(l to r): Adam Ben-David (BOM keyboardist), Alex Van Halen, Eddie Van Halen, Wolfgang Van Halen, and me
NYT’s obit for the mighty Edward Lodewijk Van Halen compared his fiery guitar work to a Macy’s 4th of July fireworks display, with “...rockets of sound in a shower of light and color.” I couldn’t agree more, but I also like to think about the initial launch and lead-up to each firework, driving and propelling them to “Light Up the Sky.” I’m referring to Eddie’s unique and oft-overlooked rhythm guitar approach. It’s easy to be seduced by his incendiary lead work and flashy two-handed tapping, but if you dig deeper into Mr. Van Halen’s rhythm work, you’ll have a greater understanding and appreciation of how his rhythm and leads all melded into one singular, original style.
It’s been about a month since Eddie passed, and it’s still difficult to comprehend he’s gone. As sad as it has been to come to terms with, I’m equally grateful and fortunate to have discovered and identified with his music as my evergreen soundtrack growing up in the 80s, and have his genius completely change my entire trajectory and passion in life.
I was fortunate enough to see Van Halen three times ('84, '91 & 2012). I always left the concerts with their songs buzzing through my head, but what really knocked me out was hearing those rhythm guitar parts played live. They were the glue that kept everything together and gave the music vitality and joy. Each of the band configurations was dynamic and powerful, with Eddie always being the main attraction (for me at least). David Lee Roth said something interesting about the various line-ups, comparing them loosely to productions of an iconic musical like West Side Story, each with different actors and interpretations of the material, but ultimately representing the same timeless piece we all know and love.
In 1984 I was just 9, and immediately following the life-changing concert, my dad helped me build a red EVH-style guitar made out of cardboard, an attempt to capture his essence. This was unfortunately thwarted when my brother’s friend bent the all-too pliable neck. I’d go through many (real) guitars after that, often trying to emulate him and push the limits of what the instrument could do, as he always did. As I grew up, his creative output and drive were constant motivators for me to keep getting better as a player and learn how to make sense of the sounds in my head.
Many years later, after I’d become a working guitarist on Broadway, I took a night off from my show, The Book of Mormon, to see the 2012 VH reunion show at MSG, a true celebration of their music and longevity. The following night upon arriving at the theatre stagedoor, I saw the theatre house manager waiting for me with the exciting news that Eddie, Alex and Wolfgang Van Halen would be attending our show. I couldn’t believe that after seeing EVH tear the roof off MSG that I would get to play for him, especially on a Broadway show that features some of its own modest guitar pyrotechnics.
Some celebrities make a backstage visit after they see our show, but there was no guarantee that Eddie, Alex, and Wolfgang would want to. I wrote a personal note to them, passed through their bodyguard, inviting them to come back and say hello, knowing full well they were in the middle of their tour and might want to get some rest. I was thrilled to find the three of them backstage after the show that night, the night I would finally meet and thank my hero and inspiration, Edward. Though he didn’t say much, he shook my hand, and I felt an electricity and fire I’ll never forget. I remember Wolfgang being incredibly sweet, genuine, and complimentary about Mormon. The three generously posed for shots with a few of the orchestra members. I finally got up the nerve to ask Eddie if he’d sign my guitar. Without hesitation, he took a Sharpie and wrote “Got crazy VH style, Jake!” on the back of my custom Tele Thinline. (I’ve had the signature sealed and have since retired that axe.)
Eddie’s signature and message ‘Got Crazy VH(Van Halen) Style Jake!!’. Wolfgang’s signature is below his dad’s.
What Ed didn’t say in words, he expressed in his willingness to sign my guitar and write something that I’ll forever treasure.
One more side note on Eddie: Another overlooked detail is his outstanding backup singing on more tunes than people realize. He always had a great vocal blend and tone, all while playing those monstrous riffs and with a big smile on his face.
Here are three examples of Ed’s tasteful rhythmic genius. I recorded these clips at home the week after he passed, and it was a cathartic experience. Guitarists, I invite you to take a deeper dive with me into these three fun riffs:
Beautiful Girls - Here’s an abridged version of the opening riff, verse, and chorus. There are different possible fingerings for the opening figure, but utilizing a pull-off gives it character with a slight change in timbre. You’ll hear in this (and all his rhythms) that he throws in “easter eggs” to avoid direct repetition and keep the parts interesting and the ear engaged.
Summer Nights - Fans will know that EVH would use a trans-trem Steinberger guitar as a “moveable capo” to change the tuning on the fly for this song. To match the recorded version, I capo at the third fret for the fingerpicked intro. The secret here is to keep your pick close by (mine is palmed in the crook of my index finger), with the volume down halfway. Then on the next section, crank up the volume, grab your pick, and dig into the big open chords. EVH fills the spaces with pick slides, open string pull-offs, and a funky country-esque run.
Outta Space - This is a deeper cut, originally an older song of theirs (Let’s Get Rockin’) that got updated for their 2012 release A Different Kind of Truth. To try your hand at this free-flying jam, set your metronome to a brisk 186 bpm and keep your right hand nice and loose. While the chords are all standard shapes, keeping in the Eddie tradition, the slide fills and flourishes keep the flow interesting and seamless. Remember that playing faster doesn’t necessarily require a heavy picking attack but rather a loose, supple bounce, similar to a violinist playing fast runs.
I hope this inspires you to learn more Van Halen classics and deep cuts, and to appreciate his unique rhythmic approach. With someone like him, there’s always more to discover.
Thank you Eddie Van Halen for giving us everything.
P.S. Wolfgang just released a beautiful tribute music video he wrote for his dad called Distance, which you can watch here.