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Van Halen: Live Without a Net

Discussion in 'The Sound Hound Lounge' started by Pidgin English, Feb 5, 2019.

  1. TubeStack

    TubeStack Supporting Member

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    Yes, I think that’s where it becomes apparent that Eddie benefits from a singer who can help organize a bunch of riffs/parts into coherent song structures.

    It really struck me when listening to the WACF demos, which sound like a bunch of (great) riffs strung together, but needed DLR to help with “this is a verse, let’s make that the chorus,” etc.
     
  2. Big'Uns

    Big'Uns Member

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    Interesting. I'd never head about the Nirvana 90/5/5 stuff or the retroactive Nevermind contract. I think it's kind of messed up. Establish your splits before you release the record, to change it after to the point your bandmates owe you money isn't cool IMO. And it doesn't seem like it would foster any kind of unity or harmony in the band. If anything, change your splits for subsequent albums. Maybe I'm being naive. I've never heard Grohl or the bass player grumble about it publicly so maybe it's no big deal to them.

    The Foo Fighters thing makes sense because Dave started that whole thing and the initial recording were songs he 100% wrote and was him playing every instrument and singing if I recall correctly.
     
  3. Tony

    Tony Supporting Member

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    Agreed re: retro Nevermind. With my Armchair Psychiatrist hat on... Kurt wasn't in a good place mentally, and we should probably view his decision making thru that lens.

    Re: Foos - yeah, Dave WAS the Foo Fighters initially. It goes a little further than that though. Dave founded Roswell Records and licenses all the Foos content from their to the larger labels... so he retains full ownership. Pretty smart move.
     
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  4. louderock

    louderock Member

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    With regards to royalties....It’s important to understand the difference between performance and mechanical royalties. Performance royalties are paid to the owner of the publishing rights and the songwriter. Some bands may split this early on (Van Halen) but actually the person or persons who wrote the songs are owed this. If Michael Anthony did receive performance royalties for years, he is incredibly fortunate and wealthy. Mechanical royalties come from the physical sale of albums. The guys in Van Halen and most bands are all a member of the corporation and split things equally after paying their manager commission. This sort of thing can be negotiated as well.
     
  5. Pidgin English

    Pidgin English Member

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    And this hasn't been mentioned yet, but is the "Best of Both Worlds" dance that Ed, Sammy and Mike do the coolest thing that ever happened in the year Nineteen Hundred and Eighty Six? :D
    [​IMG]
     
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  6. Big'Uns

    Big'Uns Member

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    Well suffice it to say drugs and alcohol suck. They amplify people's worst qualities and ruin great relationships. These guys at several points were genuinely having a great time creating and playing music together. This performance seems to represent one of those periods.
     
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  7. gitfiddler99

    gitfiddler99 Member

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    Kurt was put up to reneging on the contract with his band mates by Courtney, she admits it. She knew that his money would eventually be hers, and wanted as much as possible. That’s why Dave and Chris hated her for all those years. I doubt Kurt would have done it without her prodding and nagging. He was a people pleaser, and unfortunately, henpecked.
     
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  8. B Money

    B Money Member

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    hmm i thought just the opposite, but we like different stuff....
     
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  9. Big'Uns

    Big'Uns Member

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    I thought it was pretty apparent he was being led by her in many ways, especially in hindsight given what we know now.
     
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  10. subtomic

    subtomic Member

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    The thing that gets me about the treatment of Michael Anthony is that his background vocals were a far more important and distinguishing aspect to the Van Halen sound than anything Alex ever contributed (with the lone exception being the opening to Hot for Teacher). Without MA, I think a lot of their DLR—era choruses would become very ordinary. I don’t know if he sang what he was told or if he was responsible for his vocals parts (or something in between), but regardless, the timbre of his voice made those backup vocals.

    The idea that a song copyright is nothing more than words and a vocal melody over chords has always struck me as way too narrow and a product of a time (when songs were primarily published as sheet music to be played by others) long gone. In the modern era, music is delivered as a performance, which can have as much bearing on its success as the lyrics and melody. For every 2-3 great songs on the charts, there are at least 1-2 mediocre songs that are elevated by something in the performance. The irony here is that EVH is a prime example of this - most Van Halen tracks are not great songs by the old and narrow definition but his guitar playing elevates then to something greater. I would say that Michael Anthony’s background vocals were also an elevating factor - maybe not to the same degree as the guitar, but enough that you could say they were integral to the performance.

    I’m rambling here really, but to mistreat someone who worked in the trenches with you and who did contribute in critical ways seems really petty and disrespectful to me.
     
  11. Tony

    Tony Supporting Member

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    Couldn't agree more. I'm a big fan of both DLR and Sammy era VH, but I think LWAN is my favorite artifact from VH, period. The fun they're having up there is so evident.

    And Ed's tone and playing are off the charts.

    My only hangup is the Simmons drums. Ugh.

    "Get Up" is great as well. It's a Hot for Teacher-esque boogie with the Steinberger thrown in for good measure. The shot of Ed standing next to Al at the beginning, teasing the feedback and waiting for Al to kick into the boogie - priceless.
     
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  12. dhdfoster

    dhdfoster Silver Supporting Member

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    I’m just not feeling the love for this era. I think Ed’s tone sounds mushy and processed compared to the first few albums. Sammy’s vocal melodies are dull and repetitive, and his lyrics are bad without be a put-on like DLR’s. I don’t really hear what’s so amazing about 5150, the song, either.

    I remember hearing the first single from this album on the way to school in the car when I was in 12th grade. My friends and I were pretty unimpressed.
     
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  13. Monkeyboy23

    Monkeyboy23 Member

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    The Summer Nights solo is epic
     
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  14. jfb44

    jfb44 Member

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    This is best version of the song "5150", IMO.

    There's a complete transcription, along with the transcriber's handwritten notes, of the EVH solo floating around in the Internet. The guy who transcribed it is spot on. He has a youtube video playing the solo up to the Eruption part.
     
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  15. jfb44

    jfb44 Member

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    I learned how to play it from this guy,
     
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  16. somecafone

    somecafone Member

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    Well, it did have an antecedent.

    [​IMG]
     
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  17. Tony

    Tony Supporting Member

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    Stupid cold in our neck of the woods this weekend so I’m day drinking in the mancave with LWAN on the 65 inch...

    5150 is sooooooo good. Best song of the show for sure.
     
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  18. sahhas

    sahhas Member

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    Hendrix and billy cox do a bit of dance moves with their instruments during one part of the Woodstock performance, harks back to their days backing up bands as sidemen, Hendrix has a funny smile on his face, it was on the complete Woodstock DVD I had about 10 years ago, loaned it to a friend and never got it back, I’m sure it’s on YouTube somewhere

     
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  19. sahhas

    sahhas Member

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    I can’t remember whose version it was: Ed or sam’s, but one of them said that 5150 was the only album made trouble free, the rest of them they had some various in-fighting going, I’m sure a lot of it was substance abuse fueled...

     
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  20. iamdavea

    iamdavea Silver Supporting Member

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    Please look up the word "penultimate."
     

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