It’s always intriguing to see what goes on in our favorite musicians’ recording studios, and occasionally the findings may be pretty shocking. Geezer Butler, the famed Black Sabbath bassist, spoke candidly about the creative challenges that led to the band’s final dissolution in a recent interview with Metal Edge. Butler said that the band’s failure to pay attention to Ozzy Osbourne, their original lead vocalist, contributed significantly to their dissolution.

Ozzy, a.k.a. the Prince of Darkness, was a founding member of Black Sabbath and a significant contributor to the creation of the group’s distinctive sound. Osbourne eventually left the band in 1979 due to artistic disagreements, as is the case with many bands. This result was significantly influenced by the conflict that existed among the band members as a result of Ozzy’s battle with addiction and the change in their musical focus.

According to Butler, the main cause of these creative challenges was the band members’ ambition to explore and advance musically. In retrospect, he now thinks it was a mistake for them to abandon their initial powerful sound and shift toward a more melodic style. Butler recently acknowledged that Ozzy may have been justified to desire to keep the original Sabbath sound.

Geezer Butler’s admission might be interpreted as a sign of remorse as he admits that the band’s basic identity was finally lost as a result of their creative development. They strayed from the core of what made Black Sabbath unique in their search for development and experimentation, which may have been one of the things that ultimately decided the band’s demise.

When questioned about Osbourne’s problems with creativity, Butler responded:

“Those were certainly a problem, too. The thing is, we were trying to progress too much musically. We completely lost the plot, I think. We stopped doing the things that made Sabbath what it was and began going from more melodic stuff, which was a mistake looking back.

Ozzy always wanted to still sound like the old version of Sabbath, while Tony and I wanted to expand musically. Looking back, Ozzy was probably right because our expansion caused us to lose what Sabbath was supposed to be about.”

In hindsight, it’s intriguing to consider what would have happened if Ozzy’s instincts had been right and Black Sabbath had stayed true to their beginnings. The band’s legacy may have evolved differently, and the development of heavy metal may have changed. Nevertheless, Black Sabbath’s influence on the music industry is undeniable, and their contributions to the genre will always be recognized.

Steve Perry, a former member of the band JOURNEY, is currently polishing his recording with Dolly Parton, a pioneer of country music.

In order to commemorate her induction into the Rock and Roll Hall of Fame, Parton recently announced that she was recording a rock album. The album, tentatively named “Rock Star,” would cover legendary rock songs such as “Open Arms” by JOURNEY, “Purple Rain” by Prince, “Can’t Get No Satisfaction” by THE ROLLING STONES, “Stairway To Heaven” by LED ZEPPELIN, and “Freebird” by LYNYRD SKYNYRD.

In an Instagram post earlier (April 12), Chris Lord-Alge, a five-time Grammy-winning producer and engineer, was in the studio with Perry when Perry posted the following caption on an Instagram photo of the two of them: “Chris Lord-Alge @chrislordalge and I putting the final mix moves on my ‘Open Arms’ duet with the one and only Dolly Parton @dollyparton Sincerely, Steve Perry #dollyparton #duets #mixing”.

During her acceptance speech at the Rock Hall ceremony, Parton named a number of musicians she hoped to work with on her rock album. She also disclosed that she and Perry will be performing “Open Arms” together.

The song “Open Arms” was first released in 1981 on JOURNEY’s seventh album, “Escape”. The song was co-written by Perry and Jonathan Cain, the keyboardist for JOURNEY, and it was also included on the soundtrack for the science fiction movie “Heavy Metal.”

Numerous music artists, including Celine Dion, Mariah Carey, Barry Manilow, R&B trio BOYZ II MEN, and Mariah Carey, recorded “Open Arms,” which peaked at No. 2 on the Billboard Hot 100.

Rock performers Rob Halford of JUDAS PRIEST, who sang “Jolene” with Dolly Parton at the Rock and Roll Hall of Fame induction ceremony, Nikki Sixx of MÖTLEY CRÜE, and guitarist John 5 are all anticipated to be included on the album.

In an interview with TotalRock, Rob explained, “After the show, her manager came up to me, Danny [Nozell], and he goes, ‘She’s doing a project, like a rock album. Would you be interested?’ I said, ‘Yeah. Here’s my number.’ And then, out of the blue, like four weeks later, and suddenly [there’s] ideas for some more work.”

Dolly Parton said during an interview on “The View” that she worked on the record with several legendary musicians, including Paul McCartney, Steven Tyler, Stevie Nicks, Steve Perry, John Fogerty, P!nk, and Brandi Carlile.

Parton said, “If I’m gonna be in the Rock And Roll Hall Of Fame, I’m gonna have to do something to earn it. So I’m doing a rock and roll album, and I’m having a lot of the rock stars that I met that night be on the album with me.”

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The Eagles’ song “One of These Nights” is a classic. “One of These Nights” was the lead single from the Eagles’ 1975 album of the same name and was co-written by lead singers Glenn Frey and Don Henley. With Henley’s captivating vocals, a ferocious guitar solo by Don Felder, and an alluring tune, it propelled the renowned band to new heights.

Although “One of These Nights” is about following a lady, the song’s lyrics can serve as a metaphor for pursuing one’s aspirations. In the first couple of words, Henley’s voice slithers. In between the dark and the light / Comin’ right behind you / Swear I’m gonna find you / Get you, baby, one of these nights.

In a 1975 interview with Phonograph Record, Frey explained, “It’s like, puttin’ things off… Everybody I’m sure has said, ‘One of these nights I’m gonna…’ Gonna drive back to that restaurant an’ take that waitress in my arms, whatever. Find that girl, make that money, buy that house. Move to that country. Any of that stuff. Everyone’s got his ultimate dream, savin’ it for ‘someday.’ And ‘someday’ is up to you.”

Soon after guitarist Felder joined the group, “One of These Nights” was written, which had an impact on the sound and sentiment of the song. Henley claimed that at the time, they were attempting to stray from their signature country-rock sound. While talking with Rolling Stone in 1975 he said, “We wanted to get away from the ballad syndrome with ‘One of These Nights, With Don Felder in the band now, we can really rock. He’s made us nastier and did a great guitar solo on the single.”

The song was written in a Miami studio by Frey and Henley. Henley offered the words that became the song’s title, while Frey composed the song’s piano melody. Frey listed “One of These Nights” as his favorite The Eagles song in the liner notes of the band’s 2003 greatest hits collection CD, The Very Best Of.

Frey wrote, “We had Don Henley’s voice, which allowed us to go in a more soulful direction, which made me exceedingly happy … A lot of things came together on One Of These Nights – our love of the studio, the dramatic improvement in Don’s and my songwriting. We made a quantum leap with ‘One Of These Nights.’ It was a breakthrough song. It is my favorite Eagles record. If I ever had to pick one, it wouldn’t be ‘Hotel California’; it wouldn’t be ‘Take It Easy.’ For me, it would be ‘One Of These Nights.'”

The majority of independent musicians hope for a career trajectory like the one that R.E.M. had. They endured a steady ascension until becoming one of the biggest artists in the world after becoming the darlings of the critics thanks to the success of their debut album Murmur. Michael Stipe had already produced a good number of timeless songs by the time the alt-rock revolution of the 1990s arrived, but one of their biggest hits was not a song of which Stipe had ever been particularly proud.

As the new decade got underway, Stipe began experimenting with alternative lyrical strategies for the album Out Of Time, even bringing in rapper KRS-One for the song’s opening track, “Radio Song.” Stipe is still most pleased of the song ‘Losing My Religion’ from the album because it perfectly captures the awkwardness of being apart from the person you love.

The song “Shiny Happy People” ushers the album into a sugary realm just after searching into some of the darkest recesses of his psyche. This is about as clean-cut and bubblegum-pop as R.E.M. would ever get, featuring bassist Mike Mills and The B-52s’ Kate Pierson, who was already benefiting from the popularity of “Love Shack.”

Stipe composed this song as a challenge for himself, drawing influence from some of the syrupy pop bands of the 1960s and putting together some of his most likable melodies ever. Even though they never intended to be the world’s heaviest band, this song sounds more like it belongs in a children’s show’s closing credits than it does with alt-rock royalty.

Although the song’s melodic depth may have been a little lacking, the words were far blunter than I had anticipated. The title of “Shiny Happy People” was inspired by Chinese propaganda posters, notably those depicting the Tiananmen Square rebellion, despite the song sounding like the ideal music for a daytime variety show.

Since the song required some honey to be appreciated, Stipe’s chorus puts a positive spin on an unfortunate circumstance. But the message easily passed the ordinary listener by, making the upbeat song a huge smash. Stipe said to Mojo (via Songfacts) that he has become a little more resentful of “People” over time. “The guys threw me the stupidest song that sounded so buoyant and weird, and I was like, OK, I accept the challenge. So it was bubblegum music made for kids. Don’t hate it. But I don’t want to sing it.”

Despite Stipe’s distaste for the song, drummer Bill Berry was nevertheless proud of it because of how difficult it was to play. The song even used many time signatures by switching from a waltz vibe to a conventional 4/4 pace. When the band performed the song on Sesame Street with the words changed to “Furry Happy Monsters,” they even had their bubble-gum credentials confirmed.

Stipe did appear to soften on the song on their final tour before their breakup, telling The Quietus, “I was always at peace with it. It’s just a little bit embarrassing that it became as big a hit as it did!”. Even though the song is included on a few of the group’s upcoming compilation albums, the fact that the albums’ titles are Part Lies, Part Heart, Part Truth, and Part Garbage says volumes.

We frequently forget that the greats in the music industry were once aspiring musicians who looked up to their own idols when we think of them. Each artist sets out on a special path, exploring the limitless field of imagination, and taking inspiration from those who have come before them. Finding out that a famous artist who has inspired millions of people was once equally as star-struck as the rest of us, mesmerized by the brilliance of their own heroes, has a certain charm to it.

That exact enchantment was felt by blues guitar superstar Stevie Ray Vaughan when his passion for Jimi Hendrix surpassed the bounds of reality and resulted in an extraordinary dream. This intriguing tale illustrates the depth of the late musician’s relationship with the singer of “Purple Haze,” and it provides a compelling illustration of the enormous influence our heroes have on our lives, even in seemingly unrelated ways.

The heartfelt guitar playing and breathtaking concerts that made Vaughan’s name associated with them earned him a place in millions of people’s hearts. Of course, this guitar maestro, who unfortunately passed away in 1990, drew inspiration from a variety of musicians during his career. Hendrix stood out among them as a major influence, influencing the vocalist’s style and passion for the blues.

Stevie Ray couldn’t help but be moved by his idol’s distinctive voice, charisma on stage, and all-around artistic ability. In fact, the Double Trouble member had such a high regard for the guitar prodigy that it went beyond the bounds of reality and into his dreams, leaving him with a priceless memory and a useful lesson.

He revealed his fantastic ambition of jamming with Hendrix in a 1984 MTV interview. The two titans played music together throughout the entire dream while seated side by side. When Vaughan woke up, he reached for his guitar right away in an attempt to recapture the wonder of his dream since it was so real to him.

What he stated throughout the chat is as follows:

“There was one where we waited up; for the whole dream, we sat this far apart [a small distance]. I showed him anything I wanted to show him. He showed me anything he wanted to show me, and we tried to play one time.

Right as a soon as I woke up, I ran to get one of my guitars, but it didn’t work nothing. I finally figured out a few months later that if it had been that easy, I wouldn’t learn anything.”

The singer’s devotion to Hendrix extended beyond his aspirations. In his appearances, he frequently covered the latter’s tunes, demonstrating his respect for the illustrious guitarist by performing songs like “Voodoo Child.” In the same MTV interview, he even discussed his goal to preserve Jimi Hendrix’s musical heritage. He clarified:

“I just do my best to do what I can to carry his music on. This is much as anybody else’s music that I appreciated on my life. I love him like he was my brother.”

In his brief career, Vaughan truly paid respect to Hendrix through his songs and performances and kept on his hero’s spirit even in his nightmares. This fascinating tale and the musician’s desire serve as a reminder that everyone has a hero and that the inspiration we draw from the works of the past fuels our own creative endeavors.

Legendary guitarists like Peter Green and Eric Clapton immediately spring to mind. The renowned British rock band Jethro Tull’s lead singer and flautist, Ian Anderson, has offered his opinion on this topic. He spoke about his opinions about the playing techniques of these two guitar masters when appearing on Classic Album Review.

Green was mentioned by Anderson as his guitar idol a few months back during a chat with Classic Rock. Anderson cited Green’s significant effect on Fleetwood Mac in their formative years. Ian claimed that Green had a remarkable talent for making the guitar sound like a human voice. He highlighted how Green could captivate listeners with quality rather than quantity when it came to his playing, complimenting his tone, control, and flexibility.

In a recent interview, Anderson expressed that he thought Peter Green was the finest musician of his generation and once more expressed his admiration for his ability. Ian noted that Green played more thoughtfully and subtly than Clapton, with natural and accurate tonality and phrasing. This difference, however, does not disparage Clapton; rather, it recognizes Green’s exceptional skills.

Peter’s impact on Fleetwood Mac’s early course was another topic Anderson briefly discussed. While the band did dabble with more progressive sounds on songs like “Rattlesnake Shake” and “The Green Manalishi,” he pointed out that Green’s blues background could have limited how far the band could go in terms of progressive rock. Anderson hypothesized that Green’s musical vision may have been restricted by the other band members, suggesting that they may have found it difficult to advance in a more progressive path.

What Ian Anderson had to say about Peter Green is as follows:

“Peter Green, at that time, I think, he was the best of the bunch. I rated him more so than Eric Clapton just because Peter Green had a beautiful and thoughtful tonal quality to his playing, and his phrasing was in a very precise and felt very natural.

So, Peter was the best of the guys, I thought, and in the same way, he wouldn’t have been the right guitar player for Jethro Tull because he was too steeped in the blues and the early Fleetwood Mac’s attempts to move away a little bit with slightly more adventurous music like ‘Rattlesnake Shake’ or ‘The Green Manalishi’ or something or other with a tail or whatever it was.

I can’t remember the name. These things were more of a move to what became progressive rock, but Peter, I think, would have been constrained by the mentality of the other musicians he was working with, and I don’t think they ever could have got very far in that direction, given the other members of the band and then, of course, Peter Green fell by the wayside in a tragic way.”

Green subsequently departed the music industry when his career, regrettably, took a fatal turn. Despite this, his influence on the guitar-playing community is still felt today, as seen by the accolades from other musicians like Ian Anderson.

Anderson’s remarks serve as a reminder that various guitar skills may take diverse forms by contrasting Peter Green’s performance to that of Eric Clapton. While Green’s playing has a certain beauty and depth that still appeals to listeners today, Clapton’s talent is undeniably superior.

Following the terrible passing of their longtime drummer Taylor Hawkins in March 2022, The Foo Fighters have announced the release of But Here We Are their 11th studio album.

In a press release, the album is referred to as “the first chapter of the band’s new life” and is scheduled to be published on June 2.

The album’s debut single, “Rescued,” was released on April 19 and showcases the Foo Fighters’ recognizable sound of huge guitars and anthemic melodies. It was produced by Greg Kurstin and the band themselves.

With, Dave Grohl tenderly begins Rescued. “It came in a flash/ It came out of nowhere/ It happened so fast/ And then it was over/ Are you thinking what I’m thinking?/ Is this happening now?”

But Here We Are, the latest album from the Foo Fighters, is an unvarnished account of those difficulties. According to the official press release, “But Here We Are is a testament to the healing powers of music, friendship, and family.” Ten tracks on the CD portray a variety of feelings, from despair and wrath to acceptance and calm. “Rescued,” the first single from the album, establishes the tone for the remainder of the work, which is distinguished by its courage, genuineness, and openness.

The band’s 11th album, But Here We Are, combines the simplicity and rawness of their 1995 debut with the maturity and depth they have acquired over the years. It serves as both a new beginning for the group and a reflection of their history.

The band members discover comfort in the music that first drew them together over three decades ago through this album.

Although the identity of the drummer for the album and the band’s next tour dates has not been made public, Pearl Jam’s Matt Cameron recently denied rumors that he would be joining the group.

‘But Here We Are’ by the Foo Fighters is released on June 2. The whole tracklist is shown below.

Rescued

Under You

Hearing Voices

But Here We Are

The Glass

Nothing At All

Show Me How

Beyond Me

The Teacher

Rest

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Led Zeppelin and Deep Purple were both established in 1969, but Led Zeppelin gained notoriety first with their ground-breaking Hard Rock and Blues. Purple didn’t truly start to become a successful band until they made the decision to adopt parts of that approach on their fourth album, “Deep Purple In Rock” (1970).

Ritchie Blackmore, a guitarist and one of Deep Purple’s co-founders, has discussed several other bands throughout the years, including Led Zeppelin. The two Zeppelin tracks that Rock and Roll Garage chose are ones that Blackmore has already commended.

The 2 Led Zeppelin songs that were praised by Ritchie Blackmore

Whole Lotta Love

Blackmore begins by praising the massive Led Zeppelin song “Whole Lotta Love,” which serves as the album’s opening track and was released in 1969. Blackmore said that he was motivated by Zeppelin to alter the sound of Deep Purple and make the music harsher during a talk with Trouser Press in 1978.

Ritchie said, “Zeppelin. I liked their hard approach when they came out and did ‘Whole Lotta Love’. I immediately tuned in with that type of style because before when we were fiddling around with orchestras, I thought: something’s wrong.”

“I’m not giving all that I can. Thanks to them for the inspiration. They got it from Jeff Beck, who got it from the Small Faces.”

John Bonham, the late drummer for Led Zeppelin, and Blackmore were close friends. Even a humorous tale about their time spent drinking together at Los Angeles’ Rainbow Bar & Grill exists. The guitarist angered Blackmore by claiming that Deep Purple’s guitar parts were simple. The guitarist then began to inform Bonham about the sources from which Zeppelin had previously “stolen” their tunes, and Bonham wasn’t amused.

Kashmir

Blackmore also admired “Kashmir,” another Led Zeppelin song from the 1975 album “Physical Graffiti.” The guitarist concurred in an interview with Kerrang! magazine from 1984 that Zeppelin contributed to the “sophistication” of rock & roll.

Ritchie said, “I think Van Halen are interesting. I don’t particularly like them as a band. But there is a lot of movement, a lot of colour to the material they produce. Led Zeppelin too, now they probably defined the term ‘sophisticated rock’. Things like ‘Kashmir’, the certain, the certain scales they would hit… that was incredible.”

Jimmy Page, the band’s guitarist, who also produced all of the group’s recordings, was one of the key contributors to the album’s audio quality. He was oddly born not too far from where Blackmore was raised. In 1962, they had their first encounter, and they later collaborated as session musicians.

In 2015’s “Ritchie Blackmore Story” documentary, he recounted such instances.

“It is strange how we all come from the same area. Like I said, with Jimmy Page, he was in the same village, it’s like a village. Really not even a town. Clapton was a few more warm miles out and course (Jeff) Beck was in another area, but course, the same age.”

“I knew that he was going to be somebody then. Not only he was a good guitar player, he had that star quality there. There was something about him, he was very poised and confident. He was confident but not arrogant. So I thought ‘he’s gonna go somewhere’ that guy, you know. He knows what he is doing.”

“He was way ahead most guitar players, he was really good, he knew he was good too. (Also), he wasn’t arrogant but he was very comfortable within himself. Then 64 or 65, I met up with him, we did a couple of sessions actually with him.”

No matter how often classic rock enthusiast listens to their favorite artists, there is always something new to discover. Even the most ardent Queen fans might not be aware of the scope of Freddie Mercury’s 1980s collaboration with Michael Jackson. Mercury was really intended to play a big part in the creation of Michael Jackson’s masterpiece Thriller, but for some reason, it didn’t make the final edit.

In one of his interviews, Mercury talked about his experience working with Jackson in the studio. After becoming a fan of the band, Jackson reportedly used to go to Queen concerts and had dinner with Freddie Mercury to discuss a potential partnership.

Mercury said, “I think one of the tracks would have been on the Thriller album if I finished it, but I missed out.”

Mercury continued to talk about how he “blew” the alleged duet between the two greatest vocalists of all time in a different interview. “I was initially gonna be on Thriller; can you imagine that? I blew it!”

He did, however, acknowledge writing the song for the album, which ended up being a tune with Mick Jagger singing in lieu of Mercury.

Mercury said, “I went over to his house and did three or four demos to see how they’d work out, State of Shock’ I couldn’t complete. So Mick Jagger did it. I actually did the vocals. Timing is everything. At the time when he wanted me to finish it, I just said, ‘I can’t, I really haven’t got time.’ I was working with Queen. I was in Munich. He was in Los Angeles. He said, ‘Is it OK if Mick does it?’ I said, ‘Fine.’”

The song “State of Shock” was initially going to be on the Thriller album with Mercury providing featured vocals, but Jackson instead chose to record it with the Jackson 5 and Jagger. The Jacksons’ fifteenth studio album, Victory, featured the song later on.

In 1968, the British rock group Led Zeppelin was created. Jimmy Page, Robert Plant, John Paul Jones, and John Bonham made up the quartet. They are frequently considered one of the most important rock bands in history.

They were well-known for their distinctive sound, which had blues and folk influences. Their music was a combination of several genres, which set them apart from other bands and made them special. Led Zeppelin released a number of well-liked albums, including “How The West Was Won” and “Coda,” which featured some of their best-known songs. People all across the globe adored their music, and they received several honors, including two Grammy Awards for “Stairway to Heaven” and “Whole Lotta Love”. Led Zeppelin is still regarded as one of the best rock bands of all time, and they fundamentally altered the course of rock music.

They were renowned for their epic lyrics, which frequently dealt with themes of mysticism, spirituality, and love and helped to make their music both ageless and relevant. The success of Led Zeppelin may be credited to the band’s extraordinary musicianship and synergy, with each member adding their talents and ingenuity to produce something genuinely unique. Their music was revolutionary and unforgettably memorable because of their ability to produce emotional confusion and the illusion of measure in disarray. Additionally, other bands and artists who have been influenced by their music and aesthetic over the years bear witness to their impact.

However, there is debate concerning Led Zeppelin’s legacy for a number of reasons. The band has been accused of stealing blues music, and others have taken issue with its affiliation with underage groupies. The excesses of the 1970s were mirrored in Led Zeppelin’s music and way of life, which has drawn criticism. In addition, the group’s alleged unpleasant sexual conduct at the Continental Hyatt House on the Sunset Strip of Los Angeles in the 1970s has been noted. The meaning of the song title “D’yer Mak’er” and the inspiration for the band’s fourth album cover, for example, have both been verified.

Because of their ground-breaking music and legendary stature as one of the best bands of all time, Led Zeppelin is still widely appreciated today. Led Zeppelin II, the group’s second album, is still appreciated for its audacious and varied sound and is regarded as one of their greatest works. Additionally, the band’s ageless music continues to draw in new followers, solidifying its status as a major musical force.