Rock, Metal

Van Halen - A Different Kind Of Truth (2012)

2012-02-05T19:46:50Z

Van Halen - A Different Kind Of Truth (2012)


01. Tattoo
02. She's The Woman
03. You And Your Blues
04. China Town		play
05. Blood And Fire
06. Bullethead
07. As Is
08. Honeybabysweetiedoll
09. The Trouble With Never
10. Outta Space		play
11. Stay Frosty
12. Big River
13. Beats Workin'

Personnel
    David Lee Roth - lead vocals
    Eddie Van Halen - guitar, keyboards, backing vocals
    Alex Van Halen - drums
    Wolfgang Van Halen - bass guitar, backing vocals

Despite the multi-platinum gluttony of the Sammy Hagar era, true Van Halen devotees have never been in any doubt about who they want to front their favourite band. Some 28 years after Jump and Hot for Teacher, David Lee Roth has squeezed back into his old spandex pants, his lascivious yelping at last reunited with legendary guitarist Eddie Van Halen's nimble-fingered pyrotechnics (see page 12). In truth, this would have to be a dismal affair to fail to outstrip 1998's scorned Van Halen III, but once the DLR-related euphoria dies down, A Different Kind of Truth is a frequently thrilling return. These songs crackle, fizz and bulge with priapic exuberance, and not just due to the reliably demented Roth. Seemingly inspired by the presence of his 20-year-old son Wolfgang on bass, Van Halen is on extraordinary form, whether churning out sumptuous grooves on Tattoo and Big River, or gleefully setting his fretboard alight on China Town and the bug-eyed Bullethead. Against the odds, the party metal kings are back and blazing. Fun times. ---Dom Lawson, guardian.co.uk

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Van Halen - Balance (1995)

2009-10-12T22:08:13Z

Van Halen - Balance (1995)


1 The Seventh Seal 
2 Can’t Stop Lovin’ You 
3 Don’t Tell Me (What Love Can Do) 
4 Amsterdam 
5 Big Fat Money 
6 Strung Out 
7 Not Enough 
8 Aftershock 
9 Doin’ Time 
10 Baluchitherium 
11 Take Me Back (Deja Vu) 
12 Feelin’

Bass, Backing Vocals – Michael Anthony
Drums, Percussion – Alex Van Halen
Guitar, Keyboards, Backing Vocals – Edward Van Halen
Lead Vocals, Backing Vocals – Sammy Hagar

Van Halen’s 11th album brings a few surprises. While Eddie’s new look, a goatee and chopped pompadour, may seem a nod to the plaid-clad ranks, there’s nothing alternative about Balance. Nor, despite the Buddhist chanting that kicks off the disc, is there anything otherwise chic.

Balance is pro forma pomp rock — but with VH in top form, power aplenty remains in their slick machine. Their ensemble expertise confirmed with the massive Live: Right Here, Right Now (1993), Van Halen continue as passionate mechanics, constructing pop metal that, for all its lack of hip, provides dependable delights.

Actually, some of the best young guns — Pearl Jam’s Mike McCready, Soundgarden’s Kim Thayil — owe loads to Edward. Reinventing banshee guitar, he multiplied its effects, emphasizing precision and harmonics as much as distortion and speed. The new school paid attention. On Balance, as always, Eddie dominates: Phat riffing sends straightforward rockers like “The Seventh Seal” and “Aftershock” into a majesty their basic melodies struggle to support, and the instrumental “Baluchitherium” is Lord Pyrotechnical unleashed. And yet, as was first shown by the ’84 breakthrough, “Jump,” there’s more to this musician than fantastic finger work. With brother Alex’s thunder-bucket snare as a secret weapon — he’s easily the most distinctive hard-rock drummer since the late John Bonham — Van Halen engineer radiohot singles as easily as Eddie scorches the frets. “Can’t Stop Lovin’ You” is just such a sing-along — and it’s terrific. And with bassist Michael Anthony in tow, Alex also shines on the almost funk of “Amsterdam.”

Finally, Sammy Hagar tears up the hyperspeed shuffle “Big Fat Money” and fearlessly emotes on the power ballad “Not Enough.” It may be time, after all these years, to cut that maligned belter some slack. He’s a sort of Everyman as rock star, a true vox populi. Gleefully, he surfs Eddie’s guitar waves, apparently getting as much kick as any fan does when they crash and tumble the studio walls — and that’s a kick indeed. ---Paul Evans, rollingstone.com

Ależ doskonale zaczyna się ta płyta. Najpierw mocny, przebojowy Seventh Seal ze wspaniałym, soczystym brzmieniem gitar, potem niesamowicie ujmujący Can't Stop Lovin' You, a następnie doskonały, kipiący energią Don't Tell Me (świetna zwrotka). Potem jest wciąż nieźle, ale nie aż tak intrygująco, są chwile przestoju i przypomina się historia z debiutancką płytą, gdzie również najmocniejsze działa idą na pierwszy ogień.

Widać pozytywny wpływ producenta Bruce'a Fairbairna - Van Halen jeszcze nie brzmiał tak potężnie, niedługo wcześniej podobny efekt przyniosła współpraca tego producenta ze Scorpions (Face The Heat). Podobieństwa w brzmieniu i w aranżacjach widoczne są choćby w porównaniu tamtejszego Someone To Touch z tutejszym Amsterdam (końcówka). Z kolei wokalne wejście Big Fat Money przypomina Stevena Tylera i czasy Fairbairna w Aerosmith.

W pędzącym jak burza Big Fat Money jest też nietypowo brzmiąca solówka Eddiego i plumkające w tle pianino. Instrument ten pojawia się też w rzewnej balladzieNot Enough z klimatyczną solówką gitarzysty. Piosenka ta poprzedzona jest intrygującym wstępem w postaci instrumentalnego Strung Out. Nie jest to jedyny tego typu utwór na płycie - mamy na Balance także Doin' Time i Baluchitherium, ten drugi to klimatyczna, nieco przyciężkawa kompozycja otwierająca przestrzeń dla popisów gitarowych Eddiego Van Halena.

Na sam koniec, zespół serwuje intrygujący Feelin' ze spokojnym, klimatycznym początkiem i mocno zapadającym w pamięć, podbijanym gitarowym riffem, refrenem z rosnącym napięciem na końcu. Balance to jeden z ostatnich albumów - przedstawicieli klasycznego heavy metalu, którzy zawojowali listy przebojów. Naprawdę warto zapoznać się z tą płytą. ---Marcin Budyn, rockers.com.pl

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Van Halen - Best of Van Halen, Vol. 1 (1996)

2010-01-10T23:57:13Z

Van Halen - Best of Van Halen, Vol. 1 (1996)


1. Eruption 
2. Ain't Talkin' 'Bout Lov... 
3. Runnin' With the Devil 
4. Dance the Night Away 
5. And the Cradle Will Roc... 
6. Unchained 
7. Jump 
8. Panama 
9. Why Can't This Be Love
10. Dreams  
11. When It's Love 
12. Poundcake 
13. Right Now 
14. Can't Stop Lovin' You 
15. Humans Being 
16. Can't Get This Stuff No...
17. Me Wise Magic

It took over 20 years for Van Halen to release a Best of album, and even then, the band downplayed the effort. Instead sticking to the original plan of releasing a two-disc set--one of material with original frontman David Lee Roth, and the other with his 11-year replacement Sammy Hagar--the band opted for a single CD chronicling their entire career. For the previously uninitiated, it's a golden introduction to a band that changed the face of '80s hard rock. Guitar-blazing old tracks like "Ain't Talkin' 'Bout Love," and "Dance the Night Away" segue into more commercial numbers like "Jump" and "Panama" from 1984. These in turn, set the stage for Hagar's slicker, more polished vocals on "Right Now" and "How Do I Know When It's Love." But while newcomers will be thrilled with the delights within, old fans will probably find little of use, since the two highly touted new tracks with Roth are pretty disposable. --Jon Wiederhorn, amazon.com

Składanka Van Halen zawiera wybór ze wszystkich płyt zespołu za wyjątkiem "Diver Down" i "Live:Right Here Right New". Utwory są dobrane dobrze. Hardrockowe killery ("Aint Talkin' 'Bout Love", "Panama", "Poundcake") są przetykane typowymi dla Van Halen balladkami ("When It's Love", "Right Now"). Pierwsze, co rzuca się w uszy, to fenomenalna gra Eddiego, który wydobywa dźwięki na wszelkie możliwe sposoby (tradycyjnie, tappingiem). Na płycie śpiewają dwaj wokaliści. Do "Jump" włącznie partie wokalne wykonuje David Lee Roth. Od "Why Can't This be Love?" śpiewa Sammy Hagar. Dwa ostatnie kawałki to odrzuty jeszcze ze współpracy z Lee Rothem. ---Wickerman, rockmetal.pl

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Van Halen - Diver Down (1982)

2011-03-08T19:40:47Z

Van Halen - Diver Down (1982)


1. Where Have All The Good Times Gone
2. Hang 'Em High
3. Cathedral
4. Secrets                         play
5. Intruder                        
6. (Oh) Pretty Woman
7. Dancing In The Street
8. Little Guitars (Intro)
9. Little Guitars                  play
10. Big Bad Bill (Is Sweet William Now)
11. The Full Bug
12. Happy Trails

Personnel:
David Lee Roth (vocals); 
Eddie Van Halen (guitar); 
Michael Anthony (bass); 
Alex Van Halen (drums).

Guest: Jan Van Halen (clarinet).

Fair Warning was such a dark, intense record that Van Halen almost had no choice but to lighten up on their next album, and 1982's Diver Down is indeed much lighter than its predecessor. In many ways, it's a return to the early albums, heavy on covers and party anthems, but where those records were rough and exuberant -- they felt like the work of the world's best bar band just made good, which is, of course, kind of what they were -- this is undoubtedly the work of a finely honed band who has only grown tighter and heavier since their debut. As a band, they might be tight, but Diver Down is anything but tight. It's a downright mess, barely clocking in at 31 minutes, cobbled together out of five covers, two minute-long instrumentals, and five new songs. By most measures, this should be the kind of slop that's difficult to muddle through, but it's not: it's one of Van Halen's best records, one that's just pure joy to hear. Like the debut, it's a great showcase for all the group's strengths, from Eddie Van Halen's always thrilling guitar to the bedrock foundation of Alex Van Halen and Michael Anthony's throbbing pulse to, of course, David Lee Roth's strut. Each member gets places to shine and, in a way, covers showcase their skills in a way none of the originals does, since they get to twist "Oh, Pretty Woman," "Dancing in the Street," and "Where Have All the Good Times Gone" inside out, all the better to make them their own. But this isn't complacent; Van Halen is stretching out in different ways, funneling the menace of Fair Warning into the ominous instrumental "Intruder," playing with the whiplash fury of a punk band on "Hang 'Em High," and honing their pop skills on the bright, new wavey rock of "Little Guitars" and the sweet "Secrets," which displays the lightest touch they've ever had on record. Combine that with the full-throttle attack on the covers, along with Dave's vaudevillian song and dance on "Big Bad Bill (Is Sweet William Now)" -- a shtick that's electrified on the equally fun "The Full Bug" -- and the result is a record that's nothing but fun, the polar opposite of its predecessor. ---Stephen Thomas Erlewine, AllMusic Review

Trochę dziwna płyta, znajduje się na niej pięć coverów, trzy instrumentalne miniaturki i cztery pełne kompozycje zespołu. Jeśli chodzi o te ostatnie, to po raz kolejny zespół zrobił ruch w stronę nieco luźniejszych muzycznych klimatów (Secrets). Najwięcej hard rockowej iskry ma Hang 'Em High, a Little Guitars i The Full Bug są gdzieś pośrodku.

Jeśli chodzi o instrumentalne miniaturki, to warto zwrócić uwagę na Cathedral, które wbrew pozorom zagrane jest przez Eddie Van Halena na gitarze - w ciekawy sposób wykorzystany został potencjometr głośności, dzięki czemu gitarzysta uzyskał interesujący efekt, który robi złudzenie jakby utwór zagrany został na syntezatorze. Jest też dziki Intruder i akustyczne Little Guitars (intro), będące wstępem do kompozycji o tym tytule.

Wśród coverów na płycie bardzo rockowe wykonanie (oh) Pretty Woman Roya Orbisona i pulsujące, wzbogacone chórkami Dancing in the Streets. Jest też kolejny cover The Kinks Where Have All the Good Times Gone!, który jednak nie robi już takiego wrażenia jak You Really Got Me. W luźny sposób trzeba potraktować Big Bad Bill (Is Sweet William Now) nawiązujący muzycznie do lat... 20-tych (na klarnecie gra Jan Van Halen, ojciec Eddiego i Alexa), a także śpiewany a'capella Happy Trails.

Diver Down sprawia wrażenie luźniej płyty nagranej dla zabawy, chociaż nie można jej zarzucić "bylejakości" - chodzi raczej o swobodniejsze podejście do muzyki i własnego stylu. ---Marcin Budyn, rockers.com.pl

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Van Halen - Fair Warning (1981)

2013-05-06T16:26:07Z

Van Halen - Fair Warning (1981)


01. Mean Street - 4:58
02. "Dirty Movies" - 4:06
03. Sinner's Swing! - 3:06
04. Hear About It Later - 4:31
05. Unchained - 3:27
06. Push Comes To Shove - 3:47
07. So This Is Love? - 3:05
08. Sunday Afternoon In The Park - 1:58
09. One Foot Out The Door - 1:56

Personnel:
- David Lee Roth - lead vocals
- Eddie Van Halen - guitar
- Michael Anthony - bass
- Alex Van Halen – drums

Of all the early Van Halen records, Fair Warning often gets overlooked -- partially because it's a dark, strange beast, partially because it lacks any song as purely fun as the hits from the first three records. Because of that, there were no hits from Fair Warning that turned into radio anthems; only "Unchained" and, to a lesser extent, the grinding opener, "Mean Street," rank among the group's best-known songs, and they're not as monumental as "And the Cradle Will Rock," from the preceding album, Women and Children First. There's a reason for that: this album ain't a whole lotta fun. Fair Warning is the first Van Halen album that doesn't feel like a party. This may be a reflection of the band's relentless work schedule, it may be a reflection of the increasing tension between Eddie Van Halen and David Lee Roth -- the cause isn't important, because whatever the reason, Fair Warning winds up as a dark, dirty, nasty piece of work. Gloomy it may be, but dull it is not and Fair Warning contains some of the fiercest, hardest music that Van Halen ever made. There's little question that Eddie Van Halen won whatever internal skirmishes they had, since his guitar dominates this record, even with the lack of a single dedicated instrumental showcase (the first time he lacked one on a VH album). Eddie sounds restless here, pushing and pulling the group toward different rhythms and textures, from the disco beat that pulsates on "Push Comes to Shove" to the swinging rhythms on "So This Is Love?" and, especially, the murky synths that comprise the instrumental "Sunday Afternoon in the Park" and the grimy, gunky closing rocker, "One Foot Out the Door." Either inspired or spurred on by the gloomy rock Eddie cranked out, David Lee Roth casts his net far wider than his usual litany of girls and good times. He spits and swears, swaggering without his usual joie de vivre, with even his sex songs feeling weary and nasty. Whatever spawned it, that nastiness is the defining characteristic of Fair Warning, which certainly doesn't make it bunches of fun, but it showcases the coiled power of Van Halen better than any other album, which makes it worth visiting on occasion. --- Stephen Thomas Erlewine, allmusic.com

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Van Halen - Women And Children First (1980)

2011-03-10T19:20:37Z

Van Halen - Women And Children First (1980)


   1. "And the Cradle Will Rock..." – 3:31
   2. "Everybody Wants Some!!" – 5:05
   3. "Fools" – 5:55
   4. "Romeo Delight" – 4:19
   5. "Tora! Tora!" – 0:57
   6. "Loss of Control" – 2:36
   7. "Take Your Whiskey Home" – 3:09                        play
   8. "Could This Be Magic?" – 3:08
   9. "In a Simple Rhyme" – 4:33 (Hidden track "Growth" begins at 4:19)  play

Personnel
    * David Lee Roth - lead vocals
    * Eddie Van Halen - guitar, keyboards, backing vocals
    * Michael Anthony - bass, backing vocals
    * Alex Van Halen - drums
    * Nicolette Larson - backing vocals on "Could This Be Magic?"

After two pure party albums, the inevitable had to happen: it was time for Van Halen to mature, or at least get a little serious. And so, Women and Children First, a record where the group started to get heavier, both sonically and, to a lesser extent, thematically, changing the feel of the band ever so slightly. Where the first two records were nothing but nonstop parties, there's a bit of a dark heart beating on this record, most evident on the breakneck metal of "Romeo Delight," but also the pair of opening party anthems, "And the Cradle Will Rock" and "Everybody Wants Some!!," which don't fly quite as high as "Dance the Night Away" or "Runnin' with the Devil" because of the tense, roiling undercurrents in Eddie's riffs, especially the thudding, circular keyboard riff propelling "And the Cradle Will Rock." The very fact that a keyboard drives this song, not a guitar, is a signal of Eddie's burgeoning ambition (which would soon become inseparable from his desire for respectability), and there are already some conflicts between this somber musicality and David Lee Roth's irrepressible hunger for fun. Where that tension would eventually tear the band apart, here it just makes for compelling music, adding richness and depth to this half-hour blast of rock & roll. This is the first Van Halen album to consist entirely of original material and there's some significant growth here to the writing, evident in the winding, cynical neo-boogie "Fools" and also in the manic "Loss of Control," which gallops by with the ferocity of hardcore punk. These, along with all previously mentioned songs, are the heaviest music Van Halen has made (or would ever make), but as the album rushes toward the end Diamond Dave pulls them toward his country-blues jive fixation with "Take Your Whiskey Home" and the all-acoustic "Could This Be Magic?" giving the album a dose of levity that is welcome if not necessarily needed. Then, before the album comes a close, the band unleashes its first stab at a power ballad with "In a Simple Rhyme," where the group's attempts at melodic grace are undercut by their compulsion to rock. This may not make for a full-fledged power ballad, but this tension between the two extremes -- by their increasing songcraft and their unhinged rock & roll -- makes for dynamic music, and captures all the contrasting glories of the album in one song. ---Stephen Thomas Erlewine, AllMusic Review

Trzecia płyta Van Halen przynosi kolejną porcję wpadających w ucho hardrockowych przebojów w większości zbudowanych wokół tego, do czego zespół już nas przyzwyczaił. Momentami widoczne są próby urozmaicenia sprawdzonej formuły - na przykład w Everybody Want Some!! mamy w zwrotce podbijany na bębnach podkład z przerywanym riffem Van Halena i mówionymi wokalizami Rotha.

Riffy brzmią ciężej, bardziej masywnie niż na poprzednich płytach. Oprócz przebojowych, radosnych (And the Cradle Will Rock..., Everybody Want Some!!) skocznych (Fools) i szaleńczo galopujących (Romeo Delight, Loss of Control) są tu takie utwory jak Take Your Whiskey Home oraz Could This Be Magic? z klimatami pogranicza blues/country.

Jest też Tora! Tora! instrumentalna miniaturka, sięgająca nieco orientalnych klimatów i ciężkiego brzmienia, wzbogacona budującymi nastrój okrzykami Rotha. Kończący album In a Simple Rhyme, oprócz lirycznych fragmentów zawiera ciężkie, bardzo heavy metalowe zakończenie. O ile Van Halen II zdaje się być po prostu powtórzeniem tego, co sprawdziło się na pierwszej płycie, to Women and Children First wyznacza nieco szerszy horyzont zespołu. Minusem albumu jest jak dla mnie brak wybijającej się ponad solidność kompozycji. ---Marcin Budyn, rockers.com.pl

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Van Halen – III (1998)

2010-01-17T16:16:30Z

Van Halen – III (1998)


1. "Neworld" – 1:45
2. "Without You" – 6:30
3. "One I Want" – 5:30
4. "From Afar" – 5:24
5. "Dirty Water Dog" – 5:27
6. "Once" – 7:42
7. "Fire in the Hole" – 5:31
8. "Josephina" – 5:42
9. "Year to the Day" – 8:34
10. "Primary" – 1:27
11. "Ballot or the Bullet" – 5:42
12. "How Many Say I" – 6:04

Bass, Vocals – Michael Anthony
Drums, Percussion – Alex Van Halen
Guitar, Keyboards, Vocals – Edward Van Halen
Lead Vocals – Gary Cherone

The "III" in the title of Van Halen III refers to the unveiling of the third incarnation of Van Halen, the post-Sammy Hagar lineup featuring former Extreme vocalist Gary Cherone as lead singer. According to the party line, Van Halen ditched Sammy because they wanted to try new musical and lyrical approaches that Hagar was reluctant to pursue. And it is true that Van Halen III makes a slight break from his dunderheaded party rock, but that's a difference that only hardcore fans will be able to hear. Less tired but no more inspired than Balance, Van Halen III suffers from the same problems as Hagar-era Van Halen -- limp riffs, weak melodies, and plodding, colorless rhythms. On top of that, there are layers of pretensions, from portentous lyrics to segmented song structures that don't sound all that different from "Poundcake." Evidently, the group wanted to prove that it could still rock more than it wanted to stretch its musical muscle. There are a couple of new twists on the Van Halen format, whether it's funky breakdowns or political consciousness, but it's all too familiar, since Cherone sounds uncannily similar to Sammy, and Alex Van Halen and Michael Anthony remain the blandest rhythm section in all of hard rock. That would be a shame if Eddie had a clear idea of where he wanted to take the band, but he seems content to wallow in the big arena rock he has long since exhausted, churning out faceless riffs and technically proficient guitar solos that never expand the vocabulary he established 20 years ago. Van Halen III may showcase a new version of Van Halen, but that doesn't make it a new beginning. ---Stephen Thomas Erlewine, AllMusic Review

Zaczyna się niewinnie - spokojny, instrumentalny utwór Neworld... potem zaczyna się ostra jazda. Wydawałoby się, że surowe gitarowe brzmienie w połączeniu z ostrym, chropowatym wokalem Cherone'a powinno przynieść pozytywny efekt, niestety większość materiału brzmi topornie i mało ciekawie. Nie chcę pastwić się nad Cheronem, bo to dobry wokalista, moim zdaniem nie pasuje jednak do Van Halen, a ta współpraca to niewypał.

Jest trochę przebojowości: Wihout You, One I Want, Dirty Water Dog czy Ballot Or the Bullet, ale akurat właśnie w tych utworach najbardziej drażni mnie połączenie stylistyki Van Halen z wokalem Gary'ego Cherone. Trochę ciekawiej robi się we From Afar, w którym wokalista trochę bardziej kombinuje z głosem, czy nawet w nieco zalatującym Pink Floyd nastrojowym Once. Fajnie wypada oparty na ciekawym riffowaniu Fire in the Hole, który jest jedną z najbardziej interesujących pozycji na płycie. Uwagę przyciąga przybierający ciemną barwę Year Of the Day, który od delikatnej, nastrojowej zwrotki przechodzi do rozkołysanego, emocjonalnego refrenu... jest to dość nietypowy klimat dla Van Halen. Warto też dodać, że w kończącej płytę balladzie How Many Say I wokalnie udziela się Eddie Van Halen, ale to raczej tylko ciekawostka.

Być może, dla kogoś Van Halen III stanowi interesującą alternatywę dla ultramelodyjnego, komercyjnego oblicza grupy z Hagarem na wokalu. Mnie ta muzyka nie przekonuje, choć od strony warsztatowej nic zarzucić jej nie można, a i parę ciekawych momentów się znajdzie. Ogólnie jednak rozczarowanie. ---Marcin Budyn, rockers.com.pl

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Van Halen – I’m So Glad – Caracas 1983

2009-10-12T22:06:40Z

Van Halen – I'm So Glad – Caracas 1983


01. Romeo Delight 
02. Unchained 
03. The Full Bug 
04. Runnin With The Devil 
05. Jamies Cryin 
06. Little Guitars 
07. Dance The Night Away 
08. Somebody Get Me A Doctor/I'm So Glad 
09. Little Dreamer 
10. Mean Street 
11. Secrets 
12. Everybody Wants Some!! 
13. Ice Cream Man 
14. Intruder 
15. (Oh) Pretty Woman 
16. Eruption 
17. Ain't Talkin' 'Bout Love 
18. Bottoms Up! 
19. You Really Got Me

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Van Halen – Manchester Apollo ‘78

2011-03-07T19:31:54Z

Van Halen – Manchester Apollo ‘78


1. On Fire 3:34
2. I'm The One 4:17
3. Bass Solo 1:16
4. Runnin' With The Devil 3:46
5. Atomic Punk / Drum Solo 3:34
6. Little Dreamer 3:29              play
7. Feel Your Love Tonight 3:38
8. Ain't Talkin' 'Bout Love 4:04
9. Guitar Solo 3:07
10. You Really Got Me 3:50          play
11. D.O.A. 5:54

Musicians:
Alex Van Halen – drums 
Eddie Van Halen – guitars, keyboards, backing voc 
David Lee Roth – vocals
Mark Stone – bass

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