Van Halen III producer Mike Post says nobody should be to blame for the album failing to match the success of previous Van Halen albums.
During a recent interview with The Bluegrass Situation’s Amy Reitnour Jacobs, Post commented on the 1998 Van Halen album featuring Gary Cherone on lead vocals. While the album reached number four on Billboard and achieved Gold status, it was a commercial disappointment for a band coming off of four straight multi-platinum chart-topping albums. But Post said there’s no reason to point fingers. It was an experimental project by Edward Van Halen that just didn’t have the usual Van Halen magic. Below is that portion of Post’s Q&A:
Q: I would be remiss if I didn’t talk about your work with Eddie Van Halen. Eddie is such a consistently referenced and venerated artist by some of the biggest bluegrassers today, like Billy Strings and Bryan Sutton. I read that you and Ed were friends before you produced Van Halen III. What was it about your musical sensibilities that attracted you to work together?
A: Let’s be honest. Eddie Van Halen is not the first martian that landed on the face of the planet, okay? Look at Mozart! Fast forward… how did Earl Scruggs sit there and go… [imitates the banjo]. Every once in a while, a genius shows up and changes everything.
After becoming friends, Eddie turned to me and he said, “Hey, will you help me with something?” I said, “Sure. What?” And he said, “I’d like to do one sober.”
I’ve never done any drugs. And Eddie knew that. So he said, you know, you can help me do this without any substance. And I went, am I producing an album or am I the sergeant at arms at the door? Am I your sponsor? And he goes, man, I don’t know, both? And I went, all right, fuck it. Let’s go.
Basically all I did was get out of the way. It’s not a very good album. It’s nobody’s fault. It was an experiment. Unfortunately, [Alex Van Halen] was going through a terrible time in his life. So Al didn’t play on that. Eddie played everything. It just didn’t have magic. That’s all.
Ed was right on that trail of genius martians that look at music a different way. And no one else is ever going to do it like that. That’s just once. When you study Mozart, you look at it on paper and you go, “How in the world did that happen? Look at that.”
Q: It doesn’t make sense, actually. That’s the beauty of it.
A: Exactly. It doesn’t make sense.