The band’s 5th album received mixed reviews from fans and critics alike. Although Van Halen definitely has an assortment of new material to show with Diver Down, it’s acceptable to believe that there is a large influence of David Lee Roth’s interest in pop music driving this record into a direction fans may or may not approve of. Many use the three cover songs included, the most VH has put on one record, as evidence. The numerous EVH instrumentals pasted as separate tracks comes off as filler. Mainly, the overall lack of songs resembling the previous albums and the feeling that the band has branched out of its hard rock roots is what deteriorates the band’s momentum. All these claims make it easy to ridicule DD…because they’re true…however it’s an album that reflects the band’s attempt to climb itself out of the anger fueled production of Fair Warning and back to the uplifting origins of its previous recording sessions.
Since the first track is a cover tune, now is a perfect time to explain the construction of these types of songs. Despite most viewing this material as lazy and last-minute creations, I see the many factors assembled within these tracks and understand how well made the result is when listening to it.
Although, I prefer fresh music over covers, I appreciate the effort put in by the band to make it sound like an original track rather than compiling remakes in order to fill space on the album in half the time. Dancing In The Street particularly is incredibly refurbished with a disco rock tone, perky backing vocals, and just a well done conversion. Hang ‘Em High is a major highlight with EVH’s gripping riff and Roth’s echoing vocals to accumulate the familiar hard rock formula fans are used to.
Cathedral, Intruder and the Little Guitars Intro are brief reminders to assure fans that Roth isn’t the only member driving this album. These instrumentals are very pleasing to hear, however it only hurts the band to include them as standalone tracks. They could easily combine them with the song that they’re intended to lead into without trying to stretch DD as far as 12 tracks.
Secrets is VH’s failed attempt at a ballad. Nothing remotely as intricate as their slower tunes like Women In Love or Push Comes To Shove and the only factor listeners can look forward to is the EVH solo. Little Guitars is a catchy, radio friendly tune that uses a Pop/Rock rhythm to get stuck in listeners’ heads. Big Bad Bill is an unexpected turn of events, featuring EVH’s father playing a clarinet and Roth singing folk. It’s been a pattern with VH to have a song here and there that doesn’t stay true to the hard rock label they get stamped with. The band, especially Roth, prefers to have open freedom in the songwriting process and to wind off course every once in a while to play a new fad altogether.
The Full Bug has a hard hitting tempo that first grabs you using its intro and picks up the pace with EVH’s stellar playing and Roth’s forthright vocals. After the song slams into a solo, it’s not long before Roth picks up an instrument of his own, using a harmonica to compete with the guitar wizard in an epic duel.
The last sound wave out of DD is another atypical number that comes from VH‘s sense of humor. Happy Trails, a 4-part harmony of a 1940’s radio show theme song is nothing beyond the band getting together and ending their album with a smile on their faces.
As a whole, Diver Down is a very diverse record and although it’s a lot to take in at once, many can appreciate VH for covering so much music (literally and metaphorically). For a rundown, The cover songs? Very well remodeled and customized up to the band’s high quality standards. The instrumentals? A joy to listen to, but not as pleased to see them piled on top of each in order to ante up the track list count. The remaining tunes pull the album together and prove that the band hasn’t lost its touch of originality or talent for a hard rock tone.
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