By the late 1970s, many believed hard rock’s glory days were fading. Then, Van Halen burst onto the scene, completely changing the landscape. Their self-titled 1978 debut album was a seismic event, showcasing incredible musical talent, captivating stage presence, and brilliant pop sensibilities. Guitarist Eddie Van Halen redefined guitar playing with his innovative two-handed tapping technique, instantly becoming a legend. Alongside the charismatic frontman David Lee Roth, they formed one of rock’s most iconic and dynamic partnerships.
During their initial six-year run, Van Halen, with David Lee Roth at the forefront, released five more albums. This period produced a diverse range of sounds, from intense heavy metal anthems to catchy pop-rock tunes and even nods to early jazz standards—sometimes all within a single song. The chemistry between Roth and the band, especially Eddie Van Halen, was undeniable, fueling their creative output and stage presence.
Although Roth and Van Halen parted ways dramatically, they reunited several times. These reunions resulted in a couple of singles in the 1990s and the critically acclaimed album A Different Kind of Truth in 2012. Van Halen’s best work during the David Lee Roth era is considered foundational to rock and roll, and even their lesser-known tracks often feature Eddie Van Halen’s exceptional guitar work as a highlight. Below is a ranking of 75 David Lee Roth-era Van Halen songs, from the least essential to the absolute best, offering a comprehensive guide to their iconic discography.
75. “1984”
From: 1984 (1984)
As an instrumental piece, “1984” is pleasant enough. However, as the opening track of the 1984 album, it feels like an unnecessary 67-second delay before the album’s main content begins. It serves as a mood-setter but lacks the punch expected from a Van Halen opener.
74. “Tora! Tora!”
From: Women and Children First (1980)
“Tora! Tora!” is a brief instrumental track that evokes a primal, almost prehistoric sound. Imagine the screech of a pterodactyl blended with a Black Sabbath-esque vibe, and you get a sense of its unique, albeit short, sonic landscape. Its brevity and unconventional sound make it an interesting, if minor, piece in Van Halen’s catalog.
73. “Intruder”
From: Diver Down (1982)
Created to extend the running time of the “Oh, Pretty Woman” video, “Intruder” is a somewhat monotonous instrumental. It feels more like filler material, lacking the creative spark and energy typically associated with Van Halen’s compositions. It’s a functional piece but not a standout track.
72. “Little Guitars (Intro)”
From: Diver Down (1982)
Eddie Van Halen’s “Little Guitars (Intro)” showcases his innovative guitar techniques, drawing inspiration from flamenco guitar. He employed tremolo picking on the high strings while hammering on the low strings, creating a unique sound. While technically impressive, it remains a brief intro and not a fully developed song.
71. “Honeybabysweetiedoll”
From: A Different Kind of Truth (2012)
“Honeybabysweetiedoll” from A Different Kind of Truth highlights the enduring chemistry between Roth and Eddie Van Halen. While A Different Kind of Truth generally doesn’t reach the heights of their earlier albums, this track captures some of their original unhinged energy and playful interaction.
70. “The Trouble with Never”
From: A Different Kind of Truth (2012)
“The Trouble with Never” is a track that originated from demos during a planned 2000 reunion. Later completed with Wolfgang Van Halen on bass, it features Eddie Van Halen’s distinctive wah pedal work. The song is enjoyable, showcasing Eddie’s guitar skills, but it doesn’t quite capture the magic of their classic era.
69. “Bullethead”
From: A Different Kind of Truth (2012)
Half of A Different Kind of Truth consists of re-recordings of older, unreleased Van Halen songs. “Bullethead” is one such track, retaining its original driving riff and catchy chorus. It offers a glimpse into Van Halen’s early songwriting style, raw and energetic.
68. “China Town”
From: A Different Kind of Truth (2012)
“China Town” is notable for Wolfgang Van Halen’s contribution, proving his ability to match his father’s musical intensity. His bass playing complements Eddie’s tapped intro, launching the song into a high-energy rocker. It’s a strong track demonstrating the band’s renewed vigor.
67. “As Is”
From: A Different Kind of Truth (2012)
“As Is” stands out on Van Halen’s final album as a track that pushes creative boundaries. Alex Van Halen’s drumming is particularly noteworthy, driving the song’s inventive and dynamic structure. It’s one of the more experimental and interesting songs from A Different Kind of Truth.
66. “Tattoo”
From: A Different Kind of Truth (2012)
As the lead single from Van Halen’s reunion album with Roth, “Tattoo” faced high expectations. While catchy and representative of their comeback, it might lack the guitar pyrotechnics that some fans expected. It’s a solid song but perhaps not the strongest choice to announce their return.
65. “Beats Workin'”
From: A Different Kind of Truth (2012)
The closing track of Eddie Van Halen’s final recorded album, “Beats Workin’,” serves as a fitting farewell. It features a jam session with Eddie, Alex, and Wolfgang, built upon a bass groove inspired by The Beatles’ “Ticket to Ride”. The song provides a relaxed and reflective end to the album and Eddie’s career.
64. “Blood and Fire”
From: A Different Kind of Truth (2012)
“Blood and Fire” is one of the poppier tracks on A Different Kind of Truth, with Roth reflecting on the band’s journey and reunion. It’s sentimental and celebratory, with a classic Van Halen sound punctuated by Eddie’s signature guitar solo.
63. “Me Wise Magic”
From: Best Of – Volume 1 (1996)
“Me Wise Magic,” recorded during a brief reunion with Roth in the ’90s, was praised by Sammy Hagar for its musical quality. While musically strong, the song feels somewhat drawn out and lacks the sharp pop hooks that defined Roth’s initial Van Halen era.
62. “Happy Trails”
From: Diver Down (1982)
Van Halen’s cover of Dale Evans’ “Happy Trails” showcases their vocal harmonies and playful side. It’s a lighthearted and irreverent track that fits the eclectic nature of the Diver Down album, adding a touch of whimsy to their hard rock repertoire.
61. “Stay Frosty”
From: A Different Kind of Truth (2012)
“Stay Frosty” is a spiritual successor to “Ice Cream Man,” featuring an acoustic-driven, laid-back vibe with Roth’s scat-singing and Eddie’s guitar work. It’s a fun, bluesy track that evokes the charm of their earlier acoustic-based songs.
60. “You and Your Blues”
From: A Different Kind of Truth (2012)
“You and Your Blues” bridges Van Halen’s classic Roth era with their Hagar era, blending melodic pop sensibilities with Roth’s vocal style. It’s a newer song that demonstrates their ability to evolve while retaining core elements of their sound.
59. “Big Bad Bill (Is Sweet William Now)”
From: Diver Down (1982)
Roth’s penchant for vintage jazz and pop standards is evident in their cover of “Big Bad Bill (Is Sweet William Now)”. This 1924 tune features Jan Van Halen on clarinet, adding a unique family touch to this lighthearted and jazzy diversion.
58. “Sunday Afternoon in the Park”
From: Fair Warning (1981)
“Sunday Afternoon in the Park” is an atmospheric instrumental piece from Fair Warning. Eddie Van Halen uses a synthesizer to create spooky and evocative sounds, creating a hazy, cinematic mood that leads into the album’s closer, “One Foot Out the Door”.
57. “Spanish Fly”
From: Van Halen II (1979)
Following the groundbreaking “Eruption,” “Spanish Fly” solidified Eddie Van Halen’s guitar virtuosity. Switching to a nylon-string guitar, he demonstrates incredible technique and creativity, transforming the instrument into a tool for hard rock expression.
56. “Big River”
From: A Different Kind of Truth (2012)
“Big River” showcases David Lee Roth’s evolved lyrical approach on A Different Kind of Truth. Moving beyond typical rock themes, Roth delves into more complex and thoughtful subject matter, adding depth to the band’s later work.
55. “Dancing in the Street”
From: Diver Down (1982)
Van Halen’s cover of Martha and the Vandellas’ “Dancing in the Street” sounds effortlessly fun and summery. However, Eddie Van Halen revealed that creating this version with its Minimoog riff was surprisingly labor-intensive, highlighting the band’s dedication to even seemingly simple covers.
54. “She’s the Woman”
From: A Different Kind of Truth (2012)
Wolfgang Van Halen championed “She’s the Woman” as the lead single for A Different Kind of Truth. While “Tattoo” was chosen instead, “She’s the Woman” is a powerful track that truly announces Van Halen’s return, filled with energy and classic Van Halen elements.
53. “Can’t Get This Stuff No More”
From: Best Of – Volume 1 (1996)
“Can’t Get This Stuff No More,” another track from the mid-’90s Roth reunion, has a complex history, evolving from a Balance-era song co-written with Sammy Hagar. It’s a bluesy, hard-rocking track that showcases the band’s versatility across different eras.
52. “In a Simple Rhyme”
From: Women and Children First (1980)
“In a Simple Rhyme” dates back to Van Halen’s early days, pre-dating Michael Anthony’s arrival. Even in its early form, it contains the essential elements of Van Halen’s anthemic sound: explosive riffs, soaring vocals, and dynamic drumming.
51. “Could This Be Magic?”
From: Women and Children First (1980)
Eddie Van Halen’s slide guitar mastery on “Could This Be Magic?” is impressive, especially considering he was new to the technique. Recorded in one take, with Roth on acoustic guitar, the song captures the band’s spontaneous creativity and musical chemistry.
50. “Outta Space”
From: A Different Kind of Truth (2012)
“Outta Space” takes an unexpected turn towards environmentalism. Roth’s lyrics transform the older song “Let’s Get Rockin'” into a commentary on ecological issues, amplified by Eddie’s urgent and powerful riffs and solos.
49. “(Oh) Pretty Woman”
From: Diver Down (1982)
Van Halen’s rendition of Roy Orbison’s “(Oh) Pretty Woman” became a significant hit, initially intended as a relaxed cover project. Its unexpected success led to pressure for a new album, contributing to the rushed and eclectic nature of Diver Down.
48. “Where Have All the Good Times Gone!”
From: Diver Down (1982)
Following “You Really Got Me,” Van Halen covered another Kinks song, “Where Have All the Good Times Gone!”. This cover is more melancholic and slower-paced but retains the band’s signature energy and hook-driven style.
47. “Women in Love … “
From: Van Halen II (1979)
“Women in Love … ” features a rare subtle vocal performance from Roth. The song’s bittersweet theme of lost love is reflected in the restrained delivery, making it a unique track in their catalog.
46. “The Full Bug”
From: Diver Down (1982)
“The Full Bug” is one of the original full-band tracks on the diverse Diver Down album. While not groundbreaking, it delivers solid Van Halen energy and musicianship, featuring a brief harmonica solo.
45. “You’re No Good”
From: Van Halen II (1979)
Van Halen’s cover of “You’re No Good,” originally by Dee Dee Warwick and popularized by Linda Ronstadt, became a setlist staple in their early club days. Eddie Van Halen re-learned it on the spot during the Van Halen II sessions, resulting in a raw and powerful album opener.
44. “One Foot Out the Door”
From: Fair Warning (1981)
“One Foot Out the Door” from Fair Warning portrays Roth’s womanizing with a sense of consequence. Its punkish tempo, dark vocals, and frantic guitar solo convey the urgency and danger of the song’s narrative, fittingly concluding their darkest album.
43. “Cathedral”
From: Diver Down (1982)
“Cathedral” showcases Eddie Van Halen’s sonic experimentation. Using echo and chorus effects, he emulates the sound of a church organ on his guitar, creating a compelling and atmospheric instrumental piece that contrasts with his typical shredding style.
42. “Outta Love Again”
From: Van Halen II (1979)
“Outta Love Again” highlights the band’s intention to emphasize drums and bass on Van Halen II. Alex Van Halen’s dynamic drumming and tight guitar riffs make this track a standout, closing the first side of the album with intensity.
41. “Hang ‘Em High”
From: Diver Down (1982)
“Hang ‘Em High” was initially conceived as “Last Night” for their debut album, explaining its heavier and more focused rock sound on Diver Down. Both Eddie and Alex Van Halen shine, with Eddie’s riffs and fills and Alex’s powerful, metal-edged drumming.
40. “House of Pain”
From: 1984 (1984)
“House of Pain” originated from 1970s demos with Gene Simmons of Kiss. After several revisions, it appeared on 1984, featuring memorable riffs, driving drums, and Roth’s energetic vocals, making it a strong track to conclude Van Halen’s classic era.
39. “Take Your Whiskey Home”
From: Women and Children First (1980)
“Take Your Whiskey Home” is a more subdued, blues-rock influenced track that recalls 1970s styles. Eddie’s acoustic guitar riff and Roth’s less theatrical vocals create a portrait of a drunken wanderer, a departure from their usual high-energy anthems.
38. “So This is Love?”
From: Fair Warning (1981)
Despite Fair Warning‘s darker tone, “So This is Love?” retains Van Halen’s energetic spirit. Michael Anthony’s bassline adds buoyancy to Roth’s upbeat vocals, while Eddie’s solo provides the signature Van Halen spark, showcasing their dynamic range.
37. “Secrets”
From: Diver Down (1982)
“Secrets” challenges the notion that David Lee Roth couldn’t mature musically. It’s a beautifully crafted song, demonstrating a depth and sensitivity that hints at a different direction for Roth and Van Halen.
36. “Girl Gone Bad”
From: 1984 (1984)
While 1984 is known for its pop hits, its second side features heavier and more diverse tracks, including “Girl Gone Bad”. With a Led Zeppelin-esque gallop and a range of guitar techniques, from harmonics to shredding, it’s a powerful deep cut.
35. “Sinner’s Swing!”
From: Fair Warning (1981)
Despite its playful title, “Sinner’s Swing!” is the fastest and heaviest track on Fair Warning. Its relentless pace, chaotic riffs, and aggressive vocals create a thrilling ride, notable for being the only Van Halen song to feature an f-bomb, used for impactful emphasis.
34. “Little Dreamer”
From: Van Halen (1978)
“Little Dreamer” reveals a darker, more introspective side of Van Halen, hinting at their future experimentation. The song’s retro vibe is intentional, drawing influences from Eric Clapton, Jimi Hendrix, and Motown, showcasing their diverse musical roots.
33. “Fools”
From: Women and Children First (1980)
Often overlooked on Women and Children First, “Fools” is a song suite with distinct introductory segments leading into a heavy main riff. Its complex structure and dynamic shifts make it a more intricate and engaging track than its popularity suggests.
32. “Loss of Control”
From: Women and Children First (1980)
“Loss of Control” creates a sense of urgency with its opening “pilot” communications, immersing the listener in Van Halen’s energetic chaos. This fast-paced rocker maintains intensity throughout its two and a half minutes, a thrilling and concise burst of energy.
31. “Dirty Movies”
From: Fair Warning (1981)
“Dirty Movies” lives up to its name, sounding genuinely sleazy and raw. Eddie’s opening guitar work and the song’s groove evoke a seedy, X-rated atmosphere, enhanced by Roth’s spoken-word interjections, creating a vividly sordid sonic landscape.
30. “Push Comes to Shove”
From: Fair Warning (1981)
Eddie Van Halen described “Push Comes to Shove” as Roth’s reggae experiment, but Michael Anthony’s bassline transforms it into a dark funk workout. Eddie’s jazz-fusion influenced solo and Roth’s lounge lizard persona add to the song’s unique and slightly unsettling vibe.
29. “Beautiful Girls”
From: Van Halen II (1979)
“Beautiful Girls” embodies the carefree, whiskey-in-a-paper-cup spirit of Van Halen’s music. From its swaggering riff to its sun-kissed vibe, it’s an anthem for beachside fun, perfectly capturing their lighthearted and party-rocking essence.
28. “Light Up the Sky”
From: Van Halen II (1979)
“Light Up the Sky” was surprisingly absent from Van Halen’s setlists for decades until Wolfgang Van Halen revived it as the opening song for their final tour in 2015. This energetic and underrated track showcases the band’s raw power and stage-ready energy.
27. “Bottoms Up!”
From: Van Halen II (1979)
“Bottoms Up!” was a proven crowd-pleaser as an encore during their 1978 tour. Despite Eddie Van Halen’s admitted struggle with the solo’s timing, the final result is a barnstorming performance that perfectly captures their live energy and party atmosphere.
26. “You Really Got Me”
From: Van Halen (1978)
Following Eddie Van Halen’s revolutionary “Eruption,” “You Really Got Me” could have been overshadowed. Instead, it stands strong with its powerful riff and relentless energy, establishing Van Halen’s hard-rocking update of The Kinks’ classic as essential to their catalog.
25. “Little Guitars”
From: Diver Down (1982)
Despite Diver Down‘s reputation as the weakest Roth-era album, “Little Guitars” is a standout track. Inspired by flamenco guitar, Eddie Van Halen created a sultry, Latin-infused riff, and his unaccompanied outro solo is a highlight of the album.
24. “Hear About It Later”
From: Fair Warning (1981)
“Hear About It Later” was unlike anything Van Halen had done before, a progressive pop-metal piece. Trading high-speed guitar histrionics for clean arpeggios and shimmering chords, it builds to a powerful crescendo, punctuated by a thunderous drum and bass breakdown and an esoteric guitar solo.
23. “Top Jimmy”
From: 1984 (1984)
Roth wrote “Top Jimmy” about his friend James Koneck, a taco stand worker and musician. The song is a tribute to this “cool cat,” set to a relentlessly upbeat rhythm and Eddie’s dynamic guitar work, creating a feel-good, energetic track.
22. “I’ll Wait”
From: 1984 (1984)
When Roth faced writer’s block with “I’ll Wait,” Michael McDonald of the Doobie Brothers helped refine the lyrics. The result is a voyeuristic tale of unrequited love for a magazine model, perfectly complemented by Eddie’s chilly, slightly unsettling synthesizer arrangements.
21. “D.O.A.”
From: Van Halen II (1979)
“D.O.A.” is a dark horse favorite among Van Halen fans and musicians. Eddie’s raw, strung-out guitar work matches the song’s narrative of being on the run, creating a thrilling and edgy track that feels both dangerous and exciting.
20. “Jamie’s Cryin'”
From: Van Halen (1978)
Amidst the high-energy rock anthems of their debut album, “Jamie’s Cryin'” showcases Van Halen’s sensitivity and musical range. This bittersweet ballad reveals a softer side, demonstrating their ability to deliver emotional depth alongside their hard rock prowess.
19. “Feel Your Love Tonight”
From: Van Halen (1978)
“Feel Your Love Tonight” is a quintessential Van Halen song about teenage lust, setting a template for their party-rock anthems. Direct and to-the-point, the song’s desire-fueled lyrics and equally randy musical backdrop make it both catchy and provocative.
18. “Ice Cream Man”
From: Van Halen (1978)
“Ice Cream Man” begins with Roth’s solo acoustic blues intro, a cover of John Brim, before the band explodes into a full-throttle rock arrangement. It’s a perfect showcase for Eddie Van Halen’s genre-redefining guitar skills within a contrasting musical framework.
17. “Jump”
From: 1984 (1984)
Despite initial headbanger skepticism, “Jump” became Van Halen’s only No. 1 single due to its pop-metal perfection. Eddie’s keyboard-driven composition and Roth’s anthem about seizing the moment, inspired by a dark news story, created a universally appealing hit.
16. “Romeo Delight”
From: Women and Children First (1980)
After quickly recording their first two albums with older material, Women and Children First allowed Van Halen to write new songs and experiment. “Romeo Delight” is a prime example of this, becoming a dynamic show opener that highlights their evolved songwriting.
15. “On Fire”
From: Van Halen (1978)
Closing their game-changing debut album, “On Fire” is a blistering punk-metal assault. Following softer tracks, it reminds listeners of Van Halen’s raw power. Roth’s high-pitched screams and Eddie’s relentless guitar leads create a thrillingly chaotic and powerful finale.
14. “Atomic Punk”
From: Van Halen (1978)
Eddie Van Halen’s guitar wizardry is on full display in “Atomic Punk.” Using an MXR Phase 90 pedal, he creates sounds reminiscent of a chainsaw or helicopter, launching into a raw, aggressive track that feels both futuristic and primal.
13. “Dance the Night Away”
From: Van Halen II (1979)
Van Halen II, largely following their debut’s formula, includes “Dance the Night Away,” a more pop-leaning track that foreshadows their future direction. This unabashedly pop song points towards the even greater commercial success they would achieve with “Jump.”
12. “And the Cradle Will Rock … “
From: Women and Children First (1980)
Opening Women and Children First, “And the Cradle Will Rock … ” marks Eddie’s first recorded keyboard use. He achieved the gritty intro sound by running a Wurlitzer through effects pedals and a Marshall amp. Roth’s lyrics, seemingly about youth concerns, are delivered with rebellious energy.
11. “Drop Dead Legs”
From: 1984 (1984)
“Drop Dead Legs,” while not a chart-topping single like other 1984 tracks, is a standout deep cut. Its confident, deliberate pace provides the perfect canvas for Eddie Van Halen’s increasingly soulful and melodic guitar soloing.
10. “Ain’t Talkin’ ‘Bout Love”
From: Van Halen (1978)
Eddie Van Halen’s “Brown Sound” is arguably at its peak in “Ain’t Talkin’ ‘Bout Love.” Originally intended as a punk parody, this two-chord anthem became one of Van Halen’s most iconic songs, with its memorable intro, fist-pumping chorus, and backhanded compliments.
9. “Somebody Get Me a Doctor”
From: Van Halen II (1979)
Van Halen’s knack for creating impactful intros is evident in “Somebody Get Me a Doctor.” Debuted live in 1976, the song captures their raw, backyard party roots even as they ascended to rock stardom, showcasing their enduring energy and stage presence.
8. “Runnin’ with the Devil”
From: Van Halen (1978)
“Runnin’ with the Devil” immediately established Van Halen as extraordinary. Its innovative intro, described by Eddie as sounding like a “jet landing,” and the band’s signature elements—Eddie’s guitar, Anthony’s bass, Alex’s drums, and Roth’s vocals—set the stage for a rock revolution.
7. “I’m the One”
From: Van Halen (1978)
While known for virtuosity and showmanship, “I’m the One” showcases Van Halen’s range. A bebop-infused spectacle that transitions into barbershop quartet vocals and back into hard rock, it demonstrates their musical versatility and playful experimentation.
6. “Hot for Teacher”
From: 1984 (1984)
Alex Van Halen’s drum intro in “Hot for Teacher” is a testament to his drumming prowess. The song itself is a raunchy, high-energy anthem that balances pop accessibility with heavy rock intensity, proving they could push boundaries in both directions simultaneously.
5. “Panama”
From: 1984 (1984)
Following the keyboard-driven “Jump,” “Panama” reassured fans with its massive opening riff and raw energy. Its driving rhythm and Roth’s suggestive lyrics make it a quintessential Van Halen party anthem, balancing pop hooks with hard rock power.
4. “Mean Street”
From: Fair Warning (1981)
Fair Warning‘s darkness is immediately apparent in “Mean Street”‘s bizarre tapping intro. From there, it evolves into a funky, aggressive track with Roth’s menacing vocals depicting urban desperation, creating a uniquely unsettling and powerful song.
3. “Eruption”
From: Van Halen (1978)
“Eruption” is a landmark instrumental that redefined guitar playing in under two minutes. Eddie Van Halen’s revolutionary tapping technique, along with his speed, phrasing, and dive-bombs, established him as a guitar icon and set a new standard for rock guitarists.
2. “Everybody Wants Some!!”
From: Women and Children First (1980)
“Everybody Wants Some!!” exemplifies Van Halen as a band, not just Eddie’s backing group. From Alex’s extended drum intro to Anthony’s backing vocals and Roth’s witty lines, each member’s contribution elevates the song, making it a true band effort and a live showstopper.
1. “Unchained”
From: Fair Warning (1981)
“Unchained” encapsulates everything that makes Van Halen elite. Eddie’s dynamic riffs, Alex and Anthony’s powerful rhythm section, Anthony’s harmonies, and Roth’s confident vocals all converge perfectly. Eddie himself considered it a standout, and it’s widely regarded as a quintessential Van Halen track, a true rock masterpiece.
