With David Lee Roth seemingly retired from the road and no longer releasing albums, 'The Warner Recordings' is a timely reminder that away from Van Halen, the showman created a wealth of quality music.
Collecting together his first four solo albums as well as his debut EP, David Lee Roth's 'The Warner Recordings' traces the Van Halen front man's path across a decade of his solo career, with the music eclectic, and at times, as erratic as the singer himself.
It all began with the 'Crazy From the Heat' EP in 1985. Originally conceived as the soundtrack to a movie that Roth was working on of the same title (but that ultimately, never materialised), in hindsight, it totally shows. It's easy to imagine the laid back 'Easy Street' playing over the opening credits, with the ubiquitous 'Just a Gigolo' providing the musical accompaniment to a comedic montage.
By 1986, Roth had cut ties completely with Van Halen, and assembled an all-star band featuring bass master Billy Sheehan and guitar wizard Steve Vai that was arguably Van Halen on steroids. Poaching VH producer Ted Templeman, the resulting 'Eat 'Em and Smile' was a return to the sound of the earliest rock roots of his former outfit. This was pure, primal rock and roll, with - to Vai's chagrin - minimal guitar overdubs or production values. Vai might have felt frustrated, but there's no arguing with the results, and key tracks like 'Yankee Rose', and 'Tobacco Road' are what Roth's solo years are best remembered for. Deeper cuts like the seductive 'Ladies' Night in Buffalo?' and Sheehan's 'Shy Boy' meanwhile, make this an essential release.
By 1988, it was Vai who was in charge behind the console, with the resulting 'Skyscraper' proving a vastly different release. Layered with guitar orchestration, keyboards and samples, Vai's vision and trademarks are all over it. It was Sheehan who was unhappy this time, walking after the album's completion, however with the pop perfection of 'Just Like Paradise', and the setimental 'Damn Good', the songs were there. Fleshed out with overtly '80s experimentation, such as on the title track in particular, Vai and Roth were having a lot of fun, but change was coming.
By 1991 and 'A Little Ain't Enough', Vai too was gone, replaced by the incredible Jason Becker. Becker's work on the album - from the dizzying licks of the almost title track, to the tasteful slides of 'Sensible Shoes' is simply remarkable, and it's tragic that it was while it was being completed he first developed the ALS symptoms that would eventually leave him unable to play, walk, or speak. A last roll of the dice for the glam rock era, this album is the dark horse of the set, with the sultry 'Tell the Truth' and optimistic closer 'Drop in the Bucket' among its highlights.
By the time Roth returned in 1994, grunge had well and truly taken over, and both aesthetically and musically, the singer was barely recognisable. Shorn of his blonde locks, and with a soberer dress sense, 'Your Filthy Little Mouth' found DLR struggling to find an identity. Musically, it's the least consistent of the set, veering from the dirty licks of 'She's My Machine' and the sludge of 'Everybody's Got the Monkey' to a return to the big band roots of his EP in 'A Little Luck' and 'Night Life'.
Across the set, Roth’s larger-than-life persona and storytelling skills are embedded in every note, whether he’s singing about his escapades in Hollywood or delivering a tongue-in-cheek anthem for the wild side of life. The combination of his distinct vocals and energetic delivery keeps the listener engaged throughout each phase of his career.
The remastering of the tracks is top-notch, with each album feeling fresh while retaining its original energy. The packaging is beautifully designed, faithfully recreating the original artwork, however one small niggle with the CD set at least, is that the inner sleeves are presented as inserts, rather than housing the discs.
'The Warner Recordings' ultimately serves as a reminder of just how versatile and unpredictable David Lee Roth’s music could be. While he might never have fully shaken the legacy of his Van Halen years, this box set shows how much fun he was having in his solo career. Whether you’re revisiting these albums for the first time in decades or hearing them for the first time, Roth’s solo material offers a joyous romp.
'The Warner Recordings' is available to order now.
It all began with the 'Crazy From the Heat' EP in 1985. Originally conceived as the soundtrack to a movie that Roth was working on of the same title (but that ultimately, never materialised), in hindsight, it totally shows. It's easy to imagine the laid back 'Easy Street' playing over the opening credits, with the ubiquitous 'Just a Gigolo' providing the musical accompaniment to a comedic montage.
By 1986, Roth had cut ties completely with Van Halen, and assembled an all-star band featuring bass master Billy Sheehan and guitar wizard Steve Vai that was arguably Van Halen on steroids. Poaching VH producer Ted Templeman, the resulting 'Eat 'Em and Smile' was a return to the sound of the earliest rock roots of his former outfit. This was pure, primal rock and roll, with - to Vai's chagrin - minimal guitar overdubs or production values. Vai might have felt frustrated, but there's no arguing with the results, and key tracks like 'Yankee Rose', and 'Tobacco Road' are what Roth's solo years are best remembered for. Deeper cuts like the seductive 'Ladies' Night in Buffalo?' and Sheehan's 'Shy Boy' meanwhile, make this an essential release.
By 1988, it was Vai who was in charge behind the console, with the resulting 'Skyscraper' proving a vastly different release. Layered with guitar orchestration, keyboards and samples, Vai's vision and trademarks are all over it. It was Sheehan who was unhappy this time, walking after the album's completion, however with the pop perfection of 'Just Like Paradise', and the setimental 'Damn Good', the songs were there. Fleshed out with overtly '80s experimentation, such as on the title track in particular, Vai and Roth were having a lot of fun, but change was coming.
By 1991 and 'A Little Ain't Enough', Vai too was gone, replaced by the incredible Jason Becker. Becker's work on the album - from the dizzying licks of the almost title track, to the tasteful slides of 'Sensible Shoes' is simply remarkable, and it's tragic that it was while it was being completed he first developed the ALS symptoms that would eventually leave him unable to play, walk, or speak. A last roll of the dice for the glam rock era, this album is the dark horse of the set, with the sultry 'Tell the Truth' and optimistic closer 'Drop in the Bucket' among its highlights.
By the time Roth returned in 1994, grunge had well and truly taken over, and both aesthetically and musically, the singer was barely recognisable. Shorn of his blonde locks, and with a soberer dress sense, 'Your Filthy Little Mouth' found DLR struggling to find an identity. Musically, it's the least consistent of the set, veering from the dirty licks of 'She's My Machine' and the sludge of 'Everybody's Got the Monkey' to a return to the big band roots of his EP in 'A Little Luck' and 'Night Life'.
Across the set, Roth’s larger-than-life persona and storytelling skills are embedded in every note, whether he’s singing about his escapades in Hollywood or delivering a tongue-in-cheek anthem for the wild side of life. The combination of his distinct vocals and energetic delivery keeps the listener engaged throughout each phase of his career.
The remastering of the tracks is top-notch, with each album feeling fresh while retaining its original energy. The packaging is beautifully designed, faithfully recreating the original artwork, however one small niggle with the CD set at least, is that the inner sleeves are presented as inserts, rather than housing the discs.
'The Warner Recordings' ultimately serves as a reminder of just how versatile and unpredictable David Lee Roth’s music could be. While he might never have fully shaken the legacy of his Van Halen years, this box set shows how much fun he was having in his solo career. Whether you’re revisiting these albums for the first time in decades or hearing them for the first time, Roth’s solo material offers a joyous romp.
'The Warner Recordings' is available to order now.