Florida Woman Accused Of Trying To Light Her Ex On Fire
Police say a Florida woman and her ex were having a bit of a tiff recently when things went buck wild. Investigators say they responded to a call about a domestic violence issue via 911. The report goes like this. When officers arrived, they noticed that an object was on fire in the front yard of the address. They also detected a stong odor of gasoline being emitted from the home and saw a can of gasoline sitting on a counter inside the door. A woman who was on the scene, later identified as Melanie Botts, was questioned and arrested for attempting to set the homeowner’s house on fire…with him in it. The victim said he was preparing to leave his home when he saw Botts in his yard. After their conversation turned into a verbal altercation, he told police that Botts entered the garage and emerged with a can of gasoline. When the victim retreated to his home, he told police he noticed a strong odor of gasoline throughout the residence and even noticed pools of gasoline in various places. He went on to say that Botts poured gasoline on him at one point and tried to light the fuel. He also stated that Botts covered the perimeter of his home with gasoline. Once the victim saw the can of open fuel in his home, he carried it outside to keep the home from igniting. Botts had left the scene by the time officers arrived. She was later located and arrested when she contacted police about a different case. A subsequent search revealed several drugs on her person. Botts has been previously arrested for possession of crack, possession of meth, carrying an unlicensed electrical weapon, possession of marijuana, battery, aggravated assault with a deadly weapon, battery on a LEO, resisting arrest and felony battery. This time around, she was charged with domestic battery, arson, criminal mischief, possession of buprenorphine, possession of amphetamine, and violation of probation. She’s being held on a $61,000 bond. Source: Breaking911.com
Top 50 Best Rolling Stones Songs Of All Time!
Rolling Stones: Their 50 Best Songs Ranked
“Stop Breaking Down” is one of two covers found on ‘Exile on Main St.’ (You’ll see the other one later in this list.) The Stones’ take on this Robert Johnson classic serves as a great reminder of the band’s blues roots. Mick Jagger is, once again, dynamite on harmonica and Mick Taylor’s slide work is “chef’s kiss,” as the kids say.
This cover of the classic Temptations hit is loose, fun and infectious. It’s no wonder it was a top 20 hit for the Stones on the Billboard Hot 100.
Mick Jagger and Keith Richards wrote this tender track along with their manager Andrew Loog Oldham. While the song was originally recorded by Marianne Faithfull and released in June 1964, the Stones would record and release their own version in December 1965, which would become the band’s fifth top 10 single in the United States. “As Tears Go By” has been covered by a variety of other artists, including Nancy Sinatra and Avenged Sevenfold.
Echoing the themes of “the problem that has no name” in Betty Friedan’s classic book ‘The Feminine Mystique,’ “Mother’s Little Helper” is the cautionary tale of the daily struggle of medicated housewives of the 1960s who weren’t satisfied with their lives. It’s a song that 50+ years later that still resonates, because sometimes, what a drag it is being a mom and a wife.
From the moment Charlie Watts’ drum fill kicks off “You Got Me Rocking,” it’s difficult to not simply rock the f--- out. It’s nothing fancy, but there has never been anything wrong with meat-and-potatoes rock and roll.
There is an overall timelessness about the Rolling Stones, but there are certainly a number of songs from their early releases that simply just feel like the ‘60s. “I’m Free” is definitely one of them. Perhaps you can attribute that to the tambourine. You just don’t hear a lot of tambourine anymore!
Imagine writing an absolute classic like “(I Can’t Get No) Satisfaction” and then being tasked with following it up. While the Stones were enjoying their success, the record company was looking at their collective watch and wondering what was next. What they got was “Get Off of My Cloud,” a tune that is perhaps the most polite kiss-off in rock history.
There is a lot going on with “Anybody Seen My Baby?” related to its creation. It’s the only track from the Stones to feature sampling; in this case it was hip-hop artist Biz Markie’s “A One Two.” The song also famously features song credits for k.d. lang and Ben Mink for the chorus, because it resembled Lang’s 1992 track “Constant Craving.” Oh, and an early 20-something Angelina Jolie is the star subject in the song’s music video. You also can’t mention “Anybody Seen My Baby?” without tipping a cap to Jamie Muhoberac, whose bassline truly is the backbone of this haunting tune.
“Love Is Strong” marked a couple of firsts for the Stones: It was the first single from ‘Voodoo Lounge,’ and, more importantly, it was the band’s first single without Bill Wyman, the first lineup change in the band since Ronnie Wood joined in 1975. Despite the changes, the Stones stuck to what they did best on the track: sexy, hooky, blues-based rock, which led to them taking home the very first Best Rock Album Grammy Award in 1995.
For pretty much any other band, “All Down the Line” would be a single, but it was instead released as a b-side to “Happy.” This could be due to the Stones’ messy legal battle with ABKCO’s Allen Klein who alleged the band wrote “All Down the Line” and four other ‘Exile’ tunes while still under contract with ABKCO. Legal issues aside, it’s an instant party of a track thanks to the trumpet and trombone work of Jim Price.
“Shattered” was a cheeky tribute to New York City that still rings true today. (“Pride and joy and greed and sex/That’s what makes that town the best.”) “Shattered” served as both the final single from ‘Some Girls’ and the final single of the ‘70s from the Rolling Stones. If the band thought the ‘60s were a wild ride, the ‘70s was a whole new level. Also, kudos for the heavy use of the word “Shadoobie.” Frankly, it’s just fun.
'GRRR!’ was the Rolling Stones compilation set released in honor of the band’s 50th anniversary. The set featured two new tracks, with the lead single being “Doom and Gloom.” The track is two things: 1. A total banger of a rock tune and 2. A reminder that even five decades later, the Stones were more than capable of writing songs that any band would dream of writing.
Like the aforementioned “I’m Free,” “She’s a Rainbow” definitely feels like it’s from the ‘60s. Even if you just read the lyrics, you can feel the Summer of Love-ness of it all. (“She comes in colors everywhere/She combs her hair/She’s like a rainbow.”) “She’s a Rainbow” is so buoyant it could warm the cold heart of even the biggest badass. The strings on the song were also arranged by some session guy named John Paul Jones. He went on to have an okay career.
The second cover from ‘Exile,’ “Shake Your Hips” was originally recorded and released by Slim Harpo in 1966. It yet again serves as another example of the band’s love and respect for the blues. The minimalist production provides an interesting variance only three tracks into 'Exile,’ perhaps the Stones’ greatest masterpiece.
The Rolling Stones are far from being known as a “political” band, but “Sweet Black Angel” is one of the few times the band made a political statement in their songs. The ‘Exile” track served as a tribute to renowned civil rights activist Angela Davis who, at the time the song was written, was incarcerated on erroneous kidnapping and murder charges of which she’d later be found not guilty.
Whenever someone writes the definitive history of “diss tracks,” there most certainly should be a section dedicated to “Star Star.” A cut at groupies (and perhaps also former Jagger beau Carly Simon), the track was originally called “Starf---er,” but Ahmet Ertegun, whose Atlantic Records distributed the Stones’ records back then, put a stop to that. Gee...don’t know why?
A rockabilly jam that featured Jagger spitting lyrics at breakneck speed, “Rip This Joint” is a wild tale about drugs and traveling across the southern United States as a foreigner. The songs features shoutouts to various cities from Tampa to Santa Fe as well as name dropping “The Butter Queen,” the nickname for famous groupie Barbara Cope. If you don’t know why Cope was called “The Butter Queen,” Google it yourself, but you might want to use the “Incognito” tab and probably don’t do it while you’re in the office.
“Torn and Frayed” paints the picture of a journeyman guitarist traveling from town to town but it easily could be a metaphor for how any band could feel during a long, grueling tour. The tune leans into the Stones’ country influences, which is appropriate considering Gram Parsons famously visited the Villa Nellcôte mansion while the band recorded ‘Exile’ in its basement.
The Rolling Stones will forever be that “bad boy” alternative to The Beatles, but even bad boys can be really sweet and romantic as evident from “Loving Cup.” Many of us would openly swoon if someone said they’d “love to spill the beans with you till dawn.” Also, this track wouldn’t be the same without Nicky Hopkins on piano, who is both the heart and backbone of the song.
The Stones have more than a little love affair with country music (and various references to drugs.) “Sweet Virginia” sees both of those interests collide along with Mick Jagger’s harmonica and the late Bobby Keys’ brilliant saxophone. Get used to seeing more of these elements later in the list.
A tender ode to the working class, “Salt of the Earth” closes out ‘Beggars Banquet’ on a poignant note. The song took on increased poignancy when Mick Jagger and Keith Richards performed it at “The Concert For New York City,” the all-star benefit show at Madison Square Garden in honor of NYC’s police and fire fighters following the 9/11 terrorist attacks.
That undeniable bass line! By the way, that was Keith Richards, not Bill Wyman, playing bass on this song. The track notably is the first song the Stones recorded with new guitarist Mick Taylor, who replaced a fired Brian Jones, and the first song to feature Bobby Keys on saxophone. The chemistry between the guitars of Richards and Taylor was just incredible, bordering on telepathic.
Some of the most devastating love songs are about love that just wasn’t meant to be even though two people really put in the effort. Many people often experience this at some point in life, and once that experience is in the rearview, a song like “Angie” just hits differently. Crossroads are hard to deal with, but this beautiful ballad, written primarily by Keith Richards, offers a lot of comfort. After all, “They can’t say we never tried.”
If you make a playlist of awesome rock songs with killer brass sections and “Bitch” isn’t on there, that playlist is simply incomplete. Credit is due to Bobby Keys and Jim Price, both of whom should show up mutiple times on any such list. If you take away their saxophone and trumpet tracks from “Bitch,” the song just isn’t the same. The Rolling Stones are one of the greatest bands of all time for many reasons, but one of those was how they surrounded themselves with the right cast of musicians on the studio. Keef, once again, shines and is the reason why the song’s original tempo increased.
“Did you ever wake up to find/A day that broke up your mind?/Destroyed your notion of circular time?” If you presented those lyrics to someone who isn’t familiar with the Rolling Stones, they might think it was the opening verse of a song written during lockdown during the coronavirus pandemic. “Sway” is primarily the work of Mick Jagger and Mick Taylor, even though the song is credited to Jagger/Richards. Taylor’s guitar work is the perfect partner to Jagger’s, at times, dramatic vocals, and “Sway” marks the first time Jagger lent his own guitar work to a track.
The first of 18 tracks on ‘Exile,’ “Rock Off” is an incredibly dark and filthy song to set the tone for a truly epic double album. To put it bluntly: The song is about a drug addict (like with a heroin problem) who’s having problems performing sexually because of said drug problems. Despite the grizzly subject matter, the song’s organized chaos – from the overlapping vocals in the chorus to the distorted bridge – adds up to a type of magic that, really, only the Rolling Stones could create.
Want a surefire way to help a song go to number one? Make it the flip side of a single that radio is too afraid to play! “Ruby Tuesday” was released as a double A-side with “Let’s Spend the Night Together” as the lead single. Since “Ruby Tuesday” was the less-randy of the two tracks, many stations were more comfortable playing the sweet ballad, whose lyrics were penned by Keith Richards. The song would go on to be the Stones’ fourth number one single on the Billboard Hot 100.
Hindsight is a funny thing. A song like “Let’s Spend the Night Together” is practically puritanical by the standards of the 2020s. Alas, it was nothing short of scandalous when it was first released in 1967 and would infamously be changed to “Let’s Spend Some Time Together” when the Stones performed it on ‘The Ed Sullivan Show.’ (Seeing Mick Jagger dramatically roll his eyes when singing the altered lyric is still funny, though.) However, good for Mick for making the evening a two-way street, if you know what I mean. (“I’ll satisfy your every need (your every need)/And now I know you will satisfy me.”)
The Stones have many songs about love lost, but none of them are as dark as the appropriately titled "Paint It Black." Besides the general bleak nature of the song, Brian Jones' sitar playing is clearly one of the track's standout aspects. The track would go on to be the Stones' third song to top the Billboard Hot 100 chart.
Country and drugs return in full force on “Dead Flowers,” a brooding, bitter tune that is also remarkably catchy. Those elements shouldn’t work this well, but they just do on “Dead Flowers.” It goes without saying, but “And I won’t forget to put roses on your grave” still remains one of the most subtly brutal burns in the Stones catalog.
“Shine a Light” is as heartbreaking as it is grand. The song serves as a tribute to late guitarist Brian Jones, and while released on ‘Exile’ in 1972, Mick Jagger had started writing the song back in 1968 when Jones was still in the band, but his drug use was becoming an increasing problem. From top to bottom, the lyrics are gripping and touching and resonate with anyone who has lost a loved one at a young age, especially from substance issues.
The idea that life on the road is glamorous is painfully put in place on “Moonlight Mile,” the moving closing track to ‘Sticky Fingers.’ (The Rolling Stones sure had a knack for ending an album on an emotional note, didn’t they?) Sure, performing before fans is amazing, but that time between shows traveling town to town is often lonely and cold. (“The sound of strangers sending nothing to my mind/Just another mad, mad day on the road.”) Guitarist Mick Taylor, pianist Jim Price and Paul Buckmaster’s string arrangement put the song’s emotional weight on their back and really carried this track home.
If there’s one lesson to be learned from “Can’t You Hear Me Knocking” it’s to always keep the tape rolling because you never know what you could capture. The song’s iconic instrumental jam at the end wasn’t even planned; the Stones and their incredible cast of session musicians didn’t even realize that they were being recorded until after the fact. Saxophonist Bobby Keys had many great moments on Rolling Stones tracks, but his work on “Can’t You Hear Me Knocking” could easily be his finest moment of them all.
Not all love songs are about romantic love, and “Waiting On A Friend” might be the greatest example of that. The second single off 1981’s ‘Tattoo You,’ the lyrics for “Waiting On A Friend” were penned by Mick Jagger about the friendships within the Stones: “Don’t need a whore, don’t need no booze. Don’t need a virgin priest, but I need someone I can cry to. I need someone to protect.” If you’re lucky, you’ve got a friend that fits these lyrics, and you know full well that that friendship is one of the greatest loves of your life.
Some could argue that the Rolling Stones – one of the greatest rock bands of all time – are the keepers of one of the best disco songs of all time, too. Unlike Mick Jagger walking in Central Park and singing after dark, that thought isn't crazy. It might be the hookiest hook Mick and Keith ever wrote, truth be told.
The most successful song from the Stones where Keith Richards sang lead vocals, “Happy” happened, according to Keef, “because I was for one time early for a [recording] session.” It’s a good thing Richards was early that one time: “Happy” has become a significant part of the Stones’ setlist and has been played live by the band over 500 times, per Setlist.fm. On top of his vocals and guitar work, Richards pulled triple duty by playing bass, too.
Despite how Dick and Berry from ‘High Fidelity’ feel about this song’s association with ‘The Big Chill,’ “You Can’t Always Get What You Want” has remained one of the Rolling Stones’ biggest showstoppers for 50 years and for good reason. The ethereal sounds of the London Bach Choir provided a unique juxtaposition to the Rolling Stones closing out not only this album but the ‘60s themselves, a decade that brought both profound change and pain. The ‘70s were on the horizon, and while so much was uncertain, one thing that wasn’t was how somehow, we’d all figure out how to get what we need.
Let’s just cut to the chase: “Beast of Burden” is sexy as hell. It’s the perfect combination of lust, romance and general coolness, which is one of many ways to simply describe the Rolling Stones as a band. It’s a casual groove but it’s in no way sloppy. It truly is rough enough, tough enough, rich enough and in love enough.
If the rock genre had some sort of keynote address, “It’s Only Rock ‘n Roll (But I Like It)” would likely be it, or at least be a firm contender. It has attitude for days, great guitars and a killer rhythm track. What more could you really want? Someone to stick a pen in their heart and spill it all over a stage?! People don’t choose rock and roll; it chooses them. This track understands that. And they like it. (Yes, they do!)
The Rolling Stones have plenty of ballads in their quiver, but “Wild Horses” is the band’s best that hits your heart’s bullseye every single time. How could it not? “No sweeping exits or offstage lines/Could make me feel bitter or treat you unkind.” You’d have to be a damn cyborg not to feel that!
The lead/most commercially successful single from ‘Exile,’ “Tumbling Dice” is easily the coolest song that relies on gambling and love as metaphors. Mick Taylor is on bass here, with Mick Jagger picking up rhythm duties. (Keef, of course, is on lead.) Charlie Watts’s drumming is minimalist perfection. The track is put over the top thanks to the sublime backing vocals of Clydie King, Venetta Fields and Sherlie Matthews.
Easily one of the best straight-forward blues tracks written by Jagger and Richards, “Midnight Rambler” opens up side two of 'Let It Bleed’ and serves as another example of Jagger being incredibly underrated on the harmonica. While the studio version is outstanding, the live version on ‘Get Yer Ya-Ya's Out!” is pure blues jam heaven.
Let’s get this out of the way: There’s no way in hell lyrics like this would fly today. It’s something Mick Jagger recognized in an interview with ‘Rolling Stone’ published in 1995 where he said, “God knows what I'm on about on that song. It's such a mishmash. All the nasty subjects in one go... I never would write that song now.” Lyrical content aside, the track would become the Stones’ sixth number one song on the Billboard Hot 100 thanks in large part to its incredible groove. No wonder it’s the song the band has played the second-most times in concert, which leads perfectly into...
The song the Rolling Stones have played the most live is “Jumpin’ Jack Flash.” (Per Setlist.fm, they’ve played this absolute gem more than 1,100 times.) The track marked a welcome return to form following the very of-the-era ‘Their Satanic Majesties Request.’ Not to say a band isn’t allowed to experiment with their sound, but blues-based Rolling Stones will always be superior to anything else they do. And if you’re looking for any further evidence, “Jumpin’ Jack Flash” has been covered by a bunch of other artists from Tina Turner to Aretha Franklin to Peter Frampton.
God...bless...cowbell and producer Jimmy Miller’s playing of the instrument that kicks off this classic tune. While we’re at it, bless the women that maybe inspired this song, too. (Particularly the one that blew Mick Jagger’s nose and then his mind. That’s both thoughtful and...let’s just say thorough.) While the song was born from more country influences as evident from “Country Honk” featured on ‘Let It Bleed,’ “Honky Tonk Women” is just leaps and bounds better and a testament of what can happen when you simply play around with a song idea.
Inspired by various anti-war demonstrations that occurred around the world in 1968, “Street Fighting Man” is the Rolling Stones at their most visceral. Despite being about protests in the ‘60s, its message and attitude still apply to countless movements that have played out in streets the world over in the decades since its release. There is a timelessness to many Rolling Stones songs, but “Street Fighting Man” might be the most universal track in their entire catalog. Props to Brian Jones for his sitar and tamboura work, which truly adds a unique layer and texture to an already potent track.
One second. That’s all you need to pick out “Start Me Up”; by 0:01, you know exactly what you’re listening to. It’s one of the band’s most radio-friendly tunes in their entire catalog, perhaps the most radio-friendly. This fact is incredibly ironic considering they inexplicably snuck the lyric “You make a dead man cum” past censors. Or at least that lyric wasn’t considered the scandal that “Let’s Spend The Night Together” was 14 years prior. Regardless, what an iconic riff from Keith Richards!
“Sympathy for the Devil” and its storytelling of tragic moments in history from the perspective of the devil never really gets enough credit for how clever it is. The Stones were criticized for their behavior and the content of their lyrics from pretty much the jump, but instead of complaining about their critics, they decided to hold a mirror at them instead. Sure, the song is playful in that very British wink-and-a-nod sort of way about Satan, but the way it turns the tables on a hypnotic wave of “woo woos” is nothing short of brilliant.
“(I Can’t Get No) Satisfaction” is about as legendary as the story of how Keith Richards wrote the song’s classic riff while still half-asleep. The preferred music of younger generations may have changed over time, but the frustrations are still pretty much the same. (Older generations are out of touch, everyone keeps telling me what to do, I can’t get laid, etc.) If you could pick just one thing “(I Can’t Get No) Satisfaction” did really well – which is admittedly an incredibly daunting task - it was establish an angst anthem blueprint for future younger artists to follow. Sure, there has been some evolution over the decades, but you can almost always find the root of those works in “(I Can’t Get No) Satisfaction.”
Many things add up to “Gimme Shelter” being the greatest Rolling Stones song ever. For starters, it’s one of the greatest opening tracks ever and kicks off ‘Let It Bleed’ in dramatic fashion. It also features the most iconic rock vocal solo ever thanks to Merry Clayton’s fervent delivery. (Her voice breaking when she belts out the final line of “Rape, Murder” will forever send chills up and down spines.) Perhaps most importantly is that “Gimme Shelter” is somehow over 50 years later more relevant and poignant now than it was when first released. In an age when multiple mass shootings happen nearly every single week in the United States, a line like “It’s just a shot away” cuts remarkably deep, and it’s difficult not to think of it with every piece of breaking news or memorial hashtag. “Gimme Shelter” is a desperate plea for peace in the face of seemingly non-stop violence. Maybe one day, we’ll find the love the song speaks of as it comes to a close.
The 30 Best Van Halen Songs Of All Time
Van Halen: Their 30 Best Songs, Ranked
One thing that doesn’t get discussed enough about Van Halen is how funky they could be. This song, about a prom-queen-turned-porn-star, features one of Van Halen’s deepest grooves, courtesy of Michael Anthony and Alex Van Halen, but it’s Eddie’s evocative leads and riffing (along with Dave being Dave) that really makes the song work.
A song by Roy Rogers and Dale Evans that Van Halen covered as a one minute long acapella jam for their most uneven album, this might not have ranked as one of their best songs before October 6, 2020. But if you were putting together your own Van Halen mix today, this would be a great final track, and it definitely sounds different now that Eddie is gone. It also showed that not only were the band members great instrumentalists, they were great vocalists as well.
Like all other hard rock bands from the ’60s and ‘70s, Van Halen was influenced by all forms of blues. But Van Halen had more fun with it than most, as evidenced here. Dave would play the acoustic guitar at the beginning of the song, starting it out solo, but the band kicked in and Eddie came in hot with one of his greatest solos. The end where Dave and Eddie are dueling with their instruments, is just a blast.
It’s difficult for a hard rock band to grow up and Van Halen were one of the few who were able to pull it off gracefully. Let’s be honest -- they wouldn’t have been able to do it without Sammy Hagar. But the band evolved as songwriters and players. This socially conscious song was built on an amazing Eddie Van Halen piano riff, but it also included one of his many incredible solos.
Van Halen were, of course, a great songwriting team, as this list attests to. But they were also amazing song interpreters. They kicked off their career with a supercharged version of the Kinks’ “You Really Got Me,” but their unexpected take on Roy Orbison’s “(Oh) Pretty Woman” is nearly as iconic.
When the Eddie Van Halen/Sammy Hagar team worked, it *really* worked. The two of them worked this song out on two guitars in the wee hours of the morning and it sounds like it. This song sounds unlike anything else VH ever did; Eddie’s playing, even without distortion, is fantastic.
David Lee Roth reminds us that he can sing on this song, and his lyrics are a bit more empathetic than usual: “And then they went and they voted you/Least likely to succeed/I had to tell them baby you were armed with/All you'd need.” As flashy as Eddie could be, he knew how to let the song breathe; his playing during the verses dances around Roth’s narration. Of course, he also gets his time to shine on his wailing solo.
‘5150,’ Van Halen’s first album with Sammy Hagar, made a strong case that the band’s second iteration would be as strong as the first, and this song was a big reason why. Eddie played a monster riff during the chorus, and his playing glided through the verses. And it’s one of Sammy’s best VH performances.
An ode to teenage horniness; as always, Eddie, Alex and Michael’s playing was great but the real star is the interplay of their backing vocals with Dave’s leads. As with “Happy Trails,” it makes a good case that Van Halen could have been a great doo-wop group in a different era.
With the addition of Sammy Hagar, it was clear that Van Halen could do a lot more, stylistically, and they weren’t going to stick with just party jams. But they weren’t going to ditch them, either, as they pointed out with “Summer Nights.” And obviously, Eddie still had riffs for days.
“I am the ruler of these nether worlds/The underground/On every wall and place my fearsome name is hear/Just look around, whoa yeee-ah!” It sounds like something Black Sabbath might have cooked up. The opening interplay between Eddie’s guitar scratching (reminiscent of “Voodoo Chile” by his idol Jimi Hendrix) and Alex’s cymbals is hair raising. Which Eddie Van Halen solo is the best one? Tough to say, but this one kind of defines “face-melting.”
Another example of a Hagar-era classic that just wouldn’t have been possible with Van Halen’s original lineup. Here, it’s Sammy’s vocals that take center stage, but Eddie’s keyboards drive the song. Of course, Eddie steps away from the keys for a bit to blow our minds with a solo.
Give the bass player some! This is one of Michael Anthony’s funkiest performances; it almost sounds like something a jazz or blues band could have done in a prohibition-era speakeasy, and you could certainly imagine Roth performing in those snarky vocals in a dark, seedy joint. It’s Eddie’s guitar and Alex’s drums that bring it to the ‘80s; of course, it still sounds amazing today, and it always will.
Roth showed empathy for the lead character in “Little Dreamer,” and he also did it on “Jamie’s Cryin’.” “Now Jamie's been in love before/And she knows what love is for/It should mean, a little, a little more/Than one-night stands.” Of course, many of his songs actually were about one-night stands, but here he shows some feeling for the person on the other end of a tryst.
One thing that set Van Halen apart from their rivals was their ability to write a perfect pop song, and a danceable one at that. Here’s another great example of Eddie Van Halen getting out of the way of the song.
After hearing the lead single from ‘1984,’ “Jump,” fans might have worried that Van Halen was ditching hard rock. No such luck: this ode to fast cars was a guitar-driven masterpiece.
More than forty years later, this song is still mindblowing; at parts, it’s nearly as fast as speed metal, at other parts it sounds like cabaret. And they slip into doo-wop/acapella mode for good measure, just to show you that they can do it. One of the most underrated songs in the VH catalog.
The “woo-woo!” at 1:24, going into Eddie’s solo is perfect, as is Eddie guitar fill at 2:09. You can hear how much fun they’re having here and it’s infectious.
Alex Van Halen is the star here; his drumming on this song is as iconic and instantly recognizable as any of Eddie’s guitar work. Of course, Eddie’s guitar here is stellar. Even though it was their last album with David Lee Roth (for a few decades), they were firing on all cylinders And not only on the song but on the video, which was their last with Roth and certainly their best.
Now, sure...we just gushed about Alex Van Halen’s drumming in the previous entry, but we’d be remiss if we didn’t do the same on “Everybody Wants Some!!” While not as frenetic as “Hot For Teacher,” the lengthy drum intro on “Everybody Wants Some!!” is just as infectious, as is its chorus.
‘Diver Down’ is generally thought of as the most uneven of the first six Van Halen albums, but most other bands would kill for an album that good. “Little Guitars” is the best original on the album; Eddie’s acoustic intro is even more intense than “Spanish Fly” (from ‘Van Halen II’) and “Little Guitars” itself is one of the band’s most joyful songs. Eddie’s riff almost seems to be bouncing around during the song.
Van Halen’s lone number one hit is, of course, the synth-heavy “Jump,” because irony is just funny like that sometimes.
Closing out Van Halen’s self-titled debut, “On Fire” sends listeners out on a hard rock high note (literally) with DLR and Michael Anthony’s wails of “I’m on fire!” It’s the type of closer that immediately just makes you want to start an album from track one again and go for another ride.
Take a look at this! Some songs are just tailor-made to be performed in massive arenas, and “Unchained” is one of them. From the chugging opening riff to the group vocal on the chorus, “what a rocker” this song is!
Van Halen had a way with covers and really had a knack for putting their own spin on classics, especially a rock standard like “You Really Got Me.” It’s undoubtedly VH’s best cover and can easily stand up to the original by the Kinks. Of course, it didn’t hurt to have a lead in like “Eruption” either.
Serving as the opening track on Van Halen’s fourth studio album, “Mean Street” is a unique standout not just on the LP but in the band’s entire catalog. Dave, Eddie, Michael and Alex all shine on this track, and it’s a shared spotlight that’s hard to ignore.
The final single from Van Halen’s stellar debut album, “Ain’t Talkin’ ‘Bout Love” remains a mainstay of rock radio over four decades after its initial release. It’s easy to understand why with its brash chorus and ridiculously memorable lines like “You know you're semi-good lookin'/And on the streets again.” Oh, and that opening riff is just killer.
“Have you seen Junior's grades?” More than just a little tongue in cheek lyrically, “And the Cradle Will Rock…” famously gave fans the first taste of Eddie Van Halen dabbling with keyboards, without taking away from his guitar. That sure had some decent returns down the line!
In 1:42 and only the second track into Van Halen’s debut album, Eddie Van Halen cemented his status as a guitar god, and there was no turning back. “Eruption” is so ingrained in rock culture now it’s almost difficult to think of a time without it. It’s the solo that inspired countless people to pick up a guitar; it also caused thousands of six-stringers to sit dumbfounded, trying to figure out how EVH played the damn thing in the first place. Perhaps, it’s both.
Out the gate, Van Halen just weren’t messing around. They were young, hungry and with a mission statement like “Runnin’ With The Devil,” they told you who they were right away. When you’re “livin' at a pace that kills,” there isn’t time for pleasantries. In a debate on the best opening track from a debut album ever, “Runnin’ With The Devil” is always part of the conversation, and it may well be the greatest. In the case of this list, we think it’s Van Halen’s best song ever. Simply put, this song is perfect, even when you isolate DLR’s vocals.