By STEVE MASCORD
THERE’S something strangely symbolic about the cover of this already hugely successful eighth Van Halen album.
It’s a black and white group shot in which Sammy, Eddie, Alex and Michael look about 10 years younger. If not for Hagar’s presence you’d swear it was taken for the group’s first shot at the big time, not its attempt to stay there.
Inside, it’s the same story. This is the way Van Halen would have sounded from the beginning without that archetypal poser David Lee Roth. Unlike Van Hagar’s other. effort 5150, every song on OU812 is not radio friendly.
Moreover, there is far more blues-based, lead solo-laced boogie like VH’s early material. Eddie Van Halen rediscovers the art of guitar-wanking with some booming solos and the songs don’t necessarily finish or start as radio programers would like them to.
Aside from the first two tracks “Mine All Mine” and “When It’s Love”, there is little to remind you of 5150. The lyrics are sexist, the axes relentless and the focus below the belt.
VH fans who lost faith with the last effort will be reconverted. Actually, they already have, with OU812 going to #1 in the US after only two weeks in — a feat previously performed by the one and only Led Zeppelin.
The reason is clearly not synthesised tracks like “Feels So Good” but rather the timeless groove of “Finish What Ya Started” and razor-edged bluntness of “Black And Blue” and “Sucker In A 3 Piece”.
If “Dreams” is your favourite VH song, OU812 may have a very casual relationship with your turntable. On the other hand, if “Panama” is your idea of utopia, start saving for a new stereo.
