The trailer peaks when a shirtless Roth takes a few swigs of strawberry milk and utters in Japanese, “In the name of the moon, I shall right all wrongs and defeat all evil”, before leaving the scene a bloody mess.
The clip is posted on Roth’s You Tube channel with no explanation for its existence but a quick look at the credits reveal the video was directed by Takuro Ishizaka, who worked as second assistant camera on 2003 film Van Halen were recently in Australia for Stone Music Festival. Keep an eye out on Feeds as more information comes to hand.
No karate kicks or hard rock in sight; just good-time oldies, big boobs and a toothsome grin from the blonde, hairy chested ringleader.
All that is to say that when, in 1995, Roth revealed that he was going to be setting up camp in Las Vegas, no one greeted the news with any kind of surprise. Was there anyone more suited for the glitz, neon and faux glamour of the gambling capital of the world than this guy? Understand that at this point in Roth’s career, he was on the outs, commercially speaking.
Some say it was taken at the launch party for Van Halen’s first album but the occasion was actually a party thrown by Warner Brothers Records at the Strip Club to present Van Halen with their first gold record.
For as much crotch-grabbing and double entendres as he drops throughout, he’s instead returning to the muscle memory of the days when he revealed his most cornball side with the videos he made in support of his solo EP Crazy From The Heat, which were in heavy, heavy rotation on MTV in 1985.“The mind-set was: We’re gonna take over Las Vegas,” he writes. We’re going to trundle through those streets like Hannibal and his elephants.We’re not gonna arrive politely.” By all rights, that should have been the case.The backing band put together for these shows (a week of shows at Bally’s Hotel and Casino and another short run over the holidays at MGM Grand), the unfortunately named Non Stop Blues-Bustin’ Mambo Slammers, was a white hot collection of session players and marquee musicians like ’70s rocker Edgar Winter (he of “Free Ride” fame) and members of Miami Sound Machine’s horn section. His hammy sense of humor, graceful dancing and still impressive singing fit perfectly into the more-is-more, campy aesthetic of Vegas.In his book, Roth blames his agent and the powers that be at the casinos for not sticking with the show and letting it build an audience.