journey van halen

• facebook-rs

Steve Perry Looks Back on Touring With Van Halen and the Eddie Collaboration That Might Have Been

By Andy Greene

Andy Greene

On October 6th, Steve Perry got a text from his recording engineer that read, “Oh man, Eddie Van Halen . I can’t believe it.” The former Journey frontman had no idea what he was talking about. “I don’t watch the news anymore,” he says. “And so I picked up the phone and said, ‘What’s going on?'” When he heard the tragic news that the guitarist died after a long battle with cancer, Perry’s mind instantly went back to 1978 when Van Halen opened for Journey for eight weeks on the Infinity tour. He phoned up Rolling Stone to tell stories from that legendary tour and to reveal that he got a call from Eddie after David Lee Roth left the band in 1985 that could have changed rock history in a profound way. These are Perry’s words. 

I am convinced that Journey became something we would not have become had we not spent time with Van Halen in 1978. That band was the opener on my first tour as a frontman with Journey, just after we made Infinity. That was the one with “Lights” and “Wheel in the Sky” and all that.

In Los Angeles, Van Halen had been playing the Whisky, Gazzarri’s, and Starwood right off the strip. Warner Bros. signed them and they made a record with them, the first Van Halen record.

Our manager, Herbie Herbert, decided to take us to the headliner status at that time and said we needed a good opener. He heard about Van Halen and he got them to open that tour. It was about eight weeks of 3,000-seater proscenium-stage gigs. If my memory serves me, it was Van Halen opening, Ronnie Montrose second, and then Journey. This went from the beginning of March to the end of April. We had a good eight weeks where we were all together touring, staying in hotels.

That band was so on fire and Eddie Van Halen was the driving, demonstrative force of that group. The DNA was so strong musically between him and his brother Alex that when they played just on their own together, they sounded liked Led Zeppelin meets punk music. They were truly that powerful.

Then you had David Lee Roth who was a real showman and a real fun guy to be entertained by. And you had Michael Anthony on bass who had this real high, literally operatic tenor voice. Eddie sang beautifully too. They were loaded with what they needed to come out there and do what they did.

Editor’s picks

The 250 greatest guitarists of all time, the 500 greatest albums of all time, the 50 worst decisions in movie history, every awful thing trump has promised to do in a second term.

Every fuckin’ night I’d stand on the side of the stage and watch their set. I would bring [Journey guitarist] Neal [Schon] and say, “Check this out.” Neal was blown away by Eddie. I’m a drummer and I was blown away by Eddie and Alex. I knew the lock they had going.

There is something that cannot be duplicated when you have DNA in your band. The Everly Brothers had kind of a harmony that the Beatles and Simon and Garfunkel, in documentaries I’ve seen, admit that they cannot get close to. It was something they had within each other that was deeper than just musicality. It was DNA. Alex and Eddie had that.

Eddie was just so amazing. I was so respectful, but at the same time envious at what he had and what he was contributing and what they had together. Eddie was a big, big driving force in that band, but that whole band was a force to be reckoned with, believe me. Following them was a learning experience.

Back then, rock was about competition and rivalry. It’s like the San Francisco Giants playing the [Los Angeles] Dodgers. There is a rivalry. There is competition. Those two teams bring the best out of each other when they play each other. Back in those days, the headliner was always going to be challenged by the opener. The opener wants to be the winner of the evening. They want to come home victorious against the headliner, no matter who it is. There was competition. It was pro sports.

Somewhere along the line, as soon as laptops came around and everybody could play with a click trick and enhanced tracks from their albums and extra background vocals, extra guitar parts, and extra ambient, floating things, everything changed. The drummer gets the click track with his headphones, everyone plays with the drummer, and the arrangement is locked because he’s playing with the laptop. Nothing moves like it used to because of that. Everything has been neutralized to a playing field called a grid and beats per minute.

Back then, you walked out and you played. The question was, “Who is kicking whose ass?” It was that simple. And every band would be challenging the others, and every band would learn a little something from the others, if not a lot.

People think that Eddie is the most amazing guitar player lead-wise and he is. But nobody talks about his absolute definitive rhythm pocket. When you start a song [ hums the riff to “Ain’t Talkin’ ‘Bout Love” ]. It was just so definitive by itself. The band hadn’t even come in yet. You hear all the instruments around it before they even come in. That’s how definitive he was as a rhythm player.

I remember telling Eddie one time, “I really love that ‘Jamie’s Cryin” song. You should be playing that.” He want, “Naw, I don’t like it.” I think he felt it was too pretty. Isn’t that crazy?

Journey's Bassist Ross Valory Opens Up About the Band's Saga — And His Adventurous Solo Album

Wolfgang van halen responds to david lee roth's ‘this f-ckin’ kid’ video: 'born into this van halen drama'.

But to be honest, I didn’t spend a lot of time with Eddie on that tour. They really had a bit of a punk “fuck you” thing going. They really didn’t hang with me. Neal may have hung with Eddie, but I didn’t.

But one night, I decided I had to go tell him, “I just love you guys.” I open the door and was about to say, “Hey, guys …” Now, back in these days, guacamole came in a cottage-cheese–like container. The band was having a food fight. Just as I was opening the door, a container of guacamole bumped off the mirror to my left and splashed against my most prized possession, being a small town kid from Fresno. It was my satin tour jacket that had “Journey” on the back of it. Wearing that, I felt like I was finally somebody.

The guacamole went on my left shoulder and my left arm. I looked down on it and I looked up at them and they sheepishly laughed like, “Oh shit.” I just looked at them and I closed the door and left because I was pissed. I went into the bathroom and I was just pissed. That was my prized jacket. I still loved them, but I couldn’t give them props anymore after that. I wiped my guacamole off my satin jacket.

[Ed. note: There are reports that Perry was found crying in the bathroom after this.]

No. There was no crying! I wouldn’t cry over guacamole [ laughs ]. It becomes folklore at some point. It becomes silly.

Now let me tell you something Van Halen did do on that tour that was a little bit of a cardinal sin against the headliner. Back when Journey opened for Emerson, Lake, and Palmer or anyone else, often before I joined, they would get the PA slightly limited peak-wise so they’d save the ears of the audience from the opener being too loud.

And so when the headliner comes on, you’re in the headliner position, and you get to have the rest of the amplification in the hall that the headliner classically deserved being the headliner. That was a tradition in the music business that we did not create, but we had to live in when we opened for people.

When Van Halen opened for us and Montrose, the PA had a slight limiting on it. But let me tell you how brilliant their mixer is. Eddie had stacks of Marshalls. Michael had stacks of SVT bass amps and they only ran the drums and vocals through the PA. As I said, it sounded like Led Zeppelin meets the Sex Pistols.

I don’t think anyone knows this, but when David Lee Roth left Van Halen [in 1985] I was living in the Bay Area and not sure what I was or wasn’t going to do anymore. I don’t remember how it went down, but either I called Eddie or Eddie called me. Back in those days, we were both having what you could call “late-night behaviors” on the phone. All I know is we both ended up on the phone that night having some fun talking trash.

Eddie said that I should come down sometime and we should jam, have a play. Man, at some level within me I felt so honored because I was in awe of Eddie’s natural talent. He was just born with it. I wanted so badly to do that. We talked about how cool that could be musically. This was before Sammy [Hagar].

The next day and in the weeks to come I thought, “I don’t know that I should do that. If it goes creatively to what I know it can go to …” Whatever I could bring to that, I know it would be something I’d really love doing. My only problem I had with it was the thought, “I don’t know that I could be the guy to go out and represent the David Lee Roth years with my voice. I don’t know if I want to be that guy.” And shortly therefor, they got Sammy and he was the perfect version of that guy.

I don’t know what Eddie’s intentions were when he called me. He was just saying, “Let’s get together and play.” It wasn’t a promise. It was just, “Why not? Let’s see what this sounds like.”

As I said, I think representing their legacy up to that point would have been something vocally that I don’t think i was really suited to doing. It’s a different kind of singing. David had something vocally that I would say was in kinship with Louis Prima. Later on, he did “Just a Gigolo” and sounded more like Louis Prima. He was a real character.

Looking back at that 1978 tour with Van Halen, and I mean this from the bottom of my heart, we were really blessed to be around that kind of musicality because it changed my life. It changed what I wanted out of myself. It changed what I wanted out of my songwriting. It changed what I appreciated. People should really know that not only did Van Halen truly make Journey a better band, they made a lot of bands a better band.

Olivia Rodrigo Sings With Jewel at Madison Square Garden: 'An Honor'

• By Tomás Mier

Biden Slams Netanyahu Over Gaza: ‘I Think What He’s Doing Is A Mistake’

• Gaza Conflict
• By Jeremy Childs

Vampire Weekend Added to Coachella 2024 Lineup as Fest Drops Set Times

• Chella Surprise

Fuerza Régida Want You to See Them on Tour — But Don't Fall in Love

• Pa La Belikeada

The Beach Boys Catch a Wave While Navigating Harmony and Discord in New Doc Trailer

• California Dreams
• By Jon Blistein

Most Popular

Jodie foster pulled robert downey jr. aside on their 1995 film set and told him: 'i’m scared of what happens to you next' because of addiction, where to stream 'quiet on set: the dark side of kids tv' online, sources claim john travolta is ‘totally smitten’ with this co-star, stevie j shows the world what a "real" diddy party looks like, you might also like, robert pattinson confronts robert pattinson as bong joon ho debuts wacky, bold ‘mickey 17’ trailer at cinemacon, charles & colvard takes strategic shift amid tough business conditions , amazon sale: flexispot’s adjustable exercise bike is over $100 off right now, ‘joker: folie à deux’ teaser trailer: lady gaga is corrupted by unhinged joaquin phoenix, ncaa men’s final ratings can’t match women amid uconn routs.

Rolling Stone is a part of Penske Media Corporation. © 2024 Rolling Stone, LLC. All rights reserved.

Verify it's you

Please log in.

Steve Perry clarifies infamous Van Halen guacamole incident

Former Journey singer Steve Perry gives his side of the Van Halen food fight story: "I wouldn't cry over guacamole"

Back in 1978, Journey were touring their Infinity album and took fledgling rockers Van Halen out on the road. 

One of the stories to emerge from the tour is one of rock's strangest, and was told in Runnin’ With the Devil , Van Halen tour manager Noel Monk's book about his years with the band. 

In the book, Monk claims that Journey frontman Steve Perry , having entered the Van Halen dressing room at precisely the wrong moment, had been the unwitting target of a bowl of guacamole tossed at singer David Lee Roth by Eddie Van Halen . 

Concerned that Perry would be furious about being covered by the avocado-based dip, Monk followed the distressed singer into the bathroom.  

"From the top of his luxurious mane of silky black hair to the middle of his shimmering new sateen Journey jacket," wrote Monk, "he was completely covered in guacamole.

“'I was going to wear this onstage tonight,' he told me, tapping the chest of his jacket, his lower lip quivering. 'Look at it now – it's fucking ruined.' Words failed him, and for a moment I thought he was about to erupt – to start screaming, to demand that we pay for damages and leave the tour immediately, have our heads mounted on spikes and set outside the front doors of our next gig, but instead he simply began crying, a soft, sad little whimper, and I felt bad for him."

Now Perry has provided further clarification, telling Rolling Stone that the incident wasn't quite as Monk described.

Classic Rock Newsletter

Sign up below to get the latest from Classic Rock, plus exclusive special offers, direct to your inbox!

"I open the door and was about to say, 'Hey, guys…'." says Perry. "Now, back in these days, guacamole came in a cottage-cheese–like container. The band was having a food fight. Just as I was opening the door, a container of guacamole bumped off the mirror to my left and splashed against my most prized possession, being a small town kid from Fresno. It was my satin tour jacket that had 'Journey' on the back of it. Wearing that, I felt like I was finally somebody.

"The guacamole went on my left shoulder and my left arm. I looked down on it and I looked up at them and they sheepishly laughed like, 'Oh shit.' I just looked at them and I closed the door and left because I was pissed. I went into the bathroom and I was just pissed. That was my prized jacket. I still loved them, but I couldn’t give them props anymore after that. I wiped my guacamole off my satin jacket.

"I wouldn’t cry over guacamole. It becomes folklore at some point. It becomes silly."

Elsewhere in the interview, Perry pays tribute to Eddie Van Halen, and reveals how the two talked about jamming together after Roth left the band. 

Online Editor at Louder/Classic Rock magazine since 2014. 38 years in music industry, online for 25. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.  

In case you missed it, Heart played Total Eclipse Of The Heart on a New York rooftop with Jimmy Fallon during the actual total eclipse

Deep Purple and Yes join forces for North American tour

"We'd play small islands on the west coast of Scotland rather than stadiums": Echo & The Bunnymen wouldn't play the game, but that didn't stop them from creating "the greatest song of all time"

Most Popular

By Jerry Ewing 9 April 2024

By Matt Mills 9 April 2024

By Fraser Lewry 9 April 2024

By Merlin Alderslade 8 April 2024

By Jerry Ewing 8 April 2024

By Paul Brannigan 8 April 2024

By Fraser Lewry 7 April 2024

• Fogerty Adds Dates to Tour
• 30 Eclipse Songs
• 'Feats Don’t Fail Me Now' Reissue
• Steve Perry's 'Oh Sherrie' at 40
• Jimmie Vaughan Joins Bob Dylan

Journey’s Neal Schon Recalls The Rise Of Eddie Van Halen And The Birth Of ‘Don’t Stop Believin”

The first part of our interview with Journey guitarist Neal Schon focused on his upcoming appearance at the first-ever 'How To Be A Reality Star' event, happening in El Paso, Texas on June 23.

But there was also a lot of new music to talk about. Schon is after all, by his own admission, not a "reality star." First and foremost, Schon is a musician and he had plenty of music-related dish to clue us in on, including some thoughts on possible new music from Journey along with some choice stories from his colorful past.

Neal, it’s been a little while since you and I have talked, I guess the last time I spoke to you was around the time of the Journey ‘Red 13’ EP.

Wow, that’s a long time ago! I still love that little EP. I think that sound wise, if we’d spent more time on it and got real drums, as opposed to little synth drums [it could have been better]. But I listened to it about a month ago and I was like, "Wow, progressive,” you know? [It’s a] little on the prog side, but I like it!

At the time, I think people were bugging out because the songs were a lot longer than what they expected from Journey at that point. But now, you look at the latest album ‘Eclipse’ and there’s some songs that stretch past the six minute mark. But at the time, people were like “Wow, Journey’s really stretching out.”

Well you know what, the way I look at it is: okay, I think there’s very little radio left. Thank God for you guys and anybody that you’re affiliated with that gets stuff out there. So I feel like why not? Why not stretch things out and make them a little more musical. Because its giving the listener something more than a three and half minute song than they hear on the AC station, which is pretty much the dominant thing on radio anymore.

So what's going on in Neal's world right now?

I had a really great gig last night, we did a tribute to Ronnie Montrose . It was a benefit for him and I got to play with Steve Smith , Ed Rock, Ronnie’s old keyboard player and [ Styx bassist] Ricky Phillips, who also played with Ronnie on bass and who I was in Bad English with. It was a really cool night. We kicked off the show and the audience just went off. I mean like OFF, off. We were really hammering some progressive fusion rock.

We did do ‘Town Without Pity,’ which was Ronnie’s big hit and the place came unglued. But before that, I just thought it was appropriate, I wanted to play something of my own, because I thought it was something I wanted to do a tribute to Ronnie with. It was a song I did off one of my solo records called ‘Prayer for Peace’ and I thought it was really appropriate. People were trying to talk me out of it, that they only wanted Ronnie Montrose songs and so I said ‘Okay, okay, I won’t do it,’ [but] when I got on stage, I did it. People were just mesmerized by it.

It felt so great, just to have everybody in the palm of my hand with something that they didn’t really know. And then we went into ‘Open Fire,’ which was an instrumental that Ronnie and Steve Smith did on a tour that we were all on together in 1978. It was Van Halen , their very first tour, Ronnie Montrose with Steve Smith and then Journey, was the bill. So Ronnie opened [his set] with ‘Open Fire’ every night with Steve Smith. I learned that the other day and then put my own swing on it and added a few sections to it and they just ate it up. We jammed like monsters last night.

The place just kind of came unglued. I thought it would go down well, but I didn’t think it would go down as well as it did, so I’m really happy that I got involved in the whole event. They filmed it and they recorded it, so maybe it’s something for everybody to look forward to.

What a crazy lineup of talented people too, with so many people on the bill. You, Sammy Hagar ...

Yeah, Sammy Hagar, Joe Satriani , all of the good friends of mine, in this little tiny building, the Regency Center. It’s an old theater, it’s a little bit smaller than the Fillmore. It’s like an old ballroom - it looked really cool in there and it was slammed to the max with people. I think it sold out in a couple of minutes. They could have easily moved to a bigger venue, but it was nice, it was quaint. They really got it. I was so surprised how they really got it.

I was initially supposed to play in the middle of the show somewhere and then Sam wanted to play in the middle of the show where I was playing. So I was either gonna have to play at the end of the evening, which I thought you know what, everybody’s going to be tired, they will have had a lot of Montrose songs by then, Gamma songs with vocals. And I said, "We’ll play an instrumental." So I just decided I’ll open and it was the right choice, because we took the audience by storm and definitely, they’re not going to forget that.

It was a good thing to do and I know Ronnie was smiling, so I felt really good about it.

You mentioned it, so I want to talk some more about this. Steve Smith spoke recently about touring with Ronnie with Montrose and Journey, with Van Halen in the opening slot and what a competitive bill it was with the guitar players on the tour. Do you have a really good Van Halen story from that tour?

There’s a bunch of them! [Laughs] Really, I have to tell you [regarding Eddie Van Halen], I remember sitting in my old house in ‘78 up on the hill in Mill Valley with an old record player and I have their little red EP on with ‘Eruption,’ right? And I’m sitting in the bedroom with a guitar and I’m trying to figure out what the hell he’s doing, you know? I’d never seen the tapping thing, you know, with the right hand. I saw Harvey Mandel do it maybe a couple of times, but I’d never seen it done with triplets.

So I wasn’t aware of it and I was pulling my hair out trying to figure it out. Usually, I could dissect almost anything I listened to and I wasn’t hip to that technique. So until I met Ed and then he showed me that, I was like "Wow, you would have thrown me for a loop." I didn’t know what that was. Then he showed it to me and of course after you see it, it’s easy to emulate. There were so many guys that did it after that, I tried to stay away from it. But yeah, it was a competitive guitar bill. And all I can tell you is that at that time, Eddie was red hot, but I was jamming hard, Ronnie was jamming hard, we were all jamming hard, you know? [We were] holding onto our own, but I was glad I wasn’t coming after Van Halen at that point, that’s all I can tell you.

Because they were just coming out of left field and it was brand new and Ed was the new kid on the block, a gunslinger. Van Halen would do their set and then by the time Ronnie came on, they’d be trashing a dressing room, throwing the food around, doing the typical rock star stuff! [Laughs] Getting drunk...it was a wild tour!

Would they have been in the zone...was there even a zone back then where you could get thrown off a tour for doing stuff like that? Did that even exist?

No....well, it didn’t exist in our tour. They did plenty of it! [Laughs]

I know you've been working on new music on the solo tip. What can you tell us about that stuff?

I did a couple of solo records right after the Journey record [‘Eclipse’] was completed. I stayed over in the studio, because we had that year off and I proceeded to do another record, a solo record with Steve Smith and Igor Len and then Jan Hammer did a guest appearance on two songs. I’m getting ready to release that. But right now, you can go to SchonMusic.com and there’s a free download of the leading track, ‘The Calling,’ on there.

You know, Joe Satriani told me last night, I ran into him and I wrote him and I said, "Hey, check this out. You let me know what you think," and he told me he loved it. He said [it’s got] great guitar tone and I dig the track, cool playing. I’m proud of the record, but I kind of winged it. I walked in and I didn’t have anything prepared at all. I just had an open slate with a bunch of paintbrushes, guitars and amplifiers. Smith would come in and he’d do a little eight-bar loop for me of what kind of tempo we’re talking about, of what I want to play off of. And then I’d say, "Can you go have lunch or something for half an hour and then come back and I’ll be done."

So I’d map it out and put a rhythm guitar down, arrange the thing the way I heard it in my head and then Steve would come back and he’d listen to it. He’d write down my arrangement and then he’d go out and replay the drums to my new arrangement to a click and play it like it was a full band playing. He’s just amazing like that. And then I went back and I replayed some of the rhythm guitar [parts], some of them I kept. And then I’d start playing solos, even without bass, just freelance soloing and then I played the bass on it to go with the solos, so it came about in a different kind of way, but when you listen to it, it sounds like a really connected trio with keys here and there.

I had Igor Len on the record too that I did, ‘I On U,’ which I did before, and ‘Electric World.’ He’s kind of like a Jan Hammer type keyboard player with classical and jazz background. So I had him play a lot of acoustic piano jazz solos on it. It’s a really interesting mix, the whole record, it has a lot of different flavors and colors in the record where actually, I’m listening to it now close to a year later and I’m starting to like it more and more. You know, usually I hate myself. [Laughs]

I was going to ask that, because I heard ‘The Calling’ and wondered how indicative it was in terms of the sound of the rest of the record.

It’s rockin’, man. The record is really rockin.' It’s one of the most rockin’ records I’ve ever made. I’ve made a lot of melodic solo records and some softer ones, because I was on that new age label, Higher Octave, for a while. This now, I had some money and decided that I was going to spend money this time on a record rather than try to do it in my bedroom with Pro-Tools and a Roland V kit on drums. I wanted a real studio and mixed in a real studio and spent a lot of time mixing. The record sounds really, really good.

It really does, even through cheap laptop speakers.

You know, there’s barely any mastering on it at all. The only thing that I would say is that I was tempted, the guy I mixed it with, David Kamulsky, who also did the last Journey record, I was tempted to have him master and pump up the bass. You know, the low lows. But then really what most people do is they punch in the loudness button on the radio or stereo system and when you do that, the thing just completely comes to life and it gets monster. Then it’s time to crank it. The whole record sounds like that.

But then I did another record right after that, I stayed in the studio for another month and I’m mixing this one right now. It’s with Deen Castronovo on drums and Marco Mendoza on bass and this record turned out really slammin’. Completely different than the one I did with Smith. It’s a power trio, really tripped out like late ‘60s/’70s, but modern too in some areas, with all of us singing. I’m singing lead on some tracks, Deen is singing lead and Marco is singing leads. Jack Blades helped write almost all of the lyrics on the record with myself, Marco and Deen.

You took care of my next question, because I talked to Jack Blades recently and he mentioned he had been doing some writing with you, so I wondered what that was for. This all sounds really cool.

It’s really cool. Sometimes I love recording like this where I have the time. I had the time off - I had a full year off from touring so I decided to take advantage of it and really dive into what I love doing, [which is] creating in the studio. Basically, both of these new records that are coming out, I created out of nowhere. I always have a zillion riffs running around in my head and melodies and it’s always been like that for as many years as I’ve been playing. It’s not like I ever have a lack of ideas.

This is the one thing I think that Pro-Tools is really cool for that you can use to your advantage is in a creative process. In the old days before Pro-Tools was around, a lot of people, you’d go to tape and you’d have to rehearse really well before you go in. Because you’d usually want to get live performances and live performance always gelled better, sounded better and felt better, but you need to be well rehearsed.

When you don’t actually know what you’re going to play, then Pro-Tools really comes in handy because you go, "Okay, let me write this section. We’ve got this section and I’m going to write another section. I’m going to write a B section and I’m going to write a solo section and then I’ll come back and write another bridge over here" and you kind of lay it all in with a little drum loop and then everybody plays it for real after that. And I love it for that.

Actually, I haven’t heard the latest latest version of HD Pro-Tools - there’s a new one out that Jonathan Cain was just telling me that he put in his studio. He’s got a slammin’ new studio in Nashville that he just built and I can’t wait to try it. He says that it’s a new version of Pro Tools that’s just insane sounding. It sounds like old two-inch tape and really huge and I thought the HD version of Pro Tools which I used on these records sounds very much like old tape.

It’s interesting to hear that you have two solo records in the can. In regards to the latest Journey album, it’s always interesting to hear how bands frame songs up. Listening to the album, clearly as you said earlier, you’re not at a loss for riffs. Many of the songs feature you soloing out on the tail end. Would it be fair to say that these two new records were born out of energy and inspiration that was built up from the recording process for ‘Eclipse?’

Yeah, you know what? I get on a roll when I’m writing. Like when we got off tour, when we finished [the last tour], I’ve had all of this chaos and craziness going on with Michaele and I and dealing with 10 billion attorneys and all kinds of crazy stuff, man. And so I really didn’t touch the guitar for a long time and I do that a lot when I get off tour, I just don’t play for a while.

I’ve heard other guys talk about it, like Jeff Beck and sometimes, I just like to get away from it and I find when I get away from it, it takes me like four or five days and a lot of practicing every day to get my chops back up. And then I get into a roll and then I get prolific again. You know, I’m a creator. I like to create and so the writing just starts coming. When it comes, it comes in huge amounts. There’s actually so many ideas, that I have to whittle it down and try to decide where I want to go.

And it’s kind of a cool thing when you’re doing a solo record, because when I write for Journey, everything I’m writing is really, I have Journey in mind. And I don’t...we tried doing the ‘Red 13’ thing with Journey and being really experimental - even though I didn’t think it was so far out left field, a lot of other people did. And I’m already thinking about where we’re going to write and Jon and I have already been talking about writing, where we’re going to go with the next Journey material we come out with.

I don’t know if we’ll do a record or just go for a couple of singles and try to land it in a movie - I think that’s probably a good idea at this point, because when we go out man, everybody just wants to hear us play the greatest hits. There’s no way you can get away from that, no matter what you come out with on the new record. They want to hear the classics and you have to play them. I love playing them because the audience loves them. So there’s no reason to experiment in the studio. But you know, I think I’d like to go back into the Motown vein that we were in, the heavy rock mode Motown ala like ‘Separate Ways,’ where the soul implication is there mixed with the R&B rock blues guitar.

I was just looking at the run times on this latest record and there’s four songs on this latest record that are over six minutes and obviously you do still have the desire and want to create stuff. There’s people like me that are out here that still want to buy that Journey record, but if the overall perception is that people aren’t interested in that, is that crushing for you as an artist?

Not really, you know? I have to do what’s in my gut and follow my own intuitions. I have to do what I like to do first. I can’t do what everybody else wants. That just would not be real, whether it’s wrong or right. I have to do what’s in my heart.

You and Michaele take a very prominent role in the video for ‘Resonate’ and that seems like it is a very personal song for you. What does that song mean to you, from your perspective?

You know, it really has become....Jonathan wrote this song and brought it in and it was way, way before Michaele fled to me. This was not a mapped out thing like some people are trying to say that we planned it for two years, that is total bullshit. We’ve always been good friends for like 15 years and it just happened. You know, things happen - I don’t know why they happen, but it happened and it was a good thing.

Jonathan brought in this song while we were doing the ‘Eclipse’ record and I said to him, you know there was a lot of ballads floating around and I said ‘Jon, you’ve got to have a rock tune, like a ‘Separate Ways.’ Jonathan wrote ‘Separate Ways,’ so I said, "You have to have something like that" and he came in the next day with that. And I went, "Wow, that’s great!" And we worked on it a little bit and moved some things around and then it turns out that when Michaele did come out to me, the story was very much like our story, the way things panned out and so then I decided I’d like to do a video.

I go, “We should do a video of this song." It was like the last day of the tour in Seattle, Washington and I hired whatever film company I could find - Nocturne [Journey's production company] didn’t have any HD cameras...I couldn’t find any HD cameras, so I hired a regular film company to come out just to shoot regular film, some live footage. Later, Michaele and I integrated the stuff that we shot in L.A. on the beach and integrated it into that live footage. And then later, the version that is actually on iTunes now and doing well - the single is actually woken up. I haven’t talked to our radio guy in a couple of weeks, but he said it was 31 with a bullet a couple weeks ago.

So that’s really great news....I think the song is a really great song. And I think the video is an excellent video and I think Michaele looks amazing [Laughs].

Another tune I dig on this album is ‘She’s A Mystery.’ I love the way the guitars open up on that one at the five minute mark.

Yeah, you know what? This is the one I’m talking to Jonathan, I don’t think this record is done by any means. Anymore, the way radio and records are these days, you can be out there for two or three years before something catches and then it’s just a fluke. But I really feel ‘She’s A Mystery,’ which is something that I had going back to the ‘90s, I wrote those guitar riffs and had the music pretty dialed in and then we worked on melody and lyrics and stuff with Jonathan and Arnel. But I really feel that that is our AC single right there.

It would obviously have to be chopped down to like three-and-a-half minutes, which I think you can do. Chop a lot out of the end, probably fade on the rock section as it comes in so you won’t hear a lot of the wailing guitar stuff, but you know what? AC radio, nobody cares about guitars [Laughs].

They just want to hear the tune. I think it’s one of Arnel’s best vocals on the record, for real. I like the little hip-hop type beat that the guitar is playing to - it’s something different for us and I think the fact that it’s different, I think people will listen.

‘To Whom It May Concern,’ a friend of mine who I am making guitars with and has been a really great friend and now I’m in business with again, Paul Reed Smith. He was on the phone yesterday raving to me about ‘To Whom It May Concern.’ He wanted me to send him the file because he has new background vocals that he wants to put in and he wants to remix it with this friend of his, who he said is a monster. He said the guitars are not loud enough and the snare drum is too loud and I want to put the background vocals [on] and so he’s going off on me about that one, you know? And a lot of people have liked that one too.

‘Tantra’ is another power ballad on there, I think the record is pretty deep. I don’t think anybody knows about it yet, but I think someday it is a diamond in a coal mine.

I talked to Jonathan last year about the record and he indicated that you really made a push to get more of the rock stuff on there and there might have been some head butting as a result of that.

Me? Nooooo. [Laughs]

I loved his quote about that time period, he said, “We'd had this concept in mind from the get go. So we've got the ballads we can play all day long and if people want to hear ballads, they can certainly find them on other records.”

That’s what I said too. My argument with Kevin Shirley and Jonathan at the time....and we had big arguments on this record, because I really had it in my head, I wanted to make this statement with this record, regardless of whether I was right, wrong, indifferent, whatever, I just felt like I had to do it. My argument with them was that we always have ballad-heavy records, okay? Yes, it is a forte of the band, yes we do do them great. But I’m saying at the same token, I said, ‘When we play live, we have our ballads.’

We have ‘Faithfully,’ we’ve got ‘Open Arms,’ we’ve got ‘Who’s Crying Now,’ - we’ve got all of these hits that we have to play. You can’t do a set full of ballads, okay? Unless you’re playing a three-hour show. So I said, ‘I don’t understand the concept of continually coming with ballad-heavy records when we’re not going to play any of them.’

On ‘Revelation,’ we had a No. 1 hit with the ballad that Jon brought on that and that was a story and that got really good response when we played it, but still we have to play the other ones and still we only play for a certain amount of time every night. So my thing, what I was trying to make everybody understand where I was coming from, was that I like to feel the energy on stage and I like to rock. I don’t mind playing the ballads, but I don’t want to have a lull in the set that’s really down for a long time.

It seems like it’s more beneficial for your band if you want people to pay attention to your new music, if you can play a song like ‘Never Walk Away’ from ‘Revelation’ that’s a rocker.

I think so, I really do. It shows that the band....do I think we could make a hit record with nothing but all ballads, I do. But I think that some people would also look at it and go ‘oh, these guys are getting sleepy.’ And I’m definitely not feeling sleepy as a guitar player. If anything, I’m feeling more alive these days.

I’ve always looked at guys like Jeff Beck and B.B. King who still have it. Jeff Beck keeps aspiring to get better and better and so do I. I want to keep the energy up - I’m just not into.....even though you’re getting older age wise, I’m feeling younger upstairs and my spirit is young. I want to play young - I want to play like what I feel like.

Jumping back a bit...the two solo records that you spoke about, what’s the timetable for putting those out?

Um, my idea right now is that it’s so hard to get anybody’s attention. So the whole thing that I did with ‘Resonate’ was my concept about finding different ways to get the record out there and now with all of these stories in the media. You know, I talked to some of these journalists about sneaking in a link of ‘Resonate’ that would be a two-minute link where they can get a glimpse of the video and listen to the song and then it goes directly to iTunes. I think that was a cool idea and I’m thinking of doing the same thing with ‘The Calling’ and then releasing the record.

But I want to do another video and of course I want to do it with Michaele, because she’s with me 24/7. [Laughs] This time I want to stick around the motorcycle, maybe going over the bridge and I’ve got some really cool ideas in my head. I’ve been talking to a video director, a friend of mine named Dan Barnett that did our ‘Live in Manila’ video. And he actually ended up fixing the film part of the ‘Resonate’ video, transferring it to HD and refiltering it, so now it looks really, really good, the whole thing, even though it wasn’t all shot in HD.

I’m going to shoot this one, I think I want to do it in the next couple of weeks. The weather has been nice and I’ve got some cool ideas in my head about doing the video and I want to get some attention with the video and then stick out the record. I don’t have a record label that I’m thinking about or anything. I don’t really know...we were at Wal-Mart...and now Wal-Mart is now I heard closing their music division. So inevitably, you have to come up with a way that you can get your stuff out there. The show that I told you that I’m working on, I can tell you that I’m working on stuff that is going to help everybody get their music out there.

It’s gotten plenty of accolades, but I have to tell you that ‘Don’t Stop Believin’’ just landed at number 13 on our list of The Top 100 Classic Rock Songs.

Wow, that’s amazing!

What are your memories of putting that one together?

You know, it was much like that whole record was put together. I had a studio back in the ‘80s, over in the East Bay that I took over from Larry Graham, the bass player from Sly and the Family Stone and that became Journey’s rehearsal place. We wrote everything there together and Jonathan, I remember he walked in and he had the chorus, like “Don’t stop believin’.” And then he had the verse chord. So he started playing the verse chord and then I remember I was messing around with the bass line.

I came up with a little B section, “strangers waiting” and I said ‘why don’t we stay on the verse and do the chorus with the same chords but do it with ‘don’t stop believin’. in it’ It all kind of came together with the three of us shooting off ideas on each other. It had the little guitar breakdown in the middle, you know, she took the midnight train. I wanted to give a vision of a train going by or starting up and so that’s where that came from.

It was an unusual arrangement for the song. A lot of people go, ‘what is that guitar song in the middle,’ but then if you take it out, it doesn’t sound right! So we messed around with it, but it was pretty much done in a couple of days, from what I recall.

It really does have some interesting transitions that make the whole thing work.

You know, you really do come up with those kind of things when you’re playing together as a band, when you’ve got a good band where everybody plays their role in the band and this person brings this and this. He would bring this, Jon would bring this and I would bring this and then all of the sudden BAM, there you go!

For this year's tour, have you started rehearsing yet and are there any good nuggets kicking around in your head song-wise that you'd like to put in the set?

You know what, I don’t know. We don’t usually rehearse that much, to tell you the truth. We’ll probably rehearse for a week or so before we go out, two weeks at the most and that’s a lot for us. Sometimes we rehearse four days. We get on the phone and we talk to each other and we go ‘I’m thinking about this, this and this.’ And it sort of sticks the songs in everybody’s heads and everybody does their homework and kind of goes back and remembers what they wrote. In that case like me, I have to go back and listen to stuff and go ‘I don’t remember what the hell I did.’ I get involved in all of these other records and it’s like too much information. You push out some of the brain cells to let new ones in, you know? But I really don’t have a clue what we’re going to do. We haven’t gotten that far, but I’m sure we’re going to start talking soon.

'Separate Ways' has been a huge song for Journey over the years. Was that famous keyboard intro part of the song when it was first written? Or did that come later?

You know what, Jonathan and Perry wrote that within a couple of days as we were on tour in the ‘80s. Jonathan had that whole thing laid out and then Steve was singing it and then I just came in, Jon had the melody, I learned to play the melody and then I just soloed off the melody. Jon a lot of times comes in....like with ‘Faithfully,’ he brought that in the 11th hour that we were making a record and at the time Kevin Elson and Mike Stone said ‘I think you need a big power ballad’ and Jonathan came in with that the next day and before you knew it, I wrote down my own charts and we played through it like once in the studio and that was the take. [Laughs]

It was crazy. There was no rehearsal. We listened to it a couple of times and I orchestrated some of the parts where I heard orchestration and Jon put some of the orchestrated parts that I did on guitar, then he added keyboards to it and we kind of built it off that. But a lot of times, things just fall into place out of nowhere like that.

More From Ultimate Classic Rock

• Manage Account

Steve Perry Describes the Time Eddie Van Halen Called With An Offer He Couldn’t Refuse

Former Journey singer Steve Perry reveals that after David Lee Roth left Van Halen he got a call that could have changed his life.

By Gil Kaufman

Gil Kaufman

• Share this article on Facebook
• Share this article on Twitter
• Share this article on Flipboard
• Share this article on Pinit
• + additional share options added
• Share this article on Reddit
• Share this article on Linkedin
• Share this article on Whatsapp
• Share this article on Email
• Print this article
• Share this article on Comment
• Share this article on Tumblr

Back in 1978, newbies Van Halen opened for Journey for eight weeks on the Infinity tour. The outing was Journey singer Steve Perry ‘s first as the frontman of the band who would go on to release a string of multi-platinum albums that would rule the airwaves in the 1980s. But more importantly for Perry — who fronted the band from 1977-1987 and again from 1995-1998 before being replaced — it was a time when he bonded with VH guitarist Eddie Van Halen.

See latest videos, charts and news

Eddie Van Halen

Steve perry.

The eight-week tour of 3,000-capacity venues featured nightly opening sets from Montrose, whose Sammy Hagar would go on to front VH during their most fruitful late 1980s-early 1990s period, followed by VH and then Journey. And, as Perry tells Rolling Stone in a new interview, “Every f–kin’ night I’d stand on the side of the stage and watch their set. I would bring [Journey guitarist] Neal [Schon] and say, “Check this out.” Neal was blown away by Eddie. I’m a drummer and I was blown away by Eddie and [drummer] Alex [Van Halen]. I knew the lock they had going,” he says of the young band’s furious groove.

Two Eddie Van Halen Custom Guitars Are Hitting the Auction Block

Trending on billboard.

“Then you had David Lee Roth who was a real showman and a real fun guy to be entertained by,” he added. ” And you had Michael Anthony on bass who had this real high, literally operatic tenor voice. Eddie sang beautifully too. They were loaded with what they needed to come out there and do what they did.” Truth be told, Perry said he didn’t spend much time on the tour with Eddie because the band had a kind of “punk ‘f–k you’ thing” going on and the guitarist didn’t really want to spend time with Steve.

No matter, because when Roth split with VH in 1985, Perry said he was living in the Bay Area unsure what he was going to do. “I don’t remember how it went down, but either I called Eddie or Eddie called me,” he said. “Back in those days, we were both having what you could call ‘late-night behaviors’ on the phone. All I know is we both ended up on the phone that night having some fun talking trash.”

Van Halen then invited Perry down to his place to jam. “Man, at some level within me I felt so honored because I was in awe of Eddie’s natural talent,” Perry said. “He was just born with it. I wanted so badly to do that. We talked about how cool that could be musically. This was before Sammy [Hagar]. The next day and in the weeks to come I thought, ‘I don’t know that I should do that. If it goes creatively to what I know it can go to …’ Whatever I could bring to that, I know it would be something I’d really love doing. My only problem I had with it was the thought, ‘I don’t know that I could be the guy to go out and represent the David Lee Roth years with my voice. I don’t know if I want to be that guy.’ And shortly therefor, they got Sammy and he was the perfect version of that guy.”

Longtime Warner Bros. President Lenny Waronker Remembers Eddie Van Halen: 'It's Like the Guitar Was…

To this day, Perry wasn’t sure what EVH had in mind with the offer, whether it was just an invitation to jam, or just a “let’s see what this sounds like” lark. “As I said, I think representing their legacy up to that point would have been something vocally that I don’t think I was really suited to doing,” Perry admitted. ” It’s a different kind of singing. David had something vocally that I would say was in kinship with Louis Prima. Later on, he did ‘Just a Gigolo’ and sounded more like Louis Prima. He was a real character.”

Perry also dives into the friendly rivalry between the bands on the tour — including how opener VH subverted the usual order of things by cranking up the volume on their sets — and he addressed the legendary guacamole incident. The singer describes coming into VH’s dressing room just as a container of guac came flying across the room and hit his most prized possession: a satin Journey tour jacket.

“Wearing that, I felt like I was finally somebody. The guacamole went on my left shoulder and my left arm,” Perry said. “I looked down on it and I looked up at them and they sheepishly laughed like, ‘Oh s–t.’ I just looked at them and I closed the door and left because I was pissed. I went into the bathroom and I was just pissed. That was my prized jacket. I still loved them, but I couldn’t give them props anymore after that. I wiped my guacamole off my satin jacket.”

And, to clear up those rumors, no, he didn’t run to the bathroom crying after the guac attack. “I wouldn’t cry over guacamole,” he said. “It becomes folklore at some point. It becomes silly.”

Click here to read the full interview.

Get weekly rundowns straight to your inbox

Want to know what everyone in the music business is talking about?

Get in the know on.

Billboard is a part of Penske Media Corporation. © 2024 Billboard Media, LLC. All Rights Reserved.

optional screen reader

Charts expand charts menu.

• Billboard Hot 100™
• Billboard 200™
• Hits Of The World™
• TikTok Billboard Top 50
• Song Breaker
• Year-End Charts
• Decade-End Charts

Music Expand music menu

• R&B/Hip-Hop

Culture Expand culture menu

Media expand media menu, business expand business menu.

• Business News
• Record Labels
• View All Pro

Pro Tools Expand pro-tools menu

• Songwriters & Producers
• Artist Index
• Royalty Calculator
• Market Watch
• Industry Events Calendar

Billboard Español Expand billboard-espanol menu

• Cultura y Entretenimiento

Honda Music Expand honda-music menu

• Discount Codes

Steve Perry refutes story he started crying when Eddie Van Halen got guacamole on his jacket

"I wouldn’t cry over guacamole"

Former Journey frontman Steve Perry has clarified his side of a long-circulated story that re-emerged following the death of Eddie Van Halen earlier this month.

As the story goes, while Van Halen and Journey were on tour together in 1978, the legendary guitarist got so frustrated with bandmate David Lee Roth he threw a bowl of guacamole at him. That guac missed Roth, however, and instead hit Perry, covering his favourite satin jacket. Apparently, the incident upset Perry so much he began to cry.

Getting a lot of people wondering if this is actually true. VH’s manager told the story in a book a couple years ago. Seems pretty legit. https://t.co/Ze7EcnqI8K pic.twitter.com/UvMBbJdxIj — Sean Gentille (@seangentille) October 6, 2020

Now, as Stereogum has noted, Perry has spoken about the incident when discussing the two bands’ 1978 tour in a new interview with Rolling Stone .

“One night, I decided I had to go tell him, ‘I just love you guys.’ I open the door and was about to say, ‘Hey, guys…’ Now, back in these days, guacamole came in a cottage-cheese–like container. The band was having a food fight,” Perry explained.

“Just as I was opening the door, a container of guacamole bumped off the mirror to my left and splashed against my most prized possession, being a small town kid from Fresno. It was my satin tour jacket that had “Journey” on the back of it. Wearing that, I felt like I was finally somebody.

“The guacamole went on my left shoulder and my left arm. I looked down on it and I looked up at them and they sheepishly laughed like, “Oh shit.” I just looked at them and I closed the door and left because I was pissed. I went into the bathroom and I was just pissed. That was my prized jacket. I still loved them, but I couldn’t give them props anymore after that. I wiped my guacamole off my satin jacket.”

Recommended

Perry concludes that there was “no crying” over the incident, however. “I wouldn’t cry over guacamole,” he said. “It becomes folklore at some point. It becomes silly.”

Looking back on the tour more broadly, Perry had nothing but nice things to say about the impact gigging alongside Van Halen had on him.

“We were really blessed to be around that kind of musicality because it changed my life. It changed what I wanted out of myself. It changed what I wanted out of my songwriting. It changed what I appreciated. People should really know that not only did Van Halen truly make Journey a better band, they made a lot of bands a better band.”

Elsewhere in the piece, Perry talks about a collaboration with Van Halen that never was following Roth’s departure from the band in 1985. According to Perry, Eddie invited the singer to jam with the band prior to Sammy Hagar joining, but Perry turned down the offer.

“Eddie said that I should come down sometime and we should jam, have a play. Man, at some level within me I felt so honored because I was in awe of Eddie’s natural talent. He was just born with it. I wanted so badly to do that. We talked about how cool that could be musically,” Perry explained.

“I think representing their legacy up to that point would have been something vocally that I don’t think I was really suited to doing. It’s a different kind of singing.”

• READ MORE: Eddie Van Halen, 1955 – 2020: a colossus who turned guitar solos into a firework display

Van Halen died on October 6 after a lengthy battle with throat cancer, prompting an outpouring of tributes from throughout the rock world, including Tony Iommi ,  Sammy Hagar  and  Ozzy Osbourne .

• Related Topics
• Eddie Van Halen

You May Also Like

Liam gallagher and john squire on their long-awaited collaboration: “after all the dust settles, it’s 10 great songs”, kanii: “i don’t hold back when i express how i feel”, perrie on going solo: ‘i knew i could sing, obviously. but i didn’t know if i could write music from scratch’, ‘twisted metal’ star stephanie beatriz: “i forgot that i have to remember lines”, nell tiger free doesn’t scare easily: “‘the first omen’ was so much fun”, more stories, billy dee williams defends actors doing blackface, proposed ‘game of thrones’ jon snow spinoff has been scrapped, confirms kit harington, coachella 2024: check out the stage times and how to stream online, paul weller announces first north american tour in seven years, watch joni mitchell covers elton john’s ‘i’m still standing’ at gershwin prize tribute show, kirsten dunst says ‘civil war’ scene is “one of the craziest things i’ve ever seen”.

** Denotes Opening Act for VH

• Steve Rosen’s ‘Tonechaser’ & His ‘26-Year Journey’ With Eddie Van Halen
• Rockin' Live Music in NYC This Week
• Olivia Rodrigo’s Guts World Tour & It’s Earth-Shattering First Night in NYC
• The Best Live Music This Weekend in the NYC Area
• On The Record: Wonder Women of Country, plus Thee Sinseers, Matt Blake, Pete Ham, & Eddie Hinton
• Aaron West & the Roaring Twenties – New Jersey as His Resting Place

Steve Rosen’s ‘Tonechaser’ & His ‘26-Year Journey’ With Eddie Van Halen

Friendships can be the most fulfilling, yet most complicated aspects of life. The quote “People come into your life for a reason, a season, or a lifetime,” comes to mind. Steve Rosen had a multi-decade solidarity with one of the greatest guitar players to have roamed this planet. He reflects on this in the biography  Tonechaser  –  Understanding Edward :  My 26-Year Journey with Edward Van Halen .

Steve Rosen is a professional music journalist with a career spanning 50 years. Rosen was the West Coast correspondent for  Guitar World  magazine in the mid-‘80s and wrote 16 books on Prince, Bruce Springsteen, Jeff Beck, and more music luminaries. The Who, Led Zeppelin, Lenny Kravitz, Alice Cooper, ZZ Top, Aerosmith, Van Halen, and other iconic bands invited him to travel along while crisscrossing the globe on tour.  

Lately, Rosen’s focus has been organizing his extensive collection of audio interviews dating back to 1973. The entire library represents well over 1,500 hours of content. He found 50 audio interviews with countless hours of late-night phone calls with the Van Halen guitarist. Rosen coined these dialogues “The Twilight Tapes.” These conversations inspired him to pen a book that is professional (and personal) in nature. Rosen met Van Halen in 1977 and shared time jamming in the legendary 5150 studio, riding in planes and automobiles, spending time in his guesthouse, and accompanying Edward to various venues. 

Tonechaser  –  Understanding Edward :  My 26-Year Journey with Edward Van Halen  was a labor of love for Rosen. The idea was brewing for nearly 20 years and took 14 months to complete once he decided to document their history. The title  Tonechaser  comes from the guitar superhero’s relentless pursuit of the ever-elusive Brown Sound. Heck, even Frakenstrat’s volume knob was replaced with a knob labeled “TONE.”

The book has been widely acclaimed by Brad Tolinski, co-author of  Eruption: Conversations With Eddie Van Halen / former editor-in-chief of  Guitar World Magazine , Joe Satriani, Doug Aldrich, Paul Gilbert, a wide variety of musicians, journalists, guitar devotees, and music fiends/fans. The front and back covers were shot by the legendary photographer Neil Zlozower, who also provided images throughout the book. It is a lofty 580 pages, but do not let that deter you from reading this tome. The interviews are in Q&A form and have a pleasant flow. Personally, it took me thre- and-a-half days to read and left me wanting more. 

Tonechaser  is 7×10 in size, packed with candid and professional snapshots, and looks great on your bookshelf. The self-published account is in its third printing, so the proof is in the pudding. It is an ideal read for those wanting insight into Edward Van Halen, guitar enthusiasts, or people who simply appreciate the true meaning of friendship.

TONECHASER  BY STEVE ROSEN IS AVAILABLE TO ORDER  HERE ! 

Rock Music World

Biggest Music Community

Van Halen Lead Singers In Order: A Journey Through the Years

Van Halen burst onto the rock scene with an explosion of energy and a guitarist who revolutionized the instrument. Eddie Van Halen’s blistering solos and iconic riffs redefined what was possible, inspiring countless musicians.

But behind the guitar pyrotechnics, a revolving door of band members kept fans guessing and fueled a legacy as turbulent as it is undeniable.

In this article, we will take a close look at the various changes Van Halen has undergone throughout its history while exploring the remarkable music they have created along the way.

The Early Years: Formation and Transitions

Van Halen started its journey as Mammoth, a covers-oriented group. However, with the addition of David Lee Roth to the lineup, the band began to transform into the iconic Van Halen we know today.

Mark Stone, the bassist from the Mammoth days, didn’t stick around for long, and since his departure, he has kept a low profile. In 1974, the classic lineup of Alex Van Halen, Eddie Van Halen, David Lee Roth, and Michael Anthony emerged, setting the stage for their future success.

The David Lee Roth Era (1974-1985)

With Michael Anthony replacing Mark Stone on bass, Van Halen reached new heights of popularity. Their self-titled debut album in 1978 marked the beginning of their consistent success on the pop and rock charts. The band released a string of gold and platinum albums throughout the late ’70s and early ’80s. However, in 1985, internal tensions escalated, leading to David Lee Roth’s departure to pursue a solo career. Van Halen faced the challenge of finding a new lead singer who could match Roth’s flamboyance and stage presence.

The Sammy Hagar Years (1985-1996)

Replacing David Lee Roth was no easy task for Van Halen. After considering various possibilities, including part-time singers like Patty Smyth and Eric Martin, the band eventually stumbled upon Sammy Hagar, the former frontman of Montrose and an accomplished solo artist.

Sammy Hagar’s first album with Van Halen, ‘5150,’ achieved unprecedented success, topping the charts in 1986. The Hagar-led lineup continued to produce chart-topping albums, including ‘OU812’ in 1988 and ‘For Unlawful Carnal Knowledge’ in 1991, solidifying their place in rock history.

Brief Interlude: The Mitch Malloy Experiment (1996)

In 1996, Van Halen briefly flirted with the idea of Mitch Malloy taking over as the lead singer. After jamming with the band and allegedly being offered the position, the opportunity slipped through Malloy’s fingers, ultimately becoming a mere footnote in Van Halen’s lineup changes.

The David Lee Roth Reunion (1996-1999)

In the same year, Van Halen parted ways with Sammy Hagar, leading to a highly anticipated reunion with David Lee Roth. However, Roth’s return resulted in only two new songs for the compilation album ‘Best of Volume I.’ Despite initial excitement, the reunion was short-lived, and David Lee Roth once again left the band after a disappointing performance at the MTV Video Music Awards.

The Gary Cherone Experiment (1997-1999)

With the departure of David Lee Roth, Van Halen embarked on another search for a new lead singer. They turned to Gary Cherone, the former vocalist of Extreme. Cherone’s powerful voice and versatility earned him recognition in the rock world. Although their album ‘Van Halen III’ released in 1998 showcased Cherone’s talent, it failed to achieve the commercial success of their previous works.

Changing musical trends and a lack of radio-friendly tracks contributed to the album’s relative flop. After a disappointing tour and only a few demos for a potential follow-up, the collaboration between Van Halen and Cherone came to an end.

A Reunion and More Changes (2004-2020)

In a surprising turn of events, Van Halen reunited with Sammy Hagar in 2004. The band, including original members Alex Van Halen, Eddie Van Halen, and Michael Anthony, recorded two new songs for the compilation album ‘Best of Both Worlds’ and embarked on a tour.

, the reunion was marred by poor performances and interpersonal conflicts, leading the band to enter a lengthy hiatus after Eddie Van Halen smashed his guitar on stage during their final show.

In 2007, another significant lineup change occurred as David Lee Roth rejoined Van Halen, replacing Michael Anthony on bass with Eddie’s son, Wolfgang Van Halen. The band released their 12th studio album, ‘A Different Kind of Truth,’ in 2012, marking their first studio effort with Roth since his departure in 1985.

The reunion brought renewed energy to the band, but unfortunately, it was short-lived. In 2020, the world mourned the loss of Eddie Van Halen, bringing an end to an era of rock greatness.

Side Projects: Chickenfoot and The Circle

Throughout their career, various members of Van Halen embarked on side projects, showcasing their talent outside the band’s lineup.

Following his departure from Van Halen, Sammy Hagar teamed up with Michael Anthony, Joe Satriani, and Chad Smith of the Red Hot Chili Peppers to form Chickenfoot in 2008.

The supergroup released two studio albums and embarked on successful tours, although subsequent scheduling conflicts prevented them from working together in recent years.

Meanwhile, Sammy Hagar and Michael Anthony continued collaborating, forming another band called Sammy Hagar & the Circle in 2014.

Joined by Jason Bonham on drums and Vic Johnson on guitar, they toured extensively and released a live album titled ‘At Your Service’ in 2015. Their first studio effort, ‘The Space Between,’ followed in 2019, showcasing their continued musical prowess.

Van Halen Singers in Order

The singers who have permanently shaped the sound of Van Halen are deeply entwined in the band’s history. The vocalists each contributed to the band’s growth and success by putting their styles, personalities, and stage presence in the spotlight.

David Lee Roth

David Lee Roth is often regarded as the quintessential Van Halen frontman. With his flamboyant stage presence, energetic dance moves, and charismatic persona, Roth helped define the band’s early sound and image. From 1974 to 1985, he played a pivotal role in creating Van Halen’s signature hard rock sound, delivering powerful performances on hit songs like “Jump,” “Panama,” and “Runnin’ with the Devil.”

Sammy Hagar

In 1985, Van Halen underwent a significant transition with the arrival of Sammy Hagar as their new lead vocalist. Hagar brought a different flavor to the band, blending his melodic rock style with Van Halen’s hard-hitting instrumentals.

Together, they achieved immense success with chart-topping albums like “5150” and “OU812.” Songs like “Why Can’t This Be Love” and “Right Now” showcased Hagar’s impressive vocal range and added a new dimension to Van Halen’s discography.

Gary Cherone – A Brief Interlude

Following Sammy Hagar’s departure in 1996, Van Halen briefly experimented with a new singer, Gary Cherone. Cherone, formerly the lead vocalist of the band Extreme, brought his unique style to the table.

Although the collaboration resulted in the album “Van Halen III,” it was met with mixed reviews and limited commercial success. Despite this, Cherone’s contribution remains an intriguing chapter in Van Halen’s history.

The Return of Sammy Hagar

After a hiatus, Sammy Hagar reunited with Van Halen in 2003, marking a triumphant return to the band. Their collaboration resulted in the live album “Live: Right Here, Right Now” and a successful reunion tour.

Hagar’s distinct vocal prowess once again graced Van Halen’s energetic performances, reigniting the band’s spirit and reaffirming their status as rock icons.

The Final Chapter: Wolfgang Van Halen

As the band’s legacy continued to evolve, tragedy struck in 2020 with the passing of Eddie Van Halen, the band’s iconic guitarist, and co-founder. While Van Halen may never be the same without Eddie, his son, Wolfgang Van Halen, stepped up to honor his father’s legacy. Wolfgang, a talented musician in his own right, took over bass duties and provided backing vocals for the band. This emotional transition marked the final chapter of Van Halen’s journey, paying tribute to their rich history while embracing the future. Also, David Lee Roth had been with the band since 2007. They went on a tour in 2007, which amounted to almost $93 million.

The Legacy of Van Halen

Van Halen’s ever-changing lineup reflects the dynamic nature of rock ‘n’ roll. From the early years with David Lee Roth to the successful tenure of Sammy Hagar and the brief experimental phase with Gary Cherone, each era brought a unique flavor to the band’s music.

While Van Halen’s future remains uncertain without Eddie Van Halen, their legacy as one of the greatest rock bands of all time will forever resonate in the hearts of fans.

In conclusion, Van Halen’s enduring popularity proves that rock ‘n’ roll truly never dies. Despite the lineup changes and the uncertainties that come with them, the band’s music continues to captivate audiences, transcending generations and leaving an indelible mark on the history of rock music.

Recommended Posts

10 Best Indie Rock Bands of All Time

The 1970s and 1980s saw the indie rock musical genre emerge, which expressed alternative and independent sounds and opinions. Independent rock bands frequently use do-it-yourself techniques and low-budget production, functioning outside of the conventional music industry. These bands incorporate elements of punk, psychedelic, post-punk, country, folk, and other broad and eclectic influences. A wide range […]

15 Interesting Facts About Pink Floyd

Without a doubt, one of the most recognizable and significant rock groups of all time is Pink Floyd. The band, which included gifted musicians Nick Mason, Richard Wright, David Gilmour, and Roger Waters, was founded in London in 1965. Pink Floyd, a legendary band known for their psychedelic and progressive sound, transformed the music business […]

Stevie Nicks Net Worth

American singer-songwriter, producer, and songwriter Stevie Nicks. She first gained recognition as a member of the band Fleetwood Mac and subsequently went on to seek a solo career. She made her second induction into the Rock and Roll Hall of Fame in 2019 and is presently on a solo tour across the nation, stopping in […]

Leave A Comment Cancel reply

Save my name, email, and website in this browser for the next time I comment.

Post Comment

The Vintage News

Van Halen's 'Jump': The Dark History Behind The Iconic Song

Posted: April 4, 2024 | Last updated: April 5, 2024

Van Halen’s ‘Jump’: The Dark History Behind The Iconic Song

As the crown jewel of Van Halen’s top-selling album, 1984 , the hit single “Jump” remains an instantly recognizable powerhouse of the pop-rock genre of the 1980s that the group helped to define. The year 1984 could arguably be the most “’80s” year of a decade that was known for the financial excesses of western civilization and giant leaps forward in technology and culture.

While teenagers packed movie theaters to watch Footloose and Ghostbusters , Michael Jackson’s Thriller, Prince’s Purple Rain , Run-DMC’s Run-DMC , Bruce Springsteen’s Born in the U.S.A. , and Madonna’s Like a Virgin all had multiple singles on the charts, along with many other iconic hit songs .

While 1984 only reached number two on the Billboard charts (it was difficult for any artist to compete against the unstoppable Thriller ), “Jump” easily hit number one as a single due in no small part to the accompanying video’s heavy rotation on MTV. Click through the article for some facts about Van Halen's iconic song...

Synthesizers in a rock band?

The Van Halen family moved from Amsterdam to Pasadena, California, in 1962 when Eddie was seven. Long before he and brother Alex became rock gods, they won local classical music competitions as elementary school students playing piano. Surprisingly, Eddie’s piano teacher never trained him to read music. He learned by ear and from watching other players.

While many of their hard-rocking fans may have felt the keyboard-laden 1984 was a departure from their earlier guitar-heavy releases, for the Van Halens it was really more of a return to form, instrumentally. In fact, they had been using keyboards for years - just listen to "Sunday Afternoon in the Park” and "And the Cradle Will Rock ... ". Eddie’s guitar playing on these earlier songs was so sonically dynamic at the time that most people assumed the keyboard parts were made with some new technique done with strings and tremolos on the guitar.

Van Hall & Oates

Eddie had been pushing for years to incorporate more keyboards into their music, but their producer, Ted Templeman, and David Lee Roth both felt that it was safer to stick with the guitar-driven model that the fans loved.

After the construction of Eddie’s 5150 home studio, he had the freedom to develop his ideas without the scrutiny of the other band members and one of the inaugural recordings was the music for what would eventually become “Jump.”

According to Darryl Hall of Hall and Oates, Van Halen admitted to him years later that he had used the chords from “Kiss On My List” as inspiration for “Jump.”

“I don't have a problem with that at all,” said Hall at the time.

What does it all mean?

Aaa-ohh, hey you!

Who said that?

Baby, how you been?

You say you don't know

You won't know until you begin

     - David Lee Roth, “Jump”

When tasked with writing lyrics for the new music that had just been presented by the Van Halens, Roth handled the assignment in typical rock star fashion: he asked his roadie, Larry Hostler, to chauffer him around town in Roth’s 1951 Mercury convertible, blasting the demo and waiting for inspiration to strike.

It was during this drive that Roth recalled watching a news report the previous evening about a man threatening to end his life by leaping from the top of the Arco Tower in Los Angeles.

According to Roth in an interview with Ultimate Classic Rock : “There was a whole crowd of people in the parking lot downstairs yelling, ‘Don’t jump, don’t jump!’ and that gave me the idea of ‘Jump’ for the title. I wrote it down and it made it onto the record, although in a much more positive vein. It’s easy to translate it the way you hear it on the record as a ‘go for it’ attitude, a much more positive sort of affair.”

Fallout and breakup

“Jump” was Van Halen’s biggest hit, but the new level of stardom that it thrust the band members into proved too much for the already thinly stretched relationship between the Van Halens and Roth.

Eddie had proven that there was room in rock music for synthesizers and Roth had emerged as a triple threat of front-man, vocalist, and now award-winning director for his work on the song’s music video.

In the end, it was all too much for the band. The final straw was Roth’s solo EP, Crazy from the Heat , becoming an instant hit in 1985. He was dismissed from the band within weeks of its release.

Later years

Van Halen went on to hire Sammy Hagar to fill the void left by Roth, and despite some controversy among fans, they had a very successful run of hit songs and albums.

David Lee Roth had a successful solo career. He assembled a band of top-notch musicians, including Steve Vai, to fill the role of electric guitar virtuoso.

More from us: Slash Shares Rock ‘n Roll Revelations About Guns N’Roses in New Interview

In 2007 the original line-up sans bassist Michael Anthony (replaced by Eddie’s son Wolfgang) re-formed for a reunion tour and released one final Van Halen/Roth album, A Different Kind of Truth .

More for You

Illinois Democrat: Speaker Johnson ‘should not be punished for doing the right thing’ on Ukraine

DIY A Stunning Butler Pantry For Extra Kitchen Storage

What Makes A Spanish Potato Omelet Unique?

Apple Targets New Miami Office Space Following Amazon, Microsoft

10 Best Times Star Wars Appeared In Other Movies

How to use Dual Audio on a Samsung phone

CEO created a side hustle in his college house—now it brings in $200 million a year: His No. 1 piece of advice

A Major U.S. Airline Is Furloughing 260 Pilots Amid Cost Concerns, Aircraft Delays

World Bank unveils new scorecard to measure accountability

Letitia James Nears Green Light to Start Taking Donald Trump's Assets

A period piece, a contemporary drama, and a speculative sci-fi movie all in one

Tax Day 2024 Freebies and Deals

What Were Those Bright Red Dots Seen During the Eclipse?

Why were shadows left behind after the Hiroshima atomic bomb?

13 Menu Items McDonald's Employees Refuse To Order

US Marine Corps Begins 'Comprehensive' Revamp of Retired Fighter Jets

25 Incredible 1980s Films You Forgot

Seattle pastor claims newspaper canceled church's Easter service ads last minute after CEO objected

Parents who raise successful, resilient kids never do these 5 things, experts say

This type of supplement may increase heart disease risk, new study finds

• Search Please fill out this field.
• Manage Your Subscription
• Give a Gift Subscription
• Newsletters
• Sweepstakes
• Entertainment

Wolfgang Van Halen Reveals Touching Way He Honors His Dad Whenever He's on Stage: 'Why I Do What I Do' (Exclusive)

"I wish I could spend more time with my dad, but I can't, but I can spend time with my mom and it's the best," Wolfgang tells PEOPLE in this week's cover story

Liz McNeil is an Editor at Large at PEOPLE, where she's worked for over 30 years.

Scott Legato/Getty 

Though he's no longer physically with him, Wolfgang Van Halen never forgets to honor his dad onstage.

Speaking to PEOPLE for this week's cover story on mom Valerie Bertinelli , on newsstands Friday, the Mammoth WVH frontman shares why he honors his father's role in his life after every performance.

"The reason I do what I do is because of my dad. So if I didn't or at least think about him throughout the process, I'd be doing a disservice to my existence," Wolfgang, 33, tells PEOPLE of why he points to the sky at the end of every concert as a salute to his dad, the late Eddie Van Halen .

He continues, "So I think it's very important to establish that to thank my dad every night, every time I'm on stage. Just to thank my father and to know that he's always there with me every night."

Kevin Mazur/Getty

Eddie died in October 2020 following a years-long battle with throat cancer. He was 65.

Reflecting on his close relationship with Bertinelli, 63, Wolfgang stresses the importance of making their time together count.

"A big thing is that she's the only parent I have, and so I think it's important to be close to your family and to make that time count because it doesn't last forever," he says. "It's very important to spend every chance you can get with your family. My parents raised me. I wish I could spend more time with my dad, but I can't, but I can spend time with my mom and it's the best. She's the best."

Growing up, Bertinelli was "very kind and proud and loving" to Wolfgang — and she always knew "how to make everything all better," he says.

"[She knew] how to foster a comfortable, happy environment no matter what was happening," he says. "She was always very good at that, at fostering a very warm, motherly environment."

And as Wolfgang goes off on the road with Mammoth WVH, Bertinelli never fails to pull the proud mom card in the crowd.

"It's very funny. She visits all the time. She's very proud. She just loves to be involved in my life," he says. "I think it's very nice to have a parent that cheers you on and is proud of you, proud of everything that you do and supports you in every way."

Reflecting on the biggest lesson he's learned from his mom, Wolfgang says it's "how to be a kind, respectful human being."

"She leads with a very outwardly positive energy in her life, and I think that's infectious. The one thing she's always instilled in me is treat people how you want to be treated," he continues. "There's enough negativity in the world that it's nice to have some people out there fighting a good fight with positivity, and I think she's certainly one of them." Wolfgang says, "She's just the kindest person you will ever know and she deserves the world and she deserves to be happy. I love her to the moon and back. She's the best."

Related Articles

Van Halen News Desk

The Latest News & Info about The Mighty Van Halen

How Wolfgang Van Halen Honors His Dad On Stage Each Night

April 8, 2024 —by VHND Leave a Comment

Wolfgang Van Halen pays tribute to his late father at the end of each concert with a touching gesture.

Wolfgang recently talked with PEOPLE about both his dad and mom Valerie Bertinelli for a new cover story. Below is an excerpt from the article written by Daniela Avila and Liz McNeil:

Though he’s no longer physically with him, Wolfgang Van Halen never forgets to honor his dad onstage.

Speaking to PEOPLE for this week’s cover story on mom Valerie Bertinelli, on newsstands Friday, the Mammoth WVH frontman shares why he honors his father’s role in his life after every performance.

“The reason I do what I do is because of my dad. So if I didn’t or at least think about him throughout the process, I’d be doing a disservice to my existence,” Wolfgang, 33, tells PEOPLE of why he points to the sky at the end of every concert as a salute to his dad, the late Eddie Van Halen.

He continues, “So I think it’s very important to establish that to thank my dad every night, every time I’m on stage. Just to thank my father and to know that he’s always there with me every night.”

Eddie died in October 2020 following a years-long battle with throat cancer. He was 65.

Reflecting on his close relationship with Bertinelli, 63, Wolfgang stresses the importance of making their time together count.

“A big thing is that she’s the only parent I have, and so I think it’s important to be close to your family and to make that time count because it doesn’t last forever,” he says. “It’s very important to spend every chance you can get with your family. My parents raised me. I wish I could spend more time with my dad, but I can’t, but I can spend time with my mom and it’s the best. She’s the best.”

Posts by month

Food Network Alum Valerie Bertinelli Reveals New Relationship Post-Divorce

The Indulge cookbook author is "in love" again after her 2022 split from ex-husband Tom Vitale.

We've been independently researching and testing products for over 120 years. If you buy through our links, we may earn a commission. Learn more about our review process.

Ahead of the April 2 release of her cookbook Indulge : Delicious and Decadent Dishes to Enjoy and Share , the Food Network alum spoke with People about what her romantic life has been like since her split from ex-husband Tom Vitale (who she wed in 2011 and divorced in 2022). While she's been open online about taking time to heal from the break-up, she surprised fans by telling the outlet she has found love again with a new boyfriend.

"I’m in love," she revealed to the publication. "It’s a seesaw of emotions because I was adamant I was never falling in love again ... My belly is flip-flopping. This was not supposed to happen."

While the Hot in Cleveland actress is currently keeping details about her new romance private (including the identity of her partner), she did get vulnerable about how it happened. According to Valerie, the two initially met over Instagram a while back, but the relationship only turned romantic after they began to talk over the phone earlier this year.

After her recent divorce and the 2020 death of her first ex-husband, the late Eddie Van Halen , Valerie says she never saw herself getting into another serious relationship. But as she explained to the outlet, learning how to be present and feel good for herself came ahead of falling in love all over again.

"I want to be clear that this process has taken a long time," she noted. "I got more intentional about my healing. That meant a lot of walks with [my dog] Luna, a lot of therapy sessions, a lot of learning that I deserve to feel good. I found joy first, and then a man entered my life."

As fans know, Valerie first announced her latest book in November 2023. When she shared details about the work on Instagram in late February 2024, she detailed how important writing the book was for her self-care journey.

"I’m so excited to share with all of you my new cookbook, Indulge 💜," she captioned a clip. "I wrote Indulge in this last year or so of healing, while looking for and finding my true self. Doing my best to be intentional with my joy and luckily finding that I naturally hum at happy."

Congrats, Valerie!

@media(max-width: 64rem){.css-o9j0dn:before{margin-bottom:0.5rem;margin-right:0.625rem;color:#ffffff;width:1.25rem;bottom:-0.2rem;height:1.25rem;content:'_';display:inline-block;position:relative;line-height:1;background-repeat:no-repeat;}.loaded .css-o9j0dn:before{background-image:url(/_assets/design-tokens/goodhousekeeping/static/images/Clover.5c7a1a0.svg);}}@media(min-width: 48rem){.loaded .css-o9j0dn:before{background-image:url(/_assets/design-tokens/goodhousekeeping/static/images/Clover.5c7a1a0.svg);}} The Latest Celebrity News

Keith Urban's Sweet Message to Kelly Clarkson

'Fire Country' Fans, See Max Thieriot's Date Night

Cole Hauser Shared a Sweet Family Update on IG

Jenna Bush Hager Stuns in a Floral Dress on TikTok

'Today' Fans Love Hoda's Rare IG of Daughter Hope

Kelly Ripa Has Thoughts About 'Titanic' on 'Live'

See Kelly Clarkson's "What Was I Made For?" Cover

Hoda and Kathie Lee Had a Surprise 'Today' Reunion

Jim Parsons Teases ‘Young Sheldon’ Series Finale

Luke Grimes’ Wife Posts a Rare Photo of the Couple

Jenna Bush Hager Drops Sweet Family Update