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There’s no “right” way to make an album. But, if you’re looking for a template to capturing a great band with great sound, you don’t need to look much further than the first Van Halen record.
“Van Halen” wasn’t exactly a flashy production. Tracked at Sunset Sound in October 1977 for the modest sum of $40,000 (compare that to the whopping $1.4 million Fleetwood Mac spent cutting “Tusk” the following year), the approach was very much “keep it simple.” As engineer Jon Landee told Van Halen News Desk in 2013:
“They’d barely had any studio experience… at that point, we really wanted to get them before they knew what they were doing – just have them come in and play and then get them out. So we spent very little time in pre-production, in fact, we treated the first album like it was a demo.”
Part of that approach was getting Van Halen to do what they did best; play live. As bassist Michael Anthony told MusicRadar in 2010:
"We basically just took our live show and all the songs we knew and went for it. The whole album only took a couple of weeks.”
In today’s context, one of the most amazing things about that first VH record is that it’s almost entirely bereft of overdubs. Only“Runnin’ With the Devil”, "Jamie's Cryin'", "Feel Your Love Tonight" and "Ice Cream Man" contain guitar overdubs. And, according to Landee, even those dubs “were done in one take.”
The live, in your face sound of the first Van Halen album was a hit with the rock n’ roll record buying public. Released in February 1978, it went Platinum in October of that year. In 1996, it was re-certified by the RIAA for selling over 10 million copies in the US alone.
Unfortunately, you couldn’t make a record like that today. Bands don’t hone their live chops like Van Halen did for one – the band had racked up tons of live experience before setting foot in the studio. For another, most new tracks tend to be “quantized.” What exactly does that mean? I’ll leave it to YouTuber Dr. Bob to explain it to you:
"Almost every new song you've heard in the past 20 to 30 years has been time corrected or programmed, which means every part of the song is in perfect time and locked to the grid or metronome to non-human standards of playing."
Quantizing is fine for plenty of genres, but when it comes to no-nonsense rock n’ roll. Well… hear for yourself. Dr. Bob’s taken the liberty of quantizing VH’s seminal “Runnin’ With the Devil” – even Eddie’s solo. You can check it out below:
As Classic Rock states, Dr. Bob effectively illustrates that the “’all over the place tempo’, the peaks, the valleys and the groove are what made the song great in the first place.”
"Don't kill a groove just because you have the tools to," Bob concludes. Here at Thalia, we’re inclined to agree.
It’s safe to say that some of the most influential musicians in the 1960s came from Britain. The list sure backs up that fact: Eric Clapton, Jimmy Page, Jeff Beck, Pete Townshend, Peter Green, Richie Blackmore, John Lennon, George Harrison, and I can go on and on and on...
Notice, though, that I said musicians, not just guitarists. There are many heroes to be found for every instrument, particularly with our focus for this piece: the drums.
I’m not sure what the origin of this particular instrument was (though we may find out later), but maybe it was a crafty guitarist who thought: “You know what’s better than six strings? Double! Twelve strings!”
This story likely isn’t true, but the 12-string guitar is valuable in any guitarist's arsenal. With its thick, bright, and lush sound, the instrument has been a staple in most styles of music since its inception.
From being found in the wash to being left on counters and desks to being counted with change out of a guitarist’s pocket, guitar picks are the definitive proof that the holder undoubtedly plays the instrument.
But as omnipresent as they are, how many guitarists have pondered the history of the pick itself? Who are they? What were they doing?
