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Discussion in 'General Music Discussion' started by HeHasTheJazzHands, Oct 6, 2020.
REALLY hope this is a terrible joke on their part. I've seen Music Farm a lot and their prices are usually very reasonable.
Hell maybe I’ll sell off a hundred of my guitars and buy it lol.
Not met at 51,500... lmao fuck off.
its the free shipping that makes this viable
Hahaha, he didn’t leave EBMM because his contract ended. He f*cked Sterling Ball’s wife, according to Valerie Bertinelli in her autobiography.
I certainly give Ed credit for the superstrat, that’s a no-brainer, and I’ll give him credit for pushing for the 5150 to be really over the top with gain. But the idea that Ed was on a crazed tone search all his life and should be regarded for it is a bit daft to me. The guy was a hardcore alcoholic/drug addict for a long f*ckin’ time and I chalk all the “tone chasing” up to him just being f*cked up and distracted.
If you read Sammy’s book, Red, he talks about Eddie getting so distracted with his gear that they’d sit in the studio to write and end up going home because Ed wouldn’t stop f*cking with his gear instead of playing. Or how in the middle of Sammy’s solo spot on the ‘04 tour, Ed would all of a sudden decide he needs to change tubes in his heads and would be testing them at full stage volume (turned down in the PA) while Sammy was doing an acoustic tune. They had multiple FOH sound guys on that tour because Ed kept firing them for “f*cking up the sound” when there was nothing wrong at all. It was just Ed being f*cked up.
I was watching a live vid from that tour the other day and at one point, Ed steps on his wah and doesn’t turn it off, it was stuck in the toe-down position. Sammy walked over to him and was playing around, but pointed at his wah pedal because Sammy could hear it sounding like a wall of ass, while Ed was trying to figure out what was wrong.
One of his former, short-lived techs, Lonnie, used to post on HRI when it existed. He ended up quitting fairly quickly because Ed was out of control. It was for that ‘04 tour. Ed uses an offset tuning, due to his finger pressure and how heavy his left hand is. When Lonnie showed up, he didn’t know this, or even know the actual offsets. Handed Ed a guitar and Ed went apeshit on him because it wasn’t tuned right. Constant “tone issues” that only Ed could hear but expected everyone else to hear it as well.
That was right around the same time Dave Friedman posted a pic of Ed’s main EVH head, which was COVERED in these small, round burn marks. Dave diplomatically stated it was from the feet of other amps, but anyone whose been around a crack pipe a couple times knows exactly what those were.
I don’t mean to totally trash talk/disparage Ed. He’s a f*cking legend and I’m glad he gets the credit he does. But, IMO, that all pretty much stopped after the Peavey 5150 came out. Everything after was a revision of that, for guitars and amps. To have all that sig gear and anyone willing to help him push it further is awesome, but the guy barely did a damn thing after the Cherone album as far as writing goes. A Different Kind Of Truth was all stuff written in the 80’s that was pieced together mainly by Wolfgang.
I’ve seen a video of the 5150 studio with a wall of 2” tape boxes, supposedly being all the stuff he had written over the years, but I’d be willing to bet the overwhelming majority is Ed noodling a riff for a couple minutes and then tweaking his gear. I consider it self-sabotage more than tone chasing. I get carried away sometimes as well, I’ll sit in my studio and get a bug up my ass about the preset I’m using in my AxeFX and then next thing I know, 2 hours have gone by and all I did was f*ck around in AxeEdit while getting no recording done....but then the next day I’ll go in and not allow myself to tweak, just write.
I dunno, maybe it’s best to just remember the first 15-17 years of his career and forget the last 25.
Not is NOT why he uses an offset tuning at all. He uses it because he wants the triads to sound in tune, and will adjust his fingers for other triads when they do not sound in tune.
But yeah, lets base 40 years of Eddie off of how bad off he was in 04. Great idea.
Just posted. Incredible footage from 1978.
There's no ones and zeros - everyone falls somewhere between Hitler and Jesus. Including Eddie.
Your post was in poor taste.
For anyone that has never heard these... remastered versions of the Warner Brothers demos from 1977. This is actually one of my fav VH albums.
1. Get the Show on the Road - My fav unreleased VH song... that first verse rhythm.
2. Voodoo Queen - original version of Mean Streets.
3. Babe, Dont Leave Me Alone - very 70's song with a killer pre-chorus/chorus. Should have been on VH1.
4. I Wanna Be Your Lover - Song had potential... lyrics/melody don't seem finalized, but the rhythm is catchy AF. Reminds me of a Hendrix tune (Dolly Dagger era).
5. Light IN the Sky - Hate the cliche opening rhythm, but the verse rhythm is awesome. Sounds like early Whitesnake IMO.
6. We Die Bold - F yeah! Great rhythm ruined by meh DLR singing.
7. Bad Women - Weird, but when the distorted guitar kicks in. Give it 3 listens... I promise this one will grow on you A LOT.
8. Young and Wild - Not a fan of this one at all, especially the singing.
9. Let's Get Rockin' - Classic VH. Could have been a B-side on VH1. Becomes "Outta Space" on ADKOT.
10. Put Out the Lights - Somewhat becomes "Beats Workin" on ADKOT. Great rhythm.
11. Big Trouble - Love this song! Becomes Big River on ADKOT. Good verse rhythm and chorus sounds like Extreme, especially the 10/10 breakdown/solo rhythm at end.
12. She's the Woman - Made it to ADKOT, but I prefer this version. This should have been on VH1. Has the Mean Streets pre-solo rhythm.
13. Gonna Take a Lot of Drugs - WTF?
More unreleased tracks/versions:
I've always loved Big Trouble as a track ever since i first heard it, i remember the first time i heard Big River and had to put Big Trouble on after as it felt better as a song to me
Ridiculous recording of early 1976 VH, mostly produced by Gene Simmons during the "Zero Sessions":
1. Runnin’ with the Devil – 10/10
2. Let’s Get Rockin’ – 10/10... becomes "Outta Space" on ADKOT.
3. Eyes of the Night – Poor quality live demo. Cool drumming for those that don't realize how amazing AVH is/was.
4. Big Trouble – Killer quality recording! Becomes Big River on ADKOT.
5. House of Pain – demo version, with Metalcore House of Pain" scream
6. Show Your Love - Live 1976 club version
7. Somebody Get Me a Doctor – original version, killer quality, 10/10.
8. On Fire – Judas Priest?! "Fire!" Killer rhythm guitar for 1976. Especially the pre-solo.
9. Last Night – Becomes Hang 'Em High. Not great singing from DLR. Recorded live from Whisky-a-Go-Go in 1976.
10. We Die Bold – More bad DLR singing. But great song potential. Great drumming and guitar.
11. Put Out the Lights – Becomes "Beats Workin" on ADKOT.
Here is the complete Van Halen Zero album, produced by Gene Simmons:
While there's a lesson to be learned from it (drugs are bad m'kay?!) digging up EVH's substance abuse is pointless and cheap.
In more positive news Tom Morello released a solo EP and there's a brief EVH tribute on it.
What is the deal with the Simmons/VH demos? How come they have never had a proper release? Gene will do anything to make a buck which makes me think VH must own them and aren't thrilled with them for some reason. I would love an archival release of these tracks and other things from the vaults.
The bassist had caught the group when they were still in their infancy, playing the Sunset Strip club circuit, and he offered to put them to tape and consider them for a label deal. “I discovered the band,” he says. “I saw them and signed them and flew them to New York and put them in Electric Lady Studios. They were signed to my company, Man of 1,000 Faces. I produced their 24-track demo — 15 songs — which I still own, and, oh, it has everything from the first record and also faster versions of ‘House of Pain’ and stuff. It’s a lot of cool stuff, but the band just doesn’t want it to come out — you know, the back and forth with [David Lee] Roth complicated matters.”
Crazy. Those demos sound really solid to me. DLR must be giving Gene a hard time because that is what DLR does. Lol.
Eh, not sure those Zero demos contain 15 tracks, but perhaps he is also including the 3 he had them play on for KISS/solo demos (which were a major let down and sound like complete dog shit; they were worth about what I paid for them, which was $free.99).
Would leverage a set of strings too.