He Cares Nothing For Yesterday, He's David Lee Roth

He Cares Nothing For Yesterday, He's David Lee Roth

FEATURES

Liz Derringer

In case all of you Van Halen/David Lee Roth fans were getting your hopes up, let it be known: “There will never be a reunion.” So says a sizzling, static David Lee Roth. Indeed, this may well have been the fiercest, most embittered parting of ways in rock ’n’ roll history. Not even the famous feud that split the Beatles was filled with such adamant and emotionally charged exchanges.

One thing is certain: neither Van Halen nor David Lee Roth would be where they are today if they hadn’t built such a strong following based on the chemistry that gave them life. And now, having cultivated their separate talents, both have proven they can—and will—stand on their own. Loyal audiences have given strong support, allowing plenty of room for both to co-exist at the top!

In this candid conversation, which took place on the endless Roth tour, Diamond Dave offers another glimpse into his quirky psyche and shows a relaxed attitude about the way things have gone in his post-VH career. And, as usual, it’s obvious David Lee Roth will be accepted strictly on his own terms or not at all. Maybe some things really don't change.

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You’re still—and always have been—a very controversial person. Does it come naturally, or do you provoke it?

I don’t know if controversy is something you try and develop for yourself. I guess it’s like your shadow: it follows you around. You walk out of the door one day and you look down and it’s just there. People say, “God, what a controversial dude!” But it’s not something you work at, because if you do, the audience can sense that.

How did you come to be called “Diamond Dave’’?

It first came up when I was in junior high school. I was going to schools that were in a lot of minority areas. Lots of blacks and hispanics. The reason they called me “Diamond Dave” is because I sparkled! Also, my musical influences come from a ghetto mentality—you see it even more in the way I walk in my videos. (Laughs.)

The cover of Eat ’Em And Smile Is quite striking. How did you come up with the concept?

Well, you know what happens? People always say, “Dave, we’re seeing you in a different light now; you look all different.” It’s actually nothing new for me. I’m just showing different facets of the diamond. I’ve always felt an audience should be played with—and not at.

Just what are we supposed to eat and smile about?

As you know, eat ’em and smile can be any one of five different things. It depends on which song you’re listening to, and which side of the album.

What is “Yankee Rose" about? There’ve been several explanations in print.

It’s kind of a poignant social drama. Initially, I wrote it because—when we were in New York recording the album— everybody was going Statue of Liberty crazy. Everybody was wearing a Statue of Liberty T-shirt and people were screaming “Get your Statue of Liberty burgers!,” like the quadburgers over at Irv’s. (Laughs.) So I wrote the lyrics as if the Statue of Liberty was an actual lady and that she was walking in front of the corner liquor store I was hanging out by there—as usual—and saw her go by.

“You can perform in your underwear, maybe even start a trend, especially if they’re glittery!”

Your stage show features 97 tons of sets, lighting and sound equipment. It’s one of the largest rock stages ever. Tell me about it.

I think a great deal of our show is pretty much classic show business. There’s no holograms, there’s no laser beams, there’s no smoke bombs. It’s pure classic rock 'n' roll, and that’s what it’s all for. I take all my cues from the classics like the Beatles, James Brown, Led Zeppelin and Elvis. What’s more important than any kind of lighting or anything is the people on the stage, and if the people up there have the personality, then it doesn’t matter what kind of lights you have. You can perform in your underwear, maybe even start a trend, especially if they’re glittery!

How has playing songs like “Jump” on this tour differed from playing them with Van Halen?

Ah, sweet wasted youth; such halcyon days. Whenever we play the old Van Halen tunes it’s like someone walked in and turned on the left hand side of the stereo for the first time in nine years. It’s like if you were watching the TV set and somebody came in and said: “How come it’s in black and white?” Then they turned on the color and said, “Wow!” It seems to have a galvanizing effect on the audience as well, and we always look forward to galvanizing our audiences.

“I certainly don’t preach to drink and drive—that’s why God created taxis.

How does songwriting compare?

As far as what’s happened compositionally, Steve Vai and myself did most of the writing. Steve usually has the background tunes—the riffs and the melodies. Then we listen to them. Like any great musician he overwrites ... you never know what’s around the corner. A good song is a little bit predictable and unpredictable at the same time. I’ve always had my little contributions to the music and lyrics—that’s the same now as it always was. Until recently, every Van Halen song you heard I wrote half of.

In Van Halen—and now, with the new band—you always seem to be having a great time. You're always surrounded by beautiful girls and you’re always laughing. Is life really a big party for you?

Well party, like anything else, is a state of mind. There’s three different kinds of people—there’s the kind that make things happen, there’s the kind that watch and there’s the kind that wonder what happened. I just like to enjoy myself and have a good time.

Speaking of the stage: you've been known to take a swig out of a bottle during shows. Isn’t this essentially a bad message?

I certainly don’t preach to drink and drive—that's why God created taxis. (Laughs.) Conversely, if you don’t want to take a religious posture on the question, I suggest you don’t drink and drive. Instead, find two girls that are too young to drink and have them drive.

Another important part of your act is your unique dancing style. I remember you once said that you learned a lot from watching ballet on the Ed Sullivan show. Did you ever have any classical training?

I never really took dancing—I did the martial arts, karate and that sort of thing. Nothing wrong with dancing, but if you’re doing a move with impact up there—and if it’s something from the martial arts— then people who’ve paid fourteen bucks for a ticket are going to say “Wow! ’ As opposed to just: “Did you hear that?” Who are the Fabulous Picasso Brothers depicted in your “Going Crazy’’ video?

America is asking that question. The Fabulous Picasso Brothers are the ones who are behind all the Diamond Dave, and all the early Van Halen, videos. Who’s the real fat guy?

The man you are referring to is Buck Picasso. Buck lives his life predicated on: “Hey, some people get their kicks stomping on a dream.” But he don’t let it get him down. People have said, "Dave, you look like Buck Picasso,” at least half my face looks like him. Or maybe it’s half my personality.

So is Buck Picasso your alter ego?

Not exactly. I guess you could say: Is it spiritually? Is it chemically? Is it financially or sexually? I don’t know.

You’ve been emphatic stating your feelings about a Van Halen reconciliation. You say it will never happen. Will the new band be a long-term project for you?

Well, so far we’re up to six people. It could go as far as 18, 24, 73 people. By the end of the tour we pyramid—we work geometrically here. I’m talking about the amount of people that it sounds like on the record. But as far as the future, you’re going to be hearing a lot from this band!