EVH 1978-1984 vs EVH 1986-1995 - Page 4
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  1. #46
    Top Of The World
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    Quote Originally Posted by Al Van Bundy View Post
    I will always stand by my opinion that Ed's playing on the Balance & III tours were him at his peak, ability wise.
    Let us not forget MWM and CGTSNM--those two tracks and all of Fair Warning is where its at for me
    Balance is unbelievable as well
    Ed has never ceased to amaze me--ever--even into ADKOT ---I mean seriously--it's EDDIE FUCKING VAN HALEN---it's all badass
    "The tree of liberty must be refreshed from time to time with the blood of patriots and tyrants."

    ďA patriot must always be ready to defend his country against his government.Ē

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  3. #47
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    1978 - 1984 -- To me, Ed's guitar sound and playing was like a punch to the fucking gut.

    1986 - 1995 -- To me, Ed's guitar sound and playing was like a tickle to the ear.

    All of his playing throughout the years is great, but give me that fucking punch to the gut any day...

  4. #48
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    Another comparison for me is this.

    Eddie CVH mode was James Hetfield from Kill them All up to And Justice for All
    Eddie Van Hagar mode was James Hetfield from Black up through St Anger
    Eddie today is like Hetfield today. Brick Wall City trying to recapture some of his early days

    Once again disclaimer that Sammy isn't at fault here nor Dave getting some credit.

    Nobody is right or wrong

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    Eddie's priorities changed... Period. His gunslinger stuff was epic, and his 'comfortable in his own skin' era was great. He admitted he wasn't the fastest cat anymore and that he was more interested in writing for the song. Yet, cue up his Eruption solo from the Toronto PPV, during his 'lazy' years, and see that he still had a lot of oomph to his playing. Tbh, I thought a lot of his 'best' playing was on the '98 tour, which many would like to erase from history. 2015 had him at superhuman levels, yet as an era, it wouldn't be considered one of his most creative...

  6. #50
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    In more detail:


    78-84: Ed's on fire. Great rhythm, fills, ear for melody, ear for the outrageous, blinding skill, aggressive as fuck. Started to mellow in 84 in the sense that he wasn't concerned with blazing everwhere and fills aplenty but it was all still there and pulled out regularly if not all the time.

    85-88: Still in the zone for all of the above traits but innovation dried up and he's not making our ears pique like he did with the Beat It and Ice Cream Man crazy antic solos or even that weirdly off-kilter jazzy/bluesy run and bend just before the trem picking in Eruption.

    Many will say that he moved more to songwriting but that's a crock - he always was a songwriter, Willing to take more of a backseat as a lead payer doesn't equate to being more of a songwriter. Entire section of arpeggiated chords instead of power chords doesn't make you more of a songwriter. People who say this don't know what they're talking about - just like the SJWs who calla anyone who's even mildly right-wing a fascist doesn't understand fascism or how their approach is far more fascistic. The Sam era was still the intro, verse, pre-chorus, chorus pattern of the DLR days.

    He could still blaze - the 78 Ed was still in spirit as he ripped through Source of Infection and 84 Ed was alive and kicking on Mine All Mine and AFU. But he was just starting to sound predictable. And tired. Though 1984 didn't offer anything groundbreaking and was clearly recognisable as Ed some may say that made it predictable and to a degree they'd be right. But it still sounded fresh, he still sounded interested. Whilst OU812 is my 2nd fave VH album behind the debut, and had some good stuff on it, it was clear Ed was going over old ground (save for the occasional burst, like solo 3 in SOI) and it just started to lose it's freshness. People on here rave about his solo on Sucker but it was generic, it was the kind of solo 97-84 Ed would play whilst his mind was elsewhere - such as trying to untangle his guitar cable. By his standards, it was pedestrian. Same goes for the solo to Black and Blue. It starts well, if same old, same old harmonics, but then peters out. Laziness crept in as he chose to meander up the neck with his done-to-death 3 note tapping sequences. I love FSG but it could easily have been written by Chicago and Air Supply - something that you couldn't say about any song on the 6 pack or even 5150.

    91-94: Ed fading before our eyes. Clearly no longer practising the guitar and stuck in a rut that the introduction of a wah wah, floating trem work and neck pickup went some way to concealing. In and Out, Man on a Mission, Spanked, the Links favourite (for reasons I don't understand) Top of the World - filler. B side songs for a lead single. Even the standout track of Dream was Ed recycling old ground. The wide stretch lead - so GGB, ICM, Beat It etc - made our easr perk up not because it was fresh and exciting (it wasn't) but because up to that point (halfway into side 2) the rest of his leads had been 'safe' and one dimensional, devoid of flair or energy. And even then he peters out, just like on Black and Blue.

    Have you ever seen Ed play as many box-shaped blues patterns as he did on this album? Poundcake, Man, In, Right Now, Top - the plutonium-powered Delorean was reduced to a bland, run-of-the-mill Toyota Carina (with child seats). That solo he does at the end of Poundcake, where he slides up to a note and then repeats - before repeating on an even higher note - was to be regurgitated time and again during the 90s, right down to the phrasing, as if he had alzheimer's and couldn't recall ever playing it before.

    Poundcake had balls to it but it's a mess of a song structurally, and clunky harmonically. And just to demonstrate his slipping away, this ballsy rock song builds to the solo and we think we're gonna get fireworks but instead we get cliched tapping, with a laid back groove that suckd the life out of the track and kills momentum, and is played on the neck pickup and robbing us of any sense of bite and attitude as it's creamy, rounded tone replaces the in your face tone of the bridge PU. And that run down mid solo? Melodic, sure? Inspiring? Hell, no. That's the sound of your granddad noodling about not a rock god.

    95-98: Balance is Ed empty both creatively and technically. That's not to say there's not some likeable tunes but they're a far cry from any of his earlier work. Again, he's in the comfy middle-age zone, gently cruising whilst 78-84 Ed ripped your face off or perked your ears up (and often both). Seventh Seal had a good riff but its basic - both in it's melody and techique. Nothing ground breaking. Not one memorable solo, not one 'yeah, Ed, go!', not one 'it ain't flashy but man it was soooo good!

    You see where I'm going. VH3 was another turdfest. Digging out the acoustic and penning songs without a decent melody doesn't mean you're being more creative and a better songwriter, if it did then Catherine would be his landmark and legacy. It means you've lost your way and a shadow of your former self - whether that's your face-melting I'm The One guy or the Pop-tastic DTNA guy.

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    BC canít tell you how much I disagree with what you wrote but Iím not gonna argue with you. To each their own.
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  10. #52
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    I thought BC nailed it, at least mirroring my own thoughts.

    I remember hearing the bluesy stuff on "Fools" and thinking: This guy has no limits,
    he can play anything at any time.

    But when i heard the solo to "Poundcake," it really felt like he was running out of gas,
    mid way, like his hands were getting confused or going by muscle memory.

    I really love the "loose" playing in Black & Blue, yet i gotta admit Blo is correct:
    It is kind of a mess of Eddie doing the auto pilot taps & harmonic tricks,
    almost like he's burnt out & wants to punch out for the day.

    And i too, never understood the attraction to "Top of the world."

    But we all hear things differently.

    I think his guitar instincts were razor sharp in the first part of his career.
    Even in those vintage interviews, he knew exactly what he wanted his guitar
    to sound like & what his playing should sound like.

    You could tell he thought a lot of his contemporaries were not that good,
    and resting on heir laurels.

    But then he started to do the same thing, with his rote tapping sequences & harmonic trip.

    He sort of created this "escape from the box" style in '78, but then got trapped in
    the box he built to escape the other box.
    Graver, Walking Ed, refugee from CVH & proud tone chaser...

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    Default EVH 1978-1984 vs EVH 1986-1995

    Agree to disagree.

    Thereís no right answer to this anyway itís all opinions of what we like.
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  14. #54
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    Quote Originally Posted by Brett View Post
    Agree to disagree.

    There’s no right answer to this anyway it’s all opinions of what we like.
    Very true.

    I grew up hearing a lot of Bad Company in the house, and grew to love it.
    Then i heard about FREE, a sort of "better version" of Bad Company with two members,
    and i just enjoyed Mick Ralphs playing/writing, more than Paul Kossof.

    Some would say i should be crucified for such blasphemy, and in a way,
    i'm going for the more commercialized version of their musical tree.
    Graver, Walking Ed, refugee from CVH & proud tone chaser...

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    Quote Originally Posted by Brett View Post
    Agree to disagree.

    Thereís no right answer to this anyway itís all opinions of what we like.
    I'm sorry are you new here, you must fight to the death for your factual view then have it along with all other views dissected by harpo in a substantive multi quote post that he does while blasting the blues because he is obsessed w it.

    Sent from my SM-N950U using Tapatalk

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    Haha oh I bet that Harpo post is coming.
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    Quote Originally Posted by japeape View Post
    I thought BC nailed it
    Of course I did.


    This guy has no limits,
    he can play anything at any time.
    Exactly. Notes and sounds from nowhere. High to low, musical note to howling noise, shifting rhythms and polyrhythms, speed, jazz, blues, metal - a tornadoing tour de force that can throw anything out at any time.


    He sort of created this "escape from the box" style in '78, but then got trapped in
    the box he built to escape the other box.
    Boom.


    But to be honest, this is why I don't talk guitar playing much. People don't know what they don't know. Everyone has a right to an opinion but not all opinions are equal.
    Last edited by BlofeldsCat; 08.28.18 at 05:44 PM.

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    Quote Originally Posted by Darrin Stephens View Post
    I'm sorry are you new here, you must fight to the death for your factual view then have it along with all other views dissected by harpo in a substantive multi quote post that he does while blasting the blues because he is obsessed w it.
    No, no, no! Do not, repeat, do NOT, unleash the Harpo-bot.

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  22. #59
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    Quote Originally Posted by 87GNX View Post
    1978 - 1984 -- To me, Ed's guitar sound and playing was like a punch to the fucking gut.

    1986 - 1995 -- To me, Ed's guitar sound and playing was like a tickle to the ear.

    All of his playing throughout the years is great, but give me that fucking punch to the gut any day...
    Let me help you with the metaphors.

    CVH - Mad giant brontosaurus
    SVH - little bee

    CVH - Great white shark
    SVH - gold fish

    CVH - roaring lion
    SVH - quiet little mouse reading a book

    You want more?
    Little Dreamer

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    Default EVH 1978-1984 vs EVH 1986-1995

    Quote Originally Posted by BlofeldsCat View Post
    No, no, no! Do not, repeat, do NOT, unleash the Harpo-bot.
    Normally I would say a post like yours would definitely unleash the Harpo, but I think he probably 100% agrees with you so I think weíre safe.
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