There were those who thought that Van Halen was finished when David Lee Roth left the band. There are also those who believe that the albums featuring Sammy Hagar as lead vocalist/guitarist are far superior to those of the “Diamond Dave” era.
5150, the sixth studio effort from Van Halen, was not only the first to feature Hagar, it was the first Van Halen album to ever hit number one on the Billboard charts. If only a better album had earned that accolade for the band.
Let’s get one thing on the table: I personally don’t care whether it is Roth, Hagar or Gary Cherone singing for the band. As long as the songwriting is solid and the performances are top notch, I’m glad to listen to anything by Eddie Van Halen and crew. “When It’s Love” off OU812 is just as welcome on my home stereo as “Jump.”
That said, you almost immediately know you’re in for a rough trip when Hagar does his Big Bopper impression, screaming “Hell-o-o-o, baby!” at the album’s start—almost as if he’s also doing a Roth imitation. Two words: bad move.
The first song I ever heard from this disc was “Get Up,” which was premiered on the metal show of the local brokered radio station at the time. And, honestly, when I heard that, I had a lot of hope for 5150, with its balls-to-the-wall tempo and frantic guitar work. To my ears, it was all I could have hoped for from Van Halen Mk. II and then some.
Ah, but first appearances can be—and are—deceiving. The official first single, “Why Can’t This Be Love,” is one of the biggest wet noodles in Van Halen's discography. It’s been said that there was tension between Eddie Van Halen and Roth in terms of the band’s musical direction (the former wanted to move in a poppier direction, the latter wanted to remain a hard-rock party band). This song shows that Eddie Van Halen won the fight… but, oh, what a price the band paid. (They would eventually write some very good songs that were more pop-oriented… but this one just sucks.)
The truth is, overall 5150 is not a good album; it is a bad album that occasionally has a good track. “Dreams” is not a terrible song—granted, not Van Halen’s best work, but it has its moments—while the title track is a hidden gem that doesn’t get the attention it deserves. And the album’s closer, “Inside,” is a guilty pleasure for me, even if it sounds like some of the humor in the background is forced.
As for the bulk of the album? “Love Walks In” is yet another attempt at radio-friendly pabulum that falls flat, while “Summer Nights” is merely okay—nothing great, but also not a landmine like a few songs on the disc.
5150 marked a tentative first step for Van Halen in the post-Roth era, and sales aside, it nearly captured the band falling on their collective faces. If I was forced to choose between Diver Down and this disc to listen to for all eternity, I’d quickly grab Diver Down.
Sorry, Sammy, but 5150 has not held up well, and is a weak entry in the Van Halen discography.