Harry’s Records, right next to the bus stop on my way home from sixth-form college, was a real institution for me in the late 1980s (I’ve only recently discovered that it was actually a UK-wide chain of music stores).
Many a trip home was enlivened by looking at the covers of, off the top of my head, Jeff Beck’s Guitar Shop, It Bites’ Eat Me In St Louis or Anderson Bruford Wakeman Howe.
And Van Halen, the superb 1978 debut album. From the opening backwards car horns and Michael Anthony’s fuzzy bass to the manic closer ‘On Fire’, it was a total stunner.
It’s a brilliant mix of Cream, Led Zep, The Sex Pistols, Kinks and Who, featuring a talented vocals/guitar/bass/drums lineup with a striking audio imprint (producer Ted Templeman’s mastery of the famous Sunset Sound echo chamber, with Eddie’s guitar flying across the stereo spectrum: Rick Beato and Warren Huart have put together superb musical analyses of the album).
The band ‘breathed’ and grooved, and it sounded like they played live in the studio (they did, pretty much). It certainly wasn’t ‘perfect’. Perfection is an interesting concept for rock, one of the legacies of the post-Nirvana 1990s. Everyone recorded with a click track, and everyone seemingly looked for ‘perfection’.
The 1970s were different. So it’s a great jolt to hear VH’s ‘Running With The Devil’ quantized and placed on ‘the grid’ by this wacky music surgeon below. Judge for yourself if you prefer the ‘perfect’ version or original, ‘wrong’ version – it’s a fascinating, sometimes amusing project:
P.S. Check out this amazing soundboard recording of VH’s Hammersmith Odeon support show with Black Sabbath in June 1978.