As was related in the episode in Season 2 of this podcast which reviewed the band’s previous album “Diver Down”, the band had wanted to take a break from recording and touring at that time, but the success of the single had the record company pushing for anew album. As such, that break finally came following the tour for that album. It was also following that album that Eddie Van Halen was unhappy by the concessions he had made to both lead vocalist David Lee Roth and producer Ted Templeman, who had both discouraged Eddie from making keyboards a prominent instrument in the band's music. At this time Eddie was building his own studio, and as parts were being installed Eddie began to experiment on his synthesiser. What resulted was Eddie writing and composing much of what eventually became “1984” without the inferred different direction of Roth and Templemann. It was just himself on synth with no one else around, which is why he finally got his way. And so this is how the album was created, the combination of tracks based around keyboards-heavy influence, and the typical guitar driven tracks that the band had been renown for up to this point in time. And while most of the band’s writing and recording for previous albums had been done in a matter of weeks, the fact that this album had several months spent on it shows just how serious the band (or at least some of them) were about bringing a new desire to the band than had been the case up until that fabled year of 1984.
The synth instrumental opening of “1984” immediately informs you of what to expect here – whatever the last couple of albums have been like, and whatever they may have sounded like, this album is going to be a whole new chapter. Listening to it now is like jumping into a time machine, it is so tied to the time and the decade that even if you didn’t know the band or album, you know exactly when it was written and recorded. The straight segue into the true opening track “Jump” matches it perfectly, and listening to the album again today prior to recording this episode, it hit me once again what a perfect match it is, and just how ‘80’s’ this album can be. And yes, everyone in the world knows “Jump”, but have you ever really listened to the transfer between synth and guitar on the track? It’s one or the other, and not both, and it really is a terrifically written track. The story goes that Eddie had the synth riff for up to three years prior to this album, but Roth had refused to write lyrics to it before Eddie pushed the button on this album. Yes, it is a massive change and progression from Van Halen’s sound before this album, but the difference with “Jump” is the combination of Eddie’s burgeoning love for the synthesizer and his still amazing ability on the guitar. So while the synth and keys dominate the track as a whole, the interjection of the lead guitar still stakes a claim on the song, alongside the jaunty vocals of David Lee Roth and the jutting bass line from Michael Anthony. "Jump" has of course stood the test of time, still riding high in rock playlists forty years on. "Panama" is a great follow up, and in many respects I still enjoy more, perhaps solely because Eddie's guitar returns to a more prominent position in this song. This is pure Van Halen, a great opening riff, Roth’s seedy vocals sliding throughout the song, Alex’s great drumming throughout and Anthony’s bass guitar and supporting vocals just as important. The opening two tracks showcase the future and the past of the band perfectly, and are arguably the best of both in that respect.
"Top Jimmy" and "Drop Dead Legs" are typical Van Halen songs, both jauntily pushed along by Alex's drumbeat and Michael Anthony's bass. Ed's guitaring here is also closer to his classic stuff. Indeed, having gotten through the first side of the album, it is hard to remember why there was there was any problem from the old fans about the invasion of keyboards on this album, because those three songs in a row are great Van Halen songs with the vocals and rhythm and Eddie guitar that everyone had known and loved to this point of the band’s catalogue.
Lower the needle onto the second side of the vinyl, and you get the song that not only inspired more guitarists in that year than any other, and also more views of the video that accompanied the song than any other. The opening drumbeat into Eddie’s iconic guitar solo riff opening is still as wonderful as it was back when the album was released. Dave then takes over the song in his best style, the way he always commanded the attention in Van Halen’s best songs. "Hot For Teacher" got plenty of repeat business on MTV and the like for its video clip, and it is the energy provided throughout that makes this song as popular as it was. To be honest, it lifts what could have been an average song into a much better version of itself.
The follow up "I'll Wait" bring a return of the synth, and much like the opening instrumental, what it does now 40 years later is fully remind you of when this was recorded, because it sounds like all of the pop songs that were on the radio in those days. It could be by any of the bands in those days, and though there is a little of Eddie’s guitar in the middle, it is basically that synth that dominates throughout, and is the stark difference between the other songs up to this point in time on the album. I can’t say it is a favourite of mine. "Girl Gone Bad" is the equal of those songs in the middle of the album, the solid typical Van Halen tracks that they have always done well, with another great Eddie solo being a highlight. The album closer "House of Pain" has its moments without being overly memorable, and in many ways is a slight disappointment as a way of finishing off what has come before it.
Those of us in our teenage years when this was released cannot help but remember it, most especially the success of the first single “Jump”. It was plastered all over the radio airwaves for months, and for me still brings back specific memories of things I was doing at that stage of my life. And the album as a whole does similar things, though for me that wasn’t until probably a year after its initial release.
I did have a copy of this album taped for me on cassette and it got regular playing, but I guess it wasn’t something I obsessed over. As it turns out, I listened to it more in the years when Van Halen was on a hiatus than any other time. And a lot of that was in the memories it brought back rather than a desire to relive the album for itself.
Looking back now, and having had the album on a bit over the last couple of weeks, I have discovered more from it than I probably have at any other time. And a lot of that is to do with reminiscing on a long past age. But for me there three distinct areas of the album. The obvious synth tracks, and the obvious guitar tracks. And one other, the best song by far on the album, the one that typifies what was brilliant about the band – the wonderful drumming of Alex Van Halen, the long underrated bass work of Michael Anthony, the real hard rock guitar of Eddie, and Dave’s outstanding vocals. It is the song that will close this episode out. I do think I like this album more now than I have at any other stage of my life.
This was of course the last album with the original foursome, and the time when the split in the fandom came with that separation. David Lee Roth's departure from the group after this album brought a small amount of success for both himself and his solo career, and the remainder of the group with new front man Sammy Hagar. It was a changing of eras, and this album signified it as such. From the hard rock guitar band of the late 70's and early 80's, this album with its first major beginnings of synth oriented rock paved the way for bands like Bon Jovi and Europe to make their own mark on the industry. It signified a change in the way Van Halen wrote their music for the rest of their career, and for many it was the point where they stopped listening to Van Halen. I never had those conniptions. Indeed there were parts of both I enjoyed going forward and parts of both I didn’t. If nothing else, this album has two songs that I still listen to today, sing along to, play air guitar along to, and that are an implanted part of my musical upbringing. And I wouldn’t have it any other way.
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