VAN HALEN: 1984 LP. Check videos for “Jump”, “Panama”, “Hot for Teacher”, etc. and video analysis of “Jump”, “Panama”

Description

1984 (written as MCMLXXXIV on the front cover) is the sixth album by American hard rock band Van Halen. One of the band more popular albums (in terms of both record sales and chart performance), 1984 is the final album featuring singer David Lee Roth before he left the band in the spring of the following year.
Eddie Van Halen, well-known for his guitar prowess but also a classically-trained pianist, used 1984 as an opportunity to take the band into different territory. Additionally, 1984 was the first Van Halen album to be recorded at Eddie Van Halen home studio, 5150. Eddie Van Halen keyboard playing is more prominent on 1984 than on any prior Van Halen album, particularly on the songs “”Jump,”” “”I’ll Wait”” and instrumental album-opener “”1984.””
The title track “”1984″”, a short synth and effects instrumental (the effects had been used as part of Michael Anthony live bass solo on the Diver Down tour); “”Girl Gone Bad””, parts of which previously had been played during the same tour during performances of “”Somebody Get Me A Doctor”” (most famously at the US Festival show); the hard rock “”Drop Dead Legs””; and “”Top Jimmy””, a tribute to James Paul Koncek of the band Top Jimmy & The Rhythm Pigs. The album concludes with “”House of Pain””, a fast paced heavy song that dates back to the band early club days of the mid ’70s.
The engine noise heard during “”Panama”” was from Eddie revving up his Lamborghini; microphones were used near the tailpipes.
During an interview for the King Biscuit Flower Hour radio show in 1985, Eddie claimed to have written, “”Girl Gone Bad”” in a hotel room that he and Valerie had rented. Valerie was asleep, and Eddie woke up during the night with an idea, he had to put on tape. Eddie grabbed a small cassette recorder and recorded himself playing guitar while in the closet. He didn’t want to wake Valerie.
Eddie claims to have written the arrangement for “”Jump”” years before the album was recorded, and is evidenced in a 1982 interview where he played it over the phone.
Roth said he came up with the lyric because it was leap year, and because he saw a man on television wanting to commit suicide by jumping off a building.
A slightly different version of, “”House of Pain”” had been recorded by the band years prior to the 1984 album being released. The song was demoed when the band recorded material for Gene Simmons.

1984 peaked at #2 on the Billboard Magazine album charts (#1 at the time was Thriller, which featured an Eddie Van Halen guitar solo on “”Beat It,”” which Roth had criticized and contained future hits “”Jump””, “”Panama””, “”I’ll Wait””, and “”Hot for Teacher””. “”Jump”” reached #1 on the magazine singles chart. 1984 is the second of two Van Halen albums to have sold 10 million copies in the United States.
“”Jump”” was one of the most successful songs of 1984 and was on the 10 most played songs on the radio that year. As a single, it sold over three million copies alone, making it one of the most popular rock songs of that decade. “”Panama”” was the third single from the album and reached number 13 on the singles chart in June. The keyboard-driven “”I’ll Wait”” was another single, reaching number 13 on the singles chart in March 1984. “”Hot for Teacher””, a humorous song about a grade-school crush, was also a hit, reaching #56 on the Billboard Hot 100, as well as spawning a popular MTV video starring pre-teen lookalikes of the band members. It also featured in the video game Guitar Hero: World Tour

video analysis of “Jump” + of “Panama”:

Van Halen ‎– 1984
Label: Warner Bros. Records ‎– 92-3985-1
Format: Vinyl, LP, Album
Country:
Released: 1983
Genre: Hard Rock, Heavy Metal
Tracklist
A1 1984 1:07
A2 Jump 4:04
A3 Panama 3:31
A4 Top Jimmy 2:59
A5 Drop Dead Legs 4:13
B1 Hot For Teacher 4:42
B2 I’ll Wait 4:41
B3 Girl Gone Bad 4:33
B4 House Of Pain 3:18

Made By – WEA Musik GmbH
Pressed By – Record Service GmbH

Art Direction [Art Director] – David Jellison, Pete Angelus, Richard Seireeni
Artwork By [Cover Illustration] – Margo Zafer Nahas
Bass, Backing Vocals – Michael Anthony
Drums, Percussion, Backing Vocals – Alex Van Halen
Guitar, Keyboards, Backing Vocals – Edward Van Halen*
Producer – Ted Templeman
Vocals – David Lee Roth
Written-By – Alex Van Halen, David Lee Roth, Edward Van Halen*, Michael Anthony

This German pressed issue does not have GEMA printed on the centre labels.
Barcode and Other Identifiers
Rights Society: none
Label Code: LC 0392

Only the mighty Van Halen could unite the world’s most popular religions!

Only the mighty Van Halen could unite the world’s most popular religions!

***

Historically, hard rock has had a tough time on the Billboard Hot 100. That was true in the ’60s and ’70s, when heavy metal was just coming into existence and when its heroes almost never got anywhere near #1. Even Led Zeppelin, the biggest and best band that the genre had to offer, only made the top 10 once. (1969’s “Whole Lotta Love” peaked at #4. It’s a 10.) It was true in the ’90s, when grunge had a huge cultural impact but barely dented the Hot 100. (Nirvana, for instance, peaked at #6 with 1991’s “Smells Like A Teen Spirit,” their only top-10 hit and another 10.) It’s sure as hell true now.

Traditionally, hard rock bands sell albums and concert tickets and T-shirts, but they scare away pop-radio programmers convinced that they’ll turn off audiences and advertisers the first time a distorted guitar riff kicks in. There’s one big exception to that history: The late ’80s, when a whole wave of poodle-haired LA glam metal bands rode a glitzy MTV-backed wave — and a reaction against the British synthpoppers of the early ’80s — and briefly dominated the pop charts. Plenty of the leading lights of the Sunset Strip scene made hits. In 1984, the world got a preview of what was coming.

Before 1984 (and 1984), Van Halen were already one of the biggest bands in the world. Their 1978 self-titled debut had sold 10 million copies, and it remained required listening for every shop-class hesher in America for years. The band’s next four albums were all commercial destroyers; even 1981’s Fair Warning, considered the flop of the band’s early years, still went double platinum. Van Halen toured stadiums and provided a template for hundreds of bands who tried to master the same combination of outrageous theatricality and finger-tapping technical pyro.

But Van Halen had never been a presence on the pop charts. They got rock-radio play, of course, and they were shameless enough to cover old hits whenever possible. (Their highest-charting single before 1984, a 1982 cover of Roy Orbison’s 1964 chart-topper “Oh, Pretty Woman” had peaked at #12.) It turned out that Van Halen only really needed to do one thing to cross over on the pop charts. They needed to discover the synth. With “Jump,” that’s what they did.

In 1984, Eddie Van Halen and David Lee Roth had been bandmates for more than a decade. Eddie Van Halen and his brother Alex, both born in the Netherlands, had moved to Pasadena, California as kids. They started playing music together in the ’60s; originally, Eddie was the drummer and Alex the guitarist. They’d formed a band called Genesis in 1972, recruiting David Lee Roth as their singer because they didn’t want to keep paying him to rent a sound system. Upon learning that there was another band called Genesis — one that will eventually appear in this column — they changed their name, first to Mammoth and then to Van Halen.

For years, Van Halen built up a huge reputation as a nightclub band in Southern California — first in Pasadena and then, eventually, on the Sunset Strip. They’d pass out flyers at high schools, a strategy that worked beautifully even though it’d probably get them arrested today. After seeing one of Van Halen’s club shows, Gene Simmons from Kiss produced a demo for them. (Kiss’ highest-charting single, 1976’s “Beth,” peaked at #7. It’s a 4.) Warner Bros. finally signed Van Halen in 1978, and the band became huge almost immediatley.

Musically, those early Van Halen records aren’t the heaviest things in the world. They aren’t that distant from what studio-rock bands of the era like Journey and Foreigner were doing. But you could never confuse Van Halen with any of those bands; Van Halen had way too much personality. Eddie Van Halen’s high-pitched acrobatic shredding was a whole new thing, an attention-grabbing display that went out of the realm of raw power and became its own kind of peacocking display. And while David Lee Roth was never a good singer in any conventional way, he became one of the all-time great frontmen in rock history through sheer absurd swagger. Roth was basically a Tex Avery cartoon wolf in human form, and he yelped and panted and catcalled where more pedestrian singers would’ve been content to just sing.

Eddie Van Halen and David Lee Roth couldn’t stand each other, of course. They had different ideas of what Van Halen should be doing. Eddie wanted to do serious, ambitious musicianly things. Roth wanted to make things as colorful and outrageous as possible. The Van Halen songs that have aged the best are the ones where Roth went into full schtick overload: “Hey hey hey! One break! Cooooomin’ up!” But Eddie had enough commercial instincts to understand how a Van Halen song with a big keyboard riff might work, and Roth had to be talked into it.

Eddie finally recorded “Jump” as a demo at his own studio with synth-suspicious producer Ted Templeman, and Templeman convinced Roth to give the song a shot. Roth loves to tell the story of writing the “Jump” lyrics while riding around in the back of a 1951 Mercury while roadie Larry Hostler drove. Roth would blast the instrumentals, getting Hostler’s opinions on the songs while they were in progress, and that would shape the songs.

Roth also likes to say that the “Jump” lyrics were inspired by a news report of a suicidal man standing on the roof of Arco Tower in Los Angeles, deciding whether or not to leap. Roth’s idea was that there would always be someone in the crowd below yelling for the guy to jump. That story is way darker than the song itself, which is really just Roth trying to get some girl to get over her inhibitions and come home with him: “You say you don’t know/ You won’t know until you begin.” If Larry Hostler is the guy who convinced Roth to turn “Jump” into a pickup-line song, then I hope Van Halen paid Hostler well.

Roth has also said that “Jump” was inspired by taking kickboxing classes from the martial arts master Benny “The Jet” Urquidez. Roth, you may have noticed, likes to talk. I don’t believe the Uriquidez story for a second, but it’s still my favorite story about the creation of “Jump” — mostly because it gives me a chance to post the Jackie Chan/Uriquidez fight from 1984’s Wheels On Meals, one of the best one-on-one fight scenes in the history of marital arts cinema. This motherfucker blows out candles with kick speed.

Roth may not have wanted to record “Jump,” but he still gets into it, putting a big and sloppy exclamation point at the end of every phrase: “I get up! And nothing gets meeee down!” Roth pouts and preens and struts to perfection. Because of that big, silly keyboard riff, he never has to carry the melody — which is good, since he really can’t. That keyboard really is the sort of big, goofy, irrepressible cheese that marks so much of the best ’80s pop. I understand why Roth didn’t think a song like this made sense for Van Halen, but I’m glad he made it anyway. Near the end of the song, when Eddie Van Halen is trading off guitar and keyboard solos, “Jump” attains a sort of ridiculous majesty, but it never stops working as a pop song.

As with so many of the hits from this era, the “Jump” video is all tied up with the song, to the point where it’s hard to think of the song without the video. But while so many of the era’s hits have story-driven high-concept videos — or surreal cocaine-freakout fever-dream videos — the “Jump” clip is literally just Van Halen playing in a dark room. It never gets boring, which says a lot about how fun and appealing this band could be. David Lee Roth looks almost impossibly good, and he knows it. Everyone in the band seems to have fun being around each other. They all seem to radiate confidence from their pores. They’re a powerful unit — or, at least, that’s what they appear to be.

After a year, that version of Van Halen would be done. “Jump” was the first single from the band’s album 1984, which went on to sell 10 million copies. Their next three singles weren’t top-10 hits, but they all became rock-radio staples. (“I’ll Wait” and “Panama” both peaked at #13. “Hot For Teacher,” somewhat incredibly, only made it up to #56.) But David Lee Roth and Eddie Van Halen were so sick of each other that Roth finally left the band in 1985, going solo right away.

Roth’s biggest hit single was also his first: His 1985 cover of the Beach Boys’ 1965 song “California Girls,” which peaked at #3. (Roth’s version of “California Girls” is a 4. The Beach Boys’ original “California Girls,” by coincidence, also peaked at #3. That one is a 6.) After that, Roth only made the top 10 once more. (1988’s “Just Like Paradise” peaked at #6. It’s a 5.)

Van Halen, meanwhile, recruited the solo artist and former Montrose singer Sammy Hagar as their new frontman. (As a solo artist, Hagar’s highest-charting single was 1983’s “Your Love Is Driving Me Crazy,” which peaked at #13.) Just like solo David Lee Roth, the Sammy Hagar version of Van Halen got to #3 with their first single, 1986’s “Why Can’t This Be Love.” (It’s a 6.) And just like solo Roth, the Hagar version of Van Halen only made one more top-10 hit. (1988’s “When It’s Love” peaked at #5. It’s a 5.)

Van Halen went on to a pretty successful run without Roth, but it wasn’t the same. In 1996, Hagar left the band, and Van Halen made a disastrously shitty album with the former Extreme singer Gary Cherone. (Extreme will eventually appear in this column.) Since then, Van Halen have reunited with both Hagar and Roth, and they’ve made one final album, 2012’s better-than-anyone-expected A Different Kind Of Truth, with Roth — though without bassist Michael Anthony. (Instead, they brought in Eddie Van Halen’s teenage son Wolfgang.) These days, it looks like Van Halen are broken up again.

So Van Halen won’t show up in this column again, but their aesthetic descendants sure will.

BONUS BEATS: Here’s the smooth new wave “Jump” cover that Aztec Camera released in 1984:

BONUS BONUS BEATS: Here’s the wistful indie-pop “Jump” cover that Mary Lou Lord released in 1997:

BONUS BONUS BONUS BEATS: Here’s DJ Felli Fel sampling “Jump” on the 2010 Fat Man Scoop/Lil Jon/Three 6 Mafia collab “I Wanna Get Drunk”:

(DJ Felli Fel’s highest-charting single is the 2007 Diddy/Akon/Ludacris/Lil Jon collab “Get Buck In Here,” which peaked at #41. Fat Man Scoop doesn’t have any Hot 100 hits as lead artist, but he appeared on Missy Elliott’s 2005 track “Lose Control,” which peaked at #3. It’s a 9. Lil Jon’s highest-charting single as lead artist — or as lead artist with the East Side Boyz, anyway — is 2003’s “Get Low,” which peaked at #2. It’s a 10. As a guest and a producer, Lil Jon will eventually appear in this column. Three 6 Mafia’s highest-charting single, 2005’s “Stay Fly,” peaked at #13. As a guest, Three 6 Mafia member Juicy J will eventually appear in this column.)

BONUS BONUS BONUS BONUS BEATS: Here’s Bruce Springsteen, at a 2014 live show, covering “Jump” — with Tom Morello doing the shredding — and making it sound a whole hell of a lot like a Bruce Springsteen song:

(Bruce Springsteen’s highest-charting single, 1984’s “Dancing In The Dark,” peaked at #2. It’s an 8.)

BONUS BONUS BONUS BONUS BONUS BEATS: Here’s the Dutch EDM DJ Armin Van Buuren debuting his “Jump” remix at the 2019 Ultra Music Festival, while David Lee Roth plays hypeman:

(Armin Van Buuren’s highest-charting single, 2013’s “This Is What It Feels Like,” peaked at #96.)

THE NUMBER TWOS: Nena’s apocalyptic German-language synthpop banger “99 Luftballons” peaked at #2 behind “Jump.” It’s a 9.

Cyndi Lauper’s cartoonish sunshine-ray “Girls Just Want To Have Fun” also peaked at #2 behind “Jump.” It’s an 8.

Finally, Rockwell’s synth-funk freakout “Somebody’s Watching Me” peaked at #2 behind “Jump.” It’s another 8.

THE 10S: Shannon’s giddy, sinuous Latin freestyle electro-pop anthem “Let The Music Play” peaked at #8 behind “Jump.” It’s magic from the very start, and it’s a 10.