Official "A Different Kind of Truth" Album Review Thread

[Zing!]

The last couple times I've listened to the album I've been starting on "She's the Woman" because I played "Tattoo" into the ground. This last time I had it on repeat, so after "Beat's Workin'" it looped back to "Tattoo." I should have never skipped it. It's as important to the overall album experience as everything else on the album.

This has been something I've debated when I FINALLY get to listen to the whole thing on Tuesday. Do I start with 'Tattoo', which - as you've said - has been pounded right into the ground like a carnie tent peg - or do I skip right to 'She's The Woman?' I've only got so much time off work to go buy the album, crank it, then head back. Don't want to waste time on the familiar - but I'm also a purist that wants to hear the album properly - straight through from start to finish. Decisions, decisions...

Is it Tuesday yet?

[ashstralia]

zing, your first 5 or 6 listens should start at song#2 imho.

then when you hear the whole album with tattoo later, it's the cherry on top.

edit; last night was my first time listening on the big stereo, and slightly chemically altered. so much better... everything jumps out at ya just right.
i turned the stereo on and it returned the favour.

[SNIPER]

I could do without Beats Workin'

NAAAAAWWWWWW! Shut up you big silly!!!!!!! Ha!!!

[Carmine]

I may get flamed for this but I think its better than any of the 6...had this been their first release, everything after would have paled in comparison..I am blown away by every thing Ive heard so far( except the acoustic YRGM)...these guys are back with a vengeance..seems they have had their ears open the last few years..

I agree, 100%. I didn't even have to convince myself of it....this is their best work ever....no question in my mind....

[ashstralia]

I could do without Beats Workin'

well make yourself a special 12 track retard edition ffs...

[Carmine]

This guy is on crack...either that or the 86-04 replacement singer wrote this review....

http://www.torontosun.com/2012/02/03/new-van-halen-doesnt-ring-true

Van Halen
A Different Kind of Truth

Fair warning, Van Halen fans: How you feel about the reunited arena-rockers’ first album in 28 years may depend on your definition of the word ‘new.’

Plain and simple, A Different Kind of Truth is a different kind of comeback record. For this long-awaited disc, singer David Lee Roth and his clan of bandmates — guitar hero Eddie, wild-man drummer Alex and Eddie’s precocious son Wolfgang replacing bassist non grata Michael Anthony — didn’t sit down and write 13 songs from scratch. Instead, they raided the vault for unreleased demos and rarities from the ’70s and ’80s, which they revamped, recut and refurbished with new lyrics, melodies and even titles in most cases.

Nothing wrong with that. Bands do it all the time. The Stones’ Tattoo You was similarly assembled from leftovers and outtakes, and nobody calls shenanigans on that. Besides, what would you rather hear: Old Van Halen or new Van Halen? Thought so.

Having said that, something feels hinky here. Unearthing buried treasures is one thing, but basing a comeback album around a whack of songs that didn’t make the cut three decades ago smacks of desperation and deception. It makes you wonder: Is Eddie’s well dry? Does he not care? Are he and Roth simply unable to work together? And if they did want to release these oldies, why renovate them? Why not just polish up the old tracks and issue them in a box, as the Stones did with Some Girls and Exile on Main St.?

Whatever position you take, the real question is: Does the freakin’ thing fly? Well, half and half. The brothers Van Halen are still the two horsemen of their own musical Apocalypse. Eddie leads the charge, reeling off his usual pyrotechnic explosions and dive-bomb effects while Alex thunders and gallops alongside. Just hearing them work their crazy mojo again is a blast, even if it is from the past. Wolf, for what it’s worth, seems to hold up his end on the bass, though Anthony’s massive, high-altitude backup vocals are sorely missed. But the real fly in the ointment, sadly, is Roth. He’s still got some
powerhouse pipes, but he’s lost his trademark cat-in-heat yowl. Even worse, age hasn’t necessarily enhanced his melodic and lyrical abilities — he’s often wordy and unfocused here, singing against the beat and sacrificing melody for words. Ultimately, a few tunes burn serious rubber, but much of the disc feels like a retread.

For the once-mighty Van Halen, that’s different all right. But truthfully, it’s not always a good kind of different.

Tattoo | 4:46

They don’t exactly come out swinging on this midtempo single based on the unreleased ’70s tune Down in Flames. It’s basically the Jump of the album. But not as catchy.

She's the Woman | 2:59

This funky rocker dates back to some 1976 demos funded by Gene Simmons. But Roth’s new lyrics and stronger melody actually improve the song. Score one for him.

You and Your Blues | 3:45

Another midtempo number with a chuggy riff and some lung-busting vocals, word is it comes from Eddie’s instrumental score to the 1984 film The Wild Life.

China Town | 3:17

A monstrous thrash riff, pumping double-bass drumming from Alex and plenty of firepower. Don’t know when this was written, but it’s the heaviest track so far. About time.

Blood and Fire | 4:28

Originally titled Ripley and included on the Wild Life soundtrack, this starts with folksy arpeggios, shifts into a chiming pop-rocker, then builds to an anthemic chorus. Not bad.

Bullethead | 2:33

A hard-driving riff-rocker that made regular appearances in the band’s show in the ’70s. Roth updates the lyrics again, but I prefer the original: It has more momentum. And a drum solo.

As Is | 4:49

Speaking of Alex, he opens this one with some tom-tom thunder, before the whole thing explodes into a high-speed firecracker a la Hot For Teacher. Roth’s lyrics are suitably randy.

Honeybabysweetiedoll | 3:49

Eddie and co. lay down some low-down heavy funk. Roth doesn’t have much to do — and when he does chip in, he’s all over the beat and jamming in way too many words. A near miss.

The Trouble With Never | 4:01

More funk-rock — but with a big arena-rock chorus full of stacked harmonies and some wah-wah pedal work from Eddie. This could be a single.

Outta Space | 2:56

Back to the oldies. Fans may know this propulsive basher as Let’s Get Rocking from those 1976 demos. The new lyrics are goofy, but Roth really belts out the vocals. So-so.

Stay Frosty | 4:10

It’s a blatant knockoff of Ice Cream Man, from acoustic-blues opening to boogie-metal ending. One problem: Roth’s motormouthed metaphysical jibber-jabber.

Big River | 3:53

In the ’70s, it was called Big Trouble. With the four-on-the-floor beat and giant ringing chords, it’s sort of a poor cousin to Runnin’ With the Devil.

Beats Workin' | 5:03

One last blast from the past — 1976’s Put Out the Lights is the source for a midtempo slice of funky cowbell-plonk rock.

[VHscraps]

Read that, too, man - earlier today.

This 're-tread' stuff is pretty lame as a hook on which to hang 'criticism'. As everyone has been saying on here for weeks - since the Crimson Clown started spouting about 'old stuff = no inspiration' - so what if they went back to some old ideas?

Ya think Brooce doesn't do it all the time? Bob Dylan? or countless others? Well you don't know zilch about the creative process.

You bet your ass they do it too.

Anyhow this stuff is ALIVE!! Most bands' new material is just retreads of the same old ideas masquerading as new songs. This is the real shit. Real energy. Real attitude.

[ashstralia]

"Roth’s motormouthed metaphysical jibber-jabber."

some people just won't ever get it my friend. journalists think they're clever, we know the truth. a different kind, that is.

[Carmine]

I've said it before, the simple fact that they knew that songs they wrote almost 40 years ago would stand up in 2012 the way they have says everything about their music...it is...in fact....timeless.

[SNIPER]

I really do not get the comparison with "FROSY" and ICM these ass wipes are saying. Aside from blues going heavy they are veeeerrrry different sounding tunes.

[ashstralia]

agree sniper. my fave song atm.

←

[Pushcomes2Shove]

This guy is on crack...either that or the 86-04 replacement singer wrote this review....

http://www.torontosun.com/2012/02/03/new-van-halen-doesnt-ring-true

Van Halen
A Different Kind of Truth

Fair warning, Van Halen fans: How you feel about the reunited arena-rockers’ first album in 28 years may depend on your definition of the word ‘new.’

Plain and simple, A Different Kind of Truth is a different kind of comeback record. For this long-awaited disc, singer David Lee Roth and his clan of bandmates — guitar hero Eddie, wild-man drummer Alex and Eddie’s precocious son Wolfgang replacing bassist non grata Michael Anthony — didn’t sit down and write 13 songs from scratch. Instead, they raided the vault for unreleased demos and rarities from the ’70s and ’80s, which they revamped, recut and refurbished with new lyrics, melodies and even titles in most cases.

Nothing wrong with that. Bands do it all the time. The Stones’ Tattoo You was similarly assembled from leftovers and outtakes, and nobody calls shenanigans on that. Besides, what would you rather hear: Old Van Halen or new Van Halen? Thought so.

Having said that, something feels hinky here. Unearthing buried treasures is one thing, but basing a comeback album around a whack of songs that didn’t make the cut three decades ago smacks of desperation and deception. It makes you wonder: Is Eddie’s well dry? Does he not care? Are he and Roth simply unable to work together? And if they did want to release these oldies, why renovate them? Why not just polish up the old tracks and issue them in a box, as the Stones did with Some Girls and Exile on Main St.?

Whatever position you take, the real question is: Does the freakin’ thing fly? Well, half and half. The brothers Van Halen are still the two horsemen of their own musical Apocalypse. Eddie leads the charge, reeling off his usual pyrotechnic explosions and dive-bomb effects while Alex thunders and gallops alongside. Just hearing them work their crazy mojo again is a blast, even if it is from the past. Wolf, for what it’s worth, seems to hold up his end on the bass, though Anthony’s massive, high-altitude backup vocals are sorely missed. But the real fly in the ointment, sadly, is Roth. He’s still got some
powerhouse pipes, but he’s lost his trademark cat-in-heat yowl. Even worse, age hasn’t necessarily enhanced his melodic and lyrical abilities — he’s often wordy and unfocused here, singing against the beat and sacrificing melody for words. Ultimately, a few tunes burn serious rubber, but much of the disc feels like a retread.

For the once-mighty Van Halen, that’s different all right. But truthfully, it’s not always a good kind of different.

Tattoo | 4:46

They don’t exactly come out swinging on this midtempo single based on the unreleased ’70s tune Down in Flames. It’s basically the Jump of the album. But not as catchy.

She's the Woman | 2:59

This funky rocker dates back to some 1976 demos funded by Gene Simmons. But Roth’s new lyrics and stronger melody actually improve the song. Score one for him.

You and Your Blues | 3:45

Another midtempo number with a chuggy riff and some lung-busting vocals, word is it comes from Eddie’s instrumental score to the 1984 film The Wild Life.

China Town | 3:17

A monstrous thrash riff, pumping double-bass drumming from Alex and plenty of firepower. Don’t know when this was written, but it’s the heaviest track so far. About time.

Blood and Fire | 4:28

Originally titled Ripley and included on the Wild Life soundtrack, this starts with folksy arpeggios, shifts into a chiming pop-rocker, then builds to an anthemic chorus. Not bad.

Bullethead | 2:33

A hard-driving riff-rocker that made regular appearances in the band’s show in the ’70s. Roth updates the lyrics again, but I prefer the original: It has more momentum. And a drum solo.

As Is | 4:49

Speaking of Alex, he opens this one with some tom-tom thunder, before the whole thing explodes into a high-speed firecracker a la Hot For Teacher. Roth’s lyrics are suitably randy.

Honeybabysweetiedoll | 3:49

Eddie and co. lay down some low-down heavy funk. Roth doesn’t have much to do — and when he does chip in, he’s all over the beat and jamming in way too many words. A near miss.

The Trouble With Never | 4:01

More funk-rock — but with a big arena-rock chorus full of stacked harmonies and some wah-wah pedal work from Eddie. This could be a single.

Outta Space | 2:56

Back to the oldies. Fans may know this propulsive basher as Let’s Get Rocking from those 1976 demos. The new lyrics are goofy, but Roth really belts out the vocals. So-so.

Stay Frosty | 4:10

It’s a blatant knockoff of Ice Cream Man, from acoustic-blues opening to boogie-metal ending. One problem: Roth’s motormouthed metaphysical jibber-jabber.

Big River | 3:53

In the ’70s, it was called Big Trouble. With the four-on-the-floor beat and giant ringing chords, it’s sort of a poor cousin to Runnin’ With the Devil.

Beats Workin' | 5:03

One last blast from the past — 1976’s Put Out the Lights is the source for a midtempo slice of funky cowbell-plonk rock.

Yea - Well Fuck You!!!!!!!!!!!

[Yount]

urgh that review was a one-listen critique. Seriously, we all know how long it takes to understand Dave's stuff (like he says, he plans it that way.)

[Zing!]

Here's the thing. That reviewer wants to hear:

Oh, here we go! Yeah yeah
Yesterday, I saw my love light shine straight ahead in front of me
You never really know when love'll come or go
But yesterday I was alone
Suddenly I walked you home
I never really knew what love could make me do

I'll send the message in a bottle
trust in the mercy of the sea
Stormy weather
Waitin' for love to set me free

Everyday I watch the tide roll in, Stay until it rolls away
Though nothin's on the shore, I'm runnin' back for more
Hey, Feels so good (So good) Woo!
And it feels so nice, When love comes around
I feel good (So good) So good, so good
An' it feels so nice (So nice) Woo!
Ow! Feels so good

(Guitar Solo)

Hey, Gonna make her feel nice (So nice)
When love comes around
I feel good, woo! (So good)
So good, so good, so good (So nice)
Now come on baby, make me feel good

(So good)
Get up, get up, get up, get up (So nice)
Uh! Hey baby, I feel good (So good)
Woo! Now come on, now come on (So nice)
Yeah, make it nice. Ow!
So good, so good

[SNIPER]

Here's the thing. That reviewer wants to hear:

Oh, here we go! Yeah yeah
Yesterday, I saw my love light shine straight ahead in front of me
You never really know when love'll come or go
But yesterday I was alone
Suddenly I walked you home
I never really knew what love could make me do

I'll send the message in a bottle
trust in the mercy of the sea
Stormy weather
Waitin' for love to set me free

Everyday I watch the tide roll in, Stay until it rolls away
Though nothin's on the shore, I'm runnin' back for more
Hey, Feels so good (So good) Woo!
And it feels so nice, When love comes around
I feel good (So good) So good, so good
An' it feels so nice (So nice) Woo!
Ow! Feels so good

(Guitar Solo)

Hey, Gonna make her feel nice (So nice)
When love comes around
I feel good, woo! (So good)
So good, so good, so good (So nice)
Now come on baby, make me feel good

(So good)
Get up, get up, get up, get up (So nice)
Uh! Hey baby, I feel good (So good)
Woo! Now come on, now come on (So nice)
Yeah, make it nice. Ow!
So good, so good