A Different Kind of Truth (2012)
1. Tattoo
2. She's the Woman
3. You and Your Blues
4. China Town
5. Blood and Fire
6. Bullethead
7. As Is
8. Honeybabysweetiedoll
9. The Trouble With Never
10.Outta Space
11.Stay Frosty
12.Big River
13.Beats Workin'
By the time I got to reviewing this one, I realized a pattern was forming: it’s almost impossible to talk about a late-period Van Halen album without diving headfirst into the soap opera leading up to it. And in classic VH fashion, this chapter had no shortage of behind-the-scenes chaos.
David Lee Roth was officially back — sort of. He’d rejoined two or three years prior, but only for touring. That was fine with the fanbase, who’d been clamoring for a reunion for decades. Except it wasn’t really a reunion. Longtime bassist Michael Anthony had been handed his walking papers. Why? Who knows. My guess: he committed the unpardonable sin of remaining friendly with Sammy Hagar after Hagar’s exit. Edward Van Halen apparently decided that meant Anthony had to go. Enter Eddie’s teenage son Wolfgang — all of sixteen, baby-faced, and apparently not yet on shaving terms — as Anthony’s permanent replacement. Now Eddie had complete control again, but the tour schedule quickly descended into a mess: cancelled dates, postponed shows, more internal friction, and Eddie battling alcoholism.
So when this album dropped, it felt like it came out of nowhere. In the hyper-connected era of the internet, the idea that a reunited Van Halen could record an album in total secrecy seemed impossible. Yet here it was — a good, solid record. Not flawless, but undeniably solid.
That said, Anthony’s absence is felt. His high-tenor harmonies were a signature part of the Van Halen sound, and on a track like She’s the Woman, you can almost hear where his voice should be. (Side note: when touring with this lineup, Sammy Hagar accused the band of piping in Anthony’s vocals during live shows.) His bass playing may not have been flashy, but it was distinct, instantly recognizable. Still, it had been 28 years since the last Roth-led album — no one expected them to sound exactly like the glory years. The Ted Templeman production magic was gone, replaced by a heavier, more polished mix. It’s straight-ahead and party-infused, but after a while, the dense sound can wear you down. About halfway through, the album starts to feel like it’s been cranked just a little too hot.
Adding to the intrigue: every song here was an older, pre-fame demo resurrected for the album. Roth even admitted — much to Eddie’s probable irritation — that no new songs were written for the project. But most of the material is strong enough that it hardly matters. In fact, you can’t help but wonder why some of these cuts were shelved for decades.
Roth still slips in his trademark innuendo and tongue-in-cheek delivery, but he’s toned down the cartoonishness and carries himself more like a veteran frontman. His voice has held up remarkably well. Eddie’s guitar work is still razor-sharp, but the production keeps it from leaping out the way fans might hope.
In the end, they toured, and that was the real point. I’m not expecting another Van Halen studio album anytime soon — maybe ever. But this one kept the flame burning for a little while longer, and if they’ve got more unreleased gems in the vault, I wouldn’t mind them taking the same approach again. As for the drama? Don’t worry. The Van Halen soap opera is far from over.
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