Van Halen - A Different Kind of Truth

Hundreds if not thousands of reviews have been written by now, from major music publications like Rolling Stone to the earnest fans on iTunes ("The Comeback To End All Comebacks" according to someone named J The Destroyer). So of course, we simply must toss our two-cent's worth onto the the heaping pile of discourse over Van Halen's comeback album, A Different Kind of Truth.

The general opinion is that this album is a pleasant surprise for diehard VH fans, a competent set of songs that harkens back to the band's glory days, if not actually equalling the heights of Van Halen I, II, or 1984. After multiple listens, we agree with the consensus.  A Different Kind of Truth is an album worthy of the Van Halen name, and of a much higher quality than just about anyone who remotely cares about the band could have hoped for at this late stage in its career.

Eddie and Alex in their prime. (Image via Flickr)

Credit goes first and foremost to Eddie and Alex. They remain as tight and nimble a unit as they were thirty years ago. After all of the drugs, alcohol, cigarettes, and grueling time spent on the road, the brothers Van Halen can still rock mightily. Alex's playing is crisp and meticulous, and his dazzling cymbal and tom work are given ample time to shine on the album (shades of his iconic beat from "Hot for Teacher" can be heard in "China Town" and "As Is").  As for Eddie, well, Eddie is still the Golden Guitar God anointed by fans and critics shortly after the release of Eruption back in 1978. His signature riffs and unparalleled soloing are the bedrock of VH's sound, and his work on these thirteen songs assure his legions of followers that he would never, could never, tarnish the band's reputation for driving, melodic, hard-ass rock 'n' roll. King Edward provides riffs and solos aplenty, and it's the listener's pleasure (and duty) to pick their favorites. For starters, check out the two searingly vintage solos on consecutive tracks "Trouble with Never" and "Outta Space".

Diamond Dave, thank you for not bringing back the spandex.
(Image via Billboard)

The only true way the Van Halen name (or "brand" may be more appropriate) could ever be sullied is by its vocals (or "vocalist" may be more appropriate). We will sidestep any Gary Cherone references, and focus solely on the one and only, Diamond Dave. When "Tattoo" was showed up online in advance of the album's release, a collective groan issued forth from RAJ HQ after listening to Dave's "lame old guy" lyrics (mousewife to momshell?). But Dave's "Swap Meet Sally" poetics were countered by the song's simple but hooky chorus (TA-TTOO TA-TTOO). DLR's work on the rest of the album is similarly hit or miss. He channels Axl Rose in "China Town"'s story of a hard-luck soul's first venture "downtown". At least we think that's what the song is about. We kinda sorta tuned out Dave's words for much of the album (other than "She's the wombat!" and his reference to his Facebook page on "Outta Space"), though it is rather hard not to notice how his voice has lost a good amount of its power since 1984. He still aims to hit the squeals, screams, and shrieks that are so vital to his trademark vocal style, but we're disappointed (but not surprised) to find that his upper register just ain't what it used to be. We suspect he does too, as he relies often on another of his signatures, the guttural, seductive spoken-word delivery ("Bullethead" and "Stay Frosty" as examples). But Dave makes a noble go of it, and delivers his lyrics with the usual swagger and undeniable charisma that made him THE frontman of '80's rock.    

Michael Anthony

Many critics have lamented the absence of original bassist Michael Anthony on this album. His replacement, Eddie's son Wolfgang, provides completely adequate playing in a traditionally understated element of the VH sound. Wolfgang lays down the necessary rhythms on the album, and mostly follows his Uncle Alex's lead and stays the hell out of the way of his father's virtuosic fretwork. But Anthony is considered my many loyalists as VH's secret weapon, not for his work as a bassist but for his soaring backing vocals on many a classic Van Halen anthem. We couldn't agree more regarding Anthony's talents, but think that this issue is overstated on A Different Kind of Truth. Wolfgang actually provides some backing vocals, and Diamond Dave certainly needs all the help he can get. The end product is a serviceable facsimile of the original VH vocal sound, and that's good enough for us. Again, what did we all expect?

And that is an apropos summation of A Different Kind of Truth. We expected a letdown, an unabashed embarassment by a group of aging perverts, recovering addicts, and their offspring. But Van Halen has given its fans a delightfully pleasing group of songs. If not equal to Van Halen I & II and 1984, this new album is at least worthy of being included in the same late night, drunken, rambling discussions amongst those fans.

One final note: Like most Van Halen music, A Different Kind of Truth is the soundtrack to summer. As it was released in the dead of winter, we wonder (and hope) that it will have legs to carry it into the warmer months, so that we can blast it in the RAJ-mobile with the windows down while we wait in the drive-thru line at Burger King, just as Diamond Dave intended.