Van Halen: A Different Kind Of Truth

There are plenty of reasons to be wary of the new Van Halen album, A Different Kind Of Truth. But for the sake of time, let’s narrow them down to three:
- The lead single, “Tattoo,” was pretty bad. And after hearing the album, the song’s badness suggests that three-quarters of the band—the part actually named “Van Halen”—actively wanted to make David Lee Roth look foolish by putting it out as a single. It turns out that “Tattoo” is one of the two or three worst songs on the record; it’s also one of the two or three tracks that rely heaviest on Diamond Dave’s hepcat-on-Dexedrine shtick. The song’s odd, vocal-heavy mix emphasizes both Roth’s distance from the Van Halen clan—the band sounds like it’s playing in a studio on the other side of L.A.—and how horrendous the lyrics are. (“Swap-meet sally / Tramp-stamp cat / Housewife to bombshell in the time it took to get that new tattoo.”) Considering how many other classic-sounding Van Halen songs there are on Truth—“Blood And Fire” gets within spitting distance of greatness—the selection of “Tattoo” as the introductory track is explicable only as a subtle DLR pisstake. “You wanted Diamond Dave? Here’s your precious Diamond Dave, suckers!”
- If we assume that the Van Halen brothers still despise Roth, but decided to get back together with him anyway, then their refusal to also reunite with the infinitely more laid-back and tolerable Michael Anthony is even more nonsensical and infuriating.
- In spite of everything, A Different Kind Of Truth is a good record. It’s probably as good as can be reasonably expected. Instrumentally, Van Halen is still one of the slickest, most powerful machines in all of hard rock. And while Roth’s limited vocal range has shrunk down to glorified talk-scatting, his voice remains an integral part of the band’s sound. (Also, Wolfgang Van Halen must be complimented on his convincing impersonation of Anthony’s pivotal backing vocals.) All of this is surprisingly, even shockingly, true. And yet: What does it matter? Van Halen reuniting with Roth is the equivalent of 10 Arrested Development movies for arena-rock fans. But aren’t there at least 20 songs those people would rather see live than the new “Honeybabysweetiedoll”?
The nagging sense that A Different Kind Of Truth is an unnecessary excuse for Van Halen to tour with Roth again is probably the biggest strike against it. Nobody expects (or perhaps even wants) Van Halen to be a creatively active institution again. The public is more than happy to hear “Panama” and “Runnin’ With The Devil” in concert and pay handsomely for the privilege. (Not that Truth is necessarily all “new” material; as Roth recently confessed to the Los Angeles Times, the band reworked ancient songs that pre-date its 1978 debut for the album. So really, Van Halen is playing a bunch of oldies from the ’70s onstage and on record this year.)