that made me wish at the time that Roth was still in the band for that album.
The rest of the album, leaving the backing/instrumental tracks as-is, none of 'em are really start-to-finish tunes I even WANT to hear Roth try and sing lyrics to.
5150 was a shit-hot smokin' track, and for me nowhere else on the album was it more apparent that Hagar's Hallmark Greeting Card Cliff Notes Rhyme Schemes weren't up to the standards that Eddie had set in the tune.
Van halen released albums after 1984 ..... get fucked. They any good
fuck your fucking framing
The complexity of Dave's vocal compositions would have significantly changed the compositions of all of that material. The melodies, timing signatures, breaks and dynamic range would have been completely different...
Those elements alone pushed Ed and the band into far more non-traditional musical rock compositions which is what made CVH unique. Hagar brought traditional 4/4 generic rock compositions to the formula... which allowed Ed to get lazy and produce some fairly unremarkable material. You hear bits and pieces of the Ed/Al genius combo in places but overall it lacks the edge that Dave's vocal compositions and timing signatures demanded and still do to this day.
If Dave had anything to do with the melody or musical composition he is entitled to financial royalties. Lyrics we know would also garner financial compensation but as we all know it is doubtful those lyrics are any of his. If the recording was like a painting and a one of a kind, then Dave would get nothing and the Hagar recorded one stands on its own but since it is mass produced with LP sales... Pandora's Box gets opened and Hagar did get some money for the use of "Can't This Stuff No More" because he was active in the musical composition
I got lost in the...
I just listened to a couple of minutes of it on YouTube for the first time in a long time. Immediately the shitty drum sound and horrific WTF album cover hit you in the face but struggling on musically it reminds me a bit of 'Blood and Fire' in that being given that music it would be difficult to come up with cohesive vocal melody that didn't sound bitty.
Roth of course knocked that one out of the park so yeah it would be interesting to hear what he would have done with 5150.
Dave didn't contribute to the melodies or composition of the 5150 material... to my ears it's a clear downgrade when you compare it to 1984's material. Like trading in a Dodge Challenger Hellcat for a fucking Ford Focus!! Sure, it's got wheels and moves but it was a whole different ride...
For the most part I concur, but there is some Dave on "Summer Nights" as the song was effectively written already. It's a clear break in style from CVH whether Dave stays or not, Van Halen, and Ed, was moving to a more rhythmic riff style that was more in line with mid-eighties rock music. Hagar and Ed especially may have altered the arrangement a bit, but I would bet a good chunk of change that the song is very close to "Eat Thy Neighbor" with less interesting lyrics and Hagar's screechy bitch howls that sound like Janis Joplin being raped by gorillas...
♪♫♬Oh lawd, won't you please ♪♫♬ get me a dodge hellcat♪♫♬...
UhuhUHUhuhuhhyuh....
Last edited by Nickdfresh; 05-14-2017 at 11:00 AM.
To these ears Dave didn't have an influence on 5150. He was off doing Crazy From the Heat EP/movie thing at the time.
I hear similarity but not a steal...
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