"Me Wise Magic" | ||||
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Single by Van Halen | ||||
from the album Best Of – Volume I | ||||
Released | October 22, 1996 | |||
Recorded | July–August 1996 | |||
Studio | 5150 Studios | |||
Genre | Glam metal, hard rock | |||
Length | 6:09 | |||
Label | Warner Bros. | |||
Writer(s) | Eddie Van Halen, Michael Anthony, David Lee Roth, Alex Van Halen | |||
Producer(s) | Glen Ballard | |||
Van Halen singles chronology | ||||
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"Me Wise Magic" is a song by Van Halen that appears on the rock band's 1996 compilation album Best Of – Volume I and became the band's 13th No. 1 Billboard Mainstream Rock Track, maintaining the No. 1 position for 6 weeks during the autumn of 1996. It was the first of two highly anticipated tracks recorded by the band with its original lead vocalist and songwriter, David Lee Roth.
After Warner Bros. Records notified David Lee Roth that a Van Halen greatest hits album was coming, Roth contacted Eddie Van Halen asking for more details. The singer and the guitarist got in touch again, and two weeks later Eddie, realizing "Humans Being" was the only new track on the compilation, asked Roth if he would record two new songs. Eddie first wrote a song for Roth "that he didn't particularly care for." Eventually when checking all the new songs along with Eddie and producer Glen Ballard, Roth narrowed down to a shuffle, "Can't Get This Stuff No More," and a pop song, "Me Wise Magic". Roth was at first bothered by the darker introduction, but eventually came to like the song. Eddie's nickname for the demo was "The Three Faces of Shamus," for its three sections with "completely different vibes going on.
Roth discarded Ballard's sketch lyrics and wrote his own, and denied the suggestion to get help from songwriter Desmond Child. In June 1996, Roth arrived at 5150 Studios with Eddie without the guitarist warning bandmembers Michael Anthony and Alex Van Halen about the singer's return. Eddie Van Halen's guitar playing on the song features a whammy bar that raises and lowers chords while still keeping them in tune. This effect was achieved by recording with a modified Peavey Wolfgang signature model, featuring a TransTrem tremolo system.