SAMMY HAGAR

The Red Rocker marks a milestone with an album full of famous friends  

In 1973, Sammy Hagar recorded one of the great rock screams of all time on the intro of Montrose’s “Rock Candy.” It was only the first of many howls to come from a 26-year-old kid who would go on to a singular career that included hit records as a solo artist and as frontman for bands like Van Halen and Chickenfoot. Four decades later there’s no end in sight—and to commemorate the milestone, he’s released Sammy Hagar & Friends.

Working for the first time with producer John Cuniberti, Hagar recorded with such guest stars as Kid Rock, Taj Mahal and Nancy Wilson. “I never considered doing a record like this,” Hagar says. “I’ve been jamming with friends on my birthday at Cabo Wabo [Hagar’s nightclub in Mexico] for 22 years. Suddenly the album started happening and I went, ‘Oh, this is what I’ve been doing on my birthday.”

For Hagar, hitting the 40-year career mark is a testament to his spirit. “I’m still a rebellious kid at heart,” he says. “If somebody tells me I have to do something, I say, ‘No, I don’t.’ When I got into playing music, I did it for all the right reasons—it’s what I wanted to do. But did I have any idea I’d be doing this 40 years later? In Montrose, we looked at 40 as being, ‘That’s it.

Goodbye. When you get fat and lose your hair, you can’t be a rock star anymore.’ I got my hair—sure, I’ve gained a few pounds, but I don’t see any reason to stop doing this.”

At 65, Hagar’s still screaming with the best of them.

 

What song came together first?

“Going Down” with Chad Smith, Mike Anthony and Neal Schon. Every time I’ve ever been in Cabo, and whether Slash, Jerry Cantrell or Stephen Stills was there, that’s the one song we always played. And I got Denny Carmassi and Bill Church [drummer and bassist from Montrose respectively] playing on this song “Not Going Down” that Jay Buchanan wrote, because it sounded like a Montrose tune to me.

A great vocal performance.

The hardest song I sang. Jay wrote that, and he’s a young guy, and he sings in this really high voice. I sing high, but I scream when I sing high, and I didn’t want to scream it. I wanted it to be sensitive. So I tried to do something on that song I haven’t ever done. I tried to do it on the Van Halen song, “Take Me Back (Déjà Vu”). Eddie wrote that in a higher key, and I didn’t want to scream it. I struggled with that. I had the same problem with “Not Going Down.” I can’t say I’m not happy with the vocal but, when I hear it, I hear my struggle.

 

Was there a musician wish list?

It was one guy at a time, because I never had the big picture in mind until the record was nearly done. I just thought, “I’m gonna call Kid Rock for ‘Knockdown Dragout.’” The same thing for “All We Need Is an Island”—I thought, “I’m calling Mickey Hart, because I need this Tahitian drums thing.” Looking back, I’m totally jacked because it’s like I’ve got a supergroup on every song. I would never record a solo record again any other way. I’ll be calling all my friends every time. I wasn’t even thinking about duets, but now for my next record there is a wish list.

 

What was your songwriting process?

I always have so many ideas. I built my own studio when I left Van Halen, so I’ve had the convenience of being able to write and go in the studio anytime. I write lyrics all the time, and I’m always playing acoustic guitar. “Father Sun” is my favorite song I’ve written in 100 years—it’s the new Sammy Hagar! It takes in the Montrose and Led Zeppelin influences on the heavy part, and on the other side it’s my island lifestyle with my feet in the sand. It’s who and what I am today.

 

Were you in the studio with the artists?

I recorded with Taj, and I was there with Neal, Mike and Chad. With Kid Rock, I sent it to him and he sent it back. I invited Nancy Wilson because I was going to re-record “All We Need Is an Island.” I sent her my demo of me just singing with acoustic guitar and Mickey’s drums. I thought she’d come up with some interesting harmonies. But she was kind of embarrassed and went, “I really love working by myself because that way I can do stupid stuff.” I understand that because singing is very weird. What she sent to me is what’s on the record.

 

And Denny Carmassi and Bill Church?

Oh yeah. We did that live as a mutha. It was Vic [Johnson, guitar], Denny and Bill—and I was singing live. Playing with Denny and Bill without Ronnie [Montrose, who died last year] was a double-edged sword. On one side it was, “Wow, it’s so much more comfortable,” because Ronnie was never easy to be around—he was always intense, serious and quiet. Yet we missed him bad.

 

Why choose John Cuniberti?

John built my studio, and Chickenfoot recorded parts of both CDs there. I had no idea he was really a producer, I thought he was just a studio-building kind of guy. Then Joe [Satriani] said, “He did my Surfing With the Alien record,” and I said, “That’s the best record you ever made.” I decided to use him because I wanted somebody who knew my studio, and he built it.

 

Was John excited to do the album?

When I asked him, he went, “Well, I’m not sure.” Finally he said, “OK, I’ll work with you for a couple of weeks and we’ll see how it goes.” I thought, “Wow, what a stiff prick.” But I came to find out he just didn’t like working with bands because of all the trips and the drugs. We had a great time. He made this thing sound right, because I would have used much heavier guitar sounds and done more of a heavy rock record. He would say, “Nah, turn it down. We need a cleaner sound.”

 

How else did he influence you?

I’m a Blackstar and Marshall guy, and I crank ’em up. But I play differently when I have a different sound. “Ramblin’ Gamblin’ Man” was a classic example of playing live in the studio, and I overdubbed the solo. John made me play a Strat. I said, “I can’t play Strats—I’m a Les Paul guy.” So I played a Strat through this little Fender. He stretched me to play with a cleaner sound. When it was done I went, “I never heard myself play like that—I sound like Clapton!”

 

What was the Four Decades of Rock tour like?

I did a 15-city tour, and on one show I had Denny, Bill and Dave Meniketti playing the Montrose stuff. Then I went into my Red era with Mona Gnader and Vic, and then Michael Anthony came out and we did the Van Hagar stuff. It was my favorite show I’ve ever done—it felt great.

 

Plans for another Chickenfoot record?

It looks like January’s on the agenda. Joe’s been writing, and I’m writing lyrics at all times. He’s going to start sending me stuff and I’ll send him lyrics, and we’ll walk in with five or six ideas. As for the rest of the songs, we’ll create them on the spot with the four of us in a room.

–Steven Rosen