Def Leppard is in the midst of their global tour and has launched an engaging vlog series on YouTube called ‘Behind The World Tour.’

In this series, they share insights into the concert planning, how the shows went, and their cherished memories. In the episode featuring ‘Syracuse & Columbus,’ lead singer Joe Elliott recalled a significant moment from their past:

“Exactly forty-four years ago, we signed our record deal. The day before that? We were at Knebworth, watching Led Zeppelin perform. And funnily enough, the deal was inked in Rick Allen’s parents’ kitchen since Rick, at fifteen, was too young to sign on his own.”

Rick Allen, in the same video, echoed Joe’s sentiments, emphasizing his family’s unwavering support:

“It’s true. Our first record deal was signed right there in my parents’ kitchen, 44 years ago. What many might not realize is the immense support we received from our families, especially during those early days. The enthusiasm and support from our parents made all the difference. That initial record deal was a dream come true for us, something many only dream of. So, a big shoutout to our parents and our loyal fans. Thank you for being with us on this journey.”

Rick has often spoken about his parents’ influence on his musical journey. In a 2020 chat, he revealed how his parents advised him to leave school and commit to Def Leppard once the band got their first record deal. In another interview, he recounted the story of his first drum kit:

“When I asked my parents for a drum set, they initially said they couldn’t afford it. But a week later, they made a deal: I’d do chores, and in return, they’d get me a drum kit on layaway, with the condition that I’d take drumming lessons. Sitting behind that drum kit felt right, and I took to it instantly. Their mantra to me was simple: ‘Believe in yourself.’ Their unwavering belief in me made all the difference.”

As of now, Def Leppard has wrapped up the third leg of their tour. They’re gearing up for their Japan and Australia concerts, which run from November 3 to November 14.

After Led Zeppelin called it quits in 1980, John Paul Jones charted his own course. In contrast, Robert Plant and Jimmy Page often seemed to dwell on the past.

Jones collaborated with a myriad of artists, from Brian Eno to Marc Bolan. His work showcased his versatility, dabbling in jazz, blues, and rock, be it in partnerships or solo projects.

In a 2010 interview with Guitar Magazine about his penchant for musical exploration, the interviewer probed if he felt Plant and Page had also branched out musically as he had. Jones responded candidly:

“They haven’t ventured as I have. I’m me; they’re them. I’m not even sure what Page is up to with the Black Crowes; perhaps he’s deep into blues.”

On the topic of Plant and Page’s 1998 album, ‘Walking into Clarksdale’, Jones expressed his thoughts:

“I listened to ‘Walking into Clarksdale’ and wished there was more of Page’s signature touch. I always enjoy his riffs. But they’re on their own path. I’m not fazed.”

While Jones might have wanted more of Page’s input on the album, it was still a hit, bagging a Grammy for ‘Best Hard Rock Performance’ for ‘Most High’.

Additionally, Plant revisited a track from the same album with Alison Krauss in 2007, which made waves on their award-winning album ‘Raising Sand.’

In a recent chat with Guitar Player, bassist Tommy Shannon shared an interesting tidbit about how Stevie Ray Vaughan almost declined an offer from David Bowie.

Bowie had been impressed by Vaughan’s performance at the 1982 Montreux Festival. While working on his 1983 album, ‘Let’s Dance’, Bowie decided he wanted Vaughan’s distinctive guitar skills for the project.

One late night, at 3:30 AM, Bowie called. It was Shannon who answered, and he recounted having to rouse Vaughan to speak to the iconic British singer. Post-call, Vaughan mentioned Bowie’s invitation to contribute to his upcoming album.

But here’s the twist: Vaughan wasn’t particularly drawn to Bowie’s music. Shannon mentioned, “The ‘Texas Flood’ tracks give a glimpse into what Stevie truly admired. He acknowledged Bowie’s talent and success, but wasn’t his regular listener.”

Yet, Vaughan’s management team saw potential in the collaboration. They urged him to consider Bowie’s offer, despite potential scheduling issues with ‘Texas Flood’, a project Vaughan and his band were working on, even before any deal was inked.

In the end, Vaughan did add his touch to the title track of ‘Let’s Dance’. After that, he refocused on his own band, Double Trouble, which included Shannon and drummer Chris Layton. Together, they released ‘Texas Flood’, a hit that solidified Vaughan’s standing in a rejuvenated blues landscape.

Lita Ford, the renowned guitarist from The Runaways, recently opened up about her contributions to Ozzy Osbourne’s chart-topping hit, “Close My Eyes Forever.” In a chat with Kenny Aronoff, she reminisced about creating a track with one of her idols.

When asked whether the collaboration was a standout moment in her musical journey, Lita fondly remembered, “Absolutely! Ozzy and I were quite the pair, always getting into some mischief. I recall this one time when we were in the studio with George Tedco and Mike Chapman… was it their first record? Hold on…”

After being reminded that the first record was made in Lankershim, North Hollywood, she instantly recognized that she was thinking of the correct session.

She elaborated, “That’s right! That was the time we penned ‘Close My Eyes Forever.’ I remember Sharon dropping Ozzy off at the studio and then taking off. We were like, ‘Don’t just leave him here with us!’”

The conversation shifted to the success of the song, and when asked if this was also her most significant achievement, Ford replied, “Indeed. I grew up being a huge fan of Black Sabbath. Despite their immense talent and fan base, they never managed a top-ten single, mostly because of their darker themes. So, ‘Close My Eyes Forever’ being Ozzy’s first top ten was special.”

Lita further mentioned that the initial intent for the song was for it to be more laid back. However, as they progressed, it morphed into a more upbeat number, adding a punch of energy.

What’s heartwarming is that Osbourne didn’t claim any rights to the song and generously let Lita have it.

Noel Gallagher recently had a candid chat with Gibson TV, diving deep into the origins of Oasis and his transition to High Flying Birds.

He reminisced about a particularly nerve-wracking moment during his stint as a roadie for Inspiral Carpets:

“There I was, perched on a flight case atop an amp, jamming with Oasis. We had a performance scheduled for Tuesday, and a realization hit me out of the blue: I had never played the guitar while standing. Worse yet, I didn’t even have a strap. All this on a Sunday night, with empty pockets. Believe it or not, that following Monday was, without a doubt, the most nerve-wracking day of my life.”

Noel chuckled as he recounted the urgency and awkwardness of borrowing a guitar strap:

“I had to ask around to borrow one. ‘Mind if I borrow a strap?’ I’d ask. ‘For the Inspirals? You better return it.’ It’s just a strap after all. When I finally got one, I spent a significant time at home, guitar slung across my shoulder, trying to figure out the right fit while glancing at my reflection.”

Since 2009, Noel has been at the helm of High Flying Birds. Their newest album, ‘Council Skies’, dropped on June 2, and they’re in the midst of a tour.

Tom Petty’s fascination with Elvis Presley began at the tender age of ten, triggered by a fortunate turn of events.

Thanks to his uncle’s job on the set of the 1962 movie, Follow That Dream in Florida, young Petty had the chance to witness the iconic arrival of The King.

Petty reminisced with Rolling Stone in 2011, “Elvis pulled up surrounded by a convoy of shimmering white Cadillacs. Fans were ecstatic, shouting and passing records through a chain-link fence, hoping for an autograph.

The radiance from his jet-black hair seemed to catch and reflect the sun’s rays. Even the slightest acknowledgment from him sent shivers down one’s spine. That sight, it got me hooked. I felt an electric charge for weeks after and began collecting every Elvis track I could find. His songs became the backdrop to my formative years.”

By that time, Elvis had already been producing hits for nearly a decade. His musical journey had its genesis at the famous Sun Studios in Memphis back in 1953.

This initiated a cascade of timeless songs. But for Petty, it was the haunting sounds of ‘Heartbreak Hotel’ from 1956 that sealed his lifelong membership in the Elvis fan club.

In Petty’s words, “That song had the weight of an anthem. Its beat, the gentle entrance of the piano, was sensually rhythmic. The minimalism – the bass, the subtle piano, and D.J. Fontana’s deep groove – created a mystique around it.”

Petty had a penchant for Presley’s innovative tunes. Whether it was the unique cadence of ‘Heartbreak Hotel’ or the casual brilliance of ‘That’s All Right’, Petty could instantly detect Elvis’ avant-garde touch. The latter especially resonated with Petty, casting light on Elvis’s genius.

Elaborating on it, Petty mentioned, “During a laid-back moment at a Sun studio session, Elvis and his crew started jamming to this tune. Sam Phillips, instantly recognizing its potential, caught it. Originally by Arthur Crudup, it astounded me that Elvis was even familiar with such an offbeat track. He transformed it, adding his distinct flair. There was this intriguing hiccup in his delivery – it’s hard to pinpoint its origin. But that’s the charm of the Sun recordings – raw, authentic, and brimming with a sense of novelty.”

In the early 1960s, The Beatles quickly rose to become not just a popular band but cultural icons. Their rise was so meteoric that it gave birth to ‘Beatlemania’, a wave of fandom comparable to religious zealotry. As influential as they were, they weren’t without competition. The Rolling Stones, though initially in the shadows of The Beatles, carved out their own monumental space in pop culture.

The Beatles, in the spirit of camaraderie, lent a hand to The Stones in their nascent stages, with the latter recording a song penned by Lennon-McCartney, “I Wanna Be Your Man.” But it wasn’t long before The Rolling Stones began making waves. The powerhouse team of Mick Jagger and Keith Richards emerged as a formidable songwriting pair.

By 1965, The Rolling Stones had made their mark globally, with their hit single “(I Can’t Get No) Satisfaction” topping charts in the UK and US. But even with their growing success, The Beatles were an unstoppable force throughout the 60s, setting the gold standard in music.

There was an underlying tension between the two groups. The Stones, despite their massive popularity, were often seen as the runners-up to The Beatles. Jagger, reflecting on their early years during The Beatles’ Rock and Roll Hall of Fame induction, said they had “a lot of rivalry” but remained amicable.

The respect The Stones had for The Beatles was undeniable. Particularly, Jagger and Richards were quite taken by The Beatles’ music. In a documentary, Jagger recalled the time when The Beatles released “Love Me Do,” noting how it inspired them to pivot from their blues roots to more pop-oriented sounds. Richards, on the other hand, would constantly play Beatles songs, much to Jagger’s chagrin. Richards’ fascination wasn’t just fandom; he wanted to capture the pop essence that The Beatles had mastered.

During an induction speech, Jagger recollected their early days, emphasizing how “Love Me Do” shifted their perspective. They felt unique with their Chuck Berry covers and blues numbers until The Beatles, a group from Liverpool with a similar vibe, got a record contract and started climbing the charts. The success of “Love Me Do” was a wake-up call for them.

While Jagger holds “Love Me Do” close, Richards has a soft spot for “Please Please Me,” another Beatles classic. He once shared his admiration for the track with McCartney, particularly loving its chimes.

In essence, while The Beatles and The Rolling Stones had their differences and rivalries, the mutual respect and influence they had on each other shaped the course of music history.

Recently, Billboard unveiled their picks for the top 50 rock vocalists from the past seven decades. The selection predominantly features English-speaking talents, with many hailing from iconic rock bands.

In the top ranks, Mick Jagger emerges as the quintessential rock vocalist. Joining him are legends like Ozzy Osbourne, Lou Reed, Robert Plant, Axl Rose, and Freddie Mercury. Additionally, indie giants like David Byrne, Courtney Love, Paul Westerberg, and Thom Yorke have earned their spots.

Women too have made their mark. Debbie Harry from Blondie and Stevie Nicks from Fleetwood Mac have entered the top 10. Yet, the list also celebrates artists like Kathleen Hanna (Bikini Kill), Chrissie Hynde (The Pretenders), Hayley Williams (Paramore), and Karen O (Yeah Yeah Yeahs).

10. Axl Rose

9. Bono

8. George Clinton

7. Debbie Harry

6. David Byrne

5. Kurt Cobain

4. Robert Plant

3. Freddie Mercury

2. Stevie Nicks

1. Mick Jagger

After their debut album in 1974, many likened the Canadian band Rush to Led Zeppelin. However, their second album, “Fly By Night,” marked a distinct shift in their musical style, especially with the introduction of their new drummer, Neil Peart.

Along with Geddy Lee and Alex Lifeson, Peart harbored a deep love for Progressive Rock. As a result, Rush’s music evolved, blending Hard Rock with Prog, which became their signature sound until Peart’s passing in 2020 at 67.

Geddy Lee, the band’s frontman, was arguably the most vocal about his passion for Progressive Rock. He often spoke about the genre’s greats, even identifying his top pick for the best Prog Rock bass player.

According to Geddy Lee, the Best Prog Rock Bassist Ever Is…

While the heart of Progressive Rock might have been in England, these bands always had an eye on the vast North American market. British bands touring the U.S.A. almost always added Canadian stops, and this gave a young Geddy Lee numerous opportunities to see some of his idols live.

These concerts played a pivotal role in Lee’s aspiration to pursue music. As his career progressed, Lee got to meet many of these musical heroes.

Among them was the renowned Yes bassist, Chris Squire. Lee held Squire in such high esteem that, in a 2019 interview promoting his book, he proclaimed Squire as the ultimate Progressive Rock bassist. He told UDiscover Music, “When talking about the greatest Prog Rock bassist ever, hands down, it’s Chris Squire.”

Geddy went on to emphasize the difficulty of comparing bassists across different musical styles, citing the likes of Flea and Chris Squire as masters in their respective genres.

Asked about bands he’d dreamt of joining, Lee humorously admitted that while he fantasized about stepping into roles in legendary bands like Cream or Led Zeppelin, he never believed he could truly fill their shoes. “Did I think I could play with Yes? Absolutely not, but I’d have loved to try,” he chuckled.

The Impact of Chris Squire’s Bass on Geddy Lee

Interestingly, Geddy first encountered Yes’s music through a friend. The duo often played truant, opting instead to listen to albums. One day, this friend introduced him to Yes’s “Time and a Word” from 1970. Reflecting on this experience in a Rolling Stone interview, Lee mentioned being particularly struck by Squire’s bass.

The passion didn’t stop there. Lee once waited all night in line with friends just to get Yes concert tickets, an effort that saw them drive across cities to catch multiple live performances.

Years later, in a poetic twist, Lee had the honor of inducting Yes into the Rock and Roll Hall of Fame. The 2017 ceremony was especially memorable as Lee stood in for Squire, who had passed away two years prior, playing classics like “Roundabout” and “Owner Of a Lonely Heart”.

Genesis’s current drummer, Nic Collins, recently took to Instagram to share his anxieties about performing the iconic band’s tracks.

Joining Genesis in 2022, Nic stepped in for his father, Phil Collins, who had been dealing with long-lasting hand issues stemming from a 2009 upper neck surgery. Though Phil hoped for a complete recovery, his ability to grip a drumstick never fully returned.

Reflecting on past performances, Nic shared some archived drum footage from the Genesis ‘The Last Domino?’ Tour, saying:

“I stumbled upon some old drum camera clips from our recent tour and decided to mesh them with some live audio for a quick montage.”

While proud of his achievements, Nic revealed he often questions his performances, saying:

“Revisiting past shows evokes mixed emotions. I’m proud of my accomplishments, yet there’s always that nagging thought – ‘Could I have done something differently?’ Particularly, my rendition of ‘Cinema Show’ took inspiration mainly from its mid-’80s versions.”

Shifting to his sense of duty, he added:

“My main goal was to uphold the song’s legacy, ensuring the band felt at ease and familiar with the rendition. On reflection, there are aspects of the ‘Seconds Out’ version I’d have loved to infuse more.”

Expressing gratitude, he remarked:

“Nonetheless, I’m thrilled with our performances. Cherishing the moments shared with my father and his longtime bandmates has been invaluable. Kudos to my percussion mate, DTale – rocking out with you has been phenomenal.”

In earlier chats, Nic had echoed Phil’s heartache at having to retire from drumming. He emphasized how Phil, despite missing his active role, cherished watching his son share the stage with his bandmates of many decades.