Van Halen-1984 UPD Full Album Zip

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Just like its predecessor 5150, OU812 hit number 1 on the Billboard 200 chart, the second of four consecutive #1 studio albums for the band.[4] Spurred by four Billboard Hot 100 top-40 singles ("Black and Blue", #34; "Finish What Ya Started", #13; "When It's Love", #5; and "Feels So Good", #35), the album eventually sold over 4 million copies.[5]

Once the 5150 tour concluded, Eddie Van Halen had some riffs he had been working on and Sammy Hagar "had a bunch of lyrics in notebooks that I had been thinking about and writing", so they decided to work on another album soon. While the album acknowledges Van Halen for writing and performing and Landee for recording, there was no production credit because according to Hagar, "the band pretty much produced the album ourselves. And we weren't producers, in the sense that we went in with an idea and told everybody what to do and took control. There just wasn't a producer." The only cover song on the album, Little Feat's "A Apolitical Blues", was coincidentally also done by former Van Halen producer Ted Templeman and Landee, to the point the engineer used the same setup to record Van Halen's version.[6]

When Hagar was brought to the studio, Eddie showed a piano and drums demo he recorded with Alex Van Halen, which the band soon developed into the song "When It's Love". Given the musical parts were finished quicker than the lyrics, Hagar took some weeks off and travelled to his Mexican house at Cabo San Lucas to work on more songs. There he found the inspiration for the song "Cabo Wabo", which borrowed the melody of "Make It Last", a song Hagar composed for his previous band Montrose, and whose title later named Hagar's nightclub in the city. The last song to be developed was "Finish What Ya Started", which Eddie and Hagar composed one night late into the production. However, the last track to which Hagar recorded his vocals was the eventual album opener "Mine All Mine", as he felt unsure about the lyrics. The deeper metaphysical lyrics to "Mine All Mine" were rewritten seven times, with Hagar saying "it was the first time in my life I ever beat myself up, hurt myself, punished myself, practically threw things through windows, trying to write the lyrics."[6] Although it was considered a joke song, "Source of Infection" was written about Eddie's hospitalization with dengue fever during his vacation in Australia in April 1988, celebrating his seventh wedding anniversary with Valerie Bertinelli.

The working title was Bone, which Alex hated. Hagar then decided on OU812 after seeing this on the side of a delivery truck on the freeway and finding it funny (rumors persist, though, that the title was a disguised response to the title of David Lee Roth's 1986 solo album, Eat 'Em and Smile).[6] OU812 is seen in "Cheech and Chong's Next Movie" (1980) on the license plate of the car given to Cheech at the "Comedy House" when he was leaving. It was also scribbled on the cinderblock column on which is mounted the payphone that the cab drivers used in the TV sitcom Taxi (1978-1983). The album's front cover is a homage to the classic cover of With the Beatles. The cover features a black and white photo of the band member's faces partly hidden in shadows, and is also similar to that of Blue Cheer's Vincebus Eruptum (1968) and King Crimson's Red (1974). Album artwork for the back cover is Hugo Rheinhold's statuette Affe mit Schädel.[7]

The album is dedicated to Eddie and Alex's father, Jan, who died on December 9, 1986, at the age of 66. The inner linings of the album include the words, "This one's for you, Pa". Jan had previously appeared playing clarinet on one track, "Big Bad Bill (Is Sweet William Now)", on Van Halen's 1982 album, Diver Down.[8]

In a music magazine interview published a few years after the release of the album, Eddie Van Halen expressed his opinion that the record was not mixed as well as he would have liked: "Sonically it was shit."[citation needed] Some criticism of the album noted the bass guitar parts are of a low level in the mix compared to the vocals and other instruments. There has been speculation that the thin presence of bass guitar in the mix may be related to the Van Halen brothers' rumored growing animosity towards bassist Michael Anthony. In later years, Anthony would be forced out of the band and his songwriting credits removed or altered.

90125 is the eleventh studio album by the English progressive rock band Yes, released on 11 November 1983 by Atco Records. After Yes disbanded in 1981, following the Drama (1980) tour, bassist Chris Squire and drummer Alan White formed Cinema with guitarist and singer-songwriter Trevor Rabin and original Yes keyboardist Tony Kaye, who was fired in 1971, and began recording an album. They adopted a more commercial and pop-oriented musical direction as the result of their new material, much of which derived from Rabin's demos, with former Yes singer Trevor Horn as their producer. During the mixing stage, former Yes singer Jon Anderson, who had left in 1980, accepted the invitation to return and record the lead vocals, and subsequently Cinema became the new lineup of Yes.

Named for its Atco catalogue number, 90125 was released to a generally positive reception and introduced the band to a new generation of fans. It reached No. 5 on the US Billboard 200 and No. 16 on the UK Albums Chart, and remains their best selling album with over 3 million copies sold in the US. Of the album's four singles, "Owner of a Lonely Heart" was the most successful and is their only song to top the US Billboard Hot 100 chart. "Cinema" earned the group a Grammy Award for Best Rock Instrumental Performance. Yes toured for the album in 1984 and 1985 which included two headline shows at the inaugural Rock in Rio festival. The album was remastered in 2004 with previously unreleased bonus tracks.

In December 1980, the Yes line-up of bassist Chris Squire, guitarist Steve Howe, drummer Alan White, singer Trevor Horn, and keyboardist Geoff Downes, completed their 1980 tour in support of the band's tenth album, Drama. While the North American leg was largely successful, the subsequent UK leg received a mixed reaction feedback from the fans, many of whom were unaccepting of Horn and Downes as they had replaced Jon Anderson and Rick Wakeman respectively. The group disbanded in early 1981; Horn became a record producer, Howe and Downes co-formed the supergroup Asia, and Squire and White remained together and continued to write material, including their 1981 Christmas single "Run with the Fox". Later in 1981, the two entered sessions with Jimmy Page with the aim of forming a new band named XYZ, but the project was shelved over management differences and singer Robert Plant's disliking of the material. According to White, some ideas that the three had rehearsed ended up on 90125.[6][7]

By 1982, South African guitarist Trevor Rabin had moved from London to Los Angeles, and sent a demo tape to various record labels with the intent of releasing a fourth solo album.[8] During this time, Atlantic Records manager Phil Carson, a longtime fan and associate of Yes throughout the 1970s, sought new musicians to work with Squire and White, and was introduced to Rabin by producer Mutt Lange,[9] whom Rabin used to work with as a session musician. Carson had Rabin meet and play with Squire and White in London. Rabin recalled the first sessions "didn't sound great but it felt good ... there was a lot of potential".[10] This led to Rabin turning down a solo deal from RCA Records as he wished to work within a group context, especially with a "great rhythm section".[8] The three entered rehearsals for an album using most of Rabin's demos, including "Owner of a Lonely Heart", "Hold On", and "Changes"[11] which displayed a more commercial and pop-oriented direction and less complex in structure than previous Yes music. With such a direction, Squire recruited original Yes keyboardist Tony Kaye, who had left in 1971, feeling his simpler style of playing was more suitable to their new music. Horn followed suit as a potential lead singer, but after unsuccessful rehearsals, opted to become their producer.[12] The four named themselves Cinema with the intent of establishing a new identity and to distance themselves from their Yes past.[13][12]

Around six months into the album, clashes between Horn and Kaye resulted in the latter's exit.[13][12] Rabin saw it as "a mutual parting" as Kaye resisted learning the modern keyboard technology that the band were using, leaving Rabin to handle most of the keyboard parts.[9] Matters were complicated further when management deemed Squire and Rabin's lead vocals not distinctive enough, so Carson suggested the group have Anderson return to sing the songs. Squire got in touch with Anderson, who had returned to England in April 1983 after working in France.[14] They listened to the tape in Squire's car outside Anderson's home due to past acrimony between the pair's wives.[15] Anderson liked the songs and got involved, making minor changes to the lyrics and arrangements. By this time the album had cost £300,000 to make, half of which came from Carson himself. With no more funds left to finish it, Carson flew to Paris and played the tape to Atlantic founder Ahmet Ertegun, who had signed Yes in 1969. Ertegun, interested in the prospect of a new album with Anderson on vocals, agreed to pay the remaining costs.[16]

As the album neared completion, news reports in June and July 1983 indicate that Kaye, though he had played on it, was unsure whether to rejoin.[17][18][19] The album was given the provisional title The New Yes Album, a reference to their third, The Yes Album (1971), but the group opted for an alternative name to distance themselves from Yes and decided upon its allocated catalogue number on their label Atco Records, a subsidiary of Atlantic. It was 90124 initially, but sleeve designer Garry Mouat said: "Because they couldn't get consistency worldwide with that number, it got changed to 90125. I've still got some rough tour t-shirts and sleeves with the original number."[16][20] 2b1af7f3a8