Welcome to Versus. The series where we look at two albums in metal history, compare them to each other, and see which one was the better record.
In this edition of Versus, we are looking at two front men's solo careers. With these album's released following their stints in one of the most legendary acts in hard rock history, Van Halen. One album, would mark his official studio album debut to showcase he "didn't need Van Halen". Along with a pretty star-studded talent of musicians behind him on the album like legendary guitarist Steve Vai & bassist Billy Sheehan of Mr. Big. The other album, an album that would be his last album before joining Van Halen, but would also have a lead single that would become a speed-demon's anthem that is still quoted to this day almost 40 years later. Let's take a look at these two classic solo albums from these singer's in a matchup I'm calling "The Heavyweight Champs of Rock and Roll"
In this corner, we have "Diamond" David Lee Roth and his 1986 debut album Eat 'Em and Smile. Following his debut E.P. release Crazy From The Heat one year earlier, this would mark Roth's debut studio album and his first major statement post-Van Halen departure. With impressive musical talent behind him, and it's catchy lead single, the album would show that Roth could deliver a glam metal/hard rock sound without Van Halen behind him. Let's dive into this record and see if it still stands up almost forty years later.
The album opens with the album's lead single "Yankee Rose". With a comedic introduction between Roth and axeman Steve Vai, the song instantly has that Roth humor and swagger to it as the song kicks into gear. As Gregg Bissontte's drums start the song with an upbeat, machismo energy. Bassist Billy Sheehan delivers that deep, bass groove under the main riff. Roth's earworm pre-chorus, into the main chorus is just so catchy. Making you want to sing along with him, while pumping your fist with every snare hit from Bissontte. I love the classic, 80's slow down, lighter waving section into the bridge before the pacing picks back up into a driving bass thump from Sheehan. As the band just has fun, especially with Roth's patriotic ranting as Vai wails and shreds as the song fades out.
"Shyboy" opens with Bissontte flying over the kit with Vai shredding right behind him. INSTANTLY giving off Van Halen vibes with that opening drum/guitar combo. Roth delivers a more aggressive vocal delivery, before serenading himself with the song's title chanting on the chorus. Vai just flies over his fretboard throughout the whole song, interspersed with a deep, thick bass groove from Sheehan. Vai delivers a pretty damn fast and technical guitar solo while Sheehan & Bissontte keep that driving rhythm section going hard and fast. The song flies by in its speed and pacing, with Roth belting to the rafters as the rest of the band bring the heat to the close of the track.
Brass and swing opens up "I'm Easy". Creating a doowop/rockabilly sound to it that would make Brian Setzer and The Stray Cats happy. A complete 180 from the previous song, it lets Roth truly deliver his unique vocals and macho swagger in his lyrics. Vai does a nice, fitting solo for the genre, and the nice edition of brass behind the solo adds that little touch to the track.
Sheehan's heavy bass tone and driving snare hits opens up "Ladies' Night in Buffalo?". More sultry, sexy sounding guitar playing and feeling to the song's energy. Roth is restrained to deliver a more chilled, seductive voice as the beat matches that mellow, slithering vibe. Musically, it truly has an 80's pop song feel to it, like something from Hall & Oates or Huey Lewis and The News in the music's style and structure that was popular at the time. Vai comes in hot, with a pretty awesome guitar solo. Huge bends and shredding moments, into a slower, more emotional end to his guitar solo.
"Goin' Crazy!" opens with an almost similar opening guitar to the intro to Beavis & Butthead. Joined by synths and striking drums and cowbell, the song definitely has that radio single vibe. More poppy in nature and leaning heavier into the synths and not as rock heavy as "Yankee Rose". Vai brings another classic 80's sounding guitar solo, with Sheehan creating that groovy counter-melody in his bass playing. Getting a little solo before the song heads back into the closing choruses at the three quarters mark.
"Tobacco Road" opens with a very, bluesy Stevie Ray Vaughn-style guitar riff and tone. The drums create a nice, bouncy groove. The nice touch of the music dropping so the vocals can sing the chorus is a nice mix-up, letting Roth truly shine with his vocal range. Creating an almost cabaret feel in the transition between the music drops and rising, especially before the Vai guitar solo near the close of the song.
High-octane drums and aggressive guitars, with super-fast bass from Sheehan opens "Elephant Gun". With toe-tapping guitar. and a head-bobbing bass groove, Roth just turns on the attitude on his vocals during the verses as Sheehan & Vai just don't let up on the gas at all. Sheehan gets a pretty damn impressive bass solo, that transitions into Vai matching that solo. Before both men join in musical harmony back into the main riff. Showing how truly talented both musicians are, but how Roth had an eye for talent with his new solo effort. The only criticism I have with the song, and maybe it's the copy of the record I have, but it just seems to just....stop. No fade out, no build up to an end, it just abruptly ends.
"Big Trouble" has a bass heavy opening lead, with Vai's guitars ringing out. The song definitely has a funk feel. Sheehan's thumping bass, Vai's guitar playing on the verse, and Roth's vocals gives me some Red Hot Chili Peppers vibe. A more midtempo feeling song, the song is ok in my opinion. Vai again delivers a top-notch solo, but so far, this is one of the weaker songs on the album in my opinion. Still a good song, but compared to so far on the album, it just doesn't seem to hit as strong as the other songs on Eat 'Em and Smile.
A wind-up guitar and higher energy groove starts "Bump and Grind". Roth turns up the "Dave Charm" and gives off so much bravado and machismo in his vocals. Vocals are more theatrical and his trademark wailing goes over the top on this track, especially on the chorus. The rest of the band just continues that high-energy, with Vai soloing into Bissontte's snare strikes and drum fills. While Sheehan keeps the pulse of the song heavy, while showing his presence with some higher notes at some points.
The album closes with the song "That's Life". Channeling again the nostalgia of 50's doowop, Roth really turns up his trademark vocal charm and delivery. Backing vocals and brass return on the track, adding that soundtrack-feel to the song. Picturing Roth trying to be like Sinatra, but doing spin kicks or splits in a suit when I picture him singing the song. Dancing with a cane, twirling it around and mimicking a microphone. Especially near the closing moments of the song as he goes for the full gusto as his debut album officially comes to a curtain-dropping close.
His opponent, is his replacement in Van Halen, the "Red Rocker" himself Sammy Hagar and his eighth album, 1984's VOA. His final album before fronting Van Halen, the album would become one of Hagar's best selling albums. Landing at number 32 on the Billboard 200, as well as featuring Hagar's most famous song "I Can't Drive 55". Channeling the hard rock energy of his solo work, and his roots with Montrose. With his powerful voice, he delivered that attitude and aggression that made him stand out from a lot of acts of the time. How does Hagar's album stand up against the "Diamond" one?
The album opens with "I Can't Drive 55", the album's lead single. Driving drums by David Lauser open into ringing guitars. Jesse Harms' keyboards echo behind Hagar & Gary Pihl's guitars as it heads into the chorus and Hagar's classic belting of 55. With the high-energy and powerful vocals of Hagar, the song just takes on another life, matching the thought we all think of when we get pulled over by a cop for speeding. The backing vocals on the chorus are a great touch and add emphasis as it heads into the close of the chorus. Especially leading into the crowd chants of the song's title. Lauser's heart-pumping drums into Hagar's lead guitar brings the track home for one final closing verse and chorus. Strong opening track and sets the tone for the record.
"Swept Away" opens with classic, arena-rock sounding guitars with thumping bass from Bill Church, before transcending into beautiful acoustic guitars. Hagar's cadence matches the guitars beautifully, as vocal harmonies join him with wave effects behind him. Gritty, distorted guitar kicks in, upping the tempo and pacing. Hagar cranks his vocals up, drenched in reverb and showcasing how much power his voice truly has. The juxtaposition of clean, ambient mellow parts into high-octane guitars truly mixes up the song. Almost like a tug of war in the musicianship and production, and fits the song really well. Synths become heavy in the mix right after the halfway mark, adding to the oomph as Hagar sings the song's title.
"Rock is in My Blood" opens with a thumping bass from Church. Vocals are soaked again in reverb, with underlying synths mixed with pounding drums and hanging guitar strums. A catchy chorus, with emphasis on the word "Rock" instantly has me picturing a huge crowd chanting and fist-pumping along at that section with the lights flashing over them. I was drumming along with Lauser with every drum strike, as Hagar wails on his guitar with Church keeping the groove of the track. Catchy song and definitely has that classic 80's hard rock sound. Especially with the synths on the chorus.
On "Two Sides of Love", the guitar harmonies ring out as the riff turns into a similar vibe of Rick Springfield's "Jessie's Girl". The chorus definitely has a poppy, radio single sound to it. Having Hagar delivering a more emotional, passionate, serenading vocal performance. Very nice guitar solo, though short, did add a nice edge to the song, before Lauser takes over with drum fills before transitioning back to the chorus.
"Dick in The Dirt" opens with thundering drums and driving palm-muted guitars. Bass really is present on the track, really showing its thumping power during the chorus. Guitars also have flurries throughout the palm-muted playing on the verses. I like the building of the riff near the halfway mark, before segueing into a piercing guitar solo. With drums and bass keeping the rhythm and groove of the song going as the lead guitar and synths mingle in the mix.
On the album's title track, we get up-tempo, punk like driving. Synths almost create a new-wave aesthetic before the guitars kick up the pacing as Hagar wails. Hagar really is the charging force of the song, matching some of the aggressive but impressive vocal range of Dee Snider of Twisted Sister. Where there is distortion in his voice, but still clean in the delivery and adds dimension to his voice. A heart-pumping, high energy, call to arms song that is a real crowd starter. Especially with the bass and drums leading the track at the halfway mark. The crowd chanting at the end truly brings the crowd interaction home and ends with Hagar belting to the rafters amongst the driving guitars and synths.
Reverb drums and guitar harmonies open "Don't Make Me Wait". With a drum heavy verses section, transitioning into synths and reverbed guitars, the song delivers an almost more grander version of a power ballad. The vocal harmonies on the song's chorus just hit so good in a pair of headphones. Very heavy on the lead guitars and short, mini solos, the song truly encapsulates the band really gelling together and the song is a strong one.
Album closer "Burnin' Down The City" opens with a Miami Vice-esque opening guitar/drum combo. With the guitar slides matching the snare strikes, it creates that instant fist-pump/clap-along motion with every hit. Hagar gives it all he's got on the vocals, with one section where the music drops out and he just belts it out and leaves it in the recording booth. With random percussion at the chorus and throughout, the song still has that tough guy attitude and punch to the vocals and guitar playing. Closing out this album with an aggressive, driving punch that only Hagar can deliver.
Listening to these classic 80's records, which album stands as the winner of this matchup? In my opinion, Eat 'Em and Smile is the winner of this matchup. On Eat 'Em and Smile, the songs were catchier, the music was impressive in both the playing and in the solos, and was an impressive debut from Roth. There was also more variety in the songs. You had "Shyboy" with more energy, with an almost punk feeling. Then you'd have "That's Life" and "I'm Easy" which created a unique, doowop sound that Roth and company pull off really well. With Hagar's album VOA, it was still a good album, but I think some of the songs were a little too similar or nothing standing out or making them memorable besides "I Can't Drive 55". At the end of the day, both records are still good from both of these legendary 80's front men, and makes you want to check out their discography. Since both of them do different sounds and styles throughout their studio albums (especially Roth) so definitely worth checking out if you are into these albums I covered today.
Roth would follow-up his debut two years later with his next album Skyscraper. Continuing to release many albums in his solo career with his last record being 2003's Diamond Dave. Roth would become a radio host with the show The David Lee Roth Show, following Howard Stern's departure from terrestrial radio. The show only lasted for four months. Roth would rejoin Van Halen in 2007 and would record a new album with the band in 2012 A Different Kind of Truth, along with touring with the band before Eddie Van Halen would pass away in 2020, ending Van Halen.
Hagar would continue making albums as a solo artist. Releasing twelve more albums since VOA, with the most recent release being Crazy Times in 2022. Hagar would reunite with Van Halen in 2004 with a brief tour, but the tour faced many challenges, mainly stemming from Eddie Van Halen's relapse from alcoholism. Hagar would form a supergroup following this tour. Chickenfoot, which featured himself, bassist Michael Anthony, Red Hot Chili Peppers drummer Chad Smith & guitar legend Joe Satriani. The band would record two studio albums, with the most recent being 2011's Chickenfoot III.
Do you agree with my decision? Who do you think should have won? Leave your comments on our social media, and your suggestions who you think should step in the ring next. I’m Justin, your friendly neighborhood metalhead, for This Day in Metal and this has been Versus.
