During a brief exchange on the red carpet in 2014, I asked Sammy Hagar about making albums, and he said in today’s music industry, it’s not about “spending a million dollars on a record and selling 125,000 copies.” It’s more, he added, about “experimenting and having fun.” Of course, when you consider Hagar’s whole modus operandi, the Cabo Wabo lifestyle, not to mention some sound business moves that have made him a very wealthy man, the “having fun” is pretty much a given. Space Between — the first album of all-new original material from Hagar and his band the Circle, which includes bassist Michael Anthony, guitarist Van Johnson, and drummer Jason Bonham — is not only fun-filled and experimental; it may be the best record Hagar has made since his days with Van Halen.
Which isn’t to say new ground has been broken. If anything, Hagar proudly embraces his roots and his influences without reservation. Hard to say if “Devil Came To Philly,” which opens the 10 “Chapter” concept album, is a lift of Procol Harum’s “The Devil Came From Kansas,” or if the not-a-care-in-the-world Bo Diddley rumble of “No Worries” is a tribute, an easy riff to build on, or simply Hagar’s subtle way of saying he’s set for life. “Full Circle Jam (Chump Change)” does little else than stretch the might of the players, but it’s a decent start.
The album pivots best on rapid-fire rockers like the heavy-throttled “Free Man” and the Zeppelin-strength “Trust Fund Baby” (co-written by Hagar, Bonham, and Ronnie Montrose). More to the point, Hagar pushes “Affirmation” ahead as a straight chugger crying for what else — affirmation! Or maybe that’s “Can’t Hang,” a mid-tempo slam at anyone who doesn’t belong in a Tahoe casino in disguise. Like “Hey Hey,” which ends the album, there are a couple that come close to stealing the thunder, just not enough to ruin the whole pie.
Where Hagar and the Circle really shine are on a couple of upbeat, uncharacteristic numbers — the breezy, yet elegant “Wide Open Space” and the bouncy, beatific “Bottom Line,” featuring one of Hagar’s most emotive vocal performances. This is where the man exhibits a flair for melody, a deep understanding of arrangement, a desire to write a decent song. For Redhead Rockers devoted to Sammy Hagar, Space Between as a debut album with a new group of musicians may not ring with the same intensity and ambition of the first Montrose album or Van Halen’s 5150. Still, they know their boy wasn’t about to take a band of this caliber and make a bad record. In terms of where things land, amidst Hagar’s noble intentions of having a good time and bringing something new to the market, it’s right on the mark.
~ Shawn Perry
