Tim Coffman

Far Out Magazine ·Aug 2026

The “Most Beautiful” 1959 Intro Bob Dylan Always Loved

Bob Dylan admired the opening of the 1959 song “Mr. Blue,” describing its line about a guardian star losing its glow as one of the most beautiful intros. The piece connects this appreciation to Dylan’s longstanding interest in folk, pop standards, and musical experimentation, including his decision to record such material on the album Triplicate despite criticism from rock and folk purists.

Far Out ·Aug 2026

The 1970s Supergroup David Bowie Was Asked to Join

David Bowie recalled that John Lennon and Paul McCartney once asked him to join them in a new trio during the 1970s, potentially creating a supergroup tentatively called DBB or David Bowie and the Beatles. Although the collaboration would have been commercially and historically significant, Bowie decided against joining because he did not want to work in the shadow of Lennon and McCartney or compromise his own experimental artistic direction.

Far Out Magazine ·Aug 2026

The Singer Don Henley Listened to 50,000 Times: “I Should Know the Songs”

Don Henley recalled that he had listened to Linda Ronstadt’s album roughly 50,000 times before auditioning to become her drummer and backup singer. His work with Ronstadt brought him into close musical partnership with Glenn Frey, and their chemistry ultimately helped lead to the formation and success of the Eagles. The experience also strengthened Henley’s musical instincts and built on the influence of the California rock scene and artists including Joni Mitchell and Crosby, Stills, and Nash.

Far Out Magazine ·Aug 2026

The 1981 Song Jeff Lynne Wrote as a Goodbye to John Lennon

Jeff Lynne wrote “21st Century Man” as an indirect tribute to John Lennon after Lennon’s assassination in 1980. The song imagines Lennon as a time traveller observing the present and returning to 1981 with knowledge unavailable to others. Its orchestral pop production reflects Lynne’s ELO style while honoring Lennon’s influence and Lynne’s longstanding connections to The Beatles, particularly through his friendship and collaborations with George Harrison.

Far Out Magazine ·Aug 2026

The “frivolous” 1965 song that made Paul Simon hate protest music

Paul Simon viewed Barry McGuire’s 1965 hit “Eve of Destruction” as an example of how weak imitations of Bob Dylan’s political songwriting had made protest music seem frivolous. Although Simon respected Dylan and Phil Ochs as gifted political songwriters, he preferred to avoid overt protest music and remain within his own artistic world. The piece also contrasts Simon’s more generalized social criticism, including “The Sound of Silence,” with McGuire’s angrier and less nuanced delivery.

Far Out Magazine ·Aug 2026

The “Exciting” 1965 Bass Line Paul McCartney Will Always Remember

Paul McCartney initially became The Beatles’ bassist after Stu Sutcliffe’s departure, but the role helped establish one of his greatest musical strengths. The article focuses on his inventive 1965 bass line for “Michelle,” which McCartney recalled as a transformative and exciting Bizet-inspired contribution. His increasingly melodic and active bass playing, influenced in part by James Jamerson, also elevated songs including “You Won’t See Me,” “Taxman,” “Hey Bulldog” and George Harrison’s “Something.”

Far Out Magazine ·Aug 2026

The 1960s band that influenced Bono “more than any other”

Bono has identified The Who as the band that influenced him and U2 more than any other. He admired Pete Townshend’s willingness to push rock beyond party songs into ambitious, socially meaningful and sometimes operatic territory. The Who’s example also helped shape Joe Strummer and The Clash, connecting punk’s confrontational spirit to the protest-song tradition. Bono described Townshend’s combination of faith and doubt as a source of courage, while praising his continued commitment to artistic integrity and audiences.

Far Out ·Aug 2026

The hurtful 1995 song Dave Grohl didn’t want to play

Dave Grohl stopped Foo Fighters from regularly performing “Big Me” after fans began throwing Mentos at the band following the song’s candy-themed music video. Although he valued the song and later allowed occasional performances, the hard candies made playing it dangerous and unpleasant. The incident also reflected the band’s rapid rise in popularity after Grohl’s departure from Nirvana.

Far Out Magazine ·Aug 2026

The “embarrassing” 1963 song John Lennon hated singing: “It makes me curl up”

John Lennon reportedly felt embarrassed singing “Twist and Shout,” particularly when sharing a bill with Black artists whom he believed could perform it better. Although audiences appreciated the Beatles’ version, Lennon felt his studio performance was weakened by a sore throat and believed the song exposed limitations in his vocal delivery. The article frames the cover as part of the Beatles’ early development, helping Lennon absorb rock and roll influences before finding a more individual style in later work such as “Yer Blues.”

Far Out Magazine ·Aug 2026

The “miserable” musician Sammy Hagar didn’t want to talk to for years

Sammy Hagar recalls that his relationship with Eddie Van Halen deteriorated after Van Halen’s Balance period and a troubled reunion tour. Hagar says Eddie became hostile toward him and others, describing him as a miserable person, while acknowledging that substance use may have contributed to his behavior. Although Hagar remained open to speaking with Eddie late in his life, they never reunited musically, leaving fans to imagine what they might have achieved together again.

Far Out Magazine ·Aug 2026

The 1973 Album Linda Ronstadt Completely “Forgot How to Sing”

Linda Ronstadt struggled during the recording of her 1973 album Don't Cry Now, feeling that her vocal abilities had deserted her and describing the sessions as deeply discouraging amid personal turmoil. Despite these difficulties, she persevered and produced a highly praised rendition of the Eagles’ “Desperado,” while later pursuing more sophisticated pop and standards influenced by artists such as Rosemary Clooney.

Far Out ·Aug 2026

The “spineless” 1970s pop star Phil Collins felt had “no backbone”

Phil Collins’s criticism of Barry Manilow’s polished soft-pop style is revisited alongside a defense of Collins’s own musical range. A 2002 Collins interview described Manilow’s music as “spineless,” lacking edge and backbone, while the piece contrasts that sound with Genesis’s progressive complexity, Collins’s drumming and songs such as “In the Air Tonight” and “Tonight Tonight Tonight.” Despite acknowledging Collins’s occasional sappiness and weaker singles, the article argues that his musicianship and emotional intensity placed him in a different league from Manilow.

Far Out Magazine ·Aug 2026

The One Person Billy Joel Needed to Stop Working With: “Didn’t Have Anything to Say”

Billy Joel’s creative partnership with producer Phil Ramone helped establish the sound of albums such as The Stranger and The Nylon Curtain, but Joel eventually felt the collaboration had become creatively stagnant after The Bridge. Inspired by Mick Jones’s expansive arena-rock production, Joel decided to seek a fresh perspective, a change the piece argues helped him loosen his artistic rules and later pursue new directions.

Far Out Magazine ·Aug 2026

The 1970s Rival Linda Ronstadt Knew Was Out of Her League

Linda Ronstadt regarded Emmylou Harris as a rival whose live performances surpassed her own, but treated that realization as motivation rather than hostility. Although already celebrated for her voice and versatility, Ronstadt continued studying Harris and working to match her standard. Their mutual admiration became central to the collaborative spirit of Trio, where Ronstadt willingly learned from Harris and Dolly Parton while demonstrating that musical excellence could coexist with humility and friendship.

Far Out ·Aug 2026

The “special” singer Joe Walsh was in love with

Joe Walsh regarded Stevie Nicks as a soul mate and a crucial source of support during a difficult period marked by addiction, declining motivation and the Eagles’ breakup. Nicks helped him shape his album The Confessor and inspired “Has Anybody Ever Written Anything for You?”, while Walsh described his love for her as that of a sister. Her encouragement contributed to his eventual recovery and return to music, including a later Eagles reunion.

Far Out Magazine ·Aug 2026

The 1960s band Steven Tyler wanted to be remembered alongside

Steven Tyler wanted Aerosmith to achieve a legacy comparable to that of major British rock acts, especially The Rolling Stones. He acknowledged Mick Jagger as a key influence, while seeking to develop his own energetic, Americanized style rather than become a lesser imitation. Tyler's determination to remain relevant led Aerosmith toward stylistic changes, including a more pop-oriented sound that sometimes created tension with guitarist Joe Perry.

Far Out Magazine ·Aug 2026

The guitarist Sammy Hagar would give anything to jam with: “Big quest”

Sammy Hagar’s long-standing dream is to bring Jimmy Page to Cabo San Lucas for a Led Zeppelin jam featuring Jason Bonham on drums. The idea reflects Hagar’s continued ambition to collaborate with major rock musicians after his successful Van Halen period ended following Eddie Van Halen’s decision to dismiss him. Hagar has since hosted jam sessions with artists including Kenny Chesney and Stephen Stills, while maintaining that a collaboration with Page would resolve unfinished creative business between them.

Far Out Magazine ·Aug 2026

The “goosebumps” Simon and Garfunkel song that took Rick Rubin 30 years to understand

Rick Rubin said that Johnny Cash’s rendition of Simon and Garfunkel’s “Bridge Over Troubled Water” made him understand the song’s meaning for the first time, roughly 30 years after its release. Cash’s gospel-inflected delivery revealed the song’s themes of faith, comfort and emotional support, while Art Garfunkel and Paul Simon have emphasized its enduring freshness and Black gospel influence. The performance became an example of Cash’s ability, with Rubin’s guidance, to recast familiar songs with renewed emotional and spiritual force.

Far Out Magazine ·Aug 2026

The 2005 Song George Michael Called “The Most Surreal”

George Michael regarded recording “Heal the Pain” with Paul McCartney as the most surreal moment of his career. The song, from Listen Without Prejudice Vol. 1, was intended as a tribute to The Beatles and their songwriting influence, and McCartney’s participation gave Michael’s tribute particular significance. The collaboration reflected Michael’s growth beyond Wham! and his ambition to create enduring, compassionate pop music.

Far Out ·Aug 2026

The “Important” Voice Patti Smith Never Got Tired Of: “Authentic”

Patti Smith’s music is portrayed as a fusion of rock’s rawness and literary poetry, shaped by her awareness of mortality and the premature deaths of influential artists. Her response to the losses of Jimi Hendrix, Kurt Cobain and Jeff Buckley reinforced her determination to create meaningful work. After Amy Winehouse died, Smith wrote “This Is the Girl,” honoring Winehouse as an exceptionally gifted and authentic singer whose artistic legacy surpassed the tabloid narrative surrounding her life.

Far Out Magazine ·Aug 2026

Box Car Racer: The Group That Killed One of the Biggest Pop-Punk Bands Ever

Tom DeLonge’s Box Car Racer side project intensified tensions within Blink-182 after Mark Hoppus discovered that DeLonge and Travis Barker were forming a full band without him. Hoppus felt excluded as the project evolved from a small acoustic endeavor into a formally managed and label-backed release, although he later contributed vocals to “Elevator.” The heavier Box Car Racer sound offered DeLonge a creative departure from Blink-182’s pop-punk formula, but its unresolved tensions influenced later projects including Angels & Airwaves. Blink-182 eventually reunited, and the use of Box Car Racer material in later songs such as “Terrified” suggests the conflict has largely been put aside.

Far Out Magazine ·Aug 2026

The “Superb” 1964 Album Jimmy Page Said Defined The Yardbirds

Jimmy Page regarded The Yardbirds’ 1964 live album Five Live Yardbirds, recorded at London’s Marquee Club with Eric Clapton, as the finest expression of the band’s work. Although Page joined the group in 1965 and later became famous with Led Zeppelin, he believed Clapton’s intense, audience-responsive blues playing established a lasting blueprint for the band and influenced Page’s own live performances. Page also praised Jeff Beck’s later contribution to The Yardbirds.

Far Out ·Aug 2026

The 1982 Rush song Neil Peart viewed as vital: “An important step”

Rush’s 1982 song “Subdivisions,” from the album Signals, marked a major shift toward keyboard-based songwriting and themes of youthful alienation. Neil Peart regarded the track as an important step because it changed the band’s internal dynamics, turning Peart and Alex Lifeson into a more closely connected rhythm section while Geddy Lee played keyboards. Although the keyboard-heavy period divided fans and Lifeson later viewed it less fondly, the experimentation expanded Rush’s sound beyond its earlier progressive-rock epics and influenced the band’s later musical development.

Far Out Magazine ·Aug 2026

The Female Singer Who Never Belonged in Fleetwood Mac

Fleetwood Mac's lineup became increasingly unstable after Peter Green's departure and intensified following the exits of Lindsey Buckingham and Stevie Nicks. Bekka Bramlett joined during Nicks's absence and performed adequately, but was effectively treated as a temporary replacement rather than a permanent member. Bramlett later recalled that Mick Fleetwood fired her by fax after Nicks returned, emphasizing that there was no way to replace Nicks. The piece argues that Bramlett might have achieved greater recognition in another context, while portraying Fleetwood Mac's 1995 album Time as evidence of the band's decline without its central members.

Far Out Magazine ·Aug 2026

The “ultimate” Singer Bob Dylan Always Wanted to Work With

Bob Dylan’s desire to avoid creative stagnation led him to move between folk, rock and country music, despite criticism from some folk audiences. His admiration for Johnny Cash, whom he regarded as the ultimate embodiment of country music, made their collaboration on a revised version of “Girl from the North Country” especially meaningful. Their relaxed, imperfect vocal exchange is presented as evidence of a strong musical rapport and of Dylan’s rare experience of being starstruck.

Far Out ·Aug 2026

The 1987 Album Tom Petty Hated More Than Anything: “Never Do That Again”

Tom Petty viewed the 1987 album Let Me Up (I've Had Enough) as a low point, largely because the Heartbreakers were exhausted and the band chose to produce the record themselves after years of working with Jimmy Iovine. Petty later said the experience taught them never to repeat that approach. The album followed a difficult period that included touring with Bob Dylan, but its shortcomings helped lead to Petty’s later creative renewal, particularly through his work with Jeff Lynne on Full Moon Fever.

Far Out Magazine ·Aug 2026

The 1989 metal song Jack Black called the greatest in the world

Jack Black identified Metallica’s “One” as the greatest song in the world when Tenacious D were creating “Tribute.” The article argues that “Tribute” deliberately draws on the dramatic structure and guitar techniques of “One,” “Fade to Black,” and Led Zeppelin’s “Stairway to Heaven,” turning those influences into a humorous but musically committed rock anthem.

Far Out ·Aug 2026

The “incredible” 1956 song that made Elton John and George Harrison musicians

Elton John and George Harrison both regarded Elvis Presley’s 1956 hit “Heartbreak Hotel” as a defining musical influence. Harrison recalled it as one of his musical roots, while John said hearing the record—brought home by his mother—changed his life and made him want to become a musician. The song’s sparse arrangement and Presley’s powerful vocal performance are presented as key elements of its revolutionary impact on rock and the generation that followed.

Far Out ·Aug 2026

The “ridiculous” 1978 song Geddy Lee called the most difficult: “Top of my range”

Geddy Lee recalled that recording Rush’s 1978 song “Hemispheres” was the most difficult experience of his career because the vocal parts were written at the very top of his range. The article places the challenge in the context of Rush’s increasingly ambitious progressive-rock experiments after the success of 2112, while noting that the band later sought more accessible and sustainable approaches on albums such as Permanent Waves and Moving Pictures.

Far Out Magazine ·Aug 2026

The “most personal” 1980 song Phil Collins never wanted to give away: “Strange”

Phil Collins wrote “Please Don’t Ask” during the breakdown of his marriage and initially felt the deeply personal ballad did not belong on a Genesis record. Although he loved the song, he believed Genesis listeners expected something different from the band’s established sound. The track’s success helped demonstrate that Genesis could accommodate more emotionally direct, pop-oriented material, while Collins increasingly reserved his most personal songs for his solo work, including Face Value.

Far Out ·Aug 2026

The “too pop” 1997 Oasis song Noel Gallagher thought would be deleted from history

Noel Gallagher identified “I Hope I Think I Know” as the weakest and most forgettable song on Oasis’ 1997 album Be Here Now, comparing it unfavorably with “Hey Now.” The song has since been reassessed as one of the album’s strongest and most underrated tracks, with particular praise for its pop-rock chorus, prophetic lyrics and Liam Gallagher’s vocal performance. Despite its improved reputation, Oasis has never performed it live, suggesting that Noel’s original reservations about the song may still influence the band’s treatment of it.

Far Out Magazine ·Aug 2026

The “incredible” 1966 song Roger Waters could play forever: “It in no way gets boring”

Roger Waters identified Bob Dylan’s 1966 song “Sad Eyed Lady of the Lowlands” as a major influence, saying its 20-minute length and sustained hypnotic quality changed his approach to songwriting. The piece argues that Dylan, along with lyricists such as John Lennon, Joni Mitchell and Pete Townshend, helped Waters move beyond simple rock songs toward ambitious, thematically unified works. That influence is linked to Pink Floyd’s later epics, including Dark Side of the Moon and “Shine On You Crazy Diamond,” which combine extended structures, musical development and narrative scope.

Far Out Magazine ·Aug 2026

The 2006 Song Pearl Jam Wrote as a Goodbye to Johnny Ramone

Pearl Jam’s “Life Wasted,” released in 2006, was shaped by Eddie Vedder’s grief after Johnny Ramone’s death. Vedder said the song was inspired by the sudden transition from life to memory and was intended to acknowledge the loss while urging listeners to live fully. The track combines Pearl Jam’s emotional style with punk-rock energy and appeared on an album also marked by the band’s opposition to the Iraq War.

Far Out ·Aug 2026

The “hurtful” 1977 album Stevie Nicks wanted to walk out of: “I’d be out the door”

Stevie Nicks recalled that recording Fleetwood Mac’s 1977 album Rumours was emotionally painful, particularly because of her deteriorating relationship with Lindsey Buckingham and disagreements over her songs. She said Buckingham often rejected or failed to support her material, prompting her to leave the studio, while the exclusion of “Silver Springs” further upset her. Despite the band’s personal conflicts, collaboration and persistence produced enduring songs including “Dreams” and “The Chain”.

Far Out Magazine ·Aug 2026

The “Fluff” 2000s Singer David Crosby Knew Had No Substance

David Crosby was openly critical of commercially driven pop music, especially the late-1990s and early-2000s wave represented by Britney Spears. He valued singer-songwriters and artists with strong musicality and personal substance, praising figures such as Joni Mitchell while doubting the longevity of acts like Hootie and the Blowfish. Although Spears ultimately secured a lasting place in pop history, Crosby believed the industry’s focus on marketable new products marginalized more substantive musicians. His own work with his son and Crosby, Stills & Nash continued to emphasize ambitious music and political commentary, including criticism of George W. Bush during the Iraq War.

Far Out Magazine ·Aug 2026

The “beautiful” voice Linda Ronstadt never wanted to forget: “She’s a good singer”

Linda Ronstadt’s artistic priorities centered on vocal quality rather than fashionable image or commercial formulas. The piece recounts her movement from Laurel Canyon rock toward Broadway and orchestral pop collaborations with Nelson Riddle, while discussing her reluctance to embrace television-driven trends. Ronstadt regarded Madonna primarily as an entertainer and stylist, contrasting her with Celine Dion, whom she considered a true singer with a beautiful, unmatched voice. The article extends that comparison to Billie Eilish and Adele, arguing that Dion’s musical weight and individuality could not easily be replicated.

Far Out ·Aug 2026

The 1970s singer Joni Mitchell hated being compared to: “Strange”

Joni Mitchell resisted being categorized as merely a female singer-songwriter or conventional rock musician. She believed her ambitious, genre-defying work—including her jazz collaborations with Charles Mingus—was misunderstood and poorly supported by the music industry. Mitchell preferred to be compared with innovators such as Miles Davis, Duke Ellington and Edith Piaf rather than contemporaries like Carly Simon, while also appreciating artists such as Björk who challenged musical conventions.

Far Out Magazine ·Aug 2026

The “great” guitarist Robert Plant called “above all others”

Robert Plant regarded Jimmy Page as the “guitar meister above all others,” praising his musical intuition, innovation, attitude and eloquence rather than merely his technical ability. The piece argues that Page’s adventurous approach was central to Led Zeppelin’s distinctive sound and that the band’s chemistry was nearly impossible to recreate after John Bonham’s death. Plant therefore pursued a post-Zeppelin career built around varied collaborators and musical styles, including Alison Krauss and T Bone Burnett, rather than attempting to replicate Led Zeppelin.

Far Out Magazine ·Aug 2026

The “awful” albums George Harrison wished never happened

George Harrison reportedly disliked the way Capitol Records repackaged The Beatles’ British albums for the American market, altering running orders, removing tracks and adding singles to create new releases. He considered these editions—particularly albums such as The Beatles’ Second Album and Beatles ’65—poorly assembled, although the article notes that Meet the Beatles! and the American version of Rubber Soul were comparatively strong. The piece also emphasizes Harrison’s gradual development as a songwriter and his frustration at being overshadowed by John Lennon and Paul McCartney.

Far Out Magazine ·Aug 2026

The “ridiculous” genre The Edge hated more than anything: “Nowhere”

The Edge rejected progressive rock’s extended, technically focused musical excursions, which he felt prioritized musicians’ enjoyment over audience connection and lacked passion. Instead, he pursued atmospheric, emotionally driven guitar work shaped by punk rock, delay effects and Steve Howe’s harmonics, while avoiding the virtuoso traditions associated with Jimmy Page, David Gilmour, Eric Clapton and Gary Moore. The approach helped define U2’s emphasis on mood, space and strong songwriting over instrumental showmanship.

Far Out Magazine ·Aug 2026

The “Worst” Show Elton John Wanted to Die Out

Elton John criticized music reality shows such as American Idol and The X Factor, arguing that instant television fame can thrust inexperienced singers onto major stages before they have developed live-performance skills. Drawing on his own gradual rise and observations of artists including Elvis Presley, Michael Jackson and Kurt Cobain, he viewed sudden celebrity as psychologically damaging and a poor foundation for a music career, while acknowledging successful exceptions such as Kelly Clarkson.

Far Out Magazine ·Aug 2026

The 1976 album that made Carole King want to leave music

Carole King’s 1976 album Thoroughbred marked a turning point in her relationship with the music industry. Although the album maintained her reputation for strong songwriting, the demands of publicity, touring and celebrity life led King to step back from the fast lane and settle near the beach in California. Her preference for privacy ultimately reinforced her focus on songwriting rather than the commercial album-tour cycle.

Far Out Magazine ·Aug 2026

The 1990 song Traveling Wilburys made as a goodbye to their hero

The Traveling Wilburys recorded a cover of Del Shannon’s “Runaway” around 1990 as a tribute to the singer, whom Jeff Lynne deeply admired. The song was made after Shannon’s death and was intended to honor his influence on the band’s members, while the group continued as a four-piece in respect of the late Roy Orbison. The recording became one of the Wilburys’ final projects before the members returned to their solo careers.

Far Out Magazine ·Aug 2026

The “important” 1970s band Neil Peart never got tired of

Neil Peart admired Weather Report, particularly their album Heavy Weather, because they made technically complex jazz fusion sound natural, accessible and exciting. Although Peart was known for intricate progressive-rock drumming in Rush, he valued musicians who broke stylistic boundaries, including The Police and later Linkin Park. Weather Report’s combination of virtuosity, musicality and apparent simplicity influenced Peart’s thinking and elements of his drumming, especially his solos.

Far Out ·Aug 2026

The “beautiful” song Bruce Springsteen needed to record: “Instant”

Bruce Springsteen’s willingness to explore music beyond straight rock led him to embrace country and roots influences. The article focuses on his admiration for Glen Campbell’s “Rhinestone Cowboy,” which he regarded as beautifully written and believed he could perform convincingly, particularly with his weathered vocal style. His stripped-down work and later roots-oriented album Western Stars are presented as evidence of his continued musical growth and openness to material outside the E Street Band’s usual sound.

Far Out Magazine ·Aug 2026

The “important” 1972 song Don Henley called his first serious work: “Professional”

Don Henley regarded “Witchy Woman,” written during a period of fever and delirium, as an important early song that marked the beginning of his professional songwriting career. Developed through his work with Shiloh, Linda Ronstadt and Glenn Frey, the song helped establish the darker, more questioning style that later shaped his Eagles and solo work, including “Hotel California,” “The Last Resort” and “The End of the Innocence”.

Far Out Magazine ·Aug 2026

The 1969 Lyric Paul McCartney Knew Would Last “For All Time”

Paul McCartney’s lyric “In the end the love you take is equal to the love you make,” from “The End” on the Beatles’ 1969 album Abbey Road, is presented as a timeless philosophical statement and a fitting epitaph for the band. The piece contrasts McCartney’s sometimes-criticized “granny tunes” with his gift for melody and occasional lyrical brilliance, while emphasizing how John Lennon and McCartney complemented one another. McCartney said he immediately recognized the line as an ideal way to conclude an album and believed it would remain meaningful for all time.

Far Out Magazine ·Aug 2026

The “Most Beautiful” Song Ozzy Osbourne Ever Heard

Ozzy Osbourne considered Randy Rhoads’s acoustic instrumental “Dee,” written as a tribute to Rhoads’s mother and released on Blizzard of Ozz, the most beautiful piece of music he had heard. The song highlights the classical and melodic side of Rhoads’s playing and reflects the less overtly dark, more emotionally expressive elements of Osbourne’s work with Black Sabbath and as a solo artist.

Far Out Magazine ·Aug 2026

The “intense” drummer David Gilmour called the greatest: “Best in the world”

David Gilmour regarded Steve Gadd as the best drummer in the world after finally working with him for an intense five-day recording session in London for Luck and Strange. The piece contrasts Gadd’s tasteful, song-focused playing with his ability to deliver powerful performances, citing his work on Steely Dan’s Aja. It also reviews Gilmour’s departure from Pink Floyd’s strained internal dynamics, his approach to leadership after Roger Waters’s exit, and the greater creative freedom of his solo career.

Far Out Magazine ·Aug 2026

The “funky” 1978 song Neil Young called “one of my favourite records”

Neil Young regarded “Goin’ Back” from his 1978 album Comes a Time as one of his favourite records, valuing its funky feel, emotional depth and songwriting despite muddled sound quality. The song reflects his nostalgia for the aftermath of the 1960s and his desire for a simpler life, while the album marked his embrace of a country-influenced rock style. Young later revealed that damaged master tapes led him to use thousands of unwanted LP copies as shingles for a barn roof.

Far Out Magazine ·Aug 2026

The “beautiful” instrument Jeff Lynne called the best he ever heard

Jeff Lynne regarded the vocoder used during the production of Electric Light Orchestra’s Out of the Blue as the best he had ever heard. He described spending a day experimenting with the then-new technology before achieving the distinctive sound heard on “Mr. Blue Sky.” The article argues that Lynne’s studio-focused experimentation helped define ELO’s space-age aesthetic and influenced later electronic artists, including Daft Punk.

Far Out Magazine ·Aug 2026

The “beautiful” singer Glenn Frey never wanted to forget

Glenn Frey viewed singing as his central strength in the Eagles while also pushing the band beyond a narrow country classification into soul, R&B, and other American musical traditions. Late in his career, he developed greater appreciation for standards and recorded the album After Hours, including a version of Dinah Washington’s “It’s Too Soon to Know.” Frey admired Washington’s Detroit roots and distinctive, underrated voice, and sought to honour her original rather than surpass it.

Far Out Magazine ·Aug 2026

The “sloppy” 1968 song Paul Simon can’t listen to again: “It was poisoned”

Paul Simon viewed the original mono single version of Simon & Garfunkel’s 1968 song “Fakin’ It” as poorly produced, describing it as slower, jumbled and sloppy. He considered the later album version substantially improved through remixing and stereo production, but said the earlier release had already been “poisoned” in his mind. The song’s strong songwriting and imperfect sound nonetheless remain central to its appeal.

Far Out ·Aug 2026

The “great” 1968 song Ringo Starr hated more than anything

Ringo Starr reportedly disliked singing “Good Night,” the sentimental lullaby that closes The Beatles’ 1968 White Album, because he wanted to be known as a rocker rather than for lighthearted or saccharine songs. He said Paul McCartney and John Lennon often selected songs for him, while acknowledging that their writing helped establish his career. The piece also notes McCartney’s ambivalence about the recorded version and George Harrison’s role in shaping “Octopus’s Garden”.

Far Out Magazine ·Aug 2026

The “weird” 1972 song Mick Jagger could never understand

Mick Jagger reportedly found The Rolling Stones’ “Let It Loose” difficult to understand, saying he had written a different set of lyrics and ultimately felt the song lacked clear meaning. Despite its loose structure and Jagger’s reservations about parts of Exile on Main St., the track is presented as a quintessential example of the album’s groove-driven, improvisational character.

Far Out Magazine ·Aug 2026

The “beautiful” singer Bono always wanted to talk to again

Bono’s grief over the 1997 death of INXS frontman Michael Hutchence inspired U2’s song “Stuck in a Moment You Can’t Get Out Of.” The piece describes Hutchence as a close friend whose drug abuse and struggles deeply affected Bono, who felt anger and sadness at being unable to help him. The song became both a tribute and an expression of frustration, intended to ensure Hutchence was remembered as a gifted, charismatic person rather than merely another rock casualty.

Far Out Magazine ·Aug 2026

The “giant” singer Brian May called perfect to work with

After Freddie Mercury’s death and Queen’s completion of Made in Heaven, Brian May continued pursuing music rather than resting on the band’s legacy. Queen’s collaboration with former Bad Company singer Paul Rodgers produced The Cosmos Rocks and brought a bluesier, revitalized energy to the group’s songs. May praised Rodgers as a powerful, experienced frontman whose chemistry with Queen worked exceptionally well, while Adam Lambert later filled a similar role. The collaboration demonstrated that Queen could continue performing without attempting to replace Mercury directly.

Far Out Magazine ·Aug 2026

The “heartfelt” Singer Linda Ronstadt Called One of a Kind: “Really Original”

Linda Ronstadt is presented as an artist who rejected musical snobbery and genre limitations, continually developing her vocal technique and exploring styles beyond country and rock. She admired singers whose performances sounded emotionally authentic rather than overly polished, particularly Sia, whom she praised for having an original, unusual, heartfelt singing style and for being a clever songwriter. Sia’s song “Chandelier” is cited as an example of how vocal imperfections and emotional intensity can create a more genuine performance.

Far Out Magazine ·Aug 2026

The “classic” 1965 song Billy Joel knew would last forever

Billy Joel’s musical versatility was shaped by influences including Ray Charles and The Beatles. After hearing Paul McCartney perform “Yesterday,” Joel recognized that a tender ballad could become timeless and concluded that rock artists did not need to remain within one style. That insight helped validate his own blend of rock, pop, classical influences and sentimental songwriting, including “Just the Way You Are.”

Far Out Magazine ·Aug 2026

Kylr Coffman: Living a punk-rock fairytale in ‘Nimrods’

Actor Kylr Coffman discusses playing Fred in Nimrods, a Green Day-inspired comedy about the fictional teenage band Analog Dogs trying to earn a chance to open for their heroes. Coffman describes his Oklahoma punk-rock background, learning guitar and bass, and bonding with Mason Thames and Ryan Foust during a short musical preparation period. He praises Billie Joe Armstrong’s insistence on authentic performances, the film’s references to Green Day’s history, and the emotional core beneath its crude humor. For Coffman, the movie celebrates DIY music, fandom and the determination to pursue creative dreams.

Far Out Magazine ·Aug 2026

The “brilliant” drummer Geddy Lee called one of the greatest: “A bad example for imitators”

Geddy Lee praised Phil Collins as one of the greatest rock drummers, highlighting his powerful, innovative playing and ability to make complex parts groove. Lee particularly admired Collins’s work with Genesis and his landmark drum sound on “In the Air Tonight,” while arguing that its widespread imitation became excessive. The piece also contrasts Collins’s drumming with Rush’s progressive-rock ambitions and notes Neil Peart’s admiration for Collins.

Far Out ·Aug 2026

The albums Slash called his “favourite music of all time”

Slash identifies The Rolling Stones’ Sticky Fingers, Let It Bleed, Beggars Banquet and Exile on Main St. as his favourite music of all time. The piece links his blues-oriented guitar style and Guns N’ Roses’ sound to the Stones, particularly Keith Richards and Mick Taylor, while also noting influences from Angus Young, Joe Walsh, Joe Perry and Eric Clapton. It argues that the Stones’ raw energy and classic mid-1960s album run shaped the rock vocabulary later adopted by Guns N’ Roses and countless other bands.

Far Out Magazine ·Aug 2026

The “greatest” singer Sammy Hagar could never be mad with

Sammy Hagar recalled that Van Halen’s “Why Can’t This Be Love” lost a pop-chart battle to Whitney Houston’s “Greatest Love of All.” Despite his competitive nature, Hagar said he could not be angry about being outperformed by Houston, whom he regarded as one of the greatest singers ever. The article also discusses his Van Halen years, the demanding music-video performances surrounding the 5150 album, and the enduring status of songs such as “Why Can’t This Be Love” in the band’s catalogue.

Far Out ·Aug 2026

The 1992 album Bruce Springsteen immediately apologised for: “Too far”

Bruce Springsteen’s 1992 album Human Touch drew criticism for its polished, upbeat production and departure from his established sound. Springsteen acknowledged that he may have gone “a little too far” in that direction and quickly recorded Lucky Town as an antidote or counterbalance. Both albums were released on the same day, reflecting his uncertainty about the direction of his music during a difficult period for heartland rock.

Far Out Magazine ·Aug 2026

The “fantastic” singer Glenn Frey always loved listening to

Glenn Frey’s musical tastes were shaped by his Detroit upbringing, piano training and exposure to Motown, helping him envision the Eagles as a blend of country, bluegrass, rock and soul. As he grew older, Frey increasingly embraced more mellow material, culminating in the standards-focused album After Hours. He particularly admired Tony Bennett’s phrasing and effortless style, citing Bennett’s version of “The Good Life” as inspiration for his own rendition and viewing sophisticated easy-listening music as just as dependent on great singers as rock and roll.

Far Out Magazine ·Aug 2026

The One Singer Tom Petty Always Listened To: “Really Impressed”

Tom Petty was an enduring admirer of Jeff Lynne, having followed his work since Lynne’s days with The Move. Petty valued Lynne’s layered harmonies, hooks and songwriting instincts, which helped make their collaboration on Full Moon Fever and songs including “Free Fallin’,” “I Won’t Back Down” and “Yer So Bad” especially effective. Lynne became a musical counterpart for Petty in the way John Lennon and Paul McCartney complemented each other, helping Petty achieve polished but emotionally direct rock songs.

Far Out Magazine ·Aug 2026

The “personal” 1997 album Paul Simon was always hurt by

Paul Simon was deeply hurt by the hostile and personal criticism directed at his 1997 album Songs from the Capeman and the Broadway production based on it. The project’s unconventional rhythmic and world-music influences struggled to connect with audiences, and its commercial failure reportedly cost Simon more than $10 million. Simon later said the criticism made him feel personally attacked, but also acknowledged that failure was an unavoidable part of developing his career. Subsequent albums retained his experimental elements while finding a more accessible balance.

Far Out Magazine ·Aug 2026

The Most “Perfect” Musical Partner Stevie Nicks Ever Had

Stevie Nicks’s most fulfilling musical partnership was with Tom Petty, whose songwriting, vocals and artistic understanding complemented her own. Although Nicks had complicated creative relationships with Fleetwood Mac and Lindsey Buckingham, Petty became a supportive, almost brotherly collaborator who helped her develop as a solo artist. Their partnership produced memorable performances and backing vocals on songs including “Insider” and “Don’t Come Around Here No More,” and Nicks described their musical connection as so perfect that she had little interest in seeking similar relationships with other male singers.

Far Out Magazine ·Aug 2026

The 1975 Song John Lennon Wanted to Be His Last: “Farewell to the Game”

John Lennon considered “Just Because,” the closing track on his 1975 covers album Rock 'n' Roll, as a possible farewell to music while he was separated from Yoko Ono and struggling with drinking and emotional turmoil. Although he ultimately returned to recording with Double Fantasy and appeared to find greater peace as a husband and father, the song reflected his belief that he might be finished with his musical career.

Far Out Magazine ·Aug 2026

The 2000s band Bono wanted "to take over the world"

Bono identified The Killers as part of a promising new generation of rock bands capable of achieving global influence. He praised their hooks, melodies, intelligence and pop instincts, arguing that emerging artists needed support from the music press and could reach wider audiences by making accessible pop records. The Killers’ success, particularly through “Mr. Brightside” and the album Sam’s Town, is presented as evidence that they fulfilled much of that potential and may become elder statespeople of rock.

Far Out ·Aug 2026

The 1990 Traveling Wilburys Song George Harrison Couldn’t Play Right: “Wouldn’t Be That Style”

George Harrison chose not to play the guitar solo on the Traveling Wilburys’ 1990 song “She’s My Baby,” believing Gary Moore was better suited to its blues-rock style. Harrison said he and Jeff Lynne could have struggled to create an appropriate solo, while Moore devised one in about five minutes. The piece argues that Harrison’s decision reflected his collaborative attitude and musical judgment rather than a lack of ability, while also noting Roy Orbison’s major influence on the band’s sound.

Far Out Magazine ·Aug 2026

The 2004 album Phil Collins crowned as his “best work”

Phil Collins described his 2004 compilation Love Songs… as his “best work,” saying it gathered his strongest love songs alongside overlooked material from less successful albums. The collection reflects the sentimental, heartbroken ballads that defined much of his solo career, while also highlighting lesser-known recordings and covers beyond his best-known hits such as “Against All Odds” and “In the Air Tonight.”

Far Out Magazine ·Aug 2026

The One Rock Singer Robert Plant Couldn’t Match: “Too Good”

Robert Plant regarded Steve Marriott as the one rock vocalist whose intensity and bravado he could never match. Marriott’s work with the Small Faces influenced Plant’s approach, and he was reportedly considered for the New Yardbirds before his manager Don Arden blocked the opportunity. Plant ultimately joined Jimmy Page, John Paul Jones and John Bonham in Led Zeppelin, developed a distinctive vocal identity across the band’s albums, and later expanded his range through solo work and collaborations with Allison Krauss.

Far Out Magazine ·Aug 2026

The now-iconic 1970 Elton John song written in 20 minutes

Elton John and Bernie Taupin completed “Your Song” remarkably quickly in 1970: Taupin wrote the original lyrics on an exercise-paper sheet at Elton John’s mother’s apartment, and John composed the finished melody in about 20 minutes. The song became John’s first major breakthrough and launched a highly successful songwriting partnership. Taupin later described the lyrics as naïve and childish but emotionally genuine, saying the song’s enduring appeal comes from its sincerity and simplicity.

Far Out Magazine ·Aug 2026

The 1972 Black Sabbath song that almost featured Led Zeppelin drummer John Bonham

Black Sabbath’s Supernaut nearly featured Led Zeppelin drummer John Bonham after he visited the band during the recording of Vol 4 and offered to play the song. Bill Ward recalled Bonham admiring the track and proposing to perform its double-bass part, but the session turned into an extended jam and the collaboration did not materialize. Tony Iommi said the recording may still exist, though its whereabouts are unknown. The piece also speculates that Supernaut’s groove may have influenced Bonham’s later work on Led Zeppelin’s The Ocean.

Far Out ·Aug 2026

The Heroin Bender That Inspired a Classic 1987 Guns N’ Roses Song

Guns N’ Roses’ song “Mr. Brownstone” was shaped by Slash and Izzy Stradlin’s heroin addiction during the band’s early years. The song’s seemingly loose and celebratory surface masks a depiction of addiction as repetitive and destructive. Slash’s worsening drug use later prompted Axl Rose to warn from the stage that the band would end if members continued “dancing with Mr Brownstone,” a public confrontation that contributed to lasting resentment and foreshadowed the group’s later internal turmoil.

Far Out ·Aug 2026

The 1982 Song That Captured Eddie Van Halen Breaking a Guitar

Eddie Van Halen created “Cathedral” for Van Halen’s 1982 album Diver Down as a showcase for manipulating his guitar’s volume knob to produce a church-organ-like sound. During recording, rapidly adjusting the knob caused it to heat up and freeze near the end of the take, leaving an accidental effect in the finished track. The incident reflects Van Halen’s experimental approach to guitar sound, which continued despite David Lee Roth’s reservations and ultimately contributed to broader creative tensions that preceded Roth’s departure after the recording of 1984.

Far Out ·Aug 2026

The classic 1969 Led Zeppelin song that took three decades to chart

Led Zeppelin built its reputation around expansive albums and live performances rather than conventional singles, with Jimmy Page, Robert Plant, John Paul Jones and John Bonham pushing blues rock toward more improvisational and atmospheric forms. After Bonham's death ended the band in 1980, the group continued to gain cultural influence. A 1997 re-release of “Whole Lotta Love” finally gave Led Zeppelin a major UK hit, nearly three decades after the song's original era, underscoring the band's enduring appeal and its success without relying on the singles market.

Far Out ·Aug 2026

The unknown 1924 movie Christopher Nolan crowns as a true “lost masterpiece”

Christopher Nolan regards Erich von Stroheim’s 1924 silent film Greed as a “lost masterpiece.” Stroheim reportedly filmed as much as 85 hours of material, including an original version believed to have run for roughly eight hours, but the studio drastically reduced it to about two and a half hours without his approval. The director disowned the shortened version, while the complete cut was lost; only fragments and reconstructions using still images offer clues to his intended vision. Nolan admires the surviving film, especially its ending, and sees Stroheim’s struggle with studio interference as an example of the tension between personal authorship and commercial filmmaking.

Far Out ·Aug 2026

The 2008 Film Mark Wahlberg Truly Regrets Making: “A Bad Movie”

Mark Wahlberg has described M. Night Shyamalan’s 2008 thriller The Happening as a bad movie and joked that Amy Adams “dodged the bullet” by not joining its cast. The film’s implausible premise, awkward dialogue, unintentionally comic tone and Wahlberg’s widely mocked performance are presented as its central failures. Wahlberg’s candid frustration became part of the film’s enduring cult appeal, while Shyamalan went through several further critical disappointments before regaining some respect with projects including Split and Old.

Far Out Magazine ·Aug 2026

The 1995 movie Denzel Washington regrets turning down

Denzel Washington reportedly turned down a role in David Fincher’s 1995 thriller Se7en because he considered the script too “demonic” and was wary of Fincher’s limited directing experience after Alien 3. The film became a major critical and commercial success, while Washington later embraced similarly dark material as the corrupt detective Alonzo Harris in Training Day. His decision ultimately became less a career mistake than an example of how rejecting one project led him toward other challenging roles.

Far Out ·Aug 2026

The 2003 movie that totally derailed Sean Connery’s career

The League of Extraordinary Gentlemen became Sean Connery’s final acting film and is presented as the production that effectively ended his career. Although Connery was invested as both star and executive producer, the film suffered from weak cast chemistry, uninspired action, a confusing story, reported production damage and tensions between Connery and director Stephen Norrington. Released in 2003 to a poor reception, it was followed soon afterward by Connery’s retirement from acting.

Far Out Magazine ·Aug 2026

The 2012 Aerosmith song Steven Tyler believed was “rock ‘n’ roll at its finest”

Steven Tyler praised Joe Perry’s “Oh Yeah” from Aerosmith’s 2012 album Music from Another Dimension! as “rock and roll at its finest,” claiming it could stand alongside songs from Rocks and Toys in the Attic. The piece argues that although the track showed flashes of Aerosmith’s former quality, the bloated album’s lukewarm reception and disappointing sales confirmed the band’s transition into a nostalgia act, and Aerosmith did not release another studio album afterward.

Far Out Magazine ·Aug 2026

The 1976 classic Tom Petty disowned: “It doesn’t feel like a song I would sing now”

Tom Petty reportedly grew tired of performing “Breakdown,” his 1976 breakthrough with the Heartbreakers, because its youthful attitude reminded him of a period he no longer identified with. He said in 2004 that the song did not feel like something he would sing anymore, although its punk-inflected energy helped establish his career and attract later listeners. Petty eventually brought it back into his live sets and performed it at his final concert at the Hollywood Bowl in 2017.

Far Out ·Aug 2026

The 1991 Pearl Jam classic that made them hate each other

Pearl Jam’s recording of “Even Flow” for their 1991 debut album Ten was an exhausting process that reportedly required 50 to 70 takes. Mike McCready described the sessions as a nightmare that drove the band members to hate each other, while Stone Gossard remained dissatisfied with the final mix and Dave Krusen was also unhappy with his drumming. Despite the strain, the song became one of Pearl Jam’s most enduring hits and helped propel the band from Seattle’s underground scene to arena-level stardom.

Far Out Magazine ·Aug 2026

The 1965 Song Billy Joel Struggled to Sing

Billy Joel has performed “Unchained Melody” only twice because he considers the Righteous Brothers’ 1965 recording extraordinarily difficult to reproduce. At their 2003 Rock and Roll Hall of Fame induction, Joel explained that the song’s half-time melody, phrasing and emotional control require exceptional vocal understanding. Although he admired the Righteous Brothers and attempted to emulate them, he believed that even major singers such as Elvis Presley had fallen short of matching the original’s magic.

Far Out ·Aug 2026

The 1974 song John Lennon couldn’t find the words for

John Lennon’s 1974 instrumental “Beef Jerky,” recorded during his so-called lost weekend while separated from Yoko Ono, began as a riff he could not sing and play simultaneously. Rather than add lyrics later, Lennon left the track instrumental, viewing its loose, carefree energy as a necessary break from the emotional turmoil explored elsewhere on Walls and Bridges.

Far Out ·Aug 2026

The “Genius” 1966 Song Bono Says Is “Proof of Angels”

Brian Wilson’s “God Only Knows,” from The Beach Boys’ 1966 album Pet Sounds, profoundly influenced Bono. Bono praised the song’s joy, string arrangement and spiritual quality, calling it “fact and proof of angels.” The piece explains how Wilson’s response to The Beatles’ Rubber Soul led him toward more ambitious studio-based songwriting, while emphasizing the song’s sophisticated harmonies, emotional devotion and sense of transcendence. Wilson’s belief that great music comes from the heart is linked to Bono’s own songwriting with U2.

Far Out Magazine ·Aug 2026

The 1991 Nirvana Song with One Glaring Mistake in It

Nirvana’s 1991 album Nevermind helped revive stripped-down, emotionally direct rock, with “Polly” standing out for its sparse arrangement and disturbing narrative about sexual assault. Producer Butch Vig recalled that Kurt Cobain entered the line “Polly said” too early during recording, but the band kept the mistake because it enhanced the song’s menace. Cobain later used the version in live performances and on “(New Wave) Polly,” turning an apparent error into a defining artistic detail.

Far Out Magazine ·Aug 2026

The 1980 Song That Is Too “Challenging” for Axl Rose to Sing

Axl Rose discussed the difficulty of performing AC/DC songs, particularly material from the 1980 album Back in Black, before joining the band temporarily in 2016 after Brian Johnson withdrew because of hearing problems. Rose said Johnson’s singing was exceptionally challenging to reproduce, but he committed to doing the songs justice and was generally considered a strong substitute, combining vocal ability with substantial stage presence. Back in Black is presented as a landmark album that helped AC/DC recover after Bon Scott’s death and has sold more than 50 million copies worldwide.

Far Out Magazine ·Aug 2026

The 1997 Song U2 Found “Impossible” to Perform After the September 11 Attacks

U2’s 1997 song “Please” was written about the violence surrounding the Northern Ireland conflict and the intellectual support for militant republicanism, shortly before the Good Friday Agreement. Its imagery of September streets, capsizing and falling glass took on a new traumatic resonance after the September 11 attacks, making the song emotionally difficult for Bono to perform. U2 briefly brought it back to their setlists in October 2001 but removed it again after its final performance in December. The band’s “Walk On,” meanwhile, became associated with resilience during New York’s post-9/11 rebuilding.

Far Out Magazine ·Aug 2026

The 1973 album Sammy Hagar will never get tired of hearing: “It’s so profound”

Sammy Hagar considers Pink Floyd’s 1973 album The Dark Side of the Moon a profound artistic benchmark that never loses its impact. The article highlights the album’s conceptual focus on sanity, studio-centered sequencing, musicianship and universal themes, while noting its enormous commercial and cultural influence. Although Hagar has never equaled it in his own estimation, his solo career and nearly decade-long tenure with Van Halen established him as a major rock figure, with songs such as “Cabo Wabo” showing limited echoes of Pink Floyd’s approach.

Far Out ·Aug 2026

The 1966 Rolling Stones song that was too difficult to perform live

The Rolling Stones’ 1966 song “Mother’s Little Helper,” from the album Aftermath, addressed prescription-drug addiction and a mother’s fatal overdose. Although the studio recording benefited from an unusual, syncopated groove and became an important example of the band’s increasingly experimental songwriting, drummer Charlie Watts said repeated attempts to perform it live never gelled. After roughly 16 attempts, the group abandoned it as too difficult to play on stage, despite continuing to pursue more ambitious material.

Far Out ·Aug 2026

The 1969 Beatles Album Even George Harrison Didn’t Understand

George Harrison reportedly felt unable to understand Abbey Road as a unified Beatles album during its recording, describing it as abstract and unlike the group’s earlier work. Despite tensions and communication problems surrounding the Get Back sessions, the band created a final statement widely regarded as a masterpiece. The piece argues that Harrison’s contributions, particularly “Something” and “Here Comes the Sun,” stand out, while the album’s closing medley provided a fitting farewell before the Beatles’ breakup and later solo careers.

Far Out Magazine ·Aug 2026

The 1991 Rush song too "difficult" for Geddy Lee to play

Rush’s “Roll the Bones,” the title track from the band’s 1991 album, was particularly difficult for Geddy Lee to perform live because its bass-and-drum accents clash with the vocal line. Although the song became a regular part of Rush’s shows, Lee reportedly omitted it when the band returned to touring in 2026 after an 11-year absence. The article also discusses the track’s unusual rap section and Rush’s broader reputation for technically demanding music.

Far Out Magazine ·Aug 2026

The 1934 Song That Joni Mitchell Owed Her Career To

Joni Mitchell identified Rachmaninoff's 1934 Variations on a Theme by Paganini as the first music that inspired her to create music. Its beautiful, sad and romantic melodies influenced the emotional character of her early songwriting and helped shape her distinctive approach, alongside her later interests in jazz, blues, folk and orchestral music. The piece is presented as a key source of Mitchell's melodic sophistication and artistic refusal to remain within a single genre.

Far Out ·Aug 2026

Understanding the 1980s feud between Mick Jagger and Keith Richards

Mick Jagger and Keith Richards’s close partnership in the Rolling Stones deteriorated during the 1980s as Richards viewed Jagger as increasingly overbearing and independent of the band. Their tensions surfaced in songs such as “All About You” and “Had It With You,” while the poorly received album Dirty Work became a symbol of the group’s dysfunction. Despite insults, solo ambitions and years of resentment, the pair repeatedly reunited through music, turning their friction into a productive creative force that helped sustain the Rolling Stones.

Far Out ·Aug 2026

The 1977 Eagles song written about cocaine

The Eagles’ “Life in the Fast Lane,” released in 1977, grew from Joe Walsh’s improvised guitar riff and Glenn Frey’s story of speeding with a cocaine-using drug dealer. Written by Frey and Don Henley during the Hotel California era, the song portrays Los Angeles’s glamorous but destructive rock lifestyle. Its apparent celebration of cocaine-fuelled excess also contains a warning about inevitable consequences, reflecting the band’s own escalating substance use, exhaustion and frayed relationships during the period leading to The Long Run. The Eagles later reunited after sobering up, giving the song an added sense of distance from that earlier lifestyle.

Far Out ·Aug 2026

The Mad Day in 2007 When Tommy Lee and Kid Rock Fought Over Pamela Anderson

Tommy Lee and Kid Rock fought in a common area at the 2007 MTV Awards after years of tension connected to Pamela Anderson’s relationships with both musicians. Witness Rich Nice said Lee appeared to antagonize Rock before Rock struck him, while Lee claimed Rock punched him without provocation. Rock attributed the confrontation to Lee’s earlier harassment and disrespect during his divorce from Anderson, describing the fight as the culmination of longstanding resentment.

Far Out Magazine ·Aug 2026

The Mystery Woman Who Stopped Oasis from Breaking Up in 1994

During Oasis's early US tour in 1994, Noel Gallagher left the band after a disastrous Los Angeles show and travelled to San Francisco, where he reunited with Melissa Lim. When Noel said he would not return to Oasis, Lim persuaded him to go back and complete what he had started. His return marked a new phase in the band's development and helped preserve the group just before its breakthrough. Noel later drew on the experience for the song “Talk Tonight,” while Lim’s phrase “What’s the story, morning glory?” may also have influenced the title of Oasis’s second album.

Far Out Magazine ·Aug 2026

The 1968 Beatles song Ringo Starr thought was unbeatable

Ringo Starr considered the Beatles’ recording of “Yer Blues” on 1968’s The White Album impossible to surpass because all four members performed together in a cramped, unsheltered room. The unconventional setup recreated the raw intimacy of their early bar-band days and enabled John Lennon’s intensely emotional vocal performance. Although the band was creatively splintering and pursuing different musical directions, the track demonstrated that their chemistry remained unmatched when they stripped away elaborate production and played together spontaneously.

Far Out Magazine ·Aug 2026

The One Singer David Crosby Always Wanted to Reconnect With

David Crosby regretted the damage caused by his past behavior, particularly his estrangement from Roger McGuinn of The Byrds. Although Crosby later collaborated with musicians including Phil Collins and continued developing as a songwriter, McGuinn showed no interest in reuniting. The piece speculates that a collaboration might have produced worthwhile Byrds material, but Crosby’s death ended that possibility.

Far Out ·Aug 2026

The One Singer Rick Rubin Would Always Love: “All the Time”

Rick Rubin is portrayed as a producer committed to experimentation across genres rather than loyalty to a single sound. Although he worked with major artists including the Red Hot Chili Peppers, Tom Petty and Kanye West, Rubin repeatedly praised James Blake, whose use of sub-bass, minimalism and genre-blending made him an especially compelling talent. Blake’s later contributions to Beyoncé’s Lemonade, Kendrick Lamar’s Black Panther soundtrack and his own records are presented as evidence of the innovative influence Rubin recognized early.

Far Out Magazine ·Aug 2026

The one instrument Brian Wilson called “the greatest ever made”

Brian Wilson regarded the Moog synthesizer as “the greatest instrument ever made” after exploring its unprecedented sonic possibilities during and after the Pet Sounds era. The instrument helped expand his production palette beyond traditional structures, contributing to the experimental character of works such as “Good Vibrations” and “Surf’s Up,” while the piece speculates that earlier access to synthesizers might have added another dimension to songs like “Wouldn’t It Be Nice.”

Far Out Magazine ·Aug 2026

The bassist Flea called "a masterpiece of a human being"

Flea’s admiration for Cliff Burton centers on Burton’s soulful, psychedelic bass solos, harmonic sophistication and influence on Metallica’s sound. The article argues that Burton was the band’s technical and creative secret weapon, whose contribution remains audible in Metallica’s music, especially “Orion” and “Anesthesia (Pulling Teeth),” despite his death in a 1986 bus accident.

Far Out ·Aug 2026

The band David Crosby knew he never belonged in: “Primitive shit”

David Crosby’s broad musical tastes led him away from straightforward rock and roll and toward sophisticated songwriting, jazz influences and denser arrangements. He regarded Paul Revere & the Raiders’ uniformed, image-conscious style as “primitive shit,” preferring the more adventurous direction he pursued with The Byrds and later with Stephen Stills and Graham Nash. His solo work and collaborations reflected an ambition to push pop music beyond its conventional limits.

Far Out ·Aug 2026

The 1973 Song Don Henley Could Listen to Forever

Don Henley has said that “Tequila Sunrise” is one Eagles song he never gets tired of. The article explains that the song offered a relaxed break from Desperado’s outlaw concept while showcasing the emerging songwriting partnership between Henley and Glenn Frey. Inspired partly by a Roy Orbison-style rhythm, the song turned the idea of drinking to gain confidence approaching women into a memorable country-rock narrative, helping establish the creative direction the duo would pursue in later work.

Far Out Magazine ·Aug 2026

The 1957 Songs Phil Collins Will Love Forever: “So Far Ahead”

Phil Collins’s musical tastes extend beyond his pop and progressive-rock career to Leonard Bernstein’s West Side Story, whose songs “Maria,” “Somewhere” and “America” he considered far ahead of their time. The piece reviews Collins’s collaborations, difficult Live Aid appearance with Led Zeppelin, later albums and transition into film music, particularly his work on Tarzan, arguing that his enduring appeal comes from his ability to create emotionally direct songs across genres.

Far Out Magazine ·Aug 2026

The 1969 Song That Made Graham Nash Join Crosby, Stills, and Nash

Hearing David Crosby perform an early version of “You Don’t Have to Cry” convinced Graham Nash that he needed to leave The Hollies and pursue a new musical direction in California. Nash said the song’s harmonies revealed possibilities he could not return from, prompting him to abandon his money, equipment, family ties and established band career to form Crosby, Stills, and Nash. The group’s blend of folk, rock and country influences eventually produced enduring classic-rock songs and established the band as a major supergroup.

Far Out Magazine ·Aug 2026

The 1967 song John Lennon tried to make perfect: “Beautifully”

John Lennon regarded “A Day in the Life” as a song with exceptional potential and pushed The Beatles to refine it carefully in the studio. The piece combined Lennon’s opening narrative with Paul McCartney’s contrasting section and a chaotic orchestral passage, whose carefully balanced arrangement culminated in the famous final piano chord. The song followed the experimental breakthrough of “Strawberry Fields Forever” and exemplified the band’s shift away from live performance toward increasingly ambitious studio production, with George Martin helping turn the unusual composition into a classic.

Far Out Magazine ·Aug 2026

The Singer Paul Simon Will Always Be Listening To: “See What They’re Up To”

Paul Simon regards Bob Dylan as an artist whose new work he will always follow to discover what Dylan is thinking and creating. The article traces Simon’s influences from Elvis Presley and the Everly Brothers to Dylan, whom Simon considers a far superior lyricist. Dylan’s album Love and Theft and the later song “Murder Most Foul” are cited as examples of his continuing artistic vitality and pursuit of exceptional songwriting.

Far Out Magazine ·Aug 2026

The Singer Roger Daltrey Crowned as “One of the Best Songwriters”

Roger Daltrey is portrayed as valuing the power of a song and the singer’s ability to bring it to life, rather than insisting that every performer write their own material. While praising Pete Townshend’s songwriting and The Who’s work on albums including Tommy and Who’s Next, Daltrey particularly admired Harry Nilsson, calling him “one of the best songwriters out there.” Nilsson’s distinctive voice, emotional delivery and sense of humor made him an ideal example of the kind of artist Daltrey respected.

Far Out ·Aug 2026

The 1971 Led Zeppelin Song Jimmy Page Dismissed as a Poor Imitation

Jimmy Page explained that “Stairway to Heaven” began as a fragile acoustic guitar piece influenced by a “poor man’s” version of Bach’s “Bourrée.” The song was designed to unfold gradually through layers, changing moods and increasing intensity before reaching its celebrated guitar solo and climactic vocal and drum performances. The track’s ambitious arrangement and fusion of rock and classical ideas helped establish it as one of Led Zeppelin’s defining achievements.

Far Out Magazine ·Aug 2026

The One Band Ozzy Osbourne Always Wanted to Join

Ozzy Osbourne once discussed forming a band or recording with Eddie and Alex Van Halen, but scheduling conflicts, separate projects and family circumstances prevented the collaboration. Osbourne later called the missed opportunity a regret, while the piece reflects on Van Halen's blues-rock roots, its powerful impact on Black Sabbath, and the creative potential of a partnership between two major hard-rock acts.

Far Out Magazine ·Aug 2026

The 1960s Band Eric Clapton Didn’t Want to Exist: “A Mistake”

Eric Clapton believed Jimi Hendrix should have been backed by an American band rather than British musicians Mitch Mitchell and Noel Redding, calling Hendrix’s lineup “a mistake” and “a hype.” The article contrasts that view with the Jimi Hendrix Experience’s lasting impact, arguing that Mitchell and Redding’s distinctive power and swing were central to Hendrix’s music. It also traces Clapton’s search for musical perfection through Cream, Blind Faith and Derek and the Dominos, whose members’ familiarity with American blues particularly appealed to him.

Far Out Magazine ·Aug 2026

The One Singer Sting Crowned as “the Most Beautiful Voice”

Sting praised Art Garfunkel as having one of the most beautiful voices in pop while discussing his own performances of “Bridge Over Troubled Water” alongside Paul Simon. Rather than imitate Garfunkel’s original, Sting sought to give the song his own interpretation, using his vocal range and experience. The piece also reflects on Sting’s preference for musical collaboration, his creative tensions with The Police, and his productive partnership with guitarist Dominic Miller.

Far Out Magazine ·Aug 2026

The 1959 album Linda Ronstadt knew she would never forget

Linda Ronstadt recalled being profoundly affected by Miles Davis’s 1959 album Kind of Blue, which she first heard as a teenager. The album’s innovative grooves and expressive musicianship showed her that music did not need to follow conventional structures or pursue technical perfection to be powerful. Davis’s influence also extended across the rock world, including artists such as Pink Floyd’s Richard Wright and Bob Dylan, while Ronstadt later broadened her own musical range through Broadway and collaborations with Nelson Riddle.

Far Out Magazine ·Aug 2026

The “beautiful” 2012 album Paul McCartney needed to make

Paul McCartney’s lifelong affection for nostalgic, pre-rock songwriting eventually led him to record Kisses on the Bottom in 2012. The album allowed him to perform jazz standards by writers such as Harold Arlen and Cole Porter, drawing on influences including Fred Astaire and Frank Sinatra, while also featuring a small number of McCartney originals. Although his sentimental style sometimes irritated Beatles bandmates—especially John Lennon—the album is presented as a confident and authentic embrace of McCartney’s inner crooner rather than an attempt to appeal to rock audiences.

Far Out Magazine ·Aug 2026

The “beautiful” 1965 album Lindsey Buckingham wants everyone to hear

Lindsey Buckingham’s admiration for The Beach Boys Today! is presented as evidence of Brian Wilson’s early songwriting brilliance. Buckingham particularly valued the album’s second side, whose vulnerable ballads—including “Please Let Me Wonder,” “Kiss Me Baby,” “She Knows Me Too Well” and “In the Back of My Mind”—foreshadowed the emotional and artistic ambition of Pet Sounds and Smile. The piece contrasts Wilson’s collaborative, enjoyment-focused approach with Buckingham’s more exacting studio methods and argues that Wilson’s influence extended well beyond The Beach Boys’ upbeat summer-pop image.

Far Out Magazine ·Aug 2026

The 2008 album Tom Petty ranked among his greatest work

Tom Petty regarded Mudcrutch’s 2008 debut album as one of the better records he had been involved with, valuing the relaxed chemistry and enjoyment of reuniting with his original Florida bandmates. Although the album lacked major singles and was not among his biggest commercial successes, its extended rock performances and country and bluegrass influences reveal a talented group finding its footing. The record also offered a glimpse of what Petty’s career might have sounded like had he remained with Mudcrutch rather than forming the Heartbreakers.

Far Out Magazine ·Aug 2026

The 1968 Album Alex Lifeson Played "A Million Times Over"

Alex Lifeson is portrayed as the often-overlooked guitarist who brought blues-rock and hard-rock energy to Rush’s progressive sound. The article identifies Led Zeppelin—especially Jimmy Page’s playing and the song “How Many More Times”—as a major influence on Lifeson. He recalled buying Led Zeppelin’s debut album on import and listening to it repeatedly, describing its heavy groove and Page’s violin-bow solo as particularly mind-blowing. The piece argues that Rush’s early Zeppelin-inspired style, including “Working Man,” was central to the band’s beginnings even as Lifeson later developed a broader and more distinctive approach.

Far Out Magazine ·Aug 2026

The One Band Robert Plant Felt Most at Home With

Robert Plant’s post-Led Zeppelin career was shaped by a desire to move beyond traditional hard rock and explore folk, blues, bluegrass and other sounds. His collaborations with Alison Krauss and the changing lineup of The Band of Joy allowed him to pursue that flexibility. Plant described The Band of Joy as a musical home where members could come and go while maintaining a strong creative connection.

Far Out ·Aug 2026

The 1987 song Sting knew shouldn’t have been made

Sting’s 1987 song “We’ll Be Together” was created for a greatest-hits compilation and featured Brian Loren on the released version. Sting later said he preferred an unreleased version featuring Eric Clapton, believing that shelving Clapton’s contribution was a mistake. The decision is presented as a missed opportunity during Sting’s transition from The Police to an ambitious solo career.

Far Out Magazine ·Aug 2026

The Concert That Gave Bruce Springsteen the Best Sing-Along

A poor-sounding arena concert in Chicago revealed the extraordinary sing-along potential of Bruce Springsteen’s “Hungry Heart.” Although Springsteen had initially intended the song for the Ramones, the audience’s spontaneous participation convinced him to make it a permanent part of his set, helping establish one of his most communal live moments.

Far Out Magazine ·Aug 2026

The “best” writer Linda Ronstadt knew always got better

Linda Ronstadt is presented as a gifted interpreter who recognized exceptional songwriting in peers including Jackson Browne, Randy Newman and Jimmy Webb. While comparing Webb with Bob Dylan, she particularly admired Webb’s storytelling, understated delivery and ability to make familiar song structures feel fresh. Ronstadt considered Webb to be at the top of his craft even in the late 1990s and regretted not including one of his songs on Feels Like Home, calling him “the best.”

Far Out ·Jul 2026

The 1980 album Eddie Van Halen called his strangest work

Women and Children First, Van Halen’s 1980 album, marked an early departure from the band’s straightforward hard-rock sound. Eddie Van Halen expanded his instrumental palette with prominent distorted keyboards, acoustic passages and more adventurous arrangements, including “And the Cradle Will Rock,” “Could This Be Magic” and “In a Simple Rhyme.” Although Fair Warning is often considered the band’s strangest album, Van Halen argued that Women and Children First was even more unconventional, while still retaining accessible songs such as “Everybody Wants Some.”

Far Out ·Jul 2026

The 1988 Traveling Wilburys Song They Weren’t Supposed to Make

The Traveling Wilburys had few unreleased recordings because most of their collaborative work appeared on their albums. Bob Dylan’s “Congratulations” was an exception: he brought much of the song already written, and the group helped finish it. Although Dylan initially appeared uneasy working with other major musicians, the song’s country influence and sing-along chorus suited the band, while Roy Orbison’s death later made continuing the group feel creatively unjustified.

Far Out Magazine ·Jul 2026

Where Did the New Beatles Song 'Little Girl' Actually Come From?

The Beatles’ previously unknown song “Little Girl,” apparently demoed by John Lennon around 1965, is expected to appear on a new remix of Rubber Soul. Producer Giles Martin said the recording came from the Lennon Estate, likely via Sean Ono Lennon, making it unlike other Beatles demos that have circulated online. The song’s sentimental lyrics appear closer to the band’s earlier puppy-love material than to the more experimental songwriting developing around Rubber Soul, while parts of its melody or hooks may anticipate later Lennon songs. The piece speculates that “Little Girl” could become another overlooked Beatles classic, while acknowledging that its significance and final presentation remain uncertain.

Far Out Magazine ·Jul 2026

The singer Neil Young crowned as the most "honest" songwriter

Neil Young is portrayed as an exceptionally authentic songwriter who consistently valued personal expression over commercial expectations. The article contrasts his willingness to release imperfect or emotionally difficult work, such as Tonight’s the Night, with the broader tradition of country musicians whose songs reflect lived experience. Willie Nelson is presented as Young’s artistic counterpart, particularly through the honesty of “On the Road Again” and his enduring commitment to emotionally direct music.

Far Out ·Jul 2026

The 1967 Pink Floyd song Roger Waters never needed to play again

Roger Waters has said he would not want to return to performing Pink Floyd’s 1967 psychedelic instrumental “Interstellar Overdrive,” dismissing the band’s early playing as immature and overly experimental. The song is associated with Syd Barrett’s formative influence and the group’s playful, communal beginnings, but Waters viewed revisiting that period as emotionally and artistically undesirable. The discussion also contrasts Waters’s resistance to nostalgia with David Gilmour’s decision to continue Pink Floyd in a different creative direction after Waters’s departure.

Far Out Magazine ·Jul 2026

Inside Keith Richards’ surprising closest vocal partnership: “We lived together”

Keith Richards regarded Gram Parsons as his closest vocal partner, even more so than his Rolling Stones bandmates. Richards said he spent more time singing with Parsons than with the Stones, learning Everly Brothers harmonies and other vocal techniques while the two lived together during the Exile on Main Street sessions. Parsons’ influence deepened Richards’ interest in country music and left a lasting country-rock imprint on his songwriting after Parsons died from an overdose.

Far Out ·Jul 2026

The “misguided” 1982 Pink Floyd album the band disowned

The Final Cut began as material for The Wall film and evolved into an album shaped by Roger Waters’ response to Britain’s involvement in the Falklands War. Richard Wright criticized the record and believed Waters’ control and inflated sense of authority damaged Pink Floyd, while David Gilmour and Nick Mason reportedly shared doubts about its quality. The album did not end the band, but the power struggle surrounding it deepened divisions that ultimately led to Waters’ departure and lasting conflict with Gilmour.

Far Out Magazine ·Jul 2026

The 1971 “key song” Bob Seger used to paint his masterpiece

Bob Seger identified Kris Kristofferson’s “Me and Bobby McGee” as a key influence on his narrative songwriting and the development of “Night Moves.” Seger admired Kristofferson’s lived-in emotional perspective and aimed to write from similarly personal experience. The piece argues that “Night Moves” reflects Seger’s Detroit roots, blue-collar heartland rock, and ability to combine romantic nostalgia with heartbreak.

Far Out Magazine ·Jul 2026

The 1991 Grunge Anthem Johnny Cash Was Nervous to Record

Johnny Cash initially resisted recording Soundgarden’s “Rusty Cage,” telling Rick Rubin that it was not his kind of song. Rubin’s arrangement reshaped Chris Cornell’s grunge original into a country-style shuffle that suited Cash’s baritone and worldview. The experience exemplified Rubin’s role in Cash’s late-career revival: rather than making him imitate younger artists, Rubin selected songs whose emotional themes could be recast authentically through Cash’s storytelling style.

Far Out Magazine ·Jul 2026

The 1934 Song Joni Mitchell Wanted to Hear Forever

Joni Mitchell’s broad musical development was strongly influenced by classical music, particularly Sergei Rachmaninoff’s Rhapsody on a Theme of Paganini. After hearing the piece in a Kirk Douglas film, Mitchell repeatedly sought it out and described being overwhelmed by its melodies. The article connects that experience to the sophisticated melodic structures and orchestral textures she later employed in her own work, including her collaborations with the LA Express and Charles Mingus and her later orchestral treatment of “Both Sides Now.”

Far Out Magazine ·Jul 2026

The “corny” songwriter Jack Black will always defend

Jack Black has openly defended his fondness for Billy Joel despite the songwriter’s sometimes “corny” reputation. The piece argues that Joel’s polished, radio-friendly music contains sophisticated harmony, structure, character-driven storytelling and old-fashioned musicianship, making him more significant than his unfashionable image suggests. Black’s comments about his “hot, cheesy, corny” Billy Joel phase are contrasted with the deliberately comic heavy metal of Tenacious D, which the article presents as carrying echoes of Joel’s theatrical ambitions.

Far Out Magazine ·Jul 2026

The Three Songs Joe Elliott Wants to Be Played at His Funeral

Def Leppard frontman Joe Elliott has said he has written three songs into his will to be played at his funeral: “Anthem” by The Sensational Alex Harvey Band, and “All the Young Dudes” and “Rest In Peace” by Mott the Hoople. The choices reflect the glam-rock and early rock influences that shaped his musical identity, particularly his admiration for Mott the Hoople and frontman Ian Hunter.

Far Out Magazine ·Jul 2026

The 1973 Eagles song Don Henley knew he could never sing

The Eagles’ song “James Dean,” written during the sessions for Desperado and later completed for On the Border, was not a natural fit for Don Henley. Henley said he understood Dean’s films but missed the broader cultural mythology surrounding him, while Glenn Frey’s rebellious vocal style better matched the song’s perspective and subject. The track marked a transitional period as the Eagles moved from the uneven ambition of Desperado toward the stronger singles and more focused sound that preceded One of These Nights.

Far Out Magazine ·Jul 2026

The classic rock drummer Phil Collins called "one of the finest"

Phil Collins has consistently identified as a drummer first and credits jazz great Buddy Rich and rock drummers including Keith Moon and John Bonham as major influences. He regarded Bonham as one of the finest drummers he had ever heard and the first to earn a standing ovation from him. The article highlights Bonham's combination of power, groove and meticulous attention to detail, particularly in Led Zeppelin songs such as "Ramble On" and "When the Levee Breaks."

Far Out Magazine ·Jul 2026

The rapper Elton John knew would last for decades

Elton John has long admired artists who communicate authentically with audiences, and he identified Eminem as a major lyrical talent. John called Eminem a “true poet of his time,” comparing his emotionally direct storytelling to Bob Dylan’s. Their performance of “Stan” at the Grammys helped audiences understand their artistic connection, although the article notes that Eminem’s later work has included weaker or cringeworthy material.

Far Out Magazine ·Jul 2026

The 1960s band Eric Clapton never wanted to break up

Eric Clapton’s career after leaving The Yardbirds was shaped by a succession of short-lived groups, including John Mayall’s Bluesbreakers, Cream, Delaney and Bonnie, Blind Faith, and Derek and the Dominos. The article argues that Cream’s virtuoso lineup helped restrain and develop Clapton, while later collaborations taught him to serve the song. Clapton nevertheless believed Blind Faith ended too soon, saying the group might have continued for several more years, even though the scale of its lineup and expectations made its collapse likely. His subsequent bands increasingly functioned as vehicles for his solo career, supported by musicians who could intuitively follow his playing.

Far Out Magazine ·Jul 2026

The 1965 Kinks song Paul McCartney thinks he should’ve written: “You bastards!”

The Kinks’ 1965 song “See My Friends” impressed Paul McCartney so much that he reportedly complained to Dave Davies, “You bastards! How dare you! I should have made that record.” The song’s blend of R&B, rock and raga-inspired experimentation anticipated psychedelia and influenced The Beatles’ later work, particularly “Paperback Writer.” The piece argues that, although The Beatles achieved greater international impact, Ray Davies and The Kinks developed a uniquely English songwriting style and briefly led the way toward more atmospheric and adventurous rock.

Far Out ·Jul 2026

The 1982 Song Eddie Van Halen Knew Never Belonged on His Album

Eddie Van Halen reportedly objected to Van Halen's 1982 album Diver Down, particularly its cover of Motown's “Dancing in the Street.” He said producer Ted Templeman adapted a mini-Moog riff from an unfinished song of his for the cover and that he received no writing credit. The article presents the track as a label- and exhaustion-driven compromise that conflicted with Eddie's desire to move beyond Van Halen's party-band image and develop more original material.

Far Out Magazine ·Jul 2026

The Band Paul Simon Called “The Best Time of My Life”

Paul Simon recalled his years with Simon & Garfunkel as “the best time of my life,” describing the duo’s music as naive, sweet-natured, carefree and largely free of anger or unhappiness. Although he later criticized or avoided some songs, he valued the idyllic period before the pressures of rock stardom fully set in. The piece also contrasts the duo’s approachable folk-rock with Simon’s later, more serious solo work and highlights his willingness to explore world music, including through his work in South Africa.

Far Out Magazine ·Jul 2026

The One and Only Band Tom Petty Would Never Fit In With

Tom Petty valued concise, energetic rock songs and direct engagement with audiences, even though he respected bands capable of extended improvisation. His work with The Traveling Wilburys and on albums such as Wildflowers showed a growing interest in studio experimentation, while Mojo explored a looser, blues-influenced sound. Petty nevertheless believed his band could not match Traffic’s ability to improvise within traditional song structures, viewing that approach as fundamentally different from the focused American rock music he created.

Far Out Magazine ·Jul 2026

The 1975 Song Glenn Frey Knew the Eagles Needed to Make

Glenn Frey believed the Eagles should have written “Lyin’ Eyes” sooner because its story of women partying with rock stars before returning to their husbands was already familiar to the band. Drawing on songwriting lessons from Jackson Browne and working closely with Don Henley, Frey helped shape the nearly six-minute ballad through extensive attention to lyrics, syllables, and vocal performance. The song reflected the Eagles’ broader shift from the outlaw narratives of Desperado toward standalone stories and more ambitious songwriting.

Far Out Magazine ·Jul 2026

The One Guitarist Sammy Hagar Wanted to Last 100 Years

Sammy Hagar regarded Bob Weir as an exceptionally wise and enduring musician, joking that they had agreed to live to 100 before reassessing their plans. Hagar was particularly affected by Weir’s death because he viewed him as an elder and admired his ability to complement Jerry Garcia and make the Grateful Dead’s performances continually unpredictable. The piece also places Hagar’s admiration for Weir alongside his respect for Eddie Van Halen and his broader belief in creating music that could outlast its generation.

Far Out ·Jul 2026

The 1964 song Lindsey Buckingham believes is completely perfect: “Just masterful”

Lindsey Buckingham considers The Beach Boys’ 1964 single “I Get Around,” paired with “Don’t Worry Baby,” an exemplary piece of perfect pop. The feature highlights Brian Wilson’s sophisticated harmonic shifts, layered arrangements and ability to conceal complex musical construction beneath immediately appealing melodies. Buckingham’s admiration is linked to Fleetwood Mac’s own meticulous yet spontaneous-sounding recordings, including “Go Your Own Way,” while the single is presented as an important precursor to the group’s later innovations on Pet Sounds and “Good Vibrations.”

Far Out Magazine ·Jul 2026

The One Singer Robert Plant Will Always Love Hearing: “That’s an Experience”

Robert Plant’s enduring admiration for Neil Young centers on Young’s plaintive, imperfect and deeply expressive voice. Plant values performances that convey authentic feeling rather than reproduce studio recordings exactly, a principle also reflected in his own evolution beyond Led Zeppelin’s high-register style and in his collaborations with Alison Krauss. Young’s willingness to experiment and create an emotionally transformative concert experience exemplifies the kind of artistic authenticity Plant respects.

Far Out Magazine ·Jul 2026

The Booze-Fuelled Feud Between Billy Joel and Elton John

Billy Joel and Elton John were initially friendly despite frequent comparisons between their piano-driven music and shared influences. Their relationship deteriorated after Elton John publicly suggested that Joel needed rehabilitation for his drinking, a comment Joel found hurtful. After Joel later confronted his alcohol problems and recovered, the two musicians moved past the bad blood and retained a close, teasing, sibling-like bond, although they no longer perform joint tours.

Far Out Magazine ·Jul 2026

The Lyrics Joe Walsh Knew Never Belonged in His Song: “They’re Kind of Dumb”

Joe Walsh initially disliked the lyrics to “Life’s Been Good,” calling them potentially “kind of dumb” and considering replacing them with something more conventionally rock-oriented. Drummer Joe Vitale and producer Bill Szymczyk persuaded him to keep the words, which turned the song’s exaggerated depiction of rock-star excess into a defining comic hit. The feature places the track within Walsh’s 1978 album But Seriously Folks, his work with the Eagles, and his broader reputation for balancing goofy humor with serious musicianship.

Far Out Magazine ·Jul 2026

The “thrashy” musician Bob Dylan could listen to forever

Bob Dylan admired musicians with distinctive personalities and an individual artistic identity rather than merely technical skill. Although Neil Young’s folk-oriented material initially seemed too close to Dylan’s own style, Dylan came to respect him after seeing his electric performances with Crazy Horse. He praised Young’s sincerity, God-given voice and ability to preserve melody even in his heaviest, most “thrashy” music, placing him in a category of his own.

Far Out Magazine ·Jul 2026

The One Guitarist George Harrison Wanted Everyone to Hear: “Incredible”

George Harrison regarded Gary Moore as one of the best guitarists of his era, arguing that Moore’s records did not fully capture the quality of his playing. Harrison had seen Moore perform in an intimate setting and admired his move from heavy metal toward focused heavy blues. Moore later contributed a strong solo to the Traveling Wilburys’ “She’s My Baby,” though the article emphasizes that Harrison valued his broader musicianship more than that single performance. The piece also places Moore’s work in Thin Lizzy and on “Still Got the Blues” within a wider case for his underappreciated influence and talent.

Far Out ·Jul 2026

The 1971 Led Zeppelin song Robert Plant will always regret

Robert Plant has said he is embarrassed by the lyrics of “The Battle of Evermore,” a 1971 Led Zeppelin song shaped by his interest in J. R. R. Tolkien and C. S. Lewis. His collaboration with Alison Krauss prompted him to reflect on how youthful sincerity can later seem overly earnest. Despite Plant’s reservations, the song’s mystical atmosphere, Jimmy Page’s mandolin, John Paul Jones’s sonic contributions and Sandy Denny’s harmonies have made it one of Led Zeppelin’s most distinctive and enduring compositions.

Far Out Magazine ·Jul 2026

The 1999 Album Tom Petty Regretted but Always Defended

Tom Petty’s 1999 album Echo was created during a period of emotional turmoil and the collapse of his marriage, leaving him feeling creatively shut down and unwilling to hear the record for years. Encouraged by his wife Dana to listen again, Petty came to appreciate the album’s spontaneity and emotional honesty. Although Echo lacks the consistent brightness of his best-known work, its openness—particularly on songs such as “Room at the Top,” “Echo” and “Lonesome Sundown”—offers revealing insight into Petty’s state of mind and makes the record worthwhile.

Far Out Magazine ·Jul 2026

The 1964 song that made Rick Rubin fall in love with music: “Proof of the existence of God”

Rick Rubin attributes his lifelong devotion to music to hearing The Beatles’ 1964 cover of Chuck Berry’s “Rock and Roll Music” as a child. The song shaped his focus on songwriting and emotional impact, influencing his path from punk and hip-hop scenes at New York University to founding Def Jam Records and producing artists including Tom Petty and Johnny Cash. Rubin continues to regard The Beatles as transcendent, particularly praising Paul McCartney’s role in holding the group together, and later explored their creative process with McCartney in McCartney I II III.

Far Out Magazine ·Jul 2026

The “world’s best” singer Ian Anderson knew deserved better

Ian Anderson is portrayed as valuing musical honesty and adaptation over reproducing the sound of his younger self. He believed audiences should not determine when a musician retires, but argued that classical singers face especially intense pressure to preserve their peak voices. Pavarotti is presented as a tragic example: despite his status as one of history’s greatest singers, he struggled in the final 12 to 15 years of his life to meet expectations that he perform as he had at his prime.

Far Out Magazine ·Jul 2026

The 1970 song Elton John wanted to play forever: “Better every time”

Elton John identified “Your Song,” released in 1970, as a song he could perform forever because it became better each time he sang it. He recalled composing the music in about 20 minutes after receiving Bernie Taupin’s lyrics, immediately recognizing the song’s potential. The piece argues that “Your Song” established the standard for John’s career and exemplified the enduring creative partnership between the singer and Taupin.

Far Out Magazine ·Jul 2026

The Guitarist Bruce Springsteen Knew Always Belonged in His Band

Bruce Springsteen regarded Tom Morello as the ideal guest guitarist for the E Street Band after seeing Morello's passionate performances with Rage Against the Machine and his interpretation of “The Ghost of Tom Joad.” Morello's radically different guitar style complemented rather than duplicated the work of musicians such as Stevie Van Zandt, adding a new dimension to the band's sound. Although Morello was never a full-time member, his creative energy and shared musical values gave him a lasting place on the band's stage and recordings.

Far Out Magazine ·Jul 2026

The “beautiful” 1964 song Brian Wilson wanted to sound angelic: “One of the prettiest songs”

Brian Wilson described The Beach Boys’ “The Warmth of the Sun” as one of his prettiest songs, explaining that he tried to sing it sweetly and angelically after John F. Kennedy was assassinated. The song served as a gentle, hopeful response to national grief and reflected Wilson’s growing ambition to create emotionally complex music beyond the band’s early surf-rock sound.

Far Out ·Jul 2026

The guitarist who always belonged in The Traveling Wilburys

Mike Campbell was invited to contribute to the early sessions that became The Traveling Wilburys after Tom Petty brought him along. Although his guitar work on “Handle With Care” was valued, Campbell felt intimidated playing beside George Harrison, Jeff Lynne, Bob Dylan and Roy Orbison, and preferred supporting roles to the spotlight. Harrison ultimately played the distinctive slide-guitar part, while Campbell remained close to the group’s members through his work with Petty, Dylan and Orbison.

Far Out Magazine ·Jul 2026

The “beautiful” song Sammy Hagar needed to make

Sammy Hagar initially viewed joining Van Halen as a risk he did not need to take, but his musical approach helped broaden the band’s identity. He particularly admired Eddie Van Halen’s keyboard composition for “Love Walks In,” calling it a beautiful piece of music that David Lee Roth likely could not have delivered. The song, featured on 5150, demonstrated that Van Halen could successfully embrace ballads and keyboards without abandoning its hard-rock foundations, paving the way for later songs such as “When It’s Love” and “Right Now.”

Far Out Magazine ·Jul 2026

The “Dream” Band Phil Collins Always Wanted to Work With: “It’s Fantastic”

Phil Collins’s 2010 album Going Back fulfilled a long-held musical dream by bringing the surviving members of Motown’s Funk Brothers into the studio. Collins wanted to record the soul songs he had loved since childhood as faithfully as possible, and was amazed that musicians such as bassist Bob Babbitt agreed to participate. The collaboration gave the album an authentic Motown foundation while allowing Collins to preserve and pass on music that had shaped him, despite his declining ability to play drums and his move away from original pop material.

Far Out Magazine ·Jul 2026

The guitarist Keith Richards always wanted in The Rolling Stones: “No doubt”

Keith Richards wanted Ronnie Wood to join the Rolling Stones because Wood understood the band’s blues foundations, knew when to complement rather than overpower Richards, and already felt familiar with the group’s music. Although Mick Taylor was an accomplished guitarist and Gram Parsons shared Richards’s roots-oriented sensibility, Wood became the clear choice after Taylor’s departure and months of rehearsals with other guitarists. Richards said Wood’s arrival made the decision immediate and effortless.

Far Out Magazine ·Jul 2026

The “beautiful” band Eric Clapton knew he belonged in

Eric Clapton felt increasingly constrained by the pop-oriented music of The Yardbirds and the interpersonal tensions within Cream. After leaving Cream, he viewed The Band as the group that best embodied the rootsy Americana and fusion of Black and white musical traditions he admired. Although he never formally joined The Band, his participation in The Last Waltz and later solo work reflected the group’s influence on his musical direction.

Far Out Magazine ·Jul 2026

The Disturbing 1973 Concert That Made Genesis Prog Superstars

Peter Gabriel’s use of a fox mask during Genesis performances of “The Musical Box” in 1973 created a disturbing but memorable theatrical effect that helped transform the band from struggling progressive-rock hopefuls into a major live attraction. Because Gabriel did not play an instrument onstage, he used elaborate costumes and character transformations to visualize Genesis’ surreal narratives, complementing rather than replacing the band’s complex musicianship. The audience’s strong reaction, along with Phil Collins’ recognition of the visual impact, helped establish Genesis as one of the era’s most distinctive progressive-rock acts and foreshadowed Gabriel’s eventual solo career.

Far Out Magazine ·Jul 2026

The Best Blues Singer Mick Jagger Wanted Everyone to Know

Mick Jagger’s love of the blues helped shape The Rolling Stones and his friendship with Keith Richards. During his first visit to the United States, Jagger was shocked that Muddy Waters—whom he regarded as one of the greatest blues singers alive—was not treated as a major mainstream artist. He believed Waters and other foundational blues musicians had been overlooked despite their central influence on rock and roll, and saw it as the responsibility of artists such as the Stones to bring their music to wider audiences and pass the tradition to future generations.

Far Out Magazine ·Jul 2026

The “Garage” Band Tom Petty Believed “Saved” the Blues

Tom Petty resisted being confined to a single genre but consistently drew on blues traditions. He credited The Rolling Stones with introducing his generation to original blues when radio offered little access to it, saying the band had “singlehandedly saved” the music. The article highlights the blues foundations of The Stones, Petty and the Heartbreakers, contrasting them with later perceptions of bands such as Led Zeppelin, and emphasizes Petty’s admiration for artists including Johnny Cash, Albert King, Muddy Waters and Robert Johnson.

Far Out Magazine ·Jul 2026

The 1982 Song Christine McVie Called Stevie Nicks's Best

Christine McVie regarded Stevie Nicks’s 1982 song “Gypsy” as the standout track on the album, praising its cohesive arrangement, melody and emotional depth. The song’s tribute to a lost friend and Nicks’s expressive performance exemplified the collaborative strengths of Fleetwood Mac, even as Nicks pursued a parallel solo career and the band navigated a less consistent period after Rumours.

Far Out Magazine ·Jul 2026

The conversation that helped form Eagles: “I would love to”

Don Henley and Glenn Frey developed the idea of forming their own band while playing in Linda Ronstadt's group. Although Ronstadt and manager John Boylan had envisioned them as part of a country-rock supergroup backing her, Henley and Frey realized they wanted to work together independently. Ronstadt supported their decision, and her recommendation helped bring Bernie Leadon and Randy Meisner into the lineup, providing the country-rock expertise that helped establish Eagles.

Far Out Magazine ·Jul 2026

The “Important” Bandmate Geddy Lee Always Needed in Rush

Geddy Lee regarded Neil Peart as indispensable to Rush, despite Peart joining after the band’s formation. Peart helped refine Lee’s lyrics and became a central creative force alongside Lee and Alex Lifeson. After the deaths of Peart’s wife and daughter, he withdrew from the band and traveled by motorcycle, and Lee said Rush could not continue without him. During later reunion performances featuring drummer Annika Nilles, the focus remained on celebrating Peart’s music rather than replacing him.

Far Out Magazine ·Jul 2026

The “vile” move Stevie Nicks never forgave Mick Fleetwood for

Stevie Nicks reportedly resented Mick Fleetwood for preventing her from including “Silver Springs” on the compilation album Timespace. The song, originally relegated to a B-side during the Rumours sessions, concerned Nicks because she believed it deserved greater recognition. Fleetwood argued that it should be saved for the right occasion, and it was eventually performed by Nicks and Lindsey Buckingham during Fleetwood Mac’s live album The Dance, where it became a standout moment.

Far Out Magazine ·Jul 2026

The 1975 album Glenn Frey knew “perfected” the Eagles

Glenn Frey believed the Eagles perfected their recording technique on 1975’s One of These Nights. After producer Glyn Johns failed to capture the band’s desired blend of rock and rhythm and blues, the group brought in Bill Szymczyk, whose greater control over the mix and detailed recording methods helped reshape its sound. The album’s chart success restored momentum after Desperado’s poor reception, while Joe Walsh’s later addition and the established Frey-Henley partnership set the stage for Hotel California.

Far Out Magazine ·Jul 2026

The 1966 song Brian Wilson knew he never belonged on

Brian Wilson reportedly felt that his vocal performance on “I’m Waiting for the Day,” from The Beach Boys’ 1966 album Pet Sounds, sounded strange and was the one track he did not particularly like. The piece argues that no other band member would have suited the song as well, while praising Wilson’s songwriting, arrangements and creative influence. It also criticizes Mike Love’s resistance to Brian Wilson’s more experimental work with Van Dyke Parks, but acknowledges Love’s contributions to the band.

Far Out Magazine ·Jul 2026

The “perfect” song Bob Dylan knew no one could beat

Bob Dylan regarded the Beatles’ 1963 song “Do You Want to Know a Secret?” as a nearly unbeatable, perfectly executed 1950s-style love ballad. He admired the group’s songwriting, intimacy and ability to create an emotional impact that other contemporary bands could not match, with George Harrison’s understated vocal seen as central to the song’s success. The piece places this admiration within the wider context of Dylan’s influence on and engagement with the Beatles during the British Invasion.

Far Out Magazine ·Jul 2026

The “perfect” song Tom Petty called everything great about the Traveling Wilburys

Tom Petty regarded “End of the Line” as the perfect example of the Traveling Wilburys’ collaborative spirit because every member contributed vocally and creatively. The song’s relaxed, optimistic treatment of aging and life’s passage captured the group’s camaraderie and carefree energy, while distinguishing it from tracks that served primarily as individual showcases for Bob Dylan, George Harrison or Roy Orbison.

Far Out Magazine ·Jul 2026

The One Musician Don Henley Felt Never Belonged in Eagles

Don Henley reportedly felt Bernie Leadon no longer fit Eagles as the band moved away from its country-rock foundations toward a harder, more expansive rock sound. Leadon’s bluegrass background and preference for banjo-centered country music increasingly conflicted with the group’s ambitions after albums such as Desperado and One of These Nights. His departure opened the way for Joe Walsh, whose versatility and rock style helped Eagles gain greater musical freedom, while Don Felder’s ability to play mandolin and banjo meant the band retained some of its country-oriented instrumental character.

Far Out Magazine ·Jul 2026

The “beautiful” 1962 song John Lennon could listen to forever

John Lennon admired Smokey Robinson’s 1962 Miracles song “I’ve Been Good to You,” especially Robinson’s expressive vocal line and what Lennon considered his nearly perfect voice. The piece connects that admiration to Lennon’s broader love of early rock and roll, soul music and emotionally direct ballad writing, while noting his harsh self-criticism of some Beatles recordings and his continued efforts to develop a Robinson-influenced vocal style in his solo work, including Double Fantasy.

Far Out Magazine ·Jul 2026

The “Beautiful” Singer That Left Eric Clapton Brokenhearted

Eric Clapton was deeply affected by Kurt Cobain’s 1994 suicide, viewing the Nirvana frontman as a gifted and sincere artist who had much more to offer. Clapton admired Nirvana’s challenge to the manufactured pop dominating MTV and described Cobain as “beautiful” and “a lovely man.” Cobain, in turn, reportedly respected Clapton’s guitar playing, suggesting a mutual admiration between musicians from different generations and genres.

Far Out Magazine ·Jul 2026

The One Musician Lars Ulrich Knew Always Belonged in Metallica

Lars Ulrich regarded Cliff Burton as an indispensable member of Metallica after hearing him perform with Trauma. Burton’s classical influences and inventive bass playing made him irreplaceable, and Ulrich continued to view him as part of Metallica’s legacy long after his death. The piece contrasts Burton’s revered status with the band’s harsher treatment of later members Jason Newsted and, to a lesser extent, Dave Mustaine, while noting Robert Trujillo’s efforts to honor Burton’s music in live performances.

Far Out Magazine ·Jul 2026

The 1984 Song Billy Joel Always Identified With

Billy Joel strongly identified with Don Henley’s song “A Month of Sundays,” telling Henley that its lonely farmer and quietly changing way of life deeply moved him. The piece praises Henley’s understated storytelling and connects it to Joel’s own songs about blue-collar hardship, including “Allentown” and “The Downeaster Alexa.” It also notes the unrealized possibility of a supergroup featuring Joel, Henley and Sting.

Far Out Magazine ·Jul 2026

The Shows Bruce Springsteen Called “One of the Greatest” to Play

Bruce Springsteen regarded his intimate Broadway performance as one of the greatest experiences of his life. Developed from personal stories, political reflections and vulnerable accounts of his journey from New Jersey to global stardom, the show allowed him to connect directly with a small audience without the full E Street Band sound. Springsteen told Rick Rubin that Barack Obama encouraged him to turn the performance into a show, which became a significant and deeply personal extension of the stripped-back approach heard on albums such as Nebraska, The Ghost of Tom Joad and Devils & Dust.

Far Out Magazine ·Jul 2026

The 1995 album Dave Grohl wanted to record again

Dave Grohl once considered re-recording Foo Fighters’ 1995 debut album with the full band, believing the original recordings represented only himself rather than the group as it later evolved. Taylor Hawkins rejected the idea as disastrous, while Pat Smear supported it, but the project never happened. The piece argues that the debut’s intimate, grief-inflected sound was tied to Grohl’s original solo sessions and could not easily be recreated by a later version of the band.

Far Out Magazine ·Jul 2026

The One Singer Linda Ronstadt Called Difficult to Work With

Linda Ronstadt said that working with Dolly Parton on the country supergroup Trio was more difficult than recording with Emmylou Harris because their musical sensibilities did not naturally align. Despite the challenge, Ronstadt acknowledged their mutual admiration and the strength of their combined voices. Their collaboration produced the acclaimed 1987 album Trio, which helped showcase the appeal of country supergroups before the genre's major commercial boom in the 1990s.

Far Out ·Jul 2026

The 1990s band that was everything Neil Young needed: “Great music”

Neil Young’s collaboration with Pearl Jam in the 1990s, particularly on the album Mirror Ball, gave him musicians whose authenticity and ability matched his own creative instincts. The piece argues that Pearl Jam’s grunge-era approach helped Young move beyond the stylistic missteps of the 1980s, while the sessions also renewed the band’s confidence and identity apart from Eddie Vedder. Young reportedly valued Pearl Jam so highly that he said he would be entirely comfortable having them as his only backing band.

Far Out Magazine ·Jul 2026

The One Singer Joni Mitchell Knew Understood Her Music Best

Joni Mitchell regarded David Crosby as the outsider who understood her music most deeply. The article emphasizes Mitchell’s willingness to move beyond folk rock and singer-songwriter conventions into more sophisticated, jazz-influenced compositions, even at the cost of mainstream success. Crosby supported her artistic direction, helped develop her recording techniques, and was influenced by working with her to pursue a more jazz-oriented approach.

Far Out ·Jul 2026

The One Musical Scout George Harrison Thought Had No Talent

George Harrison is portrayed as an unusually candid Beatle who distrusted music-industry promotion and commercial television. The article recounts his harsh assessment of American Bandstand host Dick Clark, whom Harrison accused of relying on artists for material rather than demonstrating creative talent of his own. It frames the criticism as part of Harrison's broader frustration with promoters who treated music as a product rather than an opportunity for deeper artistic expression.

Far Out Magazine ·Jul 2026

The Classic Rock Musician Stevie Nicks Knew Would “Live on Forever”

Stevie Nicks regarded Peter Green as a major reason she was excited to join Fleetwood Mac, praising his guitar playing and predicting that his legacy would live on in rock history. The piece contrasts Green’s influential early work—including his stint replacing Eric Clapton in John Mayall’s Bluesbreakers—with his later decline in mental health following LSD use and his withdrawal from the music industry. Nicks’s own tensions with Lindsey Buckingham and Mick Fleetwood are presented as difficult but less tragic than Green’s experience.

Far Out Magazine ·Jul 2026

The 1996 song David Crosby called “so good” no one can ignore

David Crosby was not primarily interested in writing conventional pop hits, preferring unconventional chords, jazz influences and emotionally ambitious songwriting. Nevertheless, he admired Shawn Colvin’s 1996 hit “Sunny Came Home,” calling it an exceptional break from the formulaic music dominating the charts. The song gave Crosby hope that thoughtful singer-songwriters could still reach a mainstream audience, a tradition later associated with artists such as Norah Jones and Fiona Apple.

Far Out Magazine ·Jul 2026

The 1975 song Bob Dylan always felt was "too rushed"

Bob Dylan reportedly felt that “Tangled Up in Blue,” released on his 1975 album Blood on the Tracks, was written too quickly and contained too many lines, as though he were rushing between ideas. Despite that criticism, the song’s hurried, fragmented quality reinforces its depiction of a relationship breaking down and has helped make it one of his most relatable and enduring works.

Far Out Magazine ·Jul 2026

The One Musician Jeff Lynne Knew Couldn’t Get Any Better

Jeff Lynne recalled producing and co-writing Roy Orbison’s “You Got It” for Orbison’s album Mystery Girl, describing the experience as one of the most enjoyable and rewarding of his career. Although Lynne had worked with major figures including George Harrison, The Beatles and the Traveling Wilburys, he regarded Orbison—whom he considered his all-time favourite—as an exceptional vocalist and a genuinely lovely person. Orbison’s premature death ended the collaboration, but his influence and memory remain important to Lynne.

Far Out Magazine ·Jul 2026

The “Terrible” 1990 Song That Changed Everything for Jimmy Page

Jimmy Page discovered a signature recording technique while trying to rescue The Yardbirds’ poorly regarded song “Ten Little Indians.” By reversing the tape and applying echo to the brass, he created an effect in which the echo preceded the original signal. The technique later shaped recordings including Led Zeppelin’s “You Shook Me” and “Whole Lotta Love,” illustrating how an unsuccessful song helped fuel Page’s studio experimentation and subsequent creative work.

Far Out Magazine ·Jul 2026

The 1991 song Brian May called Freddie Mercury's finest hour

Brian May regarded Freddie Mercury’s performance on The Show Must Go On as one of his greatest, highlighting Mercury’s determination to deliver a powerful vocal despite declining health. The article reflects on the band’s evolving sound, Mercury’s commitment to recording during his battle with AIDS, and the emotional significance of later tracks such as Mother Love, recorded near the end of his life.

Far Out Magazine ·Jul 2026

The “personal” album that helped make Stevie Nicks a star

Stevie Nicks’ early work with Lindsey Buckingham on their debut album established her personal songwriting voice despite limited commercial success. Though the record initially failed, its emotional openness and distinctive style drew the attention of Mick Fleetwood, leading to the pair joining Fleetwood Mac. Their contributions, including reworked songs and vocal harmonies with Christine McVie, helped shape the band’s signature sound and propelled Nicks toward stardom.

Far Out Magazine ·Jul 2026

The one guitarist Linda Ronstadt called “God to all of us”

Linda Ronstadt reflected on the guitarists who shaped the California rock scene, singling out Ry Cooder as a near‑divine musical figure whose subtle, melodic style set him apart despite limited mainstream recognition. She valued his contribution enough to secure his rare participation in her documentary, highlighting his influence alongside other revered but understated players. The article contrasts Cooder’s understated career with flashier legends, emphasizing the enduring artistry behind his work.

Far Out Magazine ·Jul 2026

The 2002 album that saved Rush from prog-rock oblivion

Rush returned from a period of profound personal tragedy when Neil Peart rejoined the band after losing his daughter and wife and undertaking a long motorcycle journey to rebuild his life. Reuniting in the studio brought uncertainty, but the band created Vapor Trails, a more personal and emotionally driven album shaped by recovery and renewed purpose. Their eventual return to the stage reinforced how close they had come to ending, with the experience revitalizing Peart and reaffirming the band’s bond.

Far Out Magazine ·Jul 2026

The 1979 Eagles song Don Henley called the end of an era

Don Henley viewed the Eagles’ 1979 song “The Sad Cafe” as a farewell to the fading creative energy of their early Los Angeles music scene, reflecting a broader sense of decline within the band during the making of their final album, The Long Run. The song captures the end of an era shaped by shifting tastes, commercial pressures and lost camaraderie, underscoring the band’s eventual breakup and the impossibility of recapturing their early freewheeling days.

Far Out Magazine ·Jul 2026

The "beautiful" singer Don Henley wanted everyone to know

Don Henley credits Glen Campbell as an essential but underappreciated figure in American music, praising his voice, session work, and contributions to country rock. Campbell’s performances on early Beach Boys records and his own celebrated recordings, including Wichita Lineman, are highlighted alongside endorsements from artists such as Billy Joel and Bob Dylan. Despite his influence on Americana and heartland rock, Campbell is portrayed as overlooked compared with major icons like Johnny Cash, despite his exceptional musicianship and distinctive vocals.

Far Out Magazine ·Jul 2026

The 1960s singer Eddie Van Halen always wanted to work with

Eddie Van Halen admired several classic rock vocalists but considered Joe Cocker the singer he most wished to collaborate with, citing Cocker’s expressive style and its similarity to the groove of songs like Right Now. While Van Halen benefited from the distinct strengths of David Lee Roth and Sammy Hagar, he continued to appreciate the raw power and eccentricity of Cocker’s performances. Although a collaboration never occurred, both artists are celebrated for their originality and enduring influence.

Far Out Magazine ·Jul 2026

The 1966 album Paul McCartney wanted to live forever: “The classic of this century”

Paul McCartney credited Brian Wilson’s work on the Beach Boys’ 1966 album Pet Sounds as a defining creative benchmark that influenced The Beatles’ evolution, praising it as a near-unbeatable classic. Wilson’s meticulous craftsmanship and willingness to push beyond surf‑rock conventions shaped a record McCartney believed set a new artistic standard, inspiring elements of Revolver and later guiding the ambition behind Sgt Pepper’s. Through the reflections on Pet Sounds’ innovation and legacy, the piece highlights its lasting impact on 1960s music and beyond.

Far Out Magazine ·Jul 2026

The drug dealer that inspired a 1973 Billy Joel classic

Billy Joel’s early work, particularly the 1973 song Captain Jack, was influenced by the drug culture he observed while living near Long Island housing projects. Although he did not use the drugs himself, he based the song’s drug dealer character on a real figure known locally as Captain Jack. The track marked one of Joel’s darker early themes and contrasted with lighter hits like Piano Man, illustrating his artistic growth and willingness to explore more serious subject matter.

Far Out Magazine ·Jul 2026

The guitarist Dave Grohl thought always belonged in Foo Fighters

Dave Grohl’s commitment to keeping Foo Fighters a cohesive musical family shaped the band’s evolving lineup, with Pat Smear emerging as the guitarist he always believed belonged in the group. Despite lineup tensions and departures over the years, Smear’s playing and long‑standing bond with Grohl made him a permanent fixture once he returned, complementing Chris Shiflett and helping solidify the band’s three‑guitar dynamic. The article highlights how the members’ contrasting styles ultimately blended into a unified sound, reinforcing Foo Fighters’ identity as a collaborative and resilient rock ensemble.

Far Out Magazine ·Jul 2026

The 1974 album that David Bowie never wanted to hear

David Bowie grew increasingly uncomfortable with the intense period captured on the 1974 live album David Live, later admitting he never wanted to hear it again due to the tension and poor personal health it reflected. Despite heavy drug use and a turbulent creative identity shift following the Ziggy Stardust era, he continued producing acclaimed work, including Young Americans and Station to Station, before eventually cleaning up and relocating to Berlin. The piece highlights his relentless reinvention and the personal toll behind his artistic breakthroughs.

Far Out Magazine ·Jul 2026

The “beautiful” song Glenn Frey needed to sound perfect

Glenn Frey approached classic standards with reverence on his album After Hours, particularly striving to honor Nat King Cole’s original rendition of For Sentimental Reasons without imitation. His later work reflected a mature, comfortable musical direction distinct from his peak years with the Eagles, emphasizing authenticity and personal connection to the Great American Songbook.

Far Out Magazine ·Jul 2026

The masterful singer Neil Young would work with in a heartbeat

Neil Young expresses admiration for Paul McCartney’s versatility and work ethic, saying he would collaborate with the former Beatle at any time. The article highlights Young’s unpredictable artistic approach and draws parallels to The Beatles’ commitment to constant reinvention. While noting stylistic differences, it suggests Young’s acoustic, homespun sound could complement McCartney’s stripped‑back solo work under the right circumstances.

Far Out Magazine ·Jul 2026

The classic rock band Robert Plant always wanted to imitate

Robert Plant reflects on his early career uncertainties and his admiration for the tight, blues‑driven sound of early Fleetwood Mac, which he once considered an ideal musical direction. While Led Zeppelin became defined by Jimmy Page’s leadership and heavier style, Plant had initially been drawn to more straightforward blues influences. Parallels emerge between the later careers of Plant and Fleetwood Mac, both evolving artistically while navigating setbacks, ultimately finding successful paths suited to their strengths.

Far Out Magazine ·Jul 2026

The 1972 Eagles song Glenn Frey never gets tired of singing

Glenn Frey consistently enjoyed performing Peaceful Easy Feeling, a 1972 Eagles track written by Jack Tempchin that captured the band’s early identity through its relaxed, atmospheric style. Unlike other songs that grew challenging or tiresome to perform, the track evolved gracefully onstage and reflected the authentic California spirit that helped define the Eagles. Its enduring charm contrasted with performance struggles faced by members like Randy Meisner, while highlighting the broader creative contributions that shaped the group’s early sound.

Far Out Magazine ·Jul 2026

The 1984 song Elton John and Sting agreed was on another level

Elton John and Sting regarded George Michael’s 1984 hit Careless Whisper as a standout example of exceptional pop songwriting, praising its craftsmanship and Michael’s early talent. The article highlights Michael’s rapid artistic development after Wham!, his later retreat from the music industry, and the lasting impact of his most accomplished work.

Far Out Magazine ·Jul 2026

The 1991 song that made Roger Waters feel physically sick

Roger Waters expressed strong disgust at Marky Mark’s 1991 track “Wildside,” criticizing its sampling of Lou Reed’s “Walk on the Wild Side” as a commercial misuse that distorted the original’s intent. Waters argued that borrowing artistic work without complementary purpose cheapens the result, contrasting the song with examples such as A Tribe Called Quest’s “Can I Kick It,” which he viewed as a more tasteful use of interpolation. The piece highlights Waters’ broader discomfort with the commercialization of countercultural music during the 1990s MTV era.

Far Out Magazine ·Jul 2026

The prog-rock bands Ian Anderson always wanted to make fun of

Ian Anderson viewed early 1970s progressive rock as increasingly serious and pompous, inspiring him to parody the genre with Jethro Tull’s Thick as a Brick. While bands such as Yes, King Crimson and Genesis influenced his satirical approach, the album matched their ambition and musicianship, resulting in a spoof that became a respected prog classic. Its mix of humour, technical skill and conceptual ambition allowed it to endure beyond its original parody intent.

Far Out Magazine ·Jul 2026

The 1981 song Phil Collins said “will be on my gravestone”

Phil Collins’ 1981 track “In the Air Tonight” is highlighted as the defining work of his solo career, celebrated for its atmospheric build and legendary drum fill. Collins expressed pride in the song’s legacy, joking it belongs on his gravestone. The piece contrasts the track’s impact with his broader work, noting that even later songs with complex drumming never replicated its power.

Far Out Magazine ·Jul 2026

The “hard-edged” album Billy Joel called the most fun

Billy Joel explored a harder, guitar‑driven sound on Glass Houses to suit large arena performances and evolve beyond his piano‑driven ballads. Influenced by the energy of the era’s rock and punk scenes, he viewed the project as his most enjoyable album to make, with both the band and audiences responding enthusiastically. Though some critics accused him of chasing trends, the shift marked an important step in his artistic development and paved the way for later stylistic refinement.

Far Out ·Jul 2026

The "brilliant" musician Bob Dylan wanted everyone to praise

Bob Dylan consistently highlighted the profound influence of Robert Johnson, praising his limited but powerful body of work as unmatched in depth and authenticity. Dylan saw Johnson’s recordings as foundational to modern music, shaping countless artists while remaining under‑recognised. Though Dylan drew from multiple musical traditions, Johnson’s emotional intensity and raw storytelling served as a benchmark he aspired to reflect in his own evolving sound.

Far Out Magazine ·Jul 2026

The singer Don Henley called the biggest inspiration

Don Henley credits Mick Jagger’s enduring energy and longevity as a major source of inspiration for continuing to perform later in life. Despite the challenges of aging in rock music, Henley sees Jagger’s sustained drive as proof that artists like the Eagles can keep going, contrasting this with the uneven outcomes of other major comebacks. Additional reflections touch on the dynamics within the Rolling Stones and the continued motivation their performances provide to peers.

Far Out Magazine ·Jul 2026

The only rock icon Tom Petty was starstruck by

Tom Petty’s collaboration with Carl Perkins during the making of Wildflowers left him genuinely starstruck, reflecting his deep admiration for influential yet under-recognized pioneers of early rock and roll. Producer Rick Rubin encouraged Petty toward a more organic sound, bringing in the Heartbreakers and various guest artists, including Perkins, whose guitar and vocals on Cabin Down Below thrilled Petty. Perkins’s presence aligned with Petty’s preference for meaningful artistic partnerships over high-profile features. Additional contributions from Carl Wilson and later work with Johnny Cash marked a period rich in notable collaborations, but Perkins remained one of the few legends who visibly overwhelmed Petty with excitement.

Far Out Magazine ·Jul 2026

The 1964 Beatles classic that offended George Harrison

Tension within The Beatles surfaced during the recording of the 1964 track I’ll Follow the Sun as George Harrison became frustrated over being sidelined during the session. John Lennon attempted to record the guitar solo, prompting Harrison to assert his role as lead guitarist. Though the band was exhausted during the Beatles For Sale period, McCartney revived the early composition for the album, and Harrison ultimately contributed a solo that enhanced the song’s understated acoustic arrangement.

Far Out Magazine ·Jul 2026

The metal band Dave Grohl will never let go of

Dave Grohl’s long-standing devotion to Metallica reflects the shared punk and metal roots that shaped his musical identity, from his early Nirvana years to his work with Foo Fighters. He cites Lars Ulrich as a major influence and views Metallica’s intensity and precision as foundational to his own approach. Their crossover with punk, early thrash origins and continued evolution resonate with Grohl’s belief that both genres are driven by conviction and raw energy. Kurt Cobain also admired early Metallica, reinforcing the stylistic connection that has informed Grohl’s writing and performance throughout his career.

Far Out Magazine ·Jul 2026

The musician Graham Nash called the most intelligent

Graham Nash praises bassist Lee Sklar as one of the most intelligent and musical players he has worked with, highlighting Sklar’s classical background, instinctive playing style and ability to elevate songs through subtle, supportive bass work. The article contrasts Sklar’s skill with the demands of Nash’s harmony-driven music and notes his long history of work with major artists such as James Taylor and Phil Collins.

Far Out Magazine ·Jul 2026

The 1987 songs Mick Fleetwood called Christine McVie at her best

Mick Fleetwood praised Christine McVie’s work on Fleetwood Mac’s 1987 album Tango in the Night, calling songs such as Everywhere and Little Lies the best of her career and noting their success as major hit singles. The piece highlights internal tensions within the band during the post-Tusk era while emphasising McVie’s reliability, songwriting strength and stabilising presence. Her contributions are portrayed as essential to the band’s identity, with later albums lacking her distinctive impact.

Far Out Magazine ·Jul 2026

The “murky” genre that made Linda Ronstadt hate rock

Linda Ronstadt rejected the increasingly loud and aggressive direction of rock, criticizing amplified guitar-driven arena shows for diminishing musical clarity and enjoyment. While she explored diverse genres and worked with writers like Elvis Costello, she ultimately turned toward more sophisticated styles and collaborators such as Nelson Riddle. Her discomfort with the escalation of rock’s volume and performance style led her to distance herself from the genre as her career evolved.

Far Out Magazine ·Jul 2026

The failed supergroup that launched The Traveling Wilburys

George Harrison’s desire to make music with friends rather than form a traditional supergroup led to the creation of the Traveling Wilburys. Earlier collaborative performances with Elton John, Eric Clapton and Ringo Starr hinted at this direction, and his later work with Jeff Lynne during the Cloud Nine sessions helped solidify the informal, ego-free approach that defined the group. The Wilburys emerged organically from this mindset, prioritizing fun and camaraderie over career ambitions while producing enduring songs like Handle With Care and End of the Line.

Far Out Magazine ·Jul 2026

The one person who almost made Joni Mitchell quit music

Joni Mitchell’s early love for music survived illness and diverse influences but was nearly derailed by an abusive piano teacher who discouraged her from pursuing the instrument. Despite later challenges from producers who tried to alter her songs, she developed a distinct musical language marked by unconventional tunings and collaborations. Her resilience and commitment to artistic independence shaped her evolution into one of music’s most innovative voices.

Far Out Magazine ·Jul 2026

The Beatles song John Lennon and Paul McCartney always disagreed on

John Lennon and Paul McCartney disagreed over who should sing Oh! Darling, with Lennon believing the song suited his raw vocal style and McCartney insisting on refining his own performance through repeated takes. The contrast reflected their differing creative approaches, with Lennon favoring imperfection and experimentation while McCartney leaned toward traditional songwriting and careful craftsmanship. Their competitive dynamic pushed both musicians artistically, influencing later solo work and contributing to the distinctiveness of their Beatles-era recordings.

Far Out Magazine ·Jul 2026

The bandmates Roger Waters knew would drag down his art

Roger Waters believed David Gilmour and Richard Wright limited his artistic vision in Pink Floyd, leading him to assert greater control during projects such as The Wall. Increasing tension over creative direction pushed Waters toward a solo career where he felt freer to experiment, despite his acknowledged limitations. While his bandmates sought more space for their own expression, Waters focused on shaping ambitious conceptual works that highlighted both his strengths and constraints as an innovator.

Far Out Magazine ·Jul 2026

The 2004 movie that gave Ryan Gosling the great love of my life

Ryan Gosling’s versatility and impact in film are highlighted through reflections on his career and his work on The Notebook, which also sparked a romantic relationship with Rachel McAdams. Despite initial tension during filming, their off-screen relationship became deeply meaningful for him, though it ended amicably. The article contrasts his major successes with underrated projects and reflects on the strong fan reactions tied to his on-screen performances and celebrity persona.

Far Out Magazine ·Jul 2026

The one terrible decision Bono would do all over again

Bono reflects on past controversies, including the backlash over U2 placing Songs of Innocence on users’ iPhones, acknowledging he would repeat the move for Songs of Surrender due to its quieter nature. The article reviews U2’s history of creative missteps, shifts in musical direction, and attempts to connect with new audiences, highlighting the mixed reception to their risks and experiments.

Far Out Magazine ·Jul 2026

Why America wanted to ban Cat Stevens forever

Cat Stevens, later known as Yusuf Islam, was swept into post‑9/11 suspicion in the United States, resulting in his inclusion in the Clear Channel Memorandum and scrutiny by the Department of Homeland Security despite his peaceful public record. His songs, including religious and non‑controversial titles, were restricted without evidence linking him to wrongdoing, reflecting broader overreach and cultural paranoia of the era.

Far Out Magazine ·Jul 2026

The hated guitarist Henry Rollins will always love

Henry Rollins praises Ted Nugent’s exceptional guitar abilities while acknowledging his controversial behavior and personal disagreements with him. Despite Nugent’s troubling history and inflammatory views, Rollins regards his musicianship as equal to other prominent Michigan guitarists, demonstrating Rollins’s ability to appreciate music apart from an artist’s personal actions.

Far Out Magazine ·Jul 2026

The hated 2002 song Steven Tyler would always love

Steven Tyler viewed the 2002 Aerosmith single Jaded as a standout achievement despite criticism surrounding the band’s early‑2000s direction. After the success of I Don’t Want to Miss a Thing, Aerosmith pursued a more polished, commercial sound that intensified on Just Push Play, a shift Joe Perry later criticised as disconnected and overly stylised. Tyler nevertheless championed Jaded for its powerful melody and craftsmanship, seeing it as the band’s closest alignment with contemporary trends without abandoning their pursuit of major hits.

Far Out Magazine ·Jul 2026

The one musician Glenn Frey knew always belonged in Eagles

Glenn Frey regarded Joe Walsh as the only fitting replacement for Bernie Leadon when the Eagles shifted toward a more rock‑driven sound, believing no other guitarist could match the band’s needs or chemistry. Walsh’s arrival provided the creative spark the group sought during a period of stylistic transition, ultimately solidifying their lineup and contributing defining moments such as the signature riff of Life in the Fast Lane.

Far Out ·Jul 2026

The 1995 film Morgan Freeman never knew would be a hit

Morgan Freeman’s initial uncertainty about the potential success of Se7en contrasts with the film’s eventual status as a modern classic. Despite its dark themes, graphic content and bleak ending, he trusted David Fincher’s vision and was surprised by the film’s impact. The story’s emotional weight, especially the costly victory for the protagonists, contributes to its lasting appeal and distinguishes it from typical Hollywood thrillers.

Far Out Magazine ·Jul 2026

The 1970 song Neil Young called CSNY at their best

Neil Young praised Graham Nash’s 1970 ballad Teach Your Children as one of Crosby, Stills, Nash & Young’s greatest songs, despite not performing on it. He recalled Jerry Garcia’s memorable steel guitar contribution and admired the song’s message of generational understanding. Young’s presence brought greater edge to the group, balancing softer material with darker or more emotionally raw work such as Ohio and Helpless. His respect for his bandmates endured even through internal tensions that later dissolved the group.

Far Out Magazine ·Jul 2026

The “beautiful” guitarist who gave Bruce Springsteen a career

Bruce Springsteen’s musical identity is traced through his foundational influences, culminating in his deep admiration for Keith Richards, whom he describes as spiritually beautiful and central to his development as a guitarist. The piece highlights the lasting impact of early rock and roll, the British Invasion, and Richards’ enduring groove-driven style, emphasizing his passion and longevity in music.

Far Out Magazine ·Jul 2026

The 2012 movie Ben Affleck knew needed to be made

Ben Affleck’s evolving career is traced from early commercial roles to his emergence as a respected director, culminating in his decision to make Argo after immediately connecting with its script and themes. The article highlights his determination to avoid typecasting, his interest in high‑stakes dramas, and his commitment to the demanding filmmaking process that helped shape the film’s success.

Far Out Magazine ·Jul 2026

The 1991 song Ozzy Osbourne always had a personal connection to

Ozzy Osbourne maintained a deep emotional connection to the 1991 ballad “Mama I’m Coming Home,” written with Lemmy and performed with guitarist Zakk Wylde. Though he avoided naming favourite songs, he consistently described a soft spot for this track, which reflected his personal experiences and growth following major losses such as Randy Rhoads’ death. The song’s significance intensified in later years, especially after it became one of his final performances, solidifying its status as one of his most powerful and affecting works.

Far Out Magazine ·Jul 2026

The one band Eric Clapton never wanted to reform again

Eric Clapton reflects on why he never wanted to reform Cream, citing the band’s intense internal conflicts, inflated egos and unresolved tensions that persisted even during later reunions. Although he enjoyed collaborating with friends and contributing guitar work to others, he felt more comfortable outside permanent bands and preferred focusing on his solo career, believing Cream had reached its natural end.

Far Out Magazine ·Jul 2026

The director Scarlett Johansson said was "better" than most actors

Scarlett Johansson reflects on her collaborations with Wes Anderson, praising his precise artistic approach and saying he could deliver her lines better than she could. The article highlights her willingness to take risks outside major franchises and notes standout performances in projects such as Marriage Story and Her. Anderson’s consistent visual style and ability to manage strong ensembles are emphasized, with Johansson describing each collaboration as a learning experience.

Far Out ·Jul 2026

The one singer Brian Wilson was disappointed to meet

Brian Wilson’s optimism toward music contrasted sharply with Chuck Berry’s cynicism, which became clear when a brief encounter between them left Wilson disappointed. Although Berry’s work heavily influenced The Beach Boys, he showed little interest in engaging with Wilson, reflecting the weariness he developed over years on the nostalgia circuit. The article highlights how shifting musical eras and personal frustrations shaped Berry’s outlook, while Wilson remained committed to creating inspired, uplifting music.

Far Out Magazine ·Jul 2026

The singer Stevie Nicks felt always looked down on her

Stevie Nicks struggled early in her career to be taken seriously within Fleetwood Mac and turned to a solo path to express her songwriting. Her relationship with Tom Petty grew complicated as he told her he did not view her as a rock‑and‑roll artist, a comment that angered her despite his respect for her work. The article contrasts their careers and argues that Nicks ultimately proved her rock credibility through her longevity, determination, and influential presence as a frontwoman.

Far Out Magazine ·Jul 2026

The one singer Mick Jagger and Rick Rubin both crowned as the greatest

Mick Jagger and Rick Rubin both regarded James Brown as the greatest performer, acknowledging that his precision, discipline and showmanship set a standard neither could match. Jagger openly copied Brown’s stage moves, while Rubin considered Brown’s 1964 T.A.M.I. Show appearance the pinnacle of filmed rock performance. Their shared admiration highlights how Brown’s influence shaped their work, even as both accepted that parts of their careers would always remain in his shadow.

Far Out Magazine ·Jul 2026

The "bad" genre Linda Ronstadt and Tom Petty both hated

Linda Ronstadt and Tom Petty both criticized modern country music, arguing that it had lost its authenticity and evolved into a glossy, commercialized form disconnected from its roots. Ronstadt rejected contemporary country as overproduced and lacking the spirit of traditional artists, while Petty dismissed it as bad rock with superficial country elements. Their shared frustration reflects a broader concern over Nashville’s formulaic approach, contrasting the modern trend with the classic artistry of performers like Hank Williams, Dolly Parton and Johnny Cash.

Far Out Magazine ·Jul 2026

The one director Anne Hathaway would shoot with “300 times”

Anne Hathaway praised Christopher Nolan’s meticulous directing style, recalling his transparency about requiring many takes to achieve a precise shot during The Dark Knight Rises. She viewed his honesty and commitment as reassuring, noting their collaboration brought out her best work. The article highlights Nolan’s exacting approach across his films and Hathaway’s dedication to meeting his standards, emphasizing the mutual effort behind their projects.

Far Out Magazine ·Jul 2026

The 1967 album Jeff Lynne called the most surprising: “A beautiful mix”

Jeff Lynne credits the 1967 Marvelettes album Sophisticated Soul as a major influence, admiring its surprising production quality and balance. He praises the album’s pristine mix, Smokey Robinson’s vocal arrangements, and the Funk Brothers’ musicianship, especially James Jamerson’s bass work. Motown’s innovation and the Beatles’ earlier impact shaped his approach to crafting memorable pop music and provided ongoing creative inspiration.

Far Out Magazine ·Jul 2026

The 1996 movie that got Matt Damon his most important role

Matt Damon’s small but intense role in the 1996 film Courage Under Fire led Steven Spielberg to remember him and ultimately cast him in Saving Private Ryan, despite initially rejecting him for appearing too thin for the part. Damon’s dedication to the role in Courage Under Fire and his earlier efforts writing Good Will Hunting positioned him for major opportunities. His meeting with Spielberg underscores how brief performances can shape a career, illustrating that pivotal chances often arise unexpectedly.

Far Out Magazine ·Jul 2026

The 1975 album Elton John called “impossible” to top

Elton John regarded his 1975 album Captain Fantastic and the Brown Dirt Cowboy as an artistic high point he believed would be impossible to surpass. The album, a personal chronicle of his and Bernie Taupin’s early struggles, followed a run of major successes including Goodbye Yellow Brick Road. John later reflected that the immense momentum of the era was unsustainable and ultimately felt relief when commercial expectations eased with Rock of the Westies. Though the album marked the close of a creative chapter, he continued evolving musically, later scoring major successes by shifting styles and exploring new directions.

Far Out Magazine ·Jul 2026

The most "unreal" actor Robert Pattinson ever worked with

Robert Pattinson’s pursuit of unconventional roles led to an intense collaboration with Willem Dafoe on The Lighthouse, where Dafoe’s relentless energy and expressive performance pushed Pattinson throughout production. Highlighting Pattinson’s evolution beyond Twilight and his growing reputation for complex, dark characters, the piece underscores Dafoe’s exceptional presence and the demanding dynamic between the two actors that elevated the film’s stark, unsettling tone.

Far Out Magazine ·Jul 2026

The 1967 track George Martin called "the best we've done"

George Martin regarded The Beatles’ 1967 track Strawberry Fields Forever as one of their greatest achievements, praising its innovative production and John Lennon’s creative vision. The song marked a pivotal moment in the band’s evolution as they shifted from radio‑friendly singles to ambitious studio experiments, driven by Lennon and Paul McCartney’s competitive partnership. Their willingness to push musical boundaries helped define a new era in their career and produced work that remains influential decades later.

Far Out Magazine ·Jul 2026

The two word secret to Queen’s unique classic rock sound

Freddie Mercury rejected being confined to a single genre, steering Queen toward an eclectic musical identity defined by the mantra “no barriers.” Their evolving sound drew on diverse influences and prioritised creativity and fun over trends or commercial expectations. As the band moved from heavy rock beginnings to expansive works like Bohemian Rhapsody and later stylistic shifts, their willingness to explore new directions became central to their enduring appeal.

Far Out Magazine ·Jul 2026

The best songwriters of the century, according to David Crosby

David Crosby considered Bob Dylan and Joni Mitchell the greatest songwriters of the century, admiring Dylan’s lyrical brilliance and Mitchell’s unmatched combination of voice and songwriting depth. His influences ranged from jazz icons like Miles Davis to major rock acts such as The Beatles and The Rolling Stones, shaping his pursuit of songs that blended melodic strength with poetic power.

Far Out Magazine ·Jul 2026

The “stupid” genre Tom Petty always looked down on

Tom Petty dismissed contemporary dance music and DJ culture as lacking the skill and soul he believed defined rock and roll, criticizing trends he felt prioritised fame over musicianship. Although he acknowledged some notable electronic artists, he maintained rock bands required greater effort and feared declining standards would erode the genre he valued.

Far Out ·Jul 2026

The musician Bob Dylan called too good to understand

Bob Dylan admired Ornette Coleman for his groundbreaking and unconventional jazz approach, seeing parallels between the criticism Coleman faced and his own early reception. Coleman’s avant‑garde style influenced other musicians like Lou Reed, highlighting how innovation often sits outside commercial success. The piece contrasts Dylan’s abstract lyricism and evolving performances with mainstream rock norms, underscoring Coleman’s role in expanding musical possibilities.

Far Out ·Jul 2026

The one band Stevie Nicks would join in a heartbeat

Stevie Nicks reflects on her artistic evolution after Fleetwood Mac and highlights The Chicks as the one band she would eagerly join, praising their harmonies, rock-influenced approach, and Natalie Maines as her favourite singing partner. She draws parallels between their music and her own style, noting how songs such as ‘Wide Open Spaces’ and their cover of ‘Landslide’ embody qualities aligned with her artistic identity. Despite backlash the group faced in the United States, Nicks regards them as among the finest acts of their era, emphasizing their resilience and commitment to creative freedom.

Far Out ·Jul 2026

The 1956 song Bruce Springsteen will never get tired of

Bruce Springsteen’s enduring admiration for Elvis Presley’s 1956 hit ‘Hound Dog’ stems from the excitement and emotional impact it had on him as a child, shaping his musical identity and inspiring the energy behind his own work. Springsteen drew from Presley’s raw power while blending it with lyrical storytelling influenced by artists like Bob Dylan, creating records that resonated with audiences who believed in the transformative force of rock and roll. Despite achieving major success, he remains grounded in the inspiration that first motivated him, striving to honour the dreams of his younger self who heard Presley on the radio.

Far Out Magazine ·Jul 2026

The singer who sucked the life out of Van Halen

Eddie Van Halen struggled with tensions among the band’s rotating singers, especially David Lee Roth, whose flamboyant persona and conflicting creative approach made collaboration difficult. Although Sammy Hagar brought a productive period, their partnership also faded over time. Attempts to reunite with Roth reignited old issues, including disagreements during later recordings, reinforcing Eddie’s view that Roth’s energy was incompatible with the band’s chemistry.

Far Out ·Jul 2026

The 2011 disaster that Lars Ulrich will always stand by

Lars Ulrich defends Metallica’s divisive 2011 collaboration with Lou Reed, arguing that the album Lulu has aged well despite its hostile reception from both artists’ fanbases. The project blended Reed’s spoken‑word poetry with Metallica’s heavy instrumentation, drawing widespread criticism but earning admiration from figures like David Bowie. While the record remains polarizing, Ulrich maintains it was misunderstood and anticipates it may gain appreciation over time.

Far Out ·Jul 2026

The one genre Glenn Frey always wanted to play

Glenn Frey sought to expand the Eagles’ sound beyond country rock by drawing on the soul music of Philadelphia, particularly during the making of Hotel California. Inspired by the city’s lush productions, he incorporated Philly-style arrangements into songs such as Wasted Time, pushing the band toward a broader musical identity while maintaining their focus on strong hooks and careful refinement.

Far Out Magazine ·Jul 2026

The 1960s singer Linda Ronstadt called impossible not to love

Linda Ronstadt reflects on the artists who shaped her musical perspective, expressing deep admiration for Janis Joplin, whom she describes as impossible not to love for her sincerity, passion and respect for musical predecessors. While recognizing stylistic differences between them, Ronstadt praises Joplin’s mastery and unique vocal presence, noting that she never felt threatened by her peers despite emerging in the same era.

Far Out Magazine ·Jul 2026

The 1982 song Don Henley never forgave Joni Mitchell for

Joni Mitchell replaced Don Henley’s vocal contribution to a track on her 1982 album Wild Things Run Fast with a performance by Lionel Richie, whose voice better suited the song. Years later, Henley expressed anger over the decision, leading to tension between the artists. Mitchell described the situation as a misunderstanding and recalled Henley reacting bitterly when she attempted to reconnect. Despite the conflict, Richie’s vocal performance strengthened the track, highlighting how creative decisions and miscommunication can strain relationships in the music industry.

Far Out Magazine ·Jul 2026

The 1973 classic Sammy Hagar doesn't want to hear again

Sammy Hagar reflects on Montrose’s 1973 debut album, saying he loves the record but finds parts of it embarrassing due to his youthful intensity and inexperience. Despite his discomfort hearing it now, he acknowledges the album’s energy and influence, noting its role in shaping early Van Halen and establishing his own career.

Far Out Magazine ·Jul 2026

The 1986 song Paul Simon would redo in a heartbeat

Paul Simon reflects on his 1986 song Graceland, admitting he would rewrite parts of the lyrics because they were too wordy for the Everly Brothers’ harmonies. The article explores how Simon sought new musical directions after leaving Simon and Garfunkel, finding creative freedom through South African collaborators and evolving into a songwriter focused on rhythm, detail and poetic depth. Despite occasional lyrical excess, his writing is praised for its vivid imagery and ambition to elevate rock music into more cerebral territory.

Far Out Magazine ·Jul 2026

The one singer Phil Collins called his musical soulmate

Phil Collins viewed Peter Gabriel as his musical soulmate, bonding over a shared love of soul and R&B while navigating their years together in Genesis and their later solo successes. Collins recalled their close relationship, shared drumming background, and mutual admiration for soul artists such as Otis Redding and Nina Simone. Despite the band’s evolution and their individual chart-topping careers in the 1980s, the two maintained a warm rapport rooted in their early musical connection.

Far Out ·Jul 2026

The 1966 hit Bob Dylan called “the best song I ever wrote”

Bob Dylan’s 1966 composition Sad Eyed Lady of the Lowlands is highlighted as the song he considered his greatest, praised for its poetic depth and epic scope within the broader context of his Blonde on Blonde era. The piece situates the track among his major artistic shifts, noting his push to challenge expectations and create extended narrative works. It connects the song to the evolution of his later long-form storytelling pieces, underscoring its unique place in his catalogue and its enduring significance.

Far Out Magazine ·Jul 2026

The one genre Freddie Mercury wanted to leave behind

Freddie Mercury viewed Queen’s evolution as a departure from strict rock conventions, embracing a philosophy of musical freedom after the breakthrough of Bohemian Rhapsody. He rejected being confined to a single genre, encouraging experimentation that shaped the band’s varied later albums. Queen’s shifts across styles—from heavy rock to dance influences—stemmed from Mercury’s desire for open artistic exploration regardless of commercial expectations, contributing to the band’s enduring global appeal.

Far Out Magazine ·Jul 2026

The one singer Noel Gallagher never wanted to talk to

Noel Gallagher avoided interacting with Courtney Love during the 1990s, feeling he had nothing to say to her and wanting to steer clear of her volatile behavior. Despite crossing paths, he deliberately evaded meeting her, preferring to avoid unnecessary chaos, especially given his own clashes with his brother Liam. The article contrasts Gallagher’s generally levelheaded demeanor with Love’s reputation for unpredictability while highlighting the broader landscape of outspoken musicians of the era.

Far Out ·Jul 2026

The singer Bono crowned as the original punk rocker

Bono credits David Bowie as a foundational influence on punk rock, emphasizing Bowie’s rebellious aesthetic, genre-defying creativity, and impact on U2’s early development. He highlights Bowie’s glam-era songs as embodying raw punk energy and considers Bowie’s artistic fearlessness crucial to shaping the sound and ethos of later punk music.

Far Out ·Jul 2026

The one director Matt Damon knew everyone wanted

Matt Damon reflects on his career and the influential directors he has worked with, emphasising Martin Scorsese as the one filmmaker every actor is eager to collaborate with. He highlights Scorsese’s artistic vision, enduring passion, and ability to attract top talent despite modest box office returns. Damon contrasts Scorsese’s auteur-driven approach with commercial hits, noting the unique creative energy and learning experience that defines working with him.

Far Out ·Jul 2026

The 2026 song Rick Rubin knew had always existed

Rick Rubin praises Paul McCartney’s song Life Can Be Hard, describing it as a melody that feels timeless and inherently familiar. Reflecting on McCartney’s enduring gift for crafting universally memorable tunes, Rubin compares the song’s effortless quality to the spontaneous creativity he has sought throughout his career with artists like Red Hot Chili Peppers, Slayer and Tom Petty. Despite critiques of McCartney’s aging voice, the song is portrayed as enriched by lived experience, demonstrating his ability to produce music that is both sentimental and compelling decades into his career.

Far Out ·Jul 2026

The movie Paul Newman dismissed as “the worst” of the 1950s

Paul Newman regarded his film debut, The Silver Chalice, as a major misstep, later calling it the worst movie of the 1950s. Despite his early disappointment, he viewed the experience as part of a learning process that eventually led to acclaimed performances such as Cool Hand Luke. The article reflects on Newman’s humility, work ethic and evolution into one of Hollywood’s most respected actors.

Far Out ·Jul 2026

The one band Dolly Parton always wanted to join

Dolly Parton reflects on collaborations she wished she had joined, particularly expressing interest in working with Robert Plant and Alison Krauss on their Raising Sand project. Highlighting her adaptability across genres, the piece explores how her voice and style could complement Led Zeppelin‑related material and imagines potential reinterpretations of classic songs, suggesting there is still room for future collaborations between the artists.

Far Out ·Jul 2026

The one Traveling Wilburys album the band couldn't agree on

The members of the Traveling Wilburys largely aligned creatively, but their second album created mixed feelings following Roy Orbison’s death. While Jeff Lynne felt the project lacked the magic of their debut, Tom Petty and Bob Dylan viewed it as a more developed effort with standout performances, particularly from George Harrison. Despite differing perspectives, the album remains valued as an energetic, looser companion to their acclaimed first release.

Far Out ·Jul 2026

The singer who broke Stevie Nicks’ heart: “A tragedy”

Stevie Nicks reflected on the toll addiction has taken on major artists and expressed heartbreak over Whitney Houston’s tragic decline. She recalled her own struggles with substance abuse and her eventual recovery, contrasting it with Houston’s inability to escape destructive patterns. Nicks praised Houston’s early music, lamented the painful public unraveling of her life, and found solace in the enduring impact of Houston’s voice and legacy.

Far Out Magazine ·Jul 2026

The 1997 movie Denzel Washington never wanted to make

Denzel Washington declined a role in Steven Spielberg’s Amistad, saying he was not comfortable portraying a character in chains and felt the film’s tone did not suit him at the time. His decision reflected a commitment to choosing roles that aligned with his artistic principles, even when turning down major opportunities such as Se7en and projects with top directors. Washington’s career focus remained on character quality and versatility, ultimately leading to acclaimed performances like Training Day and inspiring his later work, including directing Fences.

Far Out Magazine ·Jul 2026

The iconic 1960s rock band that Tom Hanks could never trust

Tom Hanks is described as favoring cleaner-cut 1960s rock acts like The Beatles and the Dave Clark Five while feeling skeptical of the Rolling Stones, whom he viewed as the “bad boys” of the era. Despite his mistrust of their image, the article notes the depth and emotional range in the Stones’ music, highlighting how their ballads revealed a sincerity that extended beyond their rebellious persona.

Far Out Magazine ·Jul 2026

The guitarist that kept the Eagles together

Don Henley sought the right guitarist to help maintain the Eagles’ signature sound following lineup changes and the declining health of Steuart Smith. Chris Holt, previously involved in Henley’s solo work, impressed the band with his skill and reliability, effectively filling Smith’s role while respecting the group’s musical legacy. Holt’s country‑influenced style aligned with the band’s roots, supporting Henley’s effort to preserve the music created by earlier members as the Eagles continue their final run of performances.

Far Out ·Jul 2026

The one 1970 song Jack Black will never get tired of hearing

Jack Black cites the 1970 Black Sabbath track War Pigs as his all-time favourite, admiring its raw power and unexpected anti-war message. His appreciation for Sabbath grew from exploring the band’s early catalogue, complementing his long-standing admiration for Ozzy Osbourne and Ronnie James Dio. While Tenacious D leans into comedic rock, Black is drawn to the heavier themes and moral weight of War Pigs, which he considers one of the genre’s strongest statements against warmongering.

Far Out Magazine ·Jul 2026

The 1984 song Eddie Van Halen knew his band hated

Eddie Van Halen faced resistance within the band when introducing the keyboard‑driven song Jump, which David Lee Roth and others initially rejected for straying from the group’s guitar‑centric formula. Producer Ted Templeman supported the track, helping Eddie push it through despite internal objections. Although the guitar solo felt stylistically disconnected from the rest of the song, Jump ultimately broadened the band’s musical possibilities and paved the way for later experimentation, especially after Sammy Hagar joined as vocalist.

Far Out Magazine ·Jul 2026

The one drummer Roger Waters called out of everyone's league: “Harder than anyone”

Roger Waters reflected on the limitations he perceived in drumming within Pink Floyd compared to the force and originality of Ginger Baker’s work with Cream. He praised Baker’s power, unique rhythmic style, and early progressive drumming innovations, noting that few, including Keith Moon and John Bonham, could match his impact. The article contrasts Waters’ narrative-driven musical approach with Baker’s technical intensity and influence on later progressive rock drummers.

Far Out Magazine ·Jul 2026

The 1983 album Dave Grohl will never get tired of

Dave Grohl credits Bad Brains’ 1983 album Rock for Light as a defining influence, praising Earl Hudson’s technical drumming and citing the record as formative since his early teens. Growing up near Washington DC, Grohl absorbed the hardcore punk scene, valuing its raw energy and musicianship more than mainstream rock icons. The album’s intricate drum work shaped his approach in later bands, including Nirvana, where his arrangements reflected Hudson’s precision. Despite his animated style, Grohl maintains that the technical foundation learned from Rock for Light remains embedded in his playing.

Far Out Magazine ·Jul 2026

The producer Billy Joel fell out of love with

Billy Joel considered working with producer Rick Rubin but ultimately rejected the collaboration after Rubin proposed taking him “back to his roots,” a direction Joel found unappealing. Although Joel admired Rubin’s work with artists such as Tom Petty and Johnny Cash, he felt the producer’s back-to-basics philosophy conflicted with his desire for originality and musical evolution. Suggestions from industry figures, including Clive Davis, to record classic rock covers also failed to resonate with him. Joel preferred material that reflected his own personality, concluding that Rubin was the right collaborator at the wrong time.

Far Out Magazine ·Jul 2026

The 2006 song Elton John called his best vocal performance

Elton John views the 2006 track Blues Never Fade Away from The Captain and the Kid as his finest vocal performance, praising its emotional intensity and the strength of Bernie Taupin’s lyrics. The song reflects on friends he has lost, including John Lennon, Gianni Versace and Princess Diana, and he values its honesty and anger. The piece places the song within the broader context of his career, noting the shift in his vocal abilities and his continued commitment to authentic, character‑driven performance.

Far Out Magazine ·Jul 2026

The 1981 album that made Sting resent The Police

Sting grew increasingly frustrated during the making of Ghost in the Machine, feeling constrained by band dynamics as his musical ambitions expanded. Despite strong contributions from Stewart Copeland and Andy Summers, he resented having to cater to expected hit-making formulas and sensed the band no longer fit the direction he wanted to pursue. Personal and professional tensions intensified, especially as members faced failing marriages and creative disagreements, ultimately leading Sting to view leaving The Police as inevitable despite their commercial peak.

Far Out Magazine ·Jul 2026

The band Henry Rollins called the best rhythm section

Henry Rollins praised Black Sabbath’s rhythm section of Geezer Butler and Bill Ward as the finest in rock, highlighting their tight interplay, musicality, and ability to anchor the band’s sound. He contrasted their sophistication with other bands’ rhythm sections and emphasized how their subtle, dynamic performances elevated tracks like Iron Man and Fairies Wear Boots, demonstrating depth beyond the band’s heavy image.

Far Out ·Jul 2026

The one singer Linda Ronstadt called “the best of all”

Linda Ronstadt reflected on the singers who shaped her artistic ambitions, ultimately praising Luciano Pavarotti as the greatest of all. Though admired for her versatility, she viewed Pavarotti’s expressive power and effortlessness as unmatched, citing his performance of Nessun Dorma as transcendent. Ronstadt’s comments highlight her dedication to improving her own voice and her deep appreciation for the craft and discipline behind world‑class opera singing.

Far Out Magazine ·Jul 2026

The band Chris Cornell and Kurt Cobain both agreed was the worst

Kurt Cobain and Chris Cornell shared a disdain for the excesses of Guns N’ Roses, particularly Axl Rose’s behaviour and the extravagance displayed in the Estranged video. Both artists rejected the commercial, glamour-driven style associated with the Los Angeles hair metal scene, preferring the authenticity and unconventional approach that defined Seattle’s emerging grunge movement. Their rise signaled a cultural shift away from flashy rock stardom toward music grounded in sincerity and artistic individuality.

Far Out Magazine ·Jul 2026

The 1979 album Don Henley never wanted to make again

Don Henley reflects on the difficult creation of the Eagles’ 1979 album The Long Run, describing intense pressure, exhaustion, infighting, and personal strain following the massive success of Hotel California. Despite producing hits like Heartache Tonight and I Can’t Tell You Why, the band’s deterioration was evident, and the album’s themes of longevity proved ironic as the group disbanded soon after its release.

Far Out ·Jul 2026

The band Bruce Springsteen and Tom Petty agreed saved rock

Bruce Springsteen and Tom Petty regarded Nirvana as the band that revitalised rock, with Springsteen crediting them for reshaping musical rules and Petty calling them the most significant group since The Beatles. Their admiration reflected broader shifts away from overly polished 1980s rock toward more authentic expression, influencing the directions both artists pursued in the 1990s.

Far Out ·Jul 2026

The 1996 album Sammy Hagar wanted nothing to do with

Sammy Hagar recounts growing tensions within Van Halen during the mid-1990s, culminating in the recording of a song for the Twister soundtrack that he says he was misled into making by manager Ray Danniels. Increasing control by Eddie Van Halen and frayed relationships contributed to Hagar’s eventual firing, leaving him disillusioned with the project and unwilling to revisit the period despite earlier positive memories of his time with the band.

Far Out Magazine ·Jul 2026

The 1960s singer Joni Mitchell could never enjoy

Joni Mitchell’s musical influences and tastes diverged sharply from many of her folk contemporaries, leading her to dismiss artists such as Joan Baez as lacking the soulfulness she valued. Her inspirations came more from boundary‑pushing musicians, including Miles Davis, Charles Mingus, and Steely Dan, rather than traditional folk figures. Mitchell’s commitment to musical complexity and emotional intensity shaped her artistic evolution and distinguished her from the folk label often applied to her early work.

Far Out Magazine ·Jul 2026

The 1965 song Neil Young knew could never happen again

Neil Young reflected on why Bob Dylan’s 1965 song Like A Rolling Stone captured a fleeting moment of artistic authenticity that could not be reproduced, praising Dylan’s raw conviction as uniquely powerful. Young contrasted this with his own refusal to conform to industry demands, arguing that true expression must come from an artist’s inner voice rather than commercial pressures. Dylan’s evolution and distance from his younger self are acknowledged, yet the song’s resonance endures through its timeless emotional honesty.

Far Out Magazine ·Jul 2026

The singer Robert Plant knew was out of everyone's league

Robert Plant is celebrated for redefining the role of the rock frontman, yet he viewed Freddie Mercury as a vocalist whose abilities far surpassed those of his peers. Influenced by earlier blues and rock figures, Plant acknowledged Mercury’s unmatched confidence, range and ability to elevate Queen’s diverse catalogue. Witnessing Mercury’s distinctive vocal personality inspired Plant to explore new artistic directions after Led Zeppelin ended, seeking creative freedom similar to Mercury’s bold musical approach.

Far Out Magazine ·Jul 2026

The 1972 album Keith Richards never gets tired of hearing

Keith Richards considers the Rolling Stones’ 1972 album Exile on Main St their most defining work, praising its range, energy and enduring strength. Despite differing opinions within the band, he continues to revisit the record and views it as the purest expression of their sound, influencing later albums like Voodoo Lounge.

Far Out Magazine ·Jul 2026

The one singer Eddie Vedder said was “everything you imagined” and more

Eddie Vedder reflects on his reluctance to become a rock star and credits Bruce Springsteen as a deeply authentic artist and friend whose honesty, conviction, and presence exceeded his expectations. Drawing parallels between their approaches to songwriting and performance, the piece highlights Springsteen’s integrity and influence on Vedder while situating both musicians within their artistic histories.

Far Out ·Jul 2026

The band Mick Fleetwood called the most beautiful to hear

Mick Fleetwood reflected on how experimental work outside Fleetwood Mac shaped his musical growth, particularly through collaborations with Ghanaian musicians on his 1981 album The Visitor. He praised the Ghana Folkloric Group for creating some of the most beautiful harmonies he had heard, highlighting reinterpretations of Fleetwood Mac songs and genre‑expanding rhythmic influences. These explorations broadened his creative approach for future Fleetwood Mac projects and helped establish The Visitor as one of the band members’ most experimental solo efforts.

Far Out Magazine ·Jul 2026

The 1960s band Graham Nash knew could never exist again

Graham Nash reflects on the transformative impact of 1960s music and asserts that no band today matches the cultural and creative magnitude of The Beatles. Citing influences from Joni Mitchell, Brian Wilson, and his work with Crosby, Stills and Nash, he highlights how groundbreaking albums like Pet Sounds and Sgt Pepper’s redefined artistic possibilities. While he sees strong individual musicians emerging, he believes the unique convergence that produced The Beatles will never recur. Their legacy persists as a creative foundation that continues to shape modern music.

Far Out ·Jul 2026

The 1978 song Angus Young called the greatest he'll ever play

Angus Young identifies the 1978 AC/DC track Riff Raff as his greatest guitar performance, noting its challenging and dynamic structure. The article highlights the creative partnership between Angus and Malcolm Young, the band’s evolving sound during the Bon Scott era, and the influence of the Powerage album on later songs like Beating Around the Bush. Riff Raff is credited with shaping some of AC/DC’s most enduring riffs and reinforcing their reputation as a defining rock band.

Far Out Magazine ·Jul 2026

The guitarist Keith Richards called “far better” than him

Keith Richards praised José Feliciano as a technically superior guitarist, noting Feliciano’s refined fingerstyle approach contrasted with his own raw, rhythm-driven style central to The Rolling Stones’ sound. While admiring classical and virtuosic players, Richards valued emotional expression over technical mastery, emphasizing that his distinctive feel shaped many of the band’s enduring classics.

Far Out Magazine ·Jul 2026

The 1964 song Tom Petty called a million dollar line

Tom Petty praised the Rolling Stones’ 1964 hit ‘Satisfaction’ for capturing a perfect line with raw energy and attitude, noting how its simplicity and universal frustration helped shape rock music for his generation. He contrasted the song’s directness with the varied lyrical styles of artists like Hank Williams, Bob Dylan and Chuck Berry, highlighting how a single phrase can define a moment in musical history.

Far Out ·Jul 2026

The one songwriter Bono called a musical “treasure”

Bono praised Thin Lizzy’s Phil Lynott as a uniquely gifted songwriter, describing him as a “treasure chest” of musical ideas. The article highlights Lynott’s meticulous lyrical style, contrasting it with Van Morrison’s improvisational approach, and notes the high regard held for Lynott by musicians including Joe Elliott and James Hetfield. Although Thin Lizzy never achieved massive commercial success, Lynott is portrayed as one of rock’s finest storytellers, deserving recognition alongside the genre’s greatest songwriters.

Far Out Magazine ·Jul 2026

The one musician Phil Collins and Bob Dylan both called the greatest

Phil Collins and Bob Dylan both praised Brian Wilson as an unparalleled musical force, citing his innovative songwriting, production techniques, and lasting influence on pop music. They credited Wilson’s work with The Beach Boys and albums like Pet Sounds and Holland as transformative achievements that opened creative possibilities for generations of musicians. The article frames Wilson as an enduring musical genius whose legacy will persist for centuries.

Far Out Magazine ·Jul 2026

The most perfect guitarist ever, according to Jimmy Page

Jimmy Page credits blues guitarist Hubert Sumlin as the most perfect player, praising his ability to always choose the right part and complement Howlin’ Wolf’s commanding voice. Page reflects on the importance of subtlety, listening, and knowing when not to play, citing Sumlin’s taste and restraint as formative influences on his own approach within Led Zeppelin’s dynamic sound.

Far Out Magazine ·Jul 2026

The one drummer Dave Grohl said was out of his league

Dave Grohl expresses deep admiration for Neil Peart, saying he could never match the late Rush drummer’s technical mastery despite his own success behind the kit. He recounts Peart’s influence, the complexity of Rush’s music, and his respect for the band, emphasising that while he understands their arrangements, Peart’s abilities place him in a different league entirely.

Far Out Magazine ·Jul 2026

The 1962 album Billy Joel and Don Henley called the greatest

Billy Joel and Don Henley both praised Ray Charles’ 1962 album Modern Sounds in Country and Western Music as a transformative work that reshaped their understanding of country music and influenced their artistic development. Henley regarded the album as life‑changing, admiring Charles’ emotional depth, while Joel credited it with helping him appreciate country music despite his New York upbringing. The piece highlights Charles’ groundbreaking crossover into country and his lasting impact on major American musicians.

Far Out Magazine ·Jul 2026

The wildest guitarist in rock, according to Brian May

Brian May praises Ritchie Blackmore as one of rock’s wildest and most unpredictable guitarists, highlighting his improvisational ferocity and influence on the evolution of heavy rock. While acknowledging the crafted precision of his own style, May admires musicians like Blackmore, Tony Iommi and Jimmy Page for their spontaneity and originality, emphasising the thrill and unpredictability that defined early Deep Purple performances.

Far Out ·Jul 2026

The one composer Roger Waters doesn’t want to think about: “Life’s too long”

Roger Waters remains resentful toward Andrew Lloyd Webber after hearing musical similarities between Pink Floyd’s Echoes and the overture to Phantom of the Opera, considering the resemblance close enough to feel copied. Although he believes the issue might have been actionable, he chose not to pursue legal action, preferring to avoid dwelling on the composer. The article frames this response as consistent with Waters’ history of strained artistic relationships, including past tensions with bandmates and collaborators, and depicts his avoidance as an attempt to maintain his own peace of mind.

Far Out Magazine ·Jul 2026

The 1960s shows John Lennon never wanted to play again

John Lennon’s discomfort with large-scale live performances solidified during and after his years with The Beatles, leading him to limit his solo-stage appearances despite brief returns for politically motivated events. Accounts from collaborators and his own comments reflect a preference for intimate venues over stadium shows and growing stage fright in later years. His final performances highlight a desire for creative control and a focus on studio work rather than touring.

Far Out Magazine ·Jul 2026

The 1993 album David Bowie called the start of his greatest work

David Bowie regarded the 1990s, beginning with his 1993 album Black Tie White Noise, as the start of his strongest creative period, embracing experimentation after a commercially driven phase. Revisiting ambitious styles and collaborating with figures like Nile Rodgers and later Trent Reznor, he explored genres from art rock to industrial, producing bold works such as Earthling and Outside. Though uneven in places, these projects reflected his commitment to artistic evolution and contributed to a lasting, continually rediscovered musical legacy.

Far Out Magazine ·Jul 2026

The producer too good for Guns N' Roses

Guns N’ Roses sought a raw, hard‑hitting sound for their debut album, rejecting Paul Stanley’s larger‑than‑life production ideas and abandoning hopes of working with the costly Mutt Lange. Duff McKagan recalled the band’s inability to afford Lange’s high fees, forcing them to choose a more realistic option. Producer Mike Clink ultimately delivered the tight, unpolished sound they wanted, helping shape the impactful recordings that defined their early success.

Far Out Magazine ·Jul 2026

The 1950s singer Neil Peart called cooler than everyone else

Neil Peart admired Frank Sinatra as the ultimate example of musical cool, praising his songwriting canon and uncompromising style. While Rush often faced criticism for being unfashionable, Peart valued integrity over trends, drawing inspiration from artists ranging from jazz vocalists to contemporary rock peers. His view of Sinatra reflected his own commitment to artistic independence and staying true to creative principles.

Far Out Magazine ·Jul 2026

The 1984 song Sammy Hagar doesn't want to be remembered for

Sammy Hagar reflects on joining Van Halen and distancing himself from songs associated with David Lee Roth, particularly Hot for Teacher, which he now finds embarrassing to perform. He contrasts Roth’s sexually charged lyrics with the more mature themes he pursued in songs like Why Can’t This Be Love, Dreams, and Right Now, noting that these tracks better represent the band’s growth and longevity. Hagar emphasizes his preference for lyrics he can perform comfortably throughout his life, expressing relief at not being tied to the earlier era’s material.

Far Out Magazine ·Jul 2026

The one 1970s band Stevie Nicks fell in love with

Stevie Nicks found artistic kinship with Tom Petty and the Heartbreakers during her early solo career, feeling inspired by their authenticity and support. Although committed to remaining in Fleetwood Mac, she regarded the Heartbreakers as a significant musical influence, expressing that working with them felt like briefly falling in love with another band. Her relationship with Tom Petty became an important stabilizing force, shaping her creative direction while reinforcing her dedication to her original group.

Far Out Magazine ·Jul 2026

The 1960s legend Phil Collins called out of touch

Phil Collins reflected on Paul McCartney’s later career, suggesting the former Beatle occasionally drifted out of touch with public expectations despite his enduring songwriting talent. McCartney’s mid-1980s output, particularly the album Press to Play, is cited as an example of weaker material, though his adaptability and later strong compositions demonstrate his continued artistic resilience.

Far Out ·Jul 2026

The one rock band Ozzy Osbourne called out of his league

Ozzy Osbourne recalled being blown away by Van Halen after they opened for Black Sabbath, admitting the band outperformed them with Eddie Van Halen’s skill and the group’s energetic style. Despite Sabbath’s influence on heavy metal, Osbourne recognised Van Halen’s ability to blend heaviness with fun, marking a shift in the genre’s direction as both bands continued shaping rock music.

Far Out Magazine ·Jul 2026

The songwriter Linda Ronstadt called the greatest of the century

Linda Ronstadt praised Paul Simon as the premier pop songwriter of the late 20th century, placing him alongside Dylan and Leonard Cohen while comparing his work to early-century masters like Gershwin and Rodgers and Hart. She admired his genre‑blending achievements, particularly on Graceland, and saw him as uniquely capable of reaching the highest levels of songwriting quality. The article explores Ronstadt’s evolving musical direction and her affinity for innovative, forward‑thinking songwriting.

Far Out Magazine ·Jul 2026

The 1974 song Glenn Frey never got tired of singing

Glenn Frey considered the Eagles’ 1974 cover of Tom Waits’ Ol’ 55 one of his enduring favorites, identifying with its car‑themed imagery and Southern California feel. Despite Waits later dismissing the Eagles’ rendition, Frey appreciated the song’s blend of Americana and personal nostalgia. The article describes the band’s early songwriting development, their experimentation with covers, and Frey’s lasting affection for this lesser‑known track from On the Border.

Far Out ·Jul 2026

The two artists Eddie Van Halen couldn't stand working with

Eddie Van Halen reflected on his most difficult collaborations, citing tensions with frontmen David Lee Roth and Sammy Hagar, both of whom clashed with him creatively and publicly. Van Halen viewed their reunion attempts as major missteps and expressed frustration over their criticism following his choice to hire Gary Cherone, whose style proved incompatible with the band’s identity. Despite ongoing musical output, unresolved conflicts—especially with Hagar—remained a lasting regret late in Eddie’s life.

Far Out Magazine ·Jul 2026

The one guitarist Eric Clapton called out of everyone’s league

Eric Clapton praised Stevie Ray Vaughan as an unparalleled blues guitarist whose creativity and flow on the instrument never diminished. Vaughan’s effortless phrasing and deep blues grounding impressed Clapton even at the height of his own fame, highlighting Vaughan’s instinctive command of the guitar. Despite Clapton’s established legacy, he regarded Vaughan as uniquely gifted among modern blues players, admired widely during his brief but influential career.

Far Out ·Jul 2026

The 1981 song Bob Dylan considered his only perfect track

Bob Dylan regarded his 1981 track Shot of Love as his most complete artistic statement, capturing his spiritual, musical and romantic identity during a turbulent period in his career. The article contrasts his certainty about the song with his usual reluctance to define his work and places it within the broader arc of his fluctuating creative phases, noting later reinventions that reaffirmed his confidence.

Far Out Magazine ·Jul 2026

The greatest craftsman Rick Rubin ever worked with

Rick Rubin describes Tom Petty as the most skilled craftsman he has worked with, praising Petty’s instinctive songwriting and relentless commitment to perfecting his music. Examples from Petty’s work on Wildflowers highlight his ability to refine songs into their best possible form, while Rubin’s broader reflections touch on the challenges and honesty required in producing artists ranging from Red Hot Chili Peppers to Slayer.

Far Out Magazine ·Jul 2026

The 1993 Billy Joel song that the world destroyed

Billy Joel’s 1993 song Two Thousand Years reflected the optimism he felt while creating River of Dreams, his final studio album. After 9/11, he considered the track naïve and no longer relevant, noting how the attacks shattered the hopeful outlook that inspired it. Joel continued to perform and respond to world events but left broader commentary to artists such as Bruce Springsteen, whose work helped capture the national mood. The song now serves as a snapshot of Joel’s mindset before the world shifted dramatically.

Far Out ·Jul 2026

The songwriter Elton John knew was out of his league

Elton John regarded Bob Dylan as an unparalleled lyricist whose work set a standard he felt he could never reach, despite his own success alongside Bernie Taupin. He reflected on Dylan’s influence on the singer‑songwriter scene, admired his raw approach to music, and recalled humorous early encounters, including awkward party moments. John believed Dylan’s lyrics would continue to be studied for generations, underscoring the enduring impact of Dylan’s songwriting.

Far Out Magazine ·Jul 2026

The one songwriter Bob Dylan and Don Henley agreed was the best

Bob Dylan and Don Henley both praised Randy Newman as an exceptional songwriter, admiring his melodic sophistication, craftsmanship, and ability to capture the American experience with both humor and emotional depth. Newman’s work, spanning biting satire like Rednecks to the poignancy of When She Loved Me, is highlighted as uniquely impactful, influencing artists who sought to write meaningful songs beyond conventional love themes.

Far Out Magazine ·Jul 2026

The 1982 album Phil Collins had no faith in

Phil Collins doubted the commercial potential of his 1982 album Hello I Must Be Going, feeling it fell short of his successful debut Face Value. Despite his concerns, the record produced notable tracks including his Motown cover You Can’t Hurry Love, which helped shape his later pop direction. The article outlines his balancing act between solo work and Genesis, emphasizing his personal uncertainty and artistic evolution during the early 1980s.

Far Out Magazine ·Jul 2026

The singer Roger Waters couldn't bear to see perform again

Roger Waters expressed that he can no longer watch Bob Dylan perform live because of Dylan’s tendency to alter his vocal delivery and song arrangements, leaving classic tracks nearly unrecognisable. Waters contrasted this with his own approach of preserving the essence of his recordings when performing, despite criticism that his recent reworkings of Pink Floyd material stray from the originals. The piece reflects on Waters’ artistic evolution, his influences, and his differing philosophy from Dylan regarding live reinterpretation.

Far Out ·Jul 2026

The Black Sabbath album written about hating their manager

Black Sabbath channelled anger over financial exploitation by their management and record company into the creation of the 1975 album Sabotage. Discovering they had been systematically ripped off, the band recorded while signing legal documents and dealing with ongoing disputes, fuelling a uniquely intense sound marked by Ozzy Osbourne’s highest vocals and Tony Iommi’s heavy guitar work. Their frustrations produced one of their most forceful records, reflecting genuine betrayal and turning personal turmoil into influential heavy metal music.

Far Out Magazine ·Jul 2026

The 1973 song Steely Dan wrote as a parody of Western life

Steely Dan’s 1973 track Bodhisattva is described as a playful parody of Western stereotypes of Eastern religion, reflecting Donald Fagen and Walter Becker’s dry humor amid their shift toward increasingly experimental and perfectionist studio work. The article contrasts the song’s tongue‑in‑cheek lyrics with its energetic jazz‑driven musical arrangement and situates it within the band’s evolution from more radio‑friendly early hits to the complex, meticulously produced records that followed.

Far Out Magazine ·Jul 2026

The one bandmate Tom Petty never wanted to talk to again

Tensions within Tom Petty & The Heartbreakers culminated in drummer Stan Lynch’s departure after years of creative friction, missed enthusiasm for new material, and perceived overstepping during the Wildflowers era. Petty, unable to make the call himself, had his manager deliver the dismissal, which Lynch anticipated. The split ultimately benefited both sides, with Lynch moving into a successful production career and Petty solidifying the band’s lineup with drummer Steve Ferrone, reducing his long‑standing concerns about tempo and studio reliability.

Far Out ·Jul 2026

The 1974 song Eagles made when drunk out of their minds

Eagles’ recording of the 1974 track On the Border reflected a turning point as the band moved beyond country‑rock into bolder territory. Glenn Frey recalled the group getting drunk on gin and tonics to loosen up for the song’s soulful vocal section, a moment of freedom contrasting with earlier frustrations working under producer Glyn Johns. Their collaboration with Bill Szymczyk encouraged greater creative confidence, helping set the stage for a run of major releases including One of These Nights and Hotel California, with On the Border capturing one of the last carefree moments in the studio.

Far Out Magazine ·Jul 2026

The guitar riff Stevie Nicks called the greatest in her career

Stevie Nicks credited Dave Stewart with creating what she considered the most spectacular guitar riff of her career on the song Ghosts Are Gone. She valued Stewart’s instinctive, energetic playing, which contrasted with Lindsey Buckingham’s more intricate style, and saw it as key to revitalising her music during the making of In Your Dreams. The article traces her collaborations over the years, highlighting how different musical partners influenced her evolving sound.

Far Out Magazine ·Jul 2026

The coolest guy in the world, according to Rick Rubin

Rick Rubin regarded Johnny Cash as the coolest person he ever worked with, reviving the singer’s career by stripping his music back to its essence and embracing his authentic persona. Through the American Recordings series, Cash re-established artistic credibility and reached new audiences with stark interpretations of modern and classic songs, reinforcing his enduring influence and creative strength even late in life.

Far Out ·Jul 2026

The 1971 solo George Harrison was never happy with

George Harrison’s slide guitar solo on John Lennon’s 1971 track Gimme Some Truth left him dissatisfied, though Lennon admired its character and emotion. Recorded as Harrison was still adapting to slide guitar, the performance captures a transitional moment in his development, reflecting early experimentation that later defined his distinctive style. Despite Harrison’s reservations, the solo marks an important step toward the expressive guitar voice that became central to his post‑Beatles identity.

Far Out Magazine ·Jul 2026

The one musician Don Henley didn't want to get attention

Don Henley viewed Joe Walsh as a disruptive influence during and after the Eagles’ breakup, criticizing his behavior, substance abuse, and use of the band’s songs in solo performances. Henley and Glenn Frey maintained strict control over the band’s musical direction and saw Walsh’s actions as damaging to their legacy. Relations improved only after Walsh committed to sobriety and rejoined the group, allowing tensions to ease while Henley still acknowledged Walsh’s talent despite earlier conflicts.

Far Out Magazine ·Jul 2026

The Southern rock band Eddie Van Halen couldn’t understand

Eddie Van Halen expressed that he never connected with the Allman Brothers Band, finding their jam‑oriented style too cluttered compared to his preference for concise, fast‑moving rock songs. While he acknowledged Duane Allman’s slide‑guitar brilliance and Eric Clapton’s admiration for the group, he favored tightly structured performances over extended improvisation. The contrast highlights divergent philosophies in rock guitar playing, each leaving a lasting influence on the genre.

Far Out ·Jul 2026

The 1986 album that might be Neil Young’s worst: “A piece of crap”

Neil Young’s 1986 album Landing on Water is portrayed as one of his weakest efforts, marked by poor production and underdeveloped songs. Young himself dismissed it as a “piece of crap,” reflecting his willingness to critique his own work. The article places the album within a period of creative misfires during the 1980s, including unsuccessful stylistic experiments and pressured production environments. Despite these setbacks, Young eventually rebounded with Freedom, reaffirming his artistic relevance and illustrating the resilience that has defined his career.

Far Out Magazine ·Jul 2026

The legend Ozzy Osbourne said wasn’t one of the greats

Ozzy Osbourne reflected on his preference for simple, melodic guitar work over technical virtuosity, arguing that George Harrison, while a strong songwriter and melodic player, was not one of the greatest guitarists. The piece contrasts Harrison’s soulful, song‑focused style with the more technical approaches of players like Randy Rhoads and Jimmy Page, highlighting Harrison’s lasting emotional impact and commitment to melody throughout his career.

Far Out Magazine ·Jul 2026

The 2000s band Dave Grohl always wanted to reform

Dave Grohl reflects on his admiration for Them Crooked Vultures and expresses hope for their reunion, noting the unique chemistry he shared with Josh Homme and John Paul Jones. The article recounts the origins of the supergroup, its distinctive sound, and the members’ other commitments that limited its longevity. Despite the uncertainty of future projects, Grohl’s desire to revive the band remains strong, supported by his enthusiasm for their musical power and creative synchronicity.

Far Out ·Jul 2026

The one band Ian Anderson called 100 times better than him

Ian Anderson reflects on his admiration for the Eagles, acknowledging that their song Hotel California far surpassed his own We Used to Know despite sharing similar chord progressions. He praises Don Henley and Glenn Frey for their strong songwriting and vocal abilities while noting that Jethro Tull’s music appealed to a narrower audience. Anderson expresses satisfaction in seeing his work inspire others, valuing artistic influence over commercial success.

Far Out ·Jul 2026

Hear Me Out: ‘Songs of Innocence’ is the most pretentious album ever made

U2’s 2014 album Songs of Innocence is criticised for its forced distribution through Apple, which overshadowed its music despite the record’s strong, personal songwriting. The backlash damaged the band’s momentum for years, with later albums perceived as weaker attempts to recover from the failed rollout.

Far Out Magazine ·Jul 2026

The one musician Bruce Springsteen called his great musical love: “The missing part of me”

Bruce Springsteen’s strongest musical bond was with saxophonist Clarence Clemons, whom he described as a missing part of himself. Their close connection shaped the sound and unity of the E Street Band, with Clemons’ performances becoming central to Springsteen’s most iconic songs. Springsteen remained at Clemons’ side during his final days and later reflected on the profound personal and artistic partnership they shared. Although Jake Clemons now fills the saxophone role, Springsteen still associates the instrument with Clarence’s lasting presence.

Far Out ·Jul 2026

The one guitarist Patti Smith called completely boring

Patti Smith criticizes guitarist Robin Trower as technically skilled but lacking the raw energy and emotional authenticity she values in rock music, contrasting his elaborate style with the direct power of artists such as Lou Reed and Jimi Hendrix. She dismisses his performance approach as boring and overly focused on impressing audiences rather than fostering genuine connection. Smith’s view reflects her broader disdain for theatrical or corporate rock and her commitment to creating music that resonates on a human level.

Far Out Magazine ·Jul 2026

The producer Joni Mitchell never wanted to work with again

Joni Mitchell recounted her negative experience working with producer Paul Rothchild early in her career, describing his interruptions and lack of understanding of her artistic process as so disruptive that she felt her love of music was at risk. The article contrasts Rothchild’s approach with producers like Rick Rubin and highlights Mitchell’s later preference for working with Larry Klein, who supported her creative vision and allowed her to capture the atmospheric performances she valued.

Far Out Magazine ·Jul 2026

The singer David Bowie and John Lennon both called the greatest

David Bowie and John Lennon shared admiration for Little Richard, whom both artists considered a defining influence on their musical development. Bowie drew inspiration from Richard’s theatrical energy and showmanship, shaping his own boundary‑pushing personas, while Lennon was struck by Richard’s raw vocal power, eventually channeling it in his own performances. Their differing interpretations of Richard’s style helped drive their distinctive musical paths, underscoring Richard’s lasting legacy as a catalyst for artistic authenticity and innovation.

Far Out Magazine ·Jul 2026

The 1975 album Geddy Lee never wants to revisit

Geddy Lee reflects on Rush’s early period, expressing discomfort with parts of the 1975 album Fly By Night, which he sees as transitional and comparatively inexperienced. The article contrasts the band’s early blues-rock roots with the more complex direction they developed after Neil Peart joined. While acknowledging weaker tracks, it highlights the significance of songs like By-Tor and the Snow Dog in shaping Rush’s future epics and solidifying their artistic identity.

Far Out Magazine ·Jul 2026

The Traveling Wilbury Jeff Lynne called the most uncomfortable

Jeff Lynne reflected on the dynamics within the Traveling Wilburys, noting Bob Dylan as the least comfortable member despite his brilliance, particularly during sessions rushed by Dylan’s upcoming tour. While Dylan considered alternate band names and brought a distinctive Americana style to songs such as Tweeter and the Monkey Man, Lynne felt his mood often determined the strength of his performances. The collaboration nevertheless benefited greatly from Dylan’s contributions, balancing individual talents within the supergroup.

Far Out Magazine ·Jul 2026

The 1950s singer Bob Dylan called “the best songwriter”

Bob Dylan cites Hank Williams as the greatest songwriter, praising his ability to craft emotionally resonant lyrics with simplicity. The article traces Dylan’s influences from folk to country and rock, emphasizing Williams’ lasting impact on Dylan’s music and songwriting philosophy.

Far Out Magazine ·Jul 2026

The singer Jack Black said made the most beautiful songs

Jack Black’s admiration for Elliott Smith stems from the singer-songwriter’s emotionally rich melodies, which Black calls genius. Despite being known for his comedic and high-energy persona, Black embraced the challenge of performing Smith’s delicate song “Say Yes” at a tribute show, describing the experience as nerve‑wracking but creatively transformative. The performance helped refine his vocal control, influencing later covers such as “Wicked Game,” and highlighted the surprising depth and range of his musical taste.

Far Out Magazine ·Jul 2026

The “corny” musicians who made The Beatles’ coolest song

Explores how the unconventional contribution of the Michael Sammes Singers added a quirky but effective layer to The Beatles’ 1967 track ‘I Am the Walrus’. George Martin brought in the group despite their corny reputation, relying on their precision to execute the song’s complex vocal directions. John Lennon’s experimental instincts and the contrast with Paul McCartney’s more sentimental tendencies frame the track as a successful push into psychedelic unpredictability.

Far Out ·Jul 2026

The one musician Mick Jagger would join in a heartbeat

Mick Jagger reflected on the enduring chemistry within The Rolling Stones and expressed that former guitarist Mick Taylor is the one musician he would eagerly work with again. Despite Taylor’s stylistic differences and eventual departure over creative frustrations, Jagger praised his talent and acknowledged his unique contribution to the band’s classic albums. The piece highlights the group’s shifting line-up, the challenges of fitting into the Jagger–Richards songwriting partnership, and Jagger’s appreciation for Taylor’s influence even as the band continued forward with Ronnie Wood.

Far Out Magazine ·Jul 2026

The 1970 album that changed Dave Grohl’s life: “Saved some light in me”

Dave Grohl credits Led Zeppelin’s 1970 album Led Zeppelin III with helping guide him through a turbulent period as a teenager, connecting deeply with its quieter, folk‑inflected sound. The article highlights how the album marked a creative shift for the band, expanding beyond blues‑driven rock into more vulnerable and experimental territory. Its emotional depth, particularly in tracks such as Since I’ve Been Loving You, shaped Grohl’s musical sensibilities and later influenced aspects of Foo Fighters’ work. The album’s bold stylistic turn is presented as a pivotal moment in Led Zeppelin’s evolution and a lasting source of inspiration for future musicians.

Far Out Magazine ·Jul 2026

The 1977 album Pink Floyd struggled to record

Pink Floyd’s 1977 album Animals emerged from a period of mounting internal tension, driven largely by Roger Waters’ growing creative dominance. Richard Wright struggled with his reduced role during the recording, reflecting a shift away from the band’s earlier collaborative ethos. Although Waters and David Gilmour shaped the album’s material, Wright’s understated keyboard work proved essential to its atmosphere. The project foreshadowed the deeper conflicts that would soon culminate in Wright’s dismissal during The Wall sessions, marking Animals as both a powerful artistic statement and a pivotal moment in the band’s fragmentation.

Far Out Magazine ·Jul 2026

The prog drummer Neil Peart said was out of everybody's league

Neil Peart regarded Michael Giles of King Crimson as the ideal progressive rock drummer, praising his disciplined yet exciting approach and his ability to merge technicality with cohesive musicality. Peart’s admiration stemmed from Giles’s intricate fill construction, structural awareness and jazz-informed sensibility, qualities that helped shape Peart’s own style in Rush. Though Giles remains less widely celebrated than other rock drummers, Peart’s endorsement underscores his lasting influence on generations of progressive rock musicians.

Far Out Magazine ·Jul 2026

The classic rock band Pete Townshend could never forgive

Pete Townshend contrasts The Who’s focus on musical evolution with AC/DC’s commitment to a consistent blues‑based rock formula, arguing that AC/DC’s albums sound too similar. Fans of each band defend their respective approaches, with The Who valued for experimentation and AC/DC praised for refining a signature sound that has endured. Both philosophies are presented as valid paths to producing influential rock music.

Far Out Magazine ·Jul 2026

The greatest metal singer that Slash ever heard

Slash regards Ronnie James Dio as the greatest metal singer he ever heard, praising his unmatched vocal consistency, sincerity, and humility. The article contrasts Dio's power and character with Slash’s experiences working with various other vocalists, noting how Dio’s influence and presence left a lasting impression even though they never collaborated musically.

Far Out Magazine ·Jul 2026

The 1989 album Linda Ronstadt will always regret

Linda Ronstadt reflects critically on her 1989 album Cry Like a Rainstorm Howl Like the Wind, expressing regret over song choices and her vocal approach at the time. She felt disconnected from much of the material and believed she performed the songs better live after becoming more familiar with them. Despite extensive vocal training and artistic growth, she viewed the album’s execution as misaligned with her abilities and creative instincts, contrasting her refined voice with material she felt she could not fully inhabit.

Far Out ·Jul 2026

The 1966 album Don Henley and Glenn Frey both called the greatest

Don Henley and Glenn Frey regarded the Beach Boys’ Pet Sounds as a defining musical inspiration, crediting Brian Wilson’s sophisticated production as a benchmark they hoped to match in their work with the Eagles. Frey described being overwhelmed by the album’s complexity, while Henley treasured a playful autograph interaction with Wilson. The piece highlights how Pet Sounds shaped the Eagles’ artistic ambitions, guiding their evolution toward landmark recordings such as Hotel California and reinforcing Wilson’s lasting impact on American pop and rock music.

Far Out ·Jul 2026

The U2 albums The Edge called their greatest work

The Edge identifies the period from The Unforgettable Fire to The Joshua Tree as U2’s most creatively fulfilling era, citing ambitious goals in songwriting, production and sonic experimentation. He reflects on the band’s evolution, the complications of the 1990s and the decision to return to a more grounded sound on All That You Can’t Leave Behind. Signature tracks such as With or Without You and Bullet the Blue Sky exemplify the sincerity and innovation he associates with their peak years, when the band believed strongly in music’s potential to change the world.

Far Out Magazine ·Jul 2026

The singer Roger Waters called a fraud in Pink Floyd

Roger Waters criticised David Gilmour’s post‑departure use of outside songwriters, singling out 10cc’s Eric Stewart as a talented musician he nevertheless called a fraud. The article recounts tensions over Pink Floyd’s direction after Waters left, including Gilmour’s determination to continue the band, the mixed reception of A Momentary Lapse of Reason, and the collaborative approach behind The Division Bell. Waters’s disparaging comments toward several contributors contrast with the band’s effort to redefine itself without him.

Far Out Magazine ·Jul 2026

The musician Elton John crowned as one of the best in the business

Elton John is highlighted as one of the most skilled figures in pop music, shaped by deep knowledge of the charts and a commitment to crafting hits. The article traces his influences back to the British Invasion, emphasizing his admiration for Dave Clark, whom he praised as a visionary who mastered the music business. The Dave Clark Five’s impact is credited with inspiring later major artists and helping to open doors for performers such as John and Rod Stewart. Elton John’s enduring drive and understanding of pop dynamics are presented as key factors behind his longevity and success.

Far Out Magazine ·Jul 2026

The singer Paul McCartney and Bruce Springsteen called the greatest: “The purest rock and roll voice of all time”

Bruce Springsteen and Paul McCartney both credited Little Richard as the greatest rock and roll voice, highlighting his unmatched vocal power and formative influence on their own music. Springsteen praised Little Richard’s cultural impact and raw vocal genius, while McCartney acknowledged how deeply Richard shaped his early style and The Beatles’ energetic rockers. The article emphasizes Little Richard’s role in defining rock performance and inspiring generations of musicians who followed.

Far Out ·Jul 2026

The 1997 Foo Fighters classic Dave Grohl thought everyone would hate

Dave Grohl initially feared the melodic riff in Monkey Wrench would be rejected, but it became a defining Foo Fighters track, highlighting the band’s shift toward more personal songwriting on The Colour and the Shape. Internal tensions marked the album sessions, yet the blend of aggressive energy and memorable hooks helped solidify the group’s evolving sound.

Far Out Magazine ·Jul 2026

The grunge bands Chris Cornell could never approve of

Chris Cornell viewed the post‑grunge wave as an inevitable commercial distortion of the Seattle scene, criticizing bands like Stone Temple Pilots, Silverchair and Days of the New as industry‑driven sellouts lacking the originality of early grunge. While acknowledging exceptions such as Smashing Pumpkins, Nine Inch Nails and Foo Fighters, he felt that major-label attempts to repackage the genre diluted its authenticity, overshadowing more deserving Seattle bands like Mudhoney.

Far Out ·Jul 2026

The “genius” 1970s artist Joni Mitchell always loved

Joni Mitchell viewed Stevie Wonder as one of the few 1970s musicians who consistently amazed her, praising him as a musical genius whose pioneering albums set a new artistic standard. While acknowledging other influences and contemporaries, she considered Wonder’s work uniquely innovative and inspiring, influencing her own pursuit of more expansive and exploratory music.

Far Out ·Jul 2026

The 1974 song Joe Perry crowned as Aerosmith’s greatest ballad

Joe Perry regarded the 1974 track “Seasons of Wither” as Aerosmith’s greatest ballad, praising it as the only softer song that aligned with his hard‑rock philosophy. While Steven Tyler often pushed the band toward more symphonic or traditional ballads, this track’s darker tone and unusual structure made it stand out for Perry and served as a precursor to later stylistic experiments. The article contrasts Perry’s heavier musical preferences with Aerosmith’s evolving sound and highlights several key songs that shaped the band’s early direction.

Far Out Magazine ·Jul 2026

The one artist Stevie Nicks called a musical soulmate

Stevie Nicks credits guitarist Waddy Wachtel as her true musical soulmate, praising his intuitive ability to support and enhance her songs throughout her solo career. While other collaborators such as Jimmy Iovine, Dave Stewart, and Tom Petty played key roles, Wachtel’s sensitivity, rock‑driven instincts, and long‑standing partnership made him central to shaping her sound. Nicks describes their deep artistic connection and continues to rely on him in her live performances, valuing his subtle yet masterful contributions to her signature tracks.

Far Out Magazine ·Jul 2026

The 1982 song that gave Don Henley a solo career

Don Henley initially struggled to define his solo career after the Eagles’ breakup, feeling uncertain without his bandmates. While early material like Johnny Can't Read failed to gain traction, Dirty Laundry unexpectedly became his breakthrough after a radio programmer recognized its hit potential. The song’s success launched his solo career and preceded the adjustments he later made for the MTV era, despite his dislike of performing for music videos. Dirty Laundry stands out as an early track created before those pressures, focused purely on songwriting.

Far Out ·Jul 2026

The 1982 song that made Stevie Nicks resent Lindsey Buckingham

Tension between Stevie Nicks and Lindsey Buckingham resurfaced during the creation of Fleetwood Mac’s ‘Gypsy’ video, where Nicks openly struggled to interact with Buckingham. Despite the song’s deeply personal origin and its significance within the band’s catalogue, the video shoot exposed fractures in their relationship that would worsen during later projects, including the turbulent work on Tango in the Night. The moment marked a visible turning point where personal strain became impossible to separate from their professional collaboration.

Far Out Magazine ·Jul 2026

The 1990s band Sammy Hagar said he could never join

Sammy Hagar explained that he declined an informal approach to join Pantera in the 1990s, saying he did not want to replace another singer or join a band heavier than his style after leaving Van Halen. He praised Pantera’s musicianship, especially Dimebag Darrell, but felt the transition would not fit his musical direction. The account reflects Hagar’s continued respect for Eddie Van Halen and his preference to steer his career independently following his departure from Van Halen.

Far Out Magazine ·Jul 2026

The one singer John Lennon knew would never get old

John Lennon, often sharply critical after The Beatles split, considered Mick Jagger the rare performer who would never become outdated, praising his unmatched stage presence and mastery. Despite frustrations with peers and shifting opinions about other musicians, Lennon consistently viewed Jagger as a singular frontman whose energy and showmanship kept rock and roll alive.

Far Out Magazine ·Jul 2026

The 1958 song Bob Dylan and Jimmy Page called the greatest for guitar: “A masterpiece”

Bob Dylan and Jimmy Page both regarded Link Wray’s 1958 instrumental Rumble as a groundbreaking guitar masterpiece whose raw attitude and sense of danger reshaped rock music. The article traces how the track influenced major rock figures, from Dylan’s admiration for its minimalistic power to Page’s view of it as a defining model for expressive guitar work. Its impact is reflected across subsequent Led Zeppelin recordings and broader rock evolution, reinforcing Wray’s role in establishing attitude and presentation as core to powerful guitar-driven music.

Far Out Magazine ·Jul 2026

The musician Bono crowned as the coolest in the world

Bono’s evolution into a commanding frontman is traced through key moments in U2’s career, from their breakthrough at Live Aid to the swagger he adopted during the Achtung Baby era. He admired legendary performers and producers, particularly Quincy Jones, whom he called the coolest person he had ever met. Jones’s blunt guidance and instinct for hits, including pushing Michael Jackson toward creating tracks like Beat It and Billie Jean, reinforces his influence on major artists. The piece highlights Bono’s pursuit of artistic identity and the qualities he associates with authenticity and coolness.

Far Out Magazine ·Jul 2026

The 1969 song that became a nightmare for The Beatles

The Beatles’ recording of the Abbey Road track Because became a source of frustration as John Lennon, Paul McCartney and George Harrison spent hours perfecting intricate vocal harmonies inspired by a reversed Moonlight Sonata progression. Paul McCartney’s insistence on repeated takes strained tensions already present during the band’s final months, with engineer Geoff Emerick recalling their exhaustion and Lennon’s irritation upon realising they had recorded a good take earlier. Despite the difficult session, the song later became a favourite among the band members, exemplifying their exceptional vocal blend and the meticulous effort behind one of their most refined recordings.

Far Out Magazine ·Jul 2026

The one genre Phil Collins wanted to see die

Phil Collins welcomed punk’s rise for stripping back the excesses of progressive rock, a genre he felt had grown self‑indulgent and lacked song‑focused substance. Although central to Genesis’ evolution, he distanced himself from the prog scene’s more elaborate tendencies and viewed its decline as a positive shift. Despite occasionally indulging in lengthy compositions himself, he maintained that strong songwriting mattered more than technical display.

Far Out Magazine ·Jul 2026

The 2000 album John Paul Jones didn’t want to exist

John Paul Jones expressed dissatisfaction with Led Zeppelin’s 2000 greatest hits compilation, arguing that the band had always opposed such releases and intended their music to be experienced through full albums rather than isolated tracks. He felt the compilation undermined the integrity and narrative of the original records, particularly songs like Kashmir and Achilles Last Stand from Physical Graffiti. Jones also remained sensitive about being excluded from the Page and Plant collaboration, reflecting broader frustrations about his lower profile in the band’s legacy.

Far Out ·Jul 2026

The guitarists Angus Young crowned rock’s best soloists

Angus Young emphasizes that the greatest guitar solos come from emotional expression rather than technical speed, crediting blues icons Albert King and Freddie King as the ultimate masters of this approach. He praises their ability to create memorable, soulful solos with only a few notes, shaping his own philosophy and the enduring sound of AC/DC’s guitar work.

Far Out Magazine ·Jul 2026

The one singer Phil Collins always wanted to join Genesis

Phil Collins initially had no intention of becoming Genesis’ frontman and hoped to recruit Mick Strickland for the role, but Strickland’s audition fell through. Collins ultimately assumed lead vocals, strengthening the band’s sound alongside drummer Chester Thompson. As Collins’ solo success grew, he felt increasingly distanced from Genesis, though the band’s evolution was not solely due to his influence, nor would Strickland have shaped their songwriting in the same way.

Far Out Magazine ·Jul 2026

The 1980s band that made Taylor Hawkins hate modern rock

Taylor Hawkins is portrayed as a devoted rock fan who valued authenticity in music and disliked how certain eras produced waves of derivative bands. He admired groups such as The Police and Van Halen but felt that Bon Jovi’s success led to an influx of uninspired imitators, a pattern he believed resurfaced during the nu-metal boom and later hair‑metal revivals. While Hawkins appreciated various rock styles in his own cover band, he remained critical of trends that encouraged formulaic or superficial music.

Far Out Magazine ·Jul 2026

The singer Bruce Springsteen crowned as the most important roots rocker

Bruce Springsteen praises John Mellencamp as the most important roots rocker of his generation, highlighting Mellencamp’s commitment to depicting real American life and supporting working people through efforts like Farm Aid. The article contrasts Springsteen’s romanticism with Mellencamp’s grittier realism, noting Mellencamp’s focus on authentic characters and his use of traditional instruments to shape a distinct sound reflecting both the hardships and resilience of America.

Far Out ·Jul 2026

The best singer David Crosby said everyone ignored: A great writer

David Crosby considered Shawn Colvin an overlooked but sophisticated songwriter whose emotional depth and craft reminded him of Joni Mitchell. Even during periods of personal struggle, he recognized her talent and championed her work, believing she deserved far greater recognition amid a 1990s music landscape dominated by legacy figures rather than innovative new voices.

Far Out Magazine ·Jul 2026

The 1979 album Elton John wanted nothing to do with

Elton John’s late‑1970s creative slowdown is traced through his exhaustion and shifting priorities, including heavy partying and sporadic studio engagement. His collaboration with producer Thom Bell yielded unexpectedly strong R&B‑influenced work despite his disengagement, notably the successful track Mama Can’t Buy You Love. Subsequent albums showed deeper artistic decline, culminating in the poorly regarded Leather Jackets. His later sobriety marked a creative resurgence, underscoring how this period blended moments of musical excellence with signs of personal and professional strain.

Far Out ·Jul 2026

The forgotten 1969 track Dolly Parton will never forget

Dolly Parton considers her 1969 song Down From Dover an overlooked favourite, praising its emotional simplicity and storytelling despite its lack of commercial success. While major hits like Jolene and I Will Always Love You dominate her legacy, the song’s later re-recording deepened its resonance as her voice matured. The piece contrasts this overlooked track with other artists’ underrated works and highlights how songs like it continue to motivate Parton’s creative drive.

Far Out Magazine ·Jul 2026

The 2001 song Eric Clapton called his greatest work

Eric Clapton praised his 2001 song 'Believe in Life' as one of his greatest works, valuing its understated tone and its personal connection to his wife. The piece highlights how the song reflects a period of artistic renewal influenced by R&B acts such as D’Angelo and Usher, contrasting it with earlier songs shaped by personal turmoil. While unlikely to replace his major hits in concert, the track marks an important creative shift where Clapton broadened his musical range and expressed emotion primarily through his guitar rather than lyrics.

Far Out Magazine ·Jul 2026

The one singer Tom Petty would have joined without question

Tom Petty valued band chemistry throughout his career and considered joining George Harrison without hesitation, offering the Heartbreakers’ support if Harrison ever chose to tour again. His close relationships with musicians such as Harrison, Bob Dylan and Jeff Lynne informed collaborations like the Traveling Wilburys. Though the envisioned partnership never materialized, performances at the Concert for George suggested how well the pairing could have worked, highlighting deep mutual respect and shared musical sensibilities.

Far Out Magazine ·Jul 2026

The 1960 song Jeff Lynne called the greatest in pop

Jeff Lynne praised Roy Orbison’s 1960 hit Only the Lonely as the pinnacle of pop music, recalling its emotional impact when he first heard it as a teenager. The article explores how Orbison’s dramatic vocal style shaped Lynne’s musical sensibilities and influenced his collaborations, including work with Tom Petty and his later partnership with Orbison in the Traveling Wilburys. It highlights the contrast between Lynne’s orchestral production tendencies and the power of simple, emotionally driven songwriting exemplified by Orbison’s performances.

Far Out ·Jul 2026

The one band James Hetfield always wanted to join

James Hetfield’s early love of classic rock shaped his transition from piano student to rhythm‑guitar‑driven frontman, with AC/DC’s Angus Young inspiring his stage presence and musical aspirations. Influenced by players such as Keith Richards and Malcolm Young, he developed a percussive guitar style that complements Metallica’s sound. Although he hadn’t planned to be a singer, his aggressive delivery and musicianship ultimately defined his identity as a performer.

Far Out Magazine ·Jul 2026

The one producer Stevie Nicks never wanted to talk to again

Stevie Nicks’s difficult collaboration with producer Glyn Johns during the making of Street Angel stemmed from conflicting artistic visions and her own struggles with substance abuse, ultimately leading to a strained relationship marked by creative frustration. Johns’s sparse production style clashed with Nicks’s expectations, contrasting sharply with the more supportive approaches of producers like Jimmy Iovine and Dave Stewart. The period reflected a personal low point for Nicks as she navigated creative control issues, band tensions, and the challenge of rebuilding her solo career.

Far Out Magazine ·Jun 2026

The 1969 song Crosby, Stills and Nash couldn't create again

Crosby, Stills and Nash captured an irreplicable spark in their 1969 track Suite Judy Blue Eyes, a performance David Crosby later acknowledged could not be reproduced despite the band re-recording the entire song in an attempt to improve it. The original take’s spontaneity and studio ambience convinced the group it held a unique magic that subsequent versions lacked. Their early collaboration showcased their strongest vocal blend before Neil Young joined, revealing the trio in their purest folk-rock form.

Far Out Magazine ·Jun 2026

The one line Don Henley never wanted to write

Don Henley rejected an early lyric referencing the Internet for the Eagles’ song Long Road out of Eden, believing it would date the track and weaken its broader commentary on modern America. Although the album marked a fitting final release for the band, he felt it contained unnecessary material but viewed the title track as essential. Henley aimed for timeless themes rather than topical complaints about technology, preserving the song’s wider scope and avoiding a tone he felt would seem like generational grumbling.

Far Out ·Jun 2026

The best musical partners Bob Dylan ever had

Bob Dylan’s most effective musical partnerships ranged from early electric-era collaborators The Hawks, later known as The Band, to the supergroup Traveling Wilburys. While usually protective of his creative process, Dylan found rare compatibility with Wilburys members Tom Petty, George Harrison and Roy Orbison, praising their ability to co-write with him. These partnerships allowed him to experiment, relax his intensity and rediscover a sense of fun in performance and songwriting.

Far Out ·Jun 2026

The 1967 song David Bowie called the most important

David Bowie considered The Velvet Underground’s ‘I’m Waiting for the Man’ a transformative influence, describing it as a revelation that shaped his approach to pushing artistic boundaries. Lou Reed’s work provided the raw edge Bowie sought beyond mainstream music, informing his evolution from early folk leanings to the energetic style heard on songs like ‘Hang on to Yourself’. The Velvet Underground’s daring themes contrasted sharply with the pop landscape of the mid‑1960s, and Bowie’s admiration later fueled his efforts to support Reed’s solo career.

Far Out ·Jun 2026

The 2007 album Robert Plant said was beyond belief

Robert Plant’s search for musical reinvention after Led Zeppelin culminated in the 2007 collaborative album Raising Sand, which he described as inspiring and transformative. Working with Alison Krauss and producer T Bone Burnett allowed him to explore a more delicate vocal style, reconnecting with acoustic roots and refining his artistic identity. The project offered a contrast to his earlier experiments and informed his later performances, reinforcing his legacy without relying on the vocal extremes of his youth.

Far Out ·Jun 2026

The 2003 Radiohead album Thom Yorke refuses to listen to

Radiohead’s sixth album, Hail to the Thief, is portrayed as an ambitious but uneven project blending the band’s electronic experimentation with a return to guitar‑driven rock. Created during a politically tense period marked by the Iraq War and post‑9/11 anxieties, it reflects themes of paranoia and distrust but suffers from sequencing issues and an overly long tracklist. Thom Yorke later admitted he disliked the final stages of making the record, calling the mixing process a nightmare, while Jonny Greenwood suggested trimming songs might have produced a stronger album. Despite its flaws, the album remains an important transitional work that bridges the band’s earlier experimentation with the more refined sound they achieved on In Rainbows.

Far Out ·Jun 2026

The singer Linda Ronstadt and Glenn Frey called the greatest

Linda Ronstadt’s influence on Glenn Frey and the Eagles is highlighted through their shared admiration for Ray Charles, whom both regarded as one of the greatest singers. Ronstadt drew inspiration from Charles’s genre-crossing approach, valuing both his recordings and the emotional power of live performance. Frey similarly embraced Charles’s style, later covering his work on his album After Hours. Their careers reflect Charles’s impact, with Ronstadt exploring diverse musical styles and Frey incorporating soulful elements into the Eagles’ sound.

Far Out Magazine ·Jun 2026

The 1971 album Ozzy Osbourne wished never came out

Ozzy Osbourne reflected on Black Sabbath’s 1971 album Master of Reality, admitting he was disappointed by the rushed process behind its creation despite its later status as a heavy metal landmark. He contrasted the album with more polished records like Vol. 4 and Sabbath Bloody Sabbath, acknowledging that its raw sound helped shape heavier metal subgenres. While praising Randy Rhoads’ influence on his solo career and maintaining respect for Tony Iommi, he noted creative tensions within the band during this period. The article highlights Master of Reality’s lasting impact, particularly tracks like Sweet Leaf and Children of the Grave.

Far Out Magazine ·Jun 2026

The one tragedy that made Dave Grohl want to quit music

Dave Grohl struggled with the idea of continuing his music career after Taylor Hawkins’ early-2000s overdose, fearing that tragedy was following him as it had after Kurt Cobain’s death. Though Foo Fighters faced instability and near‑breakups, Hawkins’ survival and eventual death later strengthened Grohl’s resolve to keep playing. His grief ultimately fueled renewed purpose, culminating in the tribute album But Here We Are.

Far Out ·Jun 2026

The “most beautiful” guitar song Brian May ever heard

Brian May praises Jeff Beck’s song Where Were You as the most beautiful guitar recording he has heard, highlighting Beck’s emotional depth, creativity, and technical mastery. He reflects on Beck’s unique ability to craft expressive, inventive guitar lines, comparing his influence to legends like Page and Hendrix. The article underscores Beck’s status as a generational talent whose work continues to astonish listeners.

Far Out ·Jun 2026

The one band Billy Joel never wanted to play in again

Billy Joel’s brief stint in the heavy metal band Attila is revisited as a creative misstep that pushed him toward his true path as a songwriter. Despite his later success with albums like Piano Man, the article explains why the loud, intense Attila project clashed with his strengths and how its failure clarified his desire to move away from rock stardom toward crafting songs. Comparisons to other artists underscore why the heavy metal direction was unsuited to him, even as the writer attempts a partial defense of the album’s ambition.

Far Out Magazine ·Jun 2026

The 1970 song Graham Nash said broke his heart

Graham Nash recalled the emotional impact of hearing Joni Mitchell’s 1970 song Willy, which used his pet name and reflected their relationship before its difficult end. Although their time together inspired celebrated music, the song later became painful for Nash in light of their breakup. Mitchell’s ability to transform personal experiences into honest, resonant songwriting is highlighted as the source of both the song’s beauty and its lasting emotional weight for Nash.

Far Out Magazine ·Jun 2026

The 1978 song Linda Ronstadt thought she ruined

Linda Ronstadt reflected on her perfectionist approach to singing, admitting she believed she had botched her 1978 version of Mister Sandman with Emmylou Harris due to tuning issues. Despite her celebrated vocal strength and successful collaborations, including the Trio album, she maintained extremely high standards and focused on minor flaws that most listeners overlooked. Her willingness to acknowledge imperfections underscored her dedication to continual improvement and contributed to her enduring respect among peers and fans.

Far Out Magazine ·Jun 2026

Tales from the Studio: Inside the mind of Nick Raskulinecz

Nick Raskulinecz reflects on his evolution from aspiring musician to one of rock’s most sought‑after producers, shaped early by influential records such as Slayer’s Reign in Blood and refined through hands‑on experience at Sound City Studios. Known for his focus on energy and drum performance, he forged defining collaborations with artists including Foo Fighters, Rush, Deftones and Alice in Chains, often pushing musicians to exceed their comfort zones to achieve standout results. His work is credited with revitalising bands, capturing career‑spanning performances and guiding artists through pivotal transitions, all driven by his commitment to creating enduring, emotionally impactful records.

Far Out ·Jun 2026

The country legend Neil Young was petrified to play for

Neil Young recalled feeling intimidated performing on Johnny Cash’s television show early in his career, admitting he feared making mistakes in front of one of his musical heroes. The moment revealed a rare vulnerability in an artist known for fearlessness and creative independence. Cash, similarly committed to forging his own artistic path, later validated Young’s work by recording his songs, cementing a mutual respect rooted in their shared commitment to authenticity.

Far Out ·Jun 2026

The 1968 song Billy Joel and Bob Dylan called the best

Billy Joel and Bob Dylan both praised Jimmy Webb’s 1968 composition Wichita Lineman, performed by Glen Campbell, with Dylan calling it the greatest song ever written. Joel admired the subtle production and emotional resonance of the recording, noting he had tried to write something comparable. The piece contrasts Dylan’s spontaneous songwriting with Joel’s more meticulous process while highlighting the unique storytelling strength of country music in the era.

Far Out ·Jun 2026

The one album Dolly Parton will always regret not making

Dolly Parton expresses lasting regret over never recording an album with George Jones, whom she considered her favourite singer. Although she collaborated widely and navigated complex musical relationships throughout her career, she says scheduling issues prevented the project and left her with a lasting sense of missed opportunity. Despite this, she is celebrated as an influential figure whose admiration for Jones continues to shape her view of country music.

Far Out Magazine ·Jun 2026

The 1990s band Rick Rubin wanted to walk out on

Rick Rubin initially walked out on the Red Hot Chili Peppers after witnessing their chaotic, drug‑affected early rehearsal environment, a sharp contrast to the disciplined approach he brought to other artists. Although their early work reflected instability, his later collaborations helped guide the band toward some of their most acclaimed music, including Blood Sugar Sex Magik, solidifying a long‑term creative partnership.

Far Out ·Jun 2026

The one musician Christine McVie never wanted to talk to

Christine McVie, long seen as Fleetwood Mac’s stabilizing force, found herself unable to work with Dave Mason during the troubled sessions for the album Time. Increasing tension, creative disagreements and her own emotional distance led McVie to step back as the band struggled to maintain direction following lineup changes and the departures of key members. The resulting album, pieced together amid internal friction, marked one of the band’s weakest efforts and highlighted the collapse of cohesion within the group.