Van Halen broke out of California, made a big splash on Midwest radio and then exploded onto the US national scene with their self-titled debut in 1978, which turns 40 on 10 February 2018. Jesse Fink, author of the new biography of Bon Scott, Bon: The Last Highway: The Untold Story of Bon Scott and AC/DC’s Back In Black, spoke with the band’s former bass player, Michael Anthony, about the late ’70s, Van Halen, AC/DC, David Lee Roth and Sammy Hagar. Michael is also interviewed in the book about his love of Powerage and the Bon Scott era.
On the Van Halen brothers:
The brothers have this closeness; there’s this certain type of bubble that you cannot penetrate, no matter how close you get to them. Eddie and Alex, my experience with them anyway, was in their monitors Eddie wanted to hear Alex, Alex wanted to hear Eddie. They’d throw me in just to kinda fill the whole thing out but they were just so locked in together. They had this musical force between them that was amazing.
On Van Halen’s touring philosophy:
Just kinda pound the pavement. We started our first tour opening up for Journey and Ronnie Montrose. Whenever there was a stage that wasn’t big enough to hold all three bands we just kinda peeled off and we would look for a club in that same city and do that. We just tried to get on everything we could get on to play.
On Van Halen’s critics:
For some reason critics didn’t really like us in Los Angeles. There’s this one critic I remember, he wrote for the Los Angeles Times, Robert Hilburn. No matter how well we did, how well the concert went – they were always great, sold out or whatever once we were really hitting our stride – he never gave us a good review. Never. Not once. He was probably one of the main reasons why we were just pretty much disregarding anything that any of these critics would write. It was all like, “Hey, the fans are our biggest critic” and when you’re playing the live shows, that’s what it is out there and that was happening so we didn’t care what those guys were saying. I guess we were too immature for some of these critics.
On David Lee Roth:
Dave was the loudmouth. We allowed him to be the loudmouth because he then took care of the press part. There even came a time later on before Dave had left the band that we for a while let him do all the interviews and everything. We said, “Hey, we’ll do the music, you do the interviews. We’re just fine with that.” But that’s a lead singer for you.
On the issue of whether Van Halen created a “monster” with DLR:
With everything that happened that led him to leaving the band, we probably did kind of create a monster. But then he just pretty much did it himself, too, because he always considered himself a big star; where the three of us we were probably more like how AC/DC was. They just considered themselves musicians playing rock music. I don’t think any of them, from knowing them, considered themselves as being a big rock star. They didn’t have that kind of ego.
‘We probably did kind of create a monster.'
– Michael Anthony on David Lee Roth
On Sammy Hagar:
The reason [Van Halen] actually tried Sammy Hagar out – I liked him as an entertainer – was Eddie and Sammy both have the same car mechanic. It was actually his car mechanic that suggested, “Why don’t you try Sammy out?” His name is Claudio Zampolli. And Ed was getting his car serviced and he said, “Why don’t you give Sammy a call? I know he’s not on the road right now.” And he did [laughs]. It wasn’t like we were monitoring him and going, “Yeah, that’s the guy we need to replace David Lee Roth.” We all knew he was a good musician. I guess it was just by this recommendation that Eddie gave him a call.
A manager that we had, Ray Daniels, who managed us for a while [in the 1990s] before Sammy exited the band, tried to change us in that respect. He actually was the guy who drove the wedge in between especially Eddie Van Halen and Sammy because he kind of tried to brainwash everybody into thinking, “Well, this band has to mature. You guys are much more mature than those kind of antics now.” Everything kind of fell apart at that point [laughs] because for some reason he did brainwash Eddie Van Halen and Sammy left the band and subsequently the band kind of just started crumbling.
On Brian Johnson joining AC/DC after Bon Scott’s death:
I was really surprised that Brian Johnson fit in as well as he did. Obviously it was a kind of different direction because when you lose someone like Bon Scott, it’s like, “Who’s going to replace that?” You have to really change the dynamic of the band a bit because that guy had such a unique sounding voice. I think AC/DC found a singer [in Johnson] that really fit in with the kind of music that they were doing. I don’t know if it would have been that much different if Bon was alive for the next album, the Back In Black album. [Johnson] just fit in great with the kind of music the guys were writing.
On the difference between Van Halen and AC/DC:
One of the reasons I really liked AC/DC is they just seemed more like the kind of band I came from before joining Van Halen, where you know, you wore jeans and a T-shirt or whatever and you just played rock music. When I joined Van Halen we had that aspect of it but then we had David Lee Roth, who was like, “Okay, but you gotta wear this and you gotta wear the spandex and you gotta glitter out”, ’cause that’s what he was all into, so that kind of rolled into part of what Van Halen was. The thing I liked about AC/DC is it was just jeans and a T-shirt out there playing music and I guess not really worrying about the show, even though later on everybody brings that element into it. It was almost like they didn’t care about having to be real showy; they let the music do the talking.
BON: THE LAST HIGHWAY: THE UNTOLD STORY OF BON SCOTT AND AC/DC'S BACK IN BLACK is available now.
Jesse Fink is the author of Bon: The Last Highway: The Untold Story of Bon Scott and AC/DC's Back In Black and The Youngs: The Brothers Who Built AC/DC. For more information about Bon, click HERE or click the book covers below to be directed to editions in your preferred territory and language.