In the tumultuous chaos of Iggy Pop and The Stooges’ live album “Metallic K.O.,” there lies an extraordinary moment where the shattering of a beer bottle collides with the already fuzzed-out guitar as if a wild symphony of rebellion is unleashed upon the audience.

Conversely, in the realm of latter-day Led Zeppelin albums, where the essence of rock ‘n’ roll reaches its grandest orchestral heights, one might struggle to discern even the most ferocious hurricane ripping the studio roof asunder.

These divergent paths in music represent two distinct artistic approaches, neither inherently right nor wrong. Opinions may diverge passionately, with some finding Led Zeppelin’s allure as “joyously pompous” and others deeming it “horrifically pompous.”

Undoubtedly, Iggy Pop belonged to the latter camp, his soul attuned to a different frequency than that of Led Zeppelin.

They resided on opposite corners of the musical landscape, their creative philosophies as distant as two celestial bodies in the cosmos.

Lou Reed, a connoisseur of Pop’s raucous anthems and gritty melodies, may have glimpsed a reflection of Led Zeppelin’s music in his admiration for The Stooges’ seminal album “Raw Power.”

He lauded its candid resonance, a raw and honest display of youthful aspiration, a fierce attempt to dismantle the stilted, sterile molds of conventional rock.

In the undertones of his praise, one might discern a veiled critique of what contemporary culture now calls “Classic Rock,” with Led Zeppelin embodying the epitome of that era.

A spirited interview in 1995 found Iggy Pop unabashedly voicing his disapproval of Led Zeppelin and the prevailing music scene.

He derided the resurgence of 60s and 70s tunes, singling out Led Zeppelin as an enduring target of his disdain. To him, the band symbolized everything he could never abide.

He lamented the facade of “HIP” fashion and “political” postures donned by bands, manipulating social belonging through the sale of superficial products, leaving little room for genuine artistic expression.

The clash of artistic sensibilities comes as no surprise; Iggy Pop’s heart has always belonged to the raw and unadorned.

For him, bands like The Stooges embodied a visceral connection, like hurling an amp straight into the depths of the human spirit.

The cacophonic symphony and ethereal inspirations that adorned Led Zeppelin’s works failed to resonate with his soul, and thus, he found himself distant from their allure.

In a world of musical amalgamations, Iggy Pop often sought solace in the purity of simplicity. The complexity of Led Zeppelin’s music was a departure from his affinity for unfiltered expression.

Thus, like a wanderer in search of sonic truth, he veered away from the flamboyant allure of Led Zeppelin’s enchantment, seeking a direct, unapologetic connection with the essence of sound.

Morrissey and Henry Rollins, two iconic musicians, stand at opposite ends of the sonic spectrum.

Rollins, the fiery frontman of the pioneering hardcore punk band Black Flag, charged onto the stage with raw intensity, while Morrissey, the enigmatic leader of indie legends The Smiths, captivated audiences with his melancholic crooning and poetic lyrics.

Despite their distinct musical styles, they share a peculiar commonality – a propensity for stirring up controversy with their outspoken opinions.

In the aftermath of Robin Williams’ tragic suicide in 2014, Rollins sparked shock and debate when he candidly expressed in an LA Weekly column that he no longer felt sympathy for individuals who take their own lives.

He controversially suggested that such actions were deliberate choices to abandon life, rather than lives cut short. This unfiltered perspective fueled debates on mental health and suicide awareness, showcasing Rollins’ unapologetic nature.

In the world of controversy, Morrissey too has earned his place in the spotlight. Known for his candid and sometimes offensive remarks, he has found himself embroiled in a seemingly endless list of provocative statements.

From calling the Chinese people a “sub-species” to equating meat consumption with child abuse, his comments have often ignited public outrage and scrutiny.

Moreover, his openness about almost voting for UKIP and expressing admiration for Nigel Farage added to the polarizing persona he has cultivated over the years.

Both musicians have also taken shots at each other’s nationalities. Rollins, unafraid to unleash his sharp tongue, made biting remarks about Morrissey being British, implying a lack of work ethic.

In retaliation, Morrissey hasn’t shied away from critiquing Rollins.

Ironically, in a moment of apparent détente, Rollins once introduced Morrissey’s music video for “November Spawned A Monster” on an Australian music program.

While seemingly dissonant with his previous criticism, Rollins humorously fantasized about directing a morbid twist to the video’s ending – envisioning Morrissey engulfed in flames, with his hair and shirt burning, the sizzling sound captured by a microphone.

This dark humor added another layer of complexity to the dynamic between the two musicians.

In an interesting twist, Rollins also displayed his shrewd business sense, suggesting remixing Morrissey’s video with a lively house beat and marketing it to the very English youth he seemingly held in contempt. This playful idea underscored Rollins’ ability to find humor even amidst animosity.

Despite teasing the possibility of an apology, Rollins ultimately affirmed his indifference to the consequences of his words, implying that he would not back down from his convictions.

However, in a somewhat surprising turn, he tempered his hostility towards Morrissey, stating that he wouldn’t resort to physical harm but rather opt for humiliation.

In conclusion, Morrissey and Henry Rollins, though different in their musical expressions, share an undeniable propensity for controversy.

Rollins’ candid column on suicide and Morrissey’s provocative statements have left an indelible mark on their personas.

Their jabs at each other’s nationalities, coupled with humorous and imaginative musings, continue to intrigue and entertain fans and critics alike.

While their relationship remains marred by discord, their unique personalities, and unfiltered expressions ensure they remain captivating figures in the music world.

In the ongoing musical debate surrounding Guns N’ Roses’ classification as a heavy metal band, one cannot deny that they exuded the spirit of traditional rock and roll more prominently than any flamboyant genre.

However, delving into the heart of their lead guitarist, Slash, reveals a different tale – a tale of diverse influences that shaped his musical journey from an early age.

As a young Saul Hudson, Slash’s musical roots were anchored in the realm of traditional rock and roll, nurtured by his parents’ associations with renowned artists like James Taylor and Joni Mitchell.

Yet, it was during his teenage years, when he discovered the likes of Led Zeppelin and Aerosmith, that he realized the guitar’s calling in his life.

Through numerous gigs with different California bands, fate finally united him with kindred souls like Axl Rose and Duff McKagan.

The band’s lifestyle was immortalized in the raw energy of “Appetite for Destruction,” where each guitar break from Slash seemed like an emotional exorcism, releasing the demons trapped within.

While “Sweet Child O’ Mine” showcased his penchant for rock and roll riffs, the album also unveiled traces of a metallic edge in tracks like “My Michelle” and “It’s So Easy.”

However, when it came to discussing his love for metal, Slash invariably gravitated toward the haunting resonance of Black Sabbath.

In the revealing documentary “Metal Evolution,” Slash unreservedly hailed Black Sabbath as the epitome of heavy music, explaining, “Black Sabbath was the vanguard that defined heavy metal for me. Their weighty approach made you believe in their authenticity.”

Reflecting on Sabbath’s earlier records, with chilling anthems like the self-titled “Black Sabbath” and the legendary “Iron Man,” Slash perceived their later evolution as a descent into their most mesmerizing and demented creations.

Among them, he singled out “Sabbath Bloody Sabbath” from the album of the same name, considering it to be one of the most formidable guitar riffs he had ever encountered.

Conversing with Matt Pinfield, he passionately exclaimed, “The title track, that breakdown towards the end of the song. There’s nothing that surpasses its heaviness. I can’t think of any other band with a riff as weighty as ‘Sabbath Bloody Sabbath.'”

Interestingly, the genesis of Tony Iommi’s otherworldly guitar sound on the track had an eerie backdrop – it was recorded in a supposedly haunted estate.

Immersed in this haunting ambiance, Iommi tapped into a dark creative space that birthed “Sabbath Bloody Sabbath,” overcoming prior struggles to conjure hauntingly melodic brilliance.

Though Slash never sought to emulate Black Sabbath’s influence in molding Guns N’ Roses, the band’s unmistakable heaviness seeped into more than a few of their tracks.

While Slash undoubtedly found inspiration in guitar legends like Joe Perry and BB King, the groove of songs like “Paradise City” echoed a hint of Iommi’s masterful playbook, proving that the heritage of heavy music resonates across generations, etching its mark on the soul of every devoted musician.

Amidst Led Zeppelin’s extensive musical collection of hits and timeless classics, there exists a song that even the legendary Robert Plant himself deems “absurd.”

This particular piece is none other than “Immigrant Song”, serving as the opening track on Led Zeppelin III. What makes it fascinating is that Plant conceived the song while flying back from Iceland, as the band traversed the vastness of the North Sea.

The inspiration struck them as they imagined a Viking invasion, visualizing colossal ships and the distinctive rhythm of John Bonham’s drums. According to Robert Plant, the song seemed to manifest in an instant, a product of fleeting brilliance.

Fast forward to 2023, during an interview with Vulture, the iconic singer-songwriter expressed a tinge of regret, acknowledging that “Immigrant Song” might not be as accessible for young musicians.

Nonetheless, he praised its universal appeal, resonating with audiences of all ages. Plant emphasized that the genesis of the song lay in the band’s post-concert euphoria and the unforgettable escapades they had in Iceland.

He humorously recognized the absurdity of the song’s origins and its profound impact on him, evoking a sense of nostalgia for the medieval era.

One aspect that truly delighted Plant was how well-received “Immigrant Song” became among children.

The track found its way into popular films like “Shrek the Third” and “School of Rock,” leaving an indelible impression on young minds.

For Robert Plant, sharing the song with kids held immense significance, and he encouraged its unrestricted circulation without any hierarchical barriers.

While Robert Plant may view “Immigrant Song” as somewhat preposterous due to its spontaneous creation and Viking-inspired themes, he deeply appreciates its broad appeal and its ability to captivate the imaginations of young listeners, rendering it a cherished masterpiece within Led Zeppelin’s remarkable musical odyssey.

The world mourns the loss of the talented Irish singer Sinéad O’Connor, who has passed away at the age of 56. The news of her untimely demise was conveyed through a statement released by her family to The Irish Times and the BBC. They expressed their profound sadness and requested privacy during this difficult period. As of now, the cause of her death remains undisclosed.

Sinéad O’Connor gained immense fame and notoriety throughout her illustrious career. One of her most iconic moments was in 1990 when she achieved international acclaim with her rendition of the Prince song “Nothing Compares 2 U,” reaching the top spot on the Billboard Hot 100 that same year.

However, her life was not without personal struggles. Tragically, last year, in an unfortunate turn of events, she had to cope with the loss of her 17-year-old son, Shane O’Connor, who apparently died by suicide. She announced this heart-wrenching event in January 2022.

Over the years, Sinéad O’Connor showcased her musical prowess by releasing ten studio albums, with her debut “The Lion and the Cobra” hitting the alternative rock scene in 1987.

Beyond her musical talent, Sinéad O’Connor was recognized for her activism and willingness to tackle controversial issues, often making headlines for her outspoken nature.

As her fans and the music community at large grieve her passing, Sinéad O’Connor’s legacy as an influential and multi-faceted artist will forever be remembered. May she rest in peace.

She changed her religion in 2018 and changed her name to Shuhada.

“This is to announce that I am proud to have become a Muslim,” she wrote on Twitter on October 2018. “This is the natural conclusion of any intelligent theologian’s journey. All scripture study leads to Islam. Which makes all other scriptures redundant.”

Really sorry to hear of the passing of Sinéad O’Connor.

Her music was loved around the world and her talent was unmatched and beyond compare.

Condolences to her family, her friends and all who loved her music.

Ar dheis Dé go Raibh a hAnam. https://t.co/JVHxz7Kv2Z

— Leo Varadkar (@LeoVaradkar) July 26, 2023

Connor McGregor tweeted that the “world has lost an artist with the voice of an Angel.”

“Ireland has lost an iconic voice and one of our absolute finest, by a long shot,” McGregor said. “And I have lost a friend. Sinead’s music will live on and continue to inspire! Rest In Peace, Sinead you are home with your son I am sure.”

Ice T tweeted, “Respect to Sinead….. She stood for something… Unlike most people…. Rest Easy,”

WWE Star Sam Zayn tweeted, “a chill ran through my body reading that Sinéad O’Connor has passed away.”

“She dealt with a lot. I don’t know why but I always felt a strong connection to her. Very, very sad. RIP Shuhada,”.

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Celebrating the Legacy of Sinéad O’Connor: A Trailblazing Artist Remembered

The world of music is reeling from the loss of the legendary Sinéad O’Connor, but her powerful legacy continues to resonate and inspire. Throughout her impactful career, she left an indelible mark on the music industry and society as a whole.

Sinéad O’Connor’s breakthrough moment came with her soul-stirring rendition of Prince’s “Nothing Compares 2 U.” The song’s emotional intensity, coupled with her hauntingly beautiful voice and iconic shaved head, etched her into the collective memory of music enthusiasts worldwide. It remains one of the greatest ballads of all time and solidified her status as an incomparable vocal talent.

Beyond her commercial success, O’Connor was admired for her fearlessness in addressing contentious issues. She used her platform to advocate for various causes, including human rights, women’s rights, and religious abuse. Her activism often sparked controversy, but she never shied away from speaking her mind and standing up for what she believed in.

In 1992, during a performance on “Saturday Night Live,” O’Connor’s bold act of tearing up a photograph of Pope John Paul II in protest against sexual abuse within the Catholic Church caused shockwaves worldwide. The incident brought her both praise and criticism, but it also drew attention to the systemic issues she sought to highlight.

Throughout her discography, O’Connor explored themes of love, loss, spirituality, and personal struggles. Her music resonated deeply with listeners, touching their hearts and souls. Her ability to convey raw emotion through her songs made her an artist like no other.

Despite facing personal challenges and media scrutiny, O’Connor remained dedicated to her craft, churning out albums that pushed artistic boundaries and expanded her musical repertoire. From soulful ballads to experimental rock tracks, she fearlessly ventured into different genres, proving her versatility as an artist.

Her influence extended far beyond her music. Sinéad O’Connor’s authenticity and fearlessness encouraged countless artists to embrace their individuality and use their art as a platform for social change. She inspired a new generation of musicians to voice their convictions through their work, just as she had done throughout her career.

Today, as the music community mourns her passing, Sinéad O’Connor’s music continues to captivate audiences and will undoubtedly stand the test of time. Her contributions to the world of music and her unwavering dedication to standing up for what she believed in make her an enduring symbol of strength and resilience.

In her memory, let us cherish the gifts she shared through her artistry and remember the indomitable spirit of a trailblazing artist who left an extraordinary legacy for generations to come. May her soul rest in eternal peace.

The unexpected death of the talented musician Taylor Hawkins, at the age of 50, has deeply touched everyone who knew him, directly or indirectly.

Tribute concerts are being planned to honor him, and in this context, there’s a lesser-known song from the Foo Fighters collection that Taylor Hawkins didn’t particularly like.

It might be worth considering leaving it out of the memorials.

The song is called “The One,” it holds a special place in the early Foo Fighters catalog. However, its origin is quite interesting.

Colin Hanks, the son of actor Tom Hanks, asked Dave Grohl and the band to write a song for his movie ‘Orange County’ in 2002.

“The One” turned out to be a pop song, a style that Taylor Hawkins wasn’t fully satisfied with. In an interview, he expressed his dislike for it, calling it a “total cop-out” in terms of production and sound.

At that time, the Foo Fighters were focused on finishing their fourth album, ‘One By One,’ which had a raw and messy feel that Taylor Hawkins appreciated. However, due to Colin Hanks’ request, they created a straightforward pop track, deviating from their usual musical identity.

‘Orange County,’ starring Jack Black, eventually became a cult classic, depicting life before the Internet era.

Despite Taylor Hawkins’ personal feelings about the song, the music video for “The One” is well-made. It features Dave Grohl performing a scene from ‘Orange County.’ It showcases Nate Mendel trying out mime, Chris Shiflett attempting ballet, and Hawkins himself playing the violin in the classic Foo Fighters style.

As we pay tribute to Taylor Hawkins and celebrate his incredible musical legacy, let’s be mindful of his artistic preferences and emotions, making thoughtful choices during the upcoming concerts.

Ted Nugent, the legendary rock musician, has just announced a surprising and heartfelt decision on his popular online show, The Nightly Nuge.

After an incredible career spanning over five decades, Nugent has decided to step away from touring.

This announcement comes as a bittersweet moment for his devoted fans, who will now get to witness his final tour, named the ‘Adios Mofo ’23 Tour,’ a fitting farewell to an era of unforgettable performances.

Ted Nugent’s journey in the music industry began in the revolutionary 1970s when he wowed audiences as the lead guitarist of the Amboy Dukes before embarking on a successful solo career.

With over 30 albums under his belt, including multi-platinum and gold records, Nugent’s impact on rock history is undeniable.

Known for his high-energy live shows, Ted Nugent’s guitar skills and thought-provoking lyrics have made him a controversial yet influential figure in the world of rock.

He has garnered immense respect from fellow musicians and the unwavering adoration of fans worldwide.

In a touching moment on The Nightly Nuge, Nugent expressed his gratitude to his fans, saying, “This is adios mofo. This is my last tour.

Now while I always play music, I have got new records I’m going to make. I can’t wait to unleash some of these new songs.

I got an instrumental called ‘Butterfingers’ that is just greasy; you can’t eat barbecue ever again adequately without the song ‘Butterfingers’ playing loud next to your brisket. The point being is thank you, everybody, for an incredible musical dream.”

Though the touring days are coming to a close, Ted Nugent’s love for music remains as strong as ever. He is excited to create new material and share it with the world.

Nugent humorously mentioned how hotel rooms felt like jail to him, preferring the company of his beloved dogs, Happy, Sadie, and Coco, and cherishing moments with his grandkids and children.

While the live concert experience will be missed, Ted Nugent’s musical legacy will resonate for generations.

Fans can eagerly await his new records and continue to be inspired by his indomitable spirit and creativity. The rock world will forever be indebted to the one and only Ted Nugent, a true icon whose music will live on forever.

In the vibrant era of the 1960s, amidst the electrifying evolution of Rock and Roll, a young and gifted musician named Geddy Lee emerged onto the musical scene.

Born in 1953, he found himself enamored with the mesmerizing allure of the bass guitar during his teenage years.

As the decade unfolded, so did his passion for this soulful instrument, and he became intensely captivated by the bassists who adorned the bands of that golden age.

Fast forward through more than five illustrious decades of a truly remarkable career, and Geddy Lee now stands tall as one of the most revered and cherished bass players of all time.

His virtuosity has inspired countless artists across generations, leaving an indelible mark on the world of music. Even today, he continues to ignite the creative fire in the hearts of aspiring musicians and budding bands.

The bassist that Rush’s Geddy Lee said is underrated

Amidst his trailblazing journey, Geddy Lee has never been shy to share his admiration for his peers in the industry.

In an exclusive interview with Music Radar in 2022, he revealed a hidden gem from the past—an underrated bassist who left a profound impact on him. It was none other than Jack Casady, the masterful bassist from Jefferson Airplane, who commanded Geddy’s utmost respect.

With fervor in his voice, Geddy described how Jack’s bass artistry was a revelation. His unorthodox choice of basses, like the modified Guild and his penchant for the mod scene set him apart.

Listening to the live album “Bless Its Pointed Little Head,” Geddy was captivated by Jack’s twangy and aggressive playing, a delightful contrast to the psychedelic vibes of Jefferson Airplane.

For Geddy Lee, Jack Casady’s heavy tone was the driving force that made the early versions of the band stand out.

Among Jack Casady’s masterpieces, Geddy Lee held a particular fondness for the song “The Other Side Of This Life.”

It was a piece that resonated deeply within him, and he couldn’t help but incorporate elements of Jack’s style into Rush’s music during their formative years.

The influence of Jefferson Airplane, and Jack Casady in particular, can still be heard in the fabric of Rush’s iconic sound.

As he reminisced about the bands he adored during his formative years, Geddy Lee expressed a heartfelt desire to have been part of Jefferson Airplane’s musical journey.

He mentioned other musical legends like Jack Bruce and John Paul Jones, whose shoes he dreamed of filling in Cream and Led Zeppelin, respectively.

To Geddy, these luminaries were heroes, and the prospect of playing alongside them was an enticing fantasy.

One of the tracks that left an indelible imprint on Geddy Lee’s musical soul was “3/5 of a Mile in 10 Seconds” from Jefferson Airplane’s classic album “Surrealistic Pillow.”

The album was a brilliant display of the band’s willingness to take risks and experiment, forging a path that inspired Geddy Lee and Rush in shaping their unique sound.

Geddy Lee’s unyielding admiration for Jack Casady and Jefferson Airplane’s pioneering spirit remains unwavering, and their timeless contributions continue to resonate through the corridors of music history.

In the momentous year of 1969, the iconic Beatles found themselves at a crossroads, grappling with profound challenges that threatened to pull them apart.

As they embarked on the recording sessions for their album “Let It Be” in January, the simmering tensions within the band began to surface, casting a shadow over their once harmonious dynamics.

Amidst this turmoil, one member, George Harrison, reached a fateful decision – he chose to step away from the group, contemplating a permanent departure.

The heart of George’s discontent lay in the strained relationship with his fellow bandmate, Paul McCartney, and this emotional struggle was not only visible to those within their close circle but also captured for posterity in the candid “Let It Be” documentary.

Yet, the turbulent tale of the Beatles didn’t end there. Whispers circulated of a heated confrontation between George and John Lennon during the intense recording sessions, and Ringo Starr, too, had already taken a hiatus the previous summer, fatigued by the mounting internal conflicts.

Amidst the backdrop of mounting uncertainties, John Lennon and Yoko Ono’s decision to exchange vows in March 1969 further fueled doubts about the band’s endurance.

However, the Beatles remained determined to create and share their musical genius with the world, unfazed by the challenges ahead.

“I’ve Got a Feeling” emerged as one of the last remarkable fruits of collaboration between the legendary Lennon and Paul McCartney.

Interestingly, it was following John’s wedding that the two came together, resolving to record the song without the involvement of their other bandmates.

In a secluded sanctuary of creativity, they breathed life into the composition, and their synergy resonated powerfully, propelling the track to become the final Beatles No. 1 hit in England.

Their musical brilliance was an enduring testament to the unyielding spirit of the Beatles, even in the face of adversity.

In the midst of the pause between the Let It Be and Abbey Road sessions, John found inspiration in the personal narrative of his recent nuptials, leading him to pen “The Ballad of John and Yoko.”

With only Paul available for the recording, the duo embarked on a musical journey, with John lending his mesmerizing guitar and vocals, while Paul masterfully wielded his bass, piano, and drumming skills, stepping in for George and Ringo.

The magic of the Lennon-McCartney alchemy was palpable, as “The Ballad of John and Yoko” emerged as yet another timeless masterpiece etched into the Beatles’ legacy.

Assisted by the expertise of George Martin and Geoff Emerick, the song was transformed from an idea to a fully-fledged recording, all in the span of a single captivating afternoon.

Though facing criticism and censorship due to its provocative lyrics, the song’s allure proved unstoppable.

Embraced by devoted fans and radio stations alike, it soared to become the Beatles’ final No. 1 single in England, marking a triumphant crescendo to an extraordinary musical journey that captured the hearts of millions.

In the annals of musical history, the tale of the Beatles remains a symphony of brilliance and resilience, echoing through time as a testament to the boundless power of artistic expression and the indomitable spirit of four visionary souls who forever changed the world with their harmonious revolution.

Canadian singer-songwriter Neil Young is certainly one of the most highly regarded musicians of this generation.

One album which marked his solo career was ‘After the Gold Rush’ which was released in 1970. This led to him being one of the most prolific and vital artists of the rock-folk generation.

Neil is a talented and influential musician and has contributed a lot to the field of music. His unique voice and guitar style have helped to shape the sound of many popular bands and artists.

And he has inspired countless musicians over the years with his innovative approach to songwriting and performance.

His writing material for ‘Harvest’ in the early 1970s reveals his love for peaceful countryside life which is hard to come across.

He revealed, “About that time when I wrote [‘Heart of Gold’], and I was touring, I had also—just, you know, being a rich hippie for the first time—I had purchased a ranch, and I still live there today. And there was a couple living on it that were the caretakers, an old gentleman named Louis Avila and his wife Clara. And there was this old blue Jeep there, and Louis took me for a ride in this blue Jeep”.

Neil added, “He gets me up there on the top side of the place, and there’s this lake up there that fed all the pastures, and he says, ‘Well, tell me, how does a young man like yourself have enough money to buy a place like this?’ And I said, ‘Well, just lucky, Louis, just real lucky.’ And he said, ‘Well, that’s the darnedest thing I ever heard.’ And I wrote this song for him.”

His songs revolve around concepts of country, rock, blues, and even grunge sound. His sound of ‘The Rust Never Sleeps’ earned him the title of ‘The Godfather of Grunge’.

Neil also had his own ups and down in his career and that’s when Neil’s ‘Time Fades Away’ was released in 1973. A live album recorded with The Stray Gators on the supporting tour for 1972’s Harvest.

It is certainly something that Neil didn’t like. After his 1972’s Harvest, fans were waiting for more songs that matched the previous vibe but it was just laid back.

Fans were not expecting to hear everything that played on the album when they purchased it. Neil undeniably had things to say about it too. In a British Radio Interview in 1978 with Dave Ferrin, Neil commented,

“My least favorite record is Time Fades Away. I think it’s the worst record I ever made – but as a documentary of what was happening to me, it was a great record. I was onstage and I was playing all these songs that nobody had heard before, recording them, and I didn’t have the right band. It was just an uncomfortable tour. It was supposed to be this big deal – I just had Harvest out, and they booked me into ninety cities. I felt like a product, and I had this band of all-star musicians that couldn’t even look at each other. It was a total joke.” 

Even during an interview from Q magazine in 1999, when asked what’s the worst record you ever made? He responded with.

“Probably ‘Time Fades Away‘ but only because it makes me so nervous. The whole tour was a nervous experience. It wasn’t really a lot of fun. I kind of got into documenting that vibe. It’s not something I want to listen to a lot and when I listen to it I’m not that impressed.”