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Sammy Hagar on his most lucrative hit and why he didn’t ruin Van Halen

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Sammy Hagar has been a prominent figure in rock music for more than 50 years, starting with his time as lead singer of Montrose in the early ’70s, then moving on to his tenure with Van Halen during the mid-’80s and early ’90s, and finally establishing himself as the head honcho of the Cabo Wabo liquor and bar empire more recently.

These days, Hagar expresses that he finds camaraderie more easily with individuals in the country music scene compared to many rock stars. Kenny Chesney, Ronnie Dunn, and even the late Toby Keith are not just friends for him but also kindred spirits. “Country music,” he explains, “is all about songs, stories, and honesty, and that’s what I stand for as well.

Hagar, aged 77, is prominently featured in this weekend’s Stagecoach festival lineup in Indio. He’ll share the stage with some of Nashville’s top country artists like Luke Combs, Jelly Roll, Brothers Osborne, and Ashley McBryde. It’s worth noting that the festival will also host a few non-country acts, such as Creed, T-Pain, and the Backstreet Boys. Following his performance at Stagecoach, Hagar and his current touring band (Joe Satriani on guitar, Kenny Aronoff on drums, and Michael Anthony, former Van Halen bassist) will travel to Las Vegas for a residency at Park MGM casino.

Music

Guitar virtuoso Eddie Van Halen died Tuesday at 65. Here are 20 career-defining performances.

Prior to his upcoming performances, Hagar recently shared the tales behind five of his well-known songs, along with a moving new composition reflecting on his past relationship with Eddie Van Halen, who passed away in 2020, from his home in Mill Valley via Zoom.

Montrose, “Rock Candy” (1973)

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Known as the band led by its initial guitarist, Ronnie Montrose (previously a musician with Van Morrison and Edgar Winter), Hagar’s first band achieved platinum status with their self-titled debut album, which included this groovy hard rock track.

On the day prior to our studio session, Ted Templeman – the one who signed us – dropped by during rehearsals. Since we were short on funds, we believed we’d simply play our songs live in the studio, then hit the road, which was our ultimate goal. Ted suggested, “If only we had an additional song… Any thoughts?” Drummer Denny Carmassi initiated that rhythm, and Ronnie began strumming the riff. I listened attentively – hence the lengthy intro – until eventually I started singing, “You’re rock candy, baby – hard, sweet and sticky.

In a flash, I conjured it up spontaneously! The enchantment sprang straight from the core of me – you know, like those sweet memories tied to those delightful lollipops. Seems absurd, doesn’t it? Like my inner self is all about those colorful sticks with heaps of sugar on them? Yet, they were my absolute favorites as a child. If I chanced upon one in my Christmas stocking or during trick-or-treating, I would have shouted, “Yes!” with joy!

“Pull up your pants / Stretch out — take a chance.”

You know what I was thinking about with those lines? It wasn’t intentionally sexual.

There’s no way that’s true.

Let me put it another way: Just as you roll up your sleeves to dive into a task, so should you adjust your pants when taking a long stride – that’s the essence of what I was trying to convey.

In the annals of rock ‘n’ roll, there’s arguably no one else who penned a tune discussing firmness and adhesion, yet neither alluding to sexual themes.

Currently, I find myself chuckling. It seems the members of Def Leppard particularly enjoy that tune – they incorporate the “hot, sticky, sweet” element from “Pour Some Sugar on Me.” When they realized they were borrowing from my work, they swiftly reached out with a good-humored remark: “We’re blatantly stealing from you, madam!

“Rock Candy” is a very slow song by Montrose’s standards.

Initially, we seldom played it live due to its slowness. However, since then, I’ve incorporated it into nearly all my performances (approximately 90%). The reason behind this is the distinctive drum part, which is reminiscent of John Bonham, a favorite of Denny. Many musicians find it challenging to play sparsely and maintain a groove for such an extended period as Denny did.

Templeman or anybody try to get you to speed it up?

Ted convinced us to retract it, as he was aiming for a “When the Levee Breaks”-like sound. We captured that at Sunset Sound in a former meat locker – cold cement and steel walls. Ted suggested we record the drums within, but Denny struggled with the cymbals. He could only play kick, snare, and toms since striking the cymbals would cause an echo for about 20 minutes.

Sammy Hagar, “I Can’t Drive 55” (1984)

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Leaving Montrose behind in 1975, Hagar embarked on a solo journey that ultimately produced this classic video from MTV’s early days. As a lifelong automobile aficionado, he passionately protested against the country-wide speed limit regulation.

The song I wrote was a genuine expression of my anger – I was really upset. After wrapping up the “Three Lock Box” tour, I decided to treat my family to an unforgettable vacation, taking us to stunning destinations like Egypt, Africa, and Sardinia. This trip ended up costing me more than I’d ever anticipated spending in my lifetime. On our return journey, we flew from Kenya to London, which was a lengthy flight, and then boarded the Concorde.

Ooh la la.

1983 found me in a lavish spending spree. So, we boarded a flight to New York, disembarked only to hop onto a smaller plane bound for Albany. From there, we made our way to Aaron’s boarding school in Lake Placid, a journey lasting another 2-3 hours. After traveling for 24 hours, it was 2 a.m., and a tired young boy kept asking, “Are we there yet?” — I was exhausted. Caught speeding at 62 miles an hour on an empty highway, the officer wasn’t lenient: “Do you know how fast you were going?” I replied, “Yes, I was going 62 miles an hour.” He retorted, “We issue tickets for speeds over 62 miles an hour around here.” I had no clue the speed limit had been raised. Looking at my wife, I muttered, “I can’t drive 55.” Then I exclaimed, “Oh my goodness!

You heard the words leave your mouth.

Unconscious thoughts spilling out of me – it’s an unusual talent I possess. Back then, I always carried a small cassette recorder with me and began singing into it. While my wife was jotting down the lyrics, I was receiving a ticket from the officer. By the time he finished writing, I was thanking him. The song transformed my career – altered my life. Financially, it generated more income than any other song I’ve ever composed or been associated with, even Van Halen.

Why do you think it resonated in such a big way?

Everyone who earns a living by driving, be it truckers, taxi drivers, limo drivers, or bus drivers, found this tune to be their own. It graced every playlist associated with NASCAR or any other form of racing. Moreover, it was genuine; when I sing these words, I truly mean them.

Music

Prior to their concert with Journey at SoFi Stadium, Def Leppard’s lead singer discusses the reasons behind their enduring unity.

The punk group Minutemen named their 1984 album “Double Nickels on the Dime” as a counterpoint to the song “I Can’t Drive 55.

Were they dogging me?

Good-naturedly dogging you, I’d say.

How might one harbor feelings of dislike towards a dog named Sammy Hagar? That’s quite difficult, if not impossible. Which group is known for the song “Sammy Hagar Weekend”?

Can you imagine being unfriendly or annoyed with a dog called Sammy Hagar? It seems rather challenging. What band created the song titled “Sammy Hagar Weekend”?

Thelonious Monster.

I think they did it in jest too. If they didn’t, they know better now.

Van Halen, “Why Can’t This Be Love” (1986)

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In 1985, David Lee Roth decided to leave Van Halen, paving the way for Sammy Hagar to join. It is said that Hagar was suggested by their mutual mechanic, with Eddie on guitar and his brother Alex handling the drums. The band’s debut album with Hagar, titled “5150,” was their first to reach number one on the Billboard album chart, although some longtime fans were skeptical about its heavy use of synthesizers.

As a devoted cinema-goer might put it, “Contrary to popular belief among the die-hard Roth Van Halen fans or those who cling to that epoch, I was not the one pulling the strings. I collaborated with Eddie on the songs, yet his musical concepts were the foundation. The guitar neck he had reimagined left him feeling somewhat drained, yearning for fresh territory to explore. Truth be told, Eddie yearned to delve deeper into keyboards, but faced criticism from Roth and Al. That’s the story behind the scenes.

Initially, he chose to play “Love Walks In,” and I exclaimed, “What a marvelous tune! Why haven’t you used this before?” He explained, “I’ve been holding onto it for nearly three years.” However, Dave didn’t sing with that kind of emotion – I doubt he could have captured the essence of such a piece. Eddie had other keyboard songs like “Why Can’t This Be Love,” “Feels So Good,” and “When It’s Love.” We decided to expand them because I thought, “We can’t put all these on one album – we might lose our fanbase.

Considering the context, it should be clear to you that selecting “Why Can’t This Be Love” as the first single for Van Hagar was a daring decision.

A portion of it was deliberate, designed to guide the band towards a fresh path. We didn’t want the initial impression to be tied to the opening track on that album, which sounded like something David Lee Roth might do. Instead, we aimed to redefine ourselves and forge a new identity.

What’d the record label say?

Mo Ostin, head of Warner Bros. Records, walked in and listened to our song. His face lit up with excitement, he raised his finger high and exclaimed, “I sense profit!” This was the reason it was the first release. It’s interesting because our manager, Ed Leffler, refused to produce a music video for the song due to Roth’s strong preference for videos. We responded, “If you want to witness this band, you’ll need to purchase a ticket.

I’m curious, what song held the top spot on the Hot 100 the same week “Why Can’t This Be Love” reached No. 3? Can you recall?

What was it?

Whitney Houston, “Greatest Love of All.”

What’s your issue there? She was undeniably one of the most exceptional vocalists to grace this planet. I would’ve never imagined it’d be someone like Hall & Oates or a more mainstream artist. You might not realize it, but Van Halen wasn’t strictly a pop group; we were versatile in our genre. However, “Jump” was indeed a massive pop phenomenon. Eddie had a knack for crafting catchy pop tunes, and with my powerful voice, I could handle any style of music. Achieving a pop hit in Van Halen was almost effortless; we didn’t even strive for it.

Van Halen, “Right Now” (1991)

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Among the top 10 rock singles from Van Halen’s album “For Unlawful Carnal Knowledge,” the song titled “Right Now” features one of Eddie’s keyboard compositions and carries an inspiring lyric encouraging people to live in the moment, as opposed to another of his keyboard arrangements.

Previously, I’ve been delving into some Zen literature emphasizing the significance of living fully in the present moment. This state can only be achieved through meditation, a practice often associated with solitude in a secluded location. However, one sunny morning found me stretched out on Malibu’s beach, moments before heading to my studio. Eddie called out, “Time to go!” I responded, expressing a desire to linger in the current moment. The words flowed from me effortlessly, reminiscent of the lyrics in “I Can’t Drive 55.” I pondered over this realization, and it sparked my creative writing.

In your 2011 autobiography, you mention that it required several months before any member of the band would look at what you had written.

Previously, neither Eddie nor Alex paid much attention to the song lyrics. They were unaware of what the lyrics meant. Eddie shared with me that he and Alex didn’t even have the vocals (lyrics) in their speakers – they only focused on the two of them. This made it easy for me to introduce my lyrical content without much feedback from Ed, as he would simply dismiss it. However, Eddie’s ex-wife Valerie took interest in my lyrics, which eventually caught Eddie’s attention.

In the time when grunge was on the verge of taking off, ‘For Unlawful Carnal Knowledge’ was released. Were you aware that rock music was evolving, particularly around Van Halen?”

I attempted to keep the original meaning while making it more conversational and easier to read.

I felt quite uneasy about it, but we decided to bring along Alice in Chains during our tour for a couple of reasons. Firstly, I was a huge fan of their song “Man in the Box” and considered it one of the most awesome rock tunes out there. Secondly, I wanted to immerse ourselves in grunge culture. My idea was to present them to their audience first, then our own. Unfortunately, they were booed off stage almost every night. Layne [Staley] would often remove his jacket, squat at the front of the stage and make a gesture with his middle fingers while performing.

What I meant was, “Initially, ‘Right Now’ seemed like a fantastic phase of life for me. Yet, here I am, 77 years old, still singing ‘Hot for Teacher.’ I must admit, it feels somewhat awkward. I chose these lyrics because I wanted ones that I could continue to sing throughout my lifetime. There are certainly other types of songs I have, but ‘Rock Candy’ is a bit iffy. At least with this song, it’s not centered around a 14-year-old. Instead, it could be about my lovely 58-year-old spouse.

Music

The hitmaking producer also worked with the Cars, Cheap Trick, Ozzy Osbourne and Alice Cooper.

The “Right Now” video stands as an iconic representation of its time: it features various snippets interspersed with messages concerning oil corporations and unsafe sexual practices.

In a different wording, “I’ve crafted what I believe are my finest lyrics yet, only for you to suggest hiding them behind something else? I find that quite disrespectful!” However, Warner Bros. insisted on their decision, and once more, it was Old Mo Ostin who stood firm.

It won video of the year at the MTV Video Music Awards.

For approximately two years, any time I attempted to discuss something, it felt as if I was being constantly disregarded or silenced, much like when we disagreed over making the ‘Right Now’ video.

In addition, the song ‘For Unlawful Carnal Knowledge’ earned Van Halen their sole Grammy award – in the category of best hard rock performance. This was achieved by beating out Guns N’ Roses’ ‘Use Your Illusion I.'”

This version maintains the original’s meaning and flow, while using more common phrasing to make it easier for a wider audience to understand.

Wow. To me that was their best record.

Did winning a Grammy mean something to you?

Every accolade or recognition holds great significance for me; I’m very proud of those achievements. However, that Grammy was particularly significant. I had been nominated for the “Footloose” soundtrack [in 1985]. I recall standing next to Kenny Loggins on the side of the stage, and then Prince unexpectedly emerged and won it for “Purple Rain.

Sammy Hagar and the Waboritas, “Mas Tequila” (1999)

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In 1996, Van Halen dismissed Hagar from the band. Following this event, the singer resumed his music career under his personal name and devoted significant attention to his establishments, such as a popular cantina in Cabo San Lucas, Mexico, and a tequila brand that he eventually sold for a staggering $80 million.

At home, unless there’s somewhere else I need to be, I usually wear short pants instead of long ones. I brought my shorts and T-shirts into Van Halen, which were all adorned before that – then I showed up wearing flip-flops and tank tops. Many people didn’t appreciate it, but tough luck. After the album [1997’s] “Marching to Mars”, I adopted a lifestyle with the music – with the Wabos. Back in those days, I used to perform onstage without a shirt while living in Cabo and wearing a bathing suit.

The story behind “Mas Tequila” unfolded when Narada Michael Walden, an accomplished songwriter and producer who’s worked with artists like Whitney Houston, proposed creating a new record. He explained that the trend at the time was to sample beloved songs and craft a new piece around them. Although I was aware of this practice, I never expected it would apply to me, as I associated it with rappers. However, when Narada suggested using “Rock and Roll Part 2,” the Gary Glitter song, as the basis for a new tune, I found myself effortlessly writing a song around it.

The rhythm of this track is incredibly catchy, and Gary Glitter even received a co-writing credit on it – something I hadn’t anticipated. I believed I had altered it enough, but the record company insisted, “No, no – we won’t release it unless you reach an agreement with him.” I have no doubt he’s pleased about it. The Black Keys also adopted this rhythm for their song “Howlin’ for You” in 2010. Frankly, I think they should have compensated me instead.

Sammy Hagar, “Encore, Thank You, Goodnight” (2025)

In 2004, Hagar reconnected with Van Halen for a tour, but the singer claims it was overshadowed by Eddie’s alcohol issues. Three years later, Roth resumed his role as frontman. Regrettably, Eddie passed away from cancer at age 65 while there were preliminary discussions about performing together once more. Hagar’s latest single, which he co-wrote with Satriani, is set to be released this coming Friday.

The piece I created is dedicated to Eddie Van Halen – it essentially conveys, “Things aren’t the same since you left us.” This sentiment rings true, as the music world has definitely suffered a loss with his departure. As I was brainstorming ideas for this tribute, a melody came to me in a dream that reminded me of Eddie’s style. However, I can’t play guitar like him, so I shared some video clips of me singing a simple chorus and explained the riff sequence to Joe. Amazingly, Joe managed to capture Eddie’s essence in his performance – it was as if he had channeled Eddie himself! Given that we had just wrapped up an extensive tour where Joe played 14 Van Halen songs every night, he was deeply familiar with Eddie’s music and technique.

It was in his fingers.

It was deeply within him. He was playing his unique style, but it had that distinctly Eddie flavor to it. I miss him terribly. Thank goodness we managed to connect towards the end; otherwise, I would have been devastated. I am feeling quite sorrowful already. However, it was crucial for me that we connected during that final year. Eddie confided in me, “Don’t disclose our conversations because I don’t want to field questions about potential reunions.” But he assured me, “Next year, we’ll meet up – make some noise. Let me overcome this challenge first, and let’s do it together.” He added, “Please refrain from discussing this with anyone – not even Al.” I have never asked anyone for silence like that before, and I imagine Al will be quite upset. But Eddie requested, “Don’t even discuss this with Al.” I told him, “Ed, I don’t engage with Al about such matters.

Are you implying that things haven’t felt the same since Eddie passed away, because you believe there won’t be any more opportunities for you all to perform together again?

Without that sense of hope, things just aren’t the same. Following our 2004 tour, his state left me quite upset with him. Yet deep within me, I harbored a desire for him to recover, to return as the Eddie I adored and knew during our band days – from the joyous times. I yearned for that moment to come, for us to reunite and make music again. It wasn’t just about the recognition and wealth, which I haven’t regained since then, not even close. That was the peak of my career.

Beyond just that, it was our shared creativity and enthusiasm that sparked when we composed songs such as “Right Now,” “When It’s Love,” “Love Walks In,” and “Top of the World.” He ignited a spark in me that I haven’t been able to rekindle without him. At my age, I can’t help but ponder: If Eddie were still alive, could we recapture that magic? Now, that hope is lost.

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2025-04-24 13:32

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