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  1. #1
    Atomic Punk
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    06.25.15 @ 09:06 AM
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    Default Zach's Ultimate Sammy Hagar Album Review Thread

    Well folks, Linkers, and Upfront Fanatics, I've been toying with this idea for quite some time now.

    As we all know, Sammy Hagar has been in the music business for about 38 years as a recording artist, while getting started in Montrose, making stops with Van Halen, HSAS, and Chickenfoot, and a solo career spanning songs from "Red" to "Cosmic Universal Fashion." Overall, the Red Rocker has been doing his thing for quite some time, and has seen enormous amounts of success at certain points of his career.

    With the uncertainties of Chickenfoot and thus Sam's solo career, now is a good time to reflect on Sammy Hagar's career as a musician, from Montrose to Chickenfoot, Capitol to Geffen to Warner Bros. And I'm going to do that.

    My plan with this thread is to ultimately review every single album Sam has done lead vocals for from 1972 to today. That also covers his now-unpurchaseable (I promise I won't make up words in my reviews) Capitol catalog from 1975-1981. The goal with this is to review them, rate them, and open a discussion on the album of topic. At certain points, I'll also review soundtrack songs, rare songs, Van Halen compilation songs, and various solo compilation songs.

    People here know my affinity for Phil Collins as a musician, but if I had to pick an individual artist I admire as much as Phil, it would be Sam. That's why I'm doing this. However, I will be harsh when I need to be, my reviews will not be biased in any way, shape, or form. I may tell personal stories behind the albums, but ultimately the album's final grade will be based on the music itself.

    That leads me to my next point: the rating system. I actually developed this system when I was reviewing Your Filthy Little Mouth in the "Roth vs. Hagar" thread. A number grade out of five points will be given and a letter grade will be given to go along with that at my discretion (I know sometimes people prefer one or the other). Essentially, points in a grade are determined by how many good songs are on the album.

    So take for example I'm reviewing Rush's Grace Under Pressure. The album is very good, aside from the track "Red Lenses." That's seven good songs of eight on the entire album, averaging out to a rating of about 4.5/5 (rounding up). To me, that serves between a B+/A, which means the letter grade becomes a bit more subjective. For GUP, I'd give the album an A-, only because as outstanding as it is, it doesn't quite measure up to its three predecessors.

    That's how this works. I think it's legit and fair. I love to write, I have my college schedule balanced out, and I love Sammy Hagar's music. I also have to say that I absolutely have to thank one person to thank for all their help in making this possible. One of our resident Linkers, Ain't Talkin' 'Bout Love, helped me in gathering all the needed materials from the Capitol era helping me ultimately round out my Hagar collection. Without him, these reviews wouldn't be possible.

    Another goal is to make this an all-purpose Hagar thread from my point of view. At some point I want to run votes for the best Hagar songs on each album and post the list in here, like a top 25 or 30 songs list. I have quite a few ideas to commemorate the Red Rocker here.

    Anyway, first album review will probably go up tonight, and since we're going in chronological order, Montrose's debut album will be the first one reviewed.
    "I respect that youre passionate about this but what your saying is complete idiocy..." - MF5150 on McDonald's "preying" on young kids.

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  2. #2
    Atomic Punk
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    First!

    You know i'm in. Let er' rip Z!!
    Utilize. Improvise. Adapt. Overcome.

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  3. #3
    Atomic Punk
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    06.25.15 @ 09:06 AM
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    Default Montrose (1973)



    Very few bands can boast of innovating a style of music to the point where uprising bands emulate their sound in hopes to capture the same success.

    Montrose was one of those rare exceptions, who took sounds of their British contemporaries and meshed them with the sheer California essence that allowed for a heavy, thunderous, fast-paced sound distinct only to what they were doing. And thus, Montrose was born, releasing their eponymous debut album in October of 1973.

    For American hard rock, you basically had Aerosmith representing the eastern part of the United States, and Montrose representing the west, at least at this time. Both bands paved the way for the American hard rock that would come in future years, and ultimately lead to the next genre-changing record by some band called Van Halen.

    But all this talk about the impact Montrose's debut had, why exactly did it have this impact? What was so special about this album? Montrose introduced a faster-paced, grittier side to rock 'n' roll that most American bands hadn't seen in British counterparts before, aside from maybe Led Zeppelin.

    The album opens with "Rock The Nation" which emphasizes the point of being at a much faster-pace, and is basically the kick to the nads any band wants to provide with the opening track on their album, especially a band that's just starting out. From there, we move on to "Bad Motor Scooter," a song that receives consistent radio airplay to this very day, that shows off the true instrumental prowess of Ronnie Montrose, Bill Church, and Denny Carmassi.

    Church once described the band as a power trio with a great, energetic vocalist, and a song like "Bad Motor Scooter" epitomizes that description. BMS features a clever hook ("Get on your bad motor scooter and ride") and isn't the greatest lyrical masterpiece, but lyricism wasn't a stressed aspect of the genre. Then there's the instrumental breakdown which shows off everyone else's individual talents, and ultimately shows what a Montrose group effort sounded like. And it was good.

    We move on to what I consider the album's best song, "Space Station #5," where the band's progressive rock roots shine and the instrumental prowess shows once again. The song fits the description, telling a cosmic tale and even featuring what I'm sure was meant to sound like a futuristic interlude before reprising the first verse into the chorus and soon, into a Ronnie Montrose guitar solo.

    The two "middle album fillers," if you will, can't be fairly called fillers, moreso just unknown songs to a general, casual listening public. "I Don't Want It" is a very short, punchy tune with some funny lyrics from Sam ("Flowers make me sneeze and prayin' hurts my knees/Funerals make me cry and I don't wanna die"), which fit very nicely with the riff Ronnie came up and is surrounded by a great rhythm section. "Good Rockin' Tonight" is the only cover on the album and gives the song a brand new identity as a fun, quick-paced rocker and general party song.

    We move on to the album's other "hit" and that would be the sexually explicit "Rock Candy." Best part about the song is how it isn't obviously sexually explicit and that its really something you think about; granted "Rock Candy" isn't the kind of song much thought needs to be put into, but...nevermind. Anyway, probably the slowest paced song on the album, the track follows a simple song structure before breaking into an excellent guitar solo building on a crescendo, and returns to the chorus for the end of the song. There's definitely a reason why Sam has kept this one in his live arsenal even to this day, because it is a very, very solid track.

    The album closes in a stellar fashion, with the old-school sounding "One Thing On My Mind" being the first of the last two songs. "One Thing On My Mind" is a catchy song, quite possibly the catchiest chorus on the album, and pays homage to their obvious classic rock roots. The last song is the forward-looking "Make It Last," which tells tales of Sammy Hagar's visions on the future, and may just be the next best song on the album behind "Space Station #5." The song features yet another excellent solo by Ronnie Montrose before breaking into the outro which fades out with the backing vocals singing "Keep on riding..." which sends an almost positive message to end the record.

    In my humble opinion? This is one of Sam's finest albums, probably because he had an excellent supporting cast, not to mention one he got along with (that won't be the case for the follow-up). Sam's excellent, strong vocal work solidified him with his younger contemporaries, and it ultimately defined his hunger to be the next great vocalist.

    Now, this thread is about Sam, but one can't forget this was a band effort, a band Sam was not the leader of. Far as I'm concerned he was 1/4 of the success on this album, along with Church, Carmassi, and of course, Montrose. Bill and Denny formed a very powerful rhythm section that gave the album the punch that it needed, and Montrose stepped into the forefront as the world's next great guitar player.

    This is without question a defining album in American rock history, and whether one likes it or not, its impact cannot be denied. It opened doors for tons of bands, and the Ted Templeman production led to the influence on Van Halen's debut album. Heck, Van Halen even covered "Make It Last" on many occasions.

    If an album (along with so many others as we know) and its overall sound can influence quite possibly rock music's greatest debut album of all-time, then it deserves proper kudos. And that's what this album gets. Not one bad track on the album, not one dull moment. It's a straight-ahead, 33 minute heavy-hitting album. Something the rock world needed in America for quite some time.

    Number Rating: 5/5
    Letter Rating: A


    Coming Up: Montrose's Paper Money (1974)
    "I respect that youre passionate about this but what your saying is complete idiocy..." - MF5150 on McDonald's "preying" on young kids.

    "He was born a human, he's a horse's ass by proxy." - It's Mike on Eddymon.

  4. #4
    Good Enough The J Man's Avatar
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    06.13.16 @ 04:44 PM
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    I think I like just about every song on this album. Great riffs, solos, great drums.

  5. #5
    Atomic Punk
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    06.25.15 @ 09:06 AM
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    Default Paper Money (1974)



    When a band puts out a record that in some way, shape or form changes the landscape of the way a country looks at a certain style of music, there's a lot of pressure for them to continue the hot streak.

    That seemed very apparent with Montrose, who after their enormously successful debut album, seemed pretty confused. At this time, Ronnie and Sammy were feuding, and tensions were so high in the band that eventually Alan Fitzgerald would replace original bassist Bill Church.

    Lots of time was spent on making an album that would give Montrose the fair attention they deserved, but sadly all the infighting would result in 1974's Paper Money, a terribly disjointed, unorganized collection of music of songs that show the band still has the hunger to succeed. The disputes within the band forced a product that ultimately just didn't make all that much sense.

    The album, much like its predecessor, has a very good opener in "Underground," a Chunky, Novi, and Ernie cover. Clearly the production lacked the same punch as the first album as the guitars didn't sound as ballsy and much sleeker, in spite of Ted Templeman's guidance. This is followed by yet another cover in the Rolling Stones' "Connection," which instantly slows down the pace of the album with a rather heartfelt rendition that ultimately falls short.

    Neither song is bad (particularly "Underground," which was a very catchy opener), it was just questionable to start the album off with two covers.

    Montrose's original material comes in with "The Dreamer," a very strong tune featuring more of a production punch that gets the album back on track. A very solid song that proves Montrose still had the creativity to write a good song. This trend continues with the instrumental "Starliner," the first of two songs to not feature Sam on lead vocals. While the instrumental was good, proving ex-bassist Church's theory about Montrose being a power trio, it seemed strange that it would be on an album that didn't seem to have much direction to it.

    We now get to the album's lead single, "I Got The Fire," which sounds like a legitimate outtake from the first album, and that's a good thing. The band, deep down, still had what it took in them to write a solid, rocking song. Ronnie powers through with enormous riffs and Sam howls his way through as Denny laid down a solid drum track. This was about as Montrose as the album got...

    ...only to be followed by two just unusual tracks. "Spaceage Sacrifice" would follow and it seems to just plod through with no real exciting chorus to it (actually, it seems just attached to the song as an entity of itself), and after that was "We're Going Home," a tune Ronnie figured he'd sing himself. Ultimately it ended up being an awkward song again that just plodded along.

    The album would close with "Paper Money," Montrose's attempt at a groovy, almost funky rhythm, and this may have been the only kind of experimentation on the record that actually worked for them. To hear the drums kick in at the start followed by a catchy bassline and follows a decent pace for a Montrose song. It was different, but for the first time on the album, it actually worked, and was a nice closing tune for an otherwise rough album.

    And thus, that would be the last official Montrose song we'd ever hear with Sammy Hagar fronting. Soon he and Ronnie would fight on the road before Sam left to pursue a solo career and he'd be replaced with Bob James for the unsuccessful 1975 release Warner Bros. Presents...Montrose!.

    It's truly a shame that the band couldn't put aside their differences, because there are times on Paper Money where you think "Wow...these guys still got/had it!" Then there are other moments, such as "We're Going Home" and "Spaceage Sacrifice" where you ultimately try to figure out exactly what they were thinking.

    To me, it seemed like a combination of confusion and frustration. They wanted to try different things, some worked (slow paced rocker in "The Dreamer," the funky "Paper Money"), and most of the others were either too weird or out of place to work. Ultimately the feuding between Ronnie and Sam probably caused Ronnie to sing on one and add the instrumental, but the slow-paced songs also detract from the album.

    Thing is, the songs aren't bad. You have a few that easily measure up with the rest of the catalog, but the biggest problem this album faces is the lack of fun. Paper Money really isn't as fun, exuberant, or exciting as the debut, and that's a shame, because it doesn't show the band as hungry as they probably were at the time, and it would soon lead to a very, very premature collapse of the original lineup.

    They were heading in the right direction with "I Got The Fire," "The Dreamer," and "Paper Money." If a producer could tell them that and keep them together, greater things were probably in Montrose's future. That being said, Sam went his own way, and would soon become an entity of his own.

    Number Rating: 3/5
    Letter Rating : C+


    Coming Up (Tomorrow or Friday): Nine on a Ten Scale (1975). Until then, discuss the Montrose catalog!
    "I respect that youre passionate about this but what your saying is complete idiocy..." - MF5150 on McDonald's "preying" on young kids.

    "He was born a human, he's a horse's ass by proxy." - It's Mike on Eddymon.

  6. #6
    Atomic Punk Dave's Dreidel's Avatar
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    12.10.17 @ 08:27 PM
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    I like Sam's solo work better than either Montrose record.

    Just never connected with it.
    Taylor Swift is nice to look at. Adele can sing.

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  7. #7
    Sinner's Swing! DFVH5150's Avatar
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    12.10.17 @ 07:06 PM
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    Once again, I honestly agree with pretty much everything you said (like "YFLM"). You definitely nailed "PM," and I'm looking forward to hearing about "NOATS"-"DZ," easily his least best albums. I still like them, but nowhere near as much as anything and everything else he's done. Even though Montrose's debut ruled, "PM"-"DZ" combined couldn't match "Standing Hampton." We'll see if you agree with me on that, too. I still think--and I know all the songs--the only really good Capitol-era song, is oddly enough the obvious one: "Red." Despite the goofy lyrics.

    Another interesting topic regarding Montrose--actually I'll create a new post for that one actually. I've always wanted to discuss this topic that's never really covered about them.
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  8. #8
    On Fire Van Heineken's Avatar
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    09.17.10 @ 12:12 PM
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    You're reviewing his entire catalogue? How many synonyms is there for generic?

    Might be easier to summarize?

    Montrose - Seminal in its genericalness
    Solo - Generic "for those who like the color red!"
    HSAS, Chickenfoot - Generic with a better caliber of musician
    Van Hagar - Genius meets Generic

    I keed. I keed. Have fun with your celebration of the Hagar catalogue. To his credit, he DID have one of the best songs on the Heavy Metal soundtrack.
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  9. #9
    Atomic Punk
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    Quote Originally Posted by Van Heineken View Post
    You're reviewing his entire catalogue? How many synonyms is there for generic?

    Might be easier to summarize?

    Montrose - Seminal in its genericalness
    Solo - Generic "for those who like the color red!"
    HSAS, Chickenfoot - Generic with a better caliber of musician
    Van Hagar - Genius meets Generic

    I keed. I keed. Have fun with your celebration of the Hagar catalogue. To his credit, he DID have one of the best songs on the Heavy Metal soundtrack.
    Stay out of it, dude.


    I am Van Halen.

  10. #10
    Hang 'Em High
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    12.10.17 @ 08:06 AM
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    those records are purchasable, you just need about $150 and a willingness to order from the UK. Apparently I fit that bill, I will contribute shortly, and thank you for the thanks, the uploading was by no means a short venture

    I would also like to thank this thread for allowing me the pleasure of reading the term "least best"

    That folks, is the kind of stuff that keeps me here
    Last edited by Ain't Talkin' Bout' Love; 09.16.10 at 02:23 PM.

  11. #11
    Atomic Punk
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    06.25.15 @ 09:06 AM
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    Quote Originally Posted by Ain't Talkin' Bout' Love View Post
    those records are purchasable, you just need about $150 and a willingness to order from the UK. Apparently I fit that bill, I will contribute shortly, and thank you for the thanks, the uploading was by no means a short venture

    I would also like to thank this thread for allowing me the pleasure of reading the term "least best"

    That folks, is the kind of stuff that keeps me here
    The thanks is deserved man. I asked an incredibly tall order of you and you fulfilled it. I still owe you big time my friend. That was a huge help you provided and I'm still eternally thankful.

    Looks like the Nine On A Ten Scale review will come tomorrow, unless I find the time to do it tonight. We shall see.
    "I respect that youre passionate about this but what your saying is complete idiocy..." - MF5150 on McDonald's "preying" on young kids.

    "He was born a human, he's a horse's ass by proxy." - It's Mike on Eddymon.

  12. #12
    Atomic Punk
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    Nice job so far Z. Bang on with the review for the first Montrose album. I actually had to work backwards to that album. 77' being the first time that I saw Sam in concert. Nine has one of my favorites all time from Sam, even though it's a cover.
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  13. #13
    Atomic Punk LLFHS's Avatar
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    Very interested to hear your eventual take on the EVH produced solo album and M2M.
    LowLifeFlatHeadScum

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  14. #14
    Atomic Punk Dave's Dreidel's Avatar
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    Quote Originally Posted by Van Heineken View Post
    You're reviewing his entire catalogue? How many synonyms is there for generic?

    Might be easier to summarize?

    Montrose - Seminal in its genericalness
    Solo - Generic "for those who like the color red!"
    HSAS, Chickenfoot - Generic with a better caliber of musician
    Van Hagar - Genius meets Generic
    Truer words have never been spoken.
    Taylor Swift is nice to look at. Adele can sing.

    Emperor Brett - "I can't believe you guys are analyzing song-by-song Van Halen III? What next, analyzing the script of Stroker Ace looking for some shred of Citizen Kane?"

    David Lee Roth did the impossible. He made Van Halen better. Deal with it!

    Preferred pronouns: he/him/his

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    DONATE TO THE LINKS YA CHEAP BASTARDS!!!!

  15. #15
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    This is really cool Zach. Good job so far. You've inspired me to follow along and revisit all these albums in chronology.
    Anonymous for fear of fatwa

 

 

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