It's been some 22 years since Van Halen's founding members first bid each other "Happy Trails." It's been more than a decade since its frenetic frontman, "Diamond" David Lee Roth, proudly proclaimed, "This is the first time we've been onstage together in more than a decade" at the 1996 MTV Music Awards—then pissed off guitarist Edward Van Halen so badly the two haven't been onstage together since.
But here they were at Mohegan Sun on an unseasonably yet oh-so-appropriately sultry Friday night in October: "Three quarters original, one quarter inevitable, live, in the flesh before your naked, steaming eyes," as Roth would later quip.
And despite the hiatus, a hip replacement, dwindling hairlines and some well-publicized bouts with bad habits, the little party band from Pasadena turned Rock 'n' Roll Hall of Famers ensured that all who attended this sold-out affair could do nothing but dance, sing and/or fist-pump the night away for their entire two-and-a-half hour set.
Leading this "upright brigade" was guitarist Eddie Van Halen—the band's namesake, mainstay and chief riff writer (brother Alex can only claim the first two).
While Edward admittedly embodied most if not all of the aforementioned afflictions in years past and had a horrendous solo performance at the 2007 NAMM Convention captured for all the Youtube community to scoff at, he now somehow rivals Roth in both the sculpted chest and overall energy departments, jumping and kicking his way around like he was young and hungry on the Sunset Strip again.
The physical rebirth—particularly when coupled with sobriety—has, thankfully, carried over into his mental keenness and coordination, as well, as Ed—rotating between the Peavey he endorses, his infamous red, white and black "Frankenstrat" and others in his six-string arsenal as needed—achieved both spot-on leads and all the hues of his patented "brown sound" tone throughout the evening.
Brother Alex never achieved such iconic status. Nor was he ever the innovator Eddie was. As evidenced by the double bass flurry that is the "Hot For Teacher" intro, though, the headbanded skinman proved that he was—and still is—truly a technician to contend with.
Then there's "Wolfie." Detractors feared he would never be able to emulate original bassist Michael Anthony's bottom-heavy thunder or syrupy smooth background vocals. The band claimed that the 16-year-old offspring of Eddie would "inject new life" into the project. In short, neither was right.
Rather, much like the man he replaced, Wolfgang Van Halen laid down solid grooves and supplied supporting vocals that sure as hell sounded like the creamy VH choruses that poured through my Buick Regal speakers so many sun-drenched summers ago. He's not better than Anthony, or worse, in this reviewer's opinion. Rather, he is Anthony, just younger, and sans the Jack Daniels.
In his early 50s and without Scarface-esque piles of blow and other stimulants at the ready, it's certainly understandable to see Roth ease off on the drum-riser jumps and otherwise over-the-top physical stage antics. Like a former phenom pitcher still dominating as wily veteran by swapping his heat for a good spitter, though, he seems to have gotten better with age—lacing his performance these days with just the right touches of vaudeville, carnival barker and camp to keep the party rolling.
In other news: the ninth annual "KevFest," benefitting the Kevin Bresnahan charitable trust fund (which, in turn, is dispersed in the form of music-related scholarships), will occur this Saturday, Oct. 20 at Holyoke's Waterfront Tavern and will feature performances by local faves Sweet Daddy Cool Breeze and Ottomatic Slim as well as critically acclaimed bluesman Rhett Tyler.
For more info on the show, tickets or the wine-tasting that accompanies it, contact Kathleen Bresnahan at (413) 536-0536.?
Send correspondence to Nightcrawler, P.O. Box 427, Somers, CT 06071; fax to (860) 698-9373 or email Garycarra@aol.com.
