The somber black and white cover could have been a knowing allusion to
Meet the Beatles!, but it's really a signal that
Van Halen is playing it for keeps on
OU812, their second record with
Sammy Hagar. Indeed, the striking thing about
OU812 is that all its humor is distilled into a silly punny title, because even the party tunes here -- and there are many -- are performed with a dogged, determined vibe. When
David Lee Roth fronted the band, almost everything that
Van Halen did seemed easy -- as big, boisterous, and raucous as an actual party -- but Van Hagar makes good times seem like tough work here. Apart from a few cuts -- the countryish hook on "Finish What Ya Started," the slow, bluesy strut "Black and Blue" -- the riffs are complicated, not catchy, the rhythms plod, they don't rock, and
Sammy strains to inject some good times by singing too hard. It gives
OU812 a bit of a dour feel, not entirely dissimilar to
Fair Warning, but unlike that early unheralded gem, this isn't a descent into darkness; it's merely a very inward rock record, as
Eddie Van Halen pushes the band toward interesting musical territory. Often, this takes the form of jazzy chord changes or harmonies -- most evidently on the sleek opener, "Mine All Mine," but also on the otherwise metallic boogie "Source of Infection" -- but there's also "Cabo Wabo," the longest jam they've laid down on record to date, and a cover of
Little Feat's "A Apolitical Blues" (which could have been a salute to producer
Ted Templeman's early glories as much as a chance to do some down-n-dirty blues rock). Of course, there's also a pair of power ballads here, both poppier than the ones on
5150 -- "When It's Love" is pure balladry, "Feels So Good" rides along on a gurgling synth -- but really, they're red herrings on a record that's the hardest, darkest rock
Van Halen has made since
Fair Warning. And if it isn't as good as that record (even if it's nearly not as much fun), it's nevertheless the best showcase of the instrumental abilities of Van Hagar.