Album Review: Van Halen - 5150 (1986)

David Lee Roth's departure from Van Halen after the release of 1984 meant that the band were tasked with filling a rather large pair of shoes.  Diamond Dave had many things going for him - looks, charisma and energy, among other things, but like all artists who've carved out a unique brand for themselves that cannot possibly be replicated by any other individual, his departure inevitably asked for a change of direction for the band.  Bringing on board Sammy Hagar from Montrose, Hagar brought a very different style and persona to that of his predecessor.  For some, this would begin the era known derogatively by Roth supporters as 'Van Hagar.'  The way I see it, comparing them is like comparing apples and oranges - both are singers, great singers at that, but they are stylistically worlds apart.  And personally, I love both.

Hagar brought to Van Halen a refreshing, more heavier sound that, rather than sullying the legacy left behind by the now solo David Lee Roth, carved out a completely new Van Halen.  5150 from 1986 is the "debut" album for the new Van Halen.  But what a way to kick off a new era for the band.  Look at the songs on this album - "Why Can't This Be Love?", "Best of Both Worlds", "Dreams" - three of the best songs I have ever heard from the band.  And let's not forget the emotive, synthesized, "Love Walks In."  Either.  The low point here is probably the title track, "5150", but don't let that stifle your indulgence.  One of their best, no matter what the detractors might say.  A

Album Review: David Bowie – Reality (2003)

In light of the unexpected (and shocking) death of legendary rocker David Bowie, it feels somewhat obligatory on my part as a budding music critic (of sorts) to write up a review on an album by one of the world's most innovative, artistic and irrefutably brilliant musicians.  And I'm more than happy to oblige.  I loved David Bowie.  I loved his chameleon-like artistic proclivities.  I loved his musical sensibilities.  But most of all I loved his climatic and authoritative voice.  And I cannot help but feel somewhat guilty for finding the most gratitude in listening to his music after his death.  But of course, I guess, we are predisposed to take even the greatest musical titans for granted until the day that they cease to be, in which we quickly come to realize that we've just lost something irreplaceable.  And what we are left with - memories, the music that has been, the legacy of an immeasurable talent now lost to time - subsequently forces us to cherish and relish them until ourselves succumb to our own mortality and head for that great gig in the sky.  It seems you really don't know what you've got until it's gone.  Anyway, back to the review.

Reality from 2003 is a very good album, given that many artists who claim to have had musical careers spanning five decades are often burned out and mere fractions of the great artists that they once were.  But David Bowie, 56 years old at the time of this album's release, demonstrates aptly that longevity is no inevitable barrier to continuing musical brilliance.  The opening track, "New Killer Star", is as good a song as "Ashes to Ashes" or "Heroes" ever were.  From there it moves on to "Pablo Picasso" and "Never Get Old."  My second favorite on the album, "Days" makes for compulsory listening, and for good measure, I recommend giving "Fall Dog Bombs the Moon" and "Waterloo Sunset" a whirl as well.  A-

Album Review: Motorhead - Ace of Spades (1980)

In light of the recent passing of legendary Motorhead and Hawkwind frontman, Ian "Lemmy" Kilmister on 28th December, 2015, I feel that the time is right to satiate my itching need to write a review for this particular album, which is one of the most highly acclaimed heavy metal albums in history.  Indeed, it is one of the best albums ever made.  Whilst in terms of genre it is considered a metal album, in spirit it is very much a rock 'n' roll record.  Which is fitting, given that Lemmy himself personally saw what he and his band Motorhead had made as being rock 'n' roll.  And the title track, the famous "Ace of Spades", will invariably invoke mental connections with those familiar with Metallica's earliest work, particularly their 1983 debut album, Kill 'Em All.  After all, Motorhead was a huge influence on Metallica's formative years, so it seems logical to assume that songs such as "Whiplash" are indicative of a strong and prominent Motorhead influence.  But even on Ace of Spades, I hear songs that bear resemblance to songs by other bands - "Love Me Like a Reptile" sounds a bit like "Hell Bent for Leather" by Judas Priest.  And "Fast and Loose" reminds me of Thin Lizzy.  All in all, there are some great tracks on this record - my personal favorite is "The Chase is Better Than The Catch."  RIP Lemmy, what a legacy you leave behind.  A

Album Review: Rush - Moving Pictures (1981)

I've known about the Canadian band Rush for a long time now.  Like many other bands, I just never got around to listening to their music.  Well I finally got around to it.  And like many other bands, I'm pleased that I did.  The album that I'm currently reveling in is Moving Pictures from 1981, and what an interesting, and overall pleasing album it is.  When I first began listening to the first track, "Tom Sawyer" my first impressions were "it's different."  Yes it is.  But its a favorable kind of different.  I love the synthesizers on this album.  I love the seemingly randomized, perhaps disorganized, nature of tracks like "YYZ" - that's not a particularly articulate description really, but it shall suffice I guess.  All up, there are some great sounds being made on this album, and not just those being put out by synthesizers, either.  If I were to describe this album in one line, I suppose I would say, "It sounds like a utopian, futurist spin on Black Sabbath."  Correct me if I'm wrong.  Good job, Rush, you've won me over with this album.  My faves - "Red Barchetta" and "Limelight."  A-

Dave's Random, Boredom-induced, Artistically Questionable and Rather Cliché and Unoriginal List of Favorite Albums From the 80s

Some might argue my taste in music sucks. And they're probably right. And you're probably thinking I've ripped this list off from somewhere else. That is definitely wrong - nobody apart from me likes Afterburner by ZZ Top. But I'm bored. So here is a list of 1980s albums that I think are just the cat's posterior:

1980. AC/DC – Back in Black

Brian Johnson's debut with Acca Dacca after the untimely death of Bon Scott is proof that appendicitis can result in a lucrative, long and successful music career with one of hard rock's titans. Featuring classic tracks such as “Hells Bells”, “Shoot to Thrill”, and “You Shook Me All Night Long”, the album would go on to become one of the best selling albums in history, and it isn't difficult to see why, either.

Runner-up: Icehouse – Flowers

1981. The Police – Ghost In The Machine

Drifting away from the reggae infused sound of their earlier works, Ghost in the Machine moves into the synth-driven new wave era with charming ditties aplenty. “Spirits in the Material World”, “Invisible Sun”, “Everything She Does is Magic” are just some of the better known tracks on this album...bugger it, just go listen to the bloody thing.

Runner-up: Van Halen – Fair Warning

1982. Roxy Music - Avalon

The uber cool Bryan Ferry and chums end Roxy Music's recording career on a very high note with the epic Avalon. Something of an acquired taste, but once you get used to it, you'll soon find yourself making a mental note to yourself to save your copy should your house ever happen to burn down.

Runner-up: Michael Jackson – Thriller

1983. Cyndi Lauper – She's So Unusual

Arguably the most surprising album on this list, Cyndi Lauper's debut album is actually excellent. Yeah, you might be thinking songs like “She Bop” and “Time after Time” are all you need, but not really. There's the rest of the album to explore, like the Prince-penned “When You Were Mine”, or “Money Changes Everything.” But sadly for me, my CD copy is degrading thanks to the supposedly rare phenomenon of “disc rot.”

Runner-up: ZZ Top - Eliminator

1984. Bruce Springsteen – Born in the U.S.A.

“Hey little girl, is your daddy home?” Given the filthy minds of more modern times, this is perhaps not the most politically correct thing to sing on an album these days, unless, of course, you're Rolf Harris, but for The Boss in 1984, that as-yet politically untarnished 'come on' line that opens “I'm On Fire” shows that Bruce can knock up a love song just as good as he could a number about the plight of the working man. One of those albums that you could quite happily play from start to finish, just like the aforementioned Cyndi Lauper album.

Runner-up: Metallica – Ride the Lightning

1985. ZZ Top – Afterburner

Following on from the excellent Eliminator, The Texas Weird Beards keep on hard rockin' and up the synths in the process. Not as polished as its predecessor, I'm certainly not one to complain, if “Delirious”, “Can't Stop Rockin'” and “Stages” are anything to go by. Oh, and “Sleeping Bag.”

Runner-up: Anthrax – Spreading the Disease

1986. Paul Simon – Graceland

Not an album I like to talk about too much – giving it appraisal can sometimes feel a little too cliché, but damn it, it deserves it anyway. And this album shows that Simon lost little when Simon & Garfunkel ceased to be – and who really needs to talk about a bridge over troubled water when you've got the Mississippi Delta shining like a National guitar?

Runner-up: Slayer – Reign in Blood

1987. Def Leppard – Hysteria

No cliché “greatest albums” list is ever complete without Def Leppard's mammoth Hysteria from 1987. A significant number of songs from this album received airplay, and it isn't hard to 'hear' why. But bugger “Animal” - “Don't Shoot Shotgun” and “Gods of War” are where it's at.

Runner-up: Michael Jackson – Bad

1988. Fine Young Cannibals – The Raw and the Cooked

Roland Gift's somewhat proprietary voice served well as part of the soundtrack to my 1988/1989, as did Toni Childs' Union, which follows behind in second place. A brilliant album from start to finish. And it's a bit of a shame that the band did relatively bugger all following its release.

Runner-up: Toni Childs – Union

1989. Phil Collins - ...But Seriously

The much maligned Phil Collins deserves better, in my opinion. After all, I owe him a great deal for my almost 30 year old appreciation of popular music. And OK, he's made some not so good albums, but then again, I'm still waiting on somebody to deliver that impeccable discography. Indeed, my tumble-weed count so far stands at around 2,374. But hey, I've enjoyed some great music in that time, including this album, Phil Collins' ...But Seriously.

Runner-up: Skid Row – Skid Row

Album Review: The Police - Ghost In The Machine (1981)

Just as I though Synchronicity was the bee's knees, I stumble across this, Ghost In The Machine by The Police, which was initially released in 1981.  Unlike their previous albums, this album progressed away from the reggae-influenced sounds of their previous albums toward a more synth-driven one that would ultimately culminate in the aforementioned album.  And whilst Synchronicity wasn't a bad album at all, Ghost In The Machine has superior melodies, is more catchy, and has better artwork.  With the reggae sound being phased out and substituted for a more synthesized sound more akin to what was fashionable in the 1980s, the results are an amicable transition between an that near trademark skank-driven sound and the ambient, moody synth hum that forms that basis of tracks like "Invisible Sun", "Secret Journey" and "Darkness."  Some might argue that it's successor is the better album - I, on the other hand, beg to differ.  A

Album Review: Pantera - Power Metal (1988)

Coming across an ultra-rare album is one thing, but being able to savor every moment of it is certainly another, especially when what you hear is completely the opposite of what you would have expected otherwise.  I was most fortunate to be able to hear Pantera's very rare and very unknown Power Metal from 1988, their first album to feature Phil Anselmo on vocals.  This "glam metal" album, in my opinion, is the best metal album I have heard in a long time - and that is saying something.  Most people will think it sounds a lot like 1980s Judas Priest, and they would be right.  Just listen to the first track and you can instantly tell, right down to Phil's Halford-esque screaming that would carry on in diluted form into 1990's Cowboys From Hell (an excellent album, I must say).  And the riffs - Dimebag's proficiency with an axe really shines on this record - are at the very pinnacle of 80s metal excellence, and given that Pantera are best known for their 90s work, that is an outstanding achievement.  My picks - all of them really, but play "Power Metal", "P*S*T*88" and "We'll Meet Again" first.  That is, of course, if you can get hold of the album. A+

Album Review: Phil Collins – No Jacket Required (1985)

Phil Collins has being copping flak for a while now, from music critics to satirical animated comedies such as South Park, it appears the former Genesis drummer is seen as being a soft target for a myriad of reasons. And some of this criticism is purportedly viewed as being a catalyst for his seemingly short-lived retirement from the music biz in 2010. But I would like to put it out there that I have nothing against Mr. Collins and his music – au contraire, if it wasn't for hits such as “Two Hearts”, “One More Night”, and the David Crosby duet, “Another Day in Paradise”, I wouldn't have this blog at all. Indeed, “One More Night” is one of the first songs I remember listening to back in the mid-late 1980s, when I was just a kid.  It was a somewhat somber number, emotively powerful, slow-paced but not too tedious, yet when I hear it and the nostalgia kicks in it reminds me of the time when my love of music was being developed in an era in which I really understood the meaning of being happy. But whilst my appreciation of this particular song and its nostalgic properties dates back around 28 years or so, experiencing the rest of the album from which it derives from, No Jacket Required, has been a relatively recent event. And the experience I must say has been a surprisingly pleasant one. Most of the songs on here, I shall admit, have kept the repeat button rather busy as of late - “Don't Lose My Number”, “I Don't Wanna Know”, “Who Said I Would?”, “Doesn't Anybody Stay Together Anymore?” and of course, the very familiar “Sussudio” and “One More Night” are all equal favorites of mine. Less significant, but still pleasing to the ear nonetheless are “Long Long Way To Go” and “Inside Out”, both of which still manage to score a worthy thumbs up from yours truly. Everything else on the album, I must confess, I'm rather apathetic to.  But that's purely my personal opinion. A-

Album Review: The Beatles - The Beatles (1968)

Disappointed somewhat by my initially high expectations of Sgt. Pepper, my views of what a Beatles record should sound like, I can admit, took a rather steep nose-dive. That is, until, I came across the delectable self-titled The Beatles from 1968. Not the best album in music history, of course, and a judgment I wouldn't hesitate to equally confer upon its (in my opinion, slightly overrated) predecessor, but nonetheless one of the finest, whose exclusion from the music collection of any discerning music lover is utterly inexcusable. Melodically a little more palatable than Sgt. Pepper, but less significant culturally and commercially, it still succeeds admirably in its ability to provide something for almost everyone. From the simple and cheerful “Honey Pie”, the proto-metal-esque “Helter Skelter”, the 'out-of-the-blue' structure of “The Continuing Story of Bungalow Bill”, the half-pie orgasmic warbling of “Rocky Raccoon”, to the well-known staples of “Back In The U.S.S.R.” and “Ob-La-Di, Ob-La-Da”, this record fails miserably to delve into a state of musical sterility and outright creative impotence – at worst, it will keep you awake. But at best, it will invigorate the soul.  My biggest gripe is the price, as is the case with all Beatles records.  Buy it if you can afford it. A

Album Review: Fleetwood Mac - Rumours (1977)

I tend to agree with the findings of most music reviewers when it comes to albums of great importance and significance in the history of popular music.  Of course, the late Michael Jackson’s Thriller garners great admiration and respect for, at the very least, its impact on the 80s generations, and the likes of Paul Simon’s Graceland will sometimes tell us to expect the unexpected in the most favorable ways.  Of course, just because an album sells like the proverbial hotcakes doesn’t intrinsically equate to it being any good – Elton John’s Goodbye Yellow Brick Road being a classic case, but it's more often than not that does the consumer prove most discerning in their tastes.  Fleetwood Mac’s Rumours has sold in the tens of millions, and frankly, the sales figures are justified.  And given that most Fleetwood Mac ‘best of’ compilations are essentially Rumours with assorted choice picks from across the rest of the band’s discography bolted on, it goes without saying that this record encompasses everything good about Fleetwood Mac.  “You Make Loving Fun”, “Dreams”, “Second Hand News”, yeah, they’re great.  But don’t forget about “I Don’t Want to Know.”  In saying that, you may not want to know, “Oh Daddy”, and “Silver Springs (on some reissues only).”  I’m not too enthusiastic about them.  But I’ll let you decide that for yourself.  A

Album Review: Bryan Ferry - Taxi (1993)

By the 1990s, most singers who had been in the game since the late 60s or early 70s had begun to lose their musical mojo.  Garnering at best two star reviews for studio albums and only ever achieving significant sales by pumping out ‘best of’ and ‘greatest hits’ compilations, whilst throwing in an awful live album or two to spoil the relative success of the latter two, it is obvious such artists have burnt out and subsequently run out of ideas.  Not if you’re Bryan Ferry, however.   The unexpectedly cool Ferry and his carefully crafted brand of romanticism as a musical form survived well into the 1990s and even today, with his 1993 work, Taxi, proving there’s always exceptions to the rule.  Giving his rendition of “Amazing Grace” a miss, the record still has that upbeat moody aura to it that sends shivers up my spine and is characteristic of much of his greatest work, both solo and especially with the latter Roxy Music albums.  “Just One Look”, “Rescue Me” and “Will You Love Me Tomorrow” are tops – the rest, however, shouldn’t be overlooked either, except of course, for the aforementioned “Amazing Grace.”  Stick to the original for that one.  A-

Album Review: Fleetwood Mac - Tango In The Night (1987)

Less of a musical mixed bag than Roxy Music, despite my affection for both groups, Fleetwood Mac is another fine band that never fails to put out an album with at least one reputable track on it.  Certainly, Rumours and Tango in the Night more than help reinforce this position - both are peppered with hits that garnered an ample amount of airplay – yet, despite the obvious ones, there are still a good number of less prominent numbers to counter the poorer ones.  I’m thinking about the likes of “Caroline”, “Isn’t It Midnight”, and “You and I, Part II”, all of which wondrously complement the best known “Little Lies”, “Everywhere” and “Seven Wonders” as the hidden charms that they are, and offsetting the dull and uninspiring “Mystified”, “Welcome to the Room…Sara”, and “When I See You Again.”  But despite the lackluster build of the latter three, it still is a good album all around.  A-

Album Review: Bob Dylan - Tempest (2012)

Beginning with a nasal, amateur yodel, evolving into a mellow country croon, moving through to the more balanced vocals of the 1970s, onto the butch prison lesbian with laryngitis sound of the 1980s, and finally to the “car progressively driving down a gravel road sound” of today, Bob Dylan’s voice, it can be said, has been through more change than an alcoholic hobo with kleptomania.  Some might say that he should give up before he becomes inaudible.  Some may say he should take up recording death metal.  And of course, everybody else will say he should keep going until either he drops dead or Jesus comes back, whichever comes first.

And despite being 71 years old, his latest (and possibly his greatest) creation is a corker of an album.  Highly diverse and darker than a photophobic hermit’s bumcrack, Tempest takes Dylan to a new creative high, telling stories about the Titanic and throwing John Lennon into the equation for good measure.  “Duquesne Whistle” starts off with a Canned Heat on meth jingle and carries on with Bob singing an inverted rendition of "Thunder on the Mountain"  in the style of Louis Armstrong missing a testicle.  The bluesy “Early Roman Kings” balances out the tempo against the former, “Tempest” tells an enlightening story about the sinking of the Titanic, and “Roll on John” is probably the best “Lennon” song since Elton John’s “Empty Garden.”  And there’s the rest of the record, for which it should be a legal requirement to play from start to finish the first time around.  I recommend “Tin Angel”, “Pay in Blood” and “Narrow Way.”  Bob is old, but his music is gold. A

Album Review: Bruce Springsteen - Wrecking Ball (2012)

The Boss is well known for writing material dealing with the everyday concerns of the working class folk, and his latest offering also attacks the institutes held collectively responsible by many in society for today’s economic woes.  Wrecking Ball stands out for its blatantly angry moments of accusative frustration, which is distinctly uncharacteristic for a Springsteen album.  Fusing the acoustic sobriety of Devils and Dust with melodic poignancy of the likes of Born In The U.S.A,  The record follows a sinusoidal pattern of emotionally uplifting low grade power ballads, polarized with more subtle and mellow acoustic numbers.  A little too repetitive lyrics wise in a number of places for my liking, it still stands out as a notable effort from the Boss, an artist who is held in high esteem, and quite rightly so.  “We Take Care of Our Own”, “Easy Money”, “Rocky Ground” and the outrageously Irish “American Land” represent the finest from Springsteen’s latest work.  A-

Album Review: Bryan Ferry - Olympia (2010)

Roxy Music is well known for projecting a distinct artistic aura that separates it from other mainstream bands - it makes music with artistic motives in mind, not to appeal to common perceptions and expectations of rock and roll as it was and still is, but to bring the visual to the aural senses, and to incite or invoke a sensation of sensory appreciation that transgresses typical musical norms.  Most notable was their final 1982 album Avalon, an album that redressed romantic emotionalism in an auditory experience beyond what most musicians seemingly sought not to achieve for the most part.

Bryan Ferry's 2010 work, Olympia, is in spirit a continuation of Avalon.  A Ferry album by name, but a Roxy Music record in character, it's brilliance is justified on a number of fronts - firstly, its correlation to 80s Ferry and Roxy, notably Avalon and Ferry's solo Boys and Girls; secondly, its proficiency in reproducing everything that the aforementioned records stood for.  Analyzing the tracks, "You Can Dance" starts off reminiscent of "True to Life", "Shameless" is self-explanatory, and my personal favorite, "Song to the Siren", a cover song that Ferry, despite his advancing years, shows that he still has the magic when it comes to formulating those powerful and melodic ballads that made his 80s material so ethereal.  Loving it.  A

Album Review: Van Halen - A Different Kind of Truth (2012)

Out with bassist Michael Anthony, in with Eddie's son. Sammy having gone several years beforehand, in comes David Lee Roth, the larger than life, energetic frontman of the early Van Halen years. Speaking of both Sammy Hagar and Roth, much affection was always retained for the latter. Even in Hagar's shining moments, fans still yearned for the day that their knight in tights would once more take the mic back, iron out them VH wings and once more unleash upon the world the band that took rock and roll to an entirely new level. And their dreams came true with a reformation in 2006. Now, in 2012, they have a brand new album out. And it is a pearler. A Different Kind of Truth sounds nothing like the Youtube snippets and extracts. No sir. This is classic Van Halen, the way the fans wanted it, and what the fans got. Sure, some of the choruses are slight let downs at worst, and the album cover may bear a strong resemblance to the Commodores' 1975 album, Movin' On. But who really cares for nitpicking? Bugger the perfectionists, this album is a phenomenal start to the new year. And where do I start on the songs? "Tattoo", "She's the Woman", "China Town", "Bullethead." Oh, to hell with it, listen to the whole damn album. My verdict: the awe factor of this record is such, if you lose interest in sex completely, you'll know why. A

Album Review: Skid Row - Skid Row (1989)

Debut albums are often very good albums. In fact, they are often the best albums. To cite a few examples, look at Toni Child's Union, Megadeth's Killing is My Business...And Business is Good!, Van Halen's Van Halen, Cyndi Lauper's She's So Unusual, and some might argue, Phil Collin's solo debut Face Value. You often will find that much of an artist's creativity and ability is expended on the first album, with the rest often being contractual obligation fillers with little purchasing appeal other than as a collector's item.

In some ways, the same could be said for glam/heavy metallers Skid Row and their self titled debut. Best known for hits such as "18 and Life" and "I Remember You", the album signified the tail end of the 1980s glam metal sound that would eventually be supplanted in terms of popularity and mainstream appeal by grunge rock. Outdated it may have quickly become, it still managed to cement a legendary status both in the history of the genre and in the band's discography. And when you listen to the album, it is imperative that you don't forget about "Midnight/ Tornado", and "Rattlesnake Shake." Combined with the former, you get a great package for the money you fork out. Starting off on the right foot never sounded so good. A-

Album Review: Van Halen - Van Halen (1978)

Over the years, much has been said about Eddie Van Halen's proficiency with the ax. Some say he is the reincarnation of Hendrix, some say he's better than Hendrix, some say he's the best thing since Hendrix, and some invariably say he's nowhere near as good as Hendrix. Whatever position one holds, there is a common point for agreement - Eddie Van Halen is an innovator. And like Jimi, many a teenager idolized him and wanted to follow in his footsteps. And I was one of those teenagers. Take the debut album from Van Halen, the self-titled, Van Halen, or Van Halen I as it sometimes referred to as. It introduced young boys to two things - the need to make a fool of yourself as you twirl your arm around and around playing air guitar, with the windows wide open for the neighbors to see, and premature arthritis. The legendary guitar solo "Eruption" had the same inspiring influence on young minds as professional wrestling; the difference being that Eruption didn't kill or maim its imitators. Nor did it attract lawsuits like Ozzy Osbourne's "Suicide Solution" supposedly did.
But air guitar solos aside, the rest of the album shows that it isn't just a record filled with songs wannabe guitar heroes can show off to. "Running With the Devil", the Kinks' classic "You Really Got Me", and the random and quirky "Ice Cream Man" make this the quintessential rock/pop metal album. My personal favorite, the very metallic, "I'm the One." A

Album Review: Red Hot Chili Peppers - One Hot Minute (1995)

The distinct, funk influenced sound of the Chilis has always been popular amongst Generation Xer's and alternative rock aficionados - the songs are well crafted, the lyrics are typically no nonsense and the band image is bold, distinct and out there as per usual. Small wonder, then, that the 1995 album, One Hot Minute, comes across as being a charismatic package that delivers the sound most Chili fans expect to hear from them. None of that radical "Metallica going Hard Rock with the Load album" kind of treachery, just that bass-driven Chili funk that'll rock your socks off when they're not dangling from your wedding vegetables. This album, and the Chilis in general, help define what was good about music in the 1990s. From "My Friends" to "Aeroplane", to the boisterous "Coffee Shop", One Hot Minute really is hot - even hotter than Dave's Tobasco Sauce. Oh, and don't forget about "Pea." A-

Dave's List of The Greatest Van Halen Albums

In recently learning of Van Halen's possible intention to release the new album sometime in February 2012, me, as an avid Van Halen fan since 1999, have decided to list rate VH's studio albums in order from best to worst. And here it is:

1. Van Halen (1979)

The album that got schoolboys into pretending they're something they're not in their own bedrooms by swing their arms around and around on their beds, the debut album from the band who nearly called themselves "Rat Salade", proves to be a fantastic start for the legendary Pasadena band. With the air guitar classic "Eruption", the associative "Runnin' With The Devil", the greatly improved "You Really Got Me" and the humorously bold "Ice Cream Man", this album is bound to give any aspiring hard rock/metal guitarist arthritis.

2. 1984 (1983)

An ambitious foray into the use of synthesizers paid off handsomely with this underrated gem, which would prove to be the last David Lee Roth album before Sammy Hagar took the helm. Spreading the VH message with numbers like "Jump", "Panama" and "Hot for Teacher", you'd be best to get this album before the scourge of political correctness claims the album cover.

3. 5150 (1986)

Who said Sammy Hagar sucked? People who don't like change, that's what. And change is inevitable. Mr. Hagar proved himself more than worthy on this energetic, and sometimes-faster than-light record. Crank up tracks like "Get Up", "Good Enough" and wind down with "Why Can't This Be Love?" and "Love Walks In", and your outlook on life should invariably change for the better. If not, consider getting your ears checked.

4. Diver Down (1982)

"Yes, I like this album, very much so", said Dave, despite being immersed in a sea of boos from fellow VH enthusiasts. Why? Because "Oh, Pretty Woman" is awesome. And so was Roy Orbison. "Dancing In The Street", another cover, as well as "Big Bad Bill", show that something that could potentially go so wrong can sometimes turn out so right.

5. OU812 (1988)

Not too bad. Not too brilliant either. But certainly good enough.

6. Balance (1995)

A surprisingly respectable album, with songs like "Don't Tell Me (What Love Can Do)" and "Amsterdam", you could easily do worse, especially at a time when bands of VH's vintage tend to show strong signs of having burnt out. Actually, they did - 3 years later.

7. Women and Children First (1980)

Loss of Control! Loss of Control! Yeah, it ain't too bad.

8. For Unlawful Carnal Knowledge (1991)

Duh, I like the pretty album cover. It looks like a rare edition basketball card. Oh, and I like "Top of the World", "Judgment Day", and "Right Now" the best. And the naughty word that the title spells out.

9. Van Halen II (1979)

"You're No Good", "DOA", "Spanish Fly" "Women In Love" and "Beautiful Girls" are all very good songs, in my opinion. In fact, based on this fact, it should be placed higher on this list. But I find the album lacks all-around charisma, thus I don't listen to it as much as i really should. But I do, nonetheless.

10. Fair Warning (1981)

A couple of respectable songs on this album, otherwise you have the most overrated album in the Van Halen discography. "Unchained" certainly makes it worth pressing the play button for.

11. Van Halen III (1998)

Van Halen - Sammy Hagar - David Lee Roth = Van Halen + Gary Cherone. Could be much worse - then again, could be much better as well. Van Halen has excluded this from their own discography, they think it is that bad apparently. Buy it anyway.