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INSANE: Ron nevison - The Real Truth

Jimmy Page on how a ‘lost guitar track’ almost derailed Led Zeppelin’s Physical Graffiti: “He erased one of the original guitar tracks. For some reason, he rubbed the damn thing out”

A miraculous salvage job rescued The Rover after an overdub ruined an original take

Guitar World

“A lot of people said it was Ozzy’s worst record ever. By the late ’90s, I thought, ‘I guess it was. I just really sucked on it’”: Jake E. Lee on his battle to make Ozzy Osbourne’s The Ultimate Sin – and how he learned to love it in spite of the critics

It was one battle after another, not least because Lee, a night creature, was forced to work in the afternoon, but it was the sound of the former Ozzy Osbourne guitarist reinventing metal guitar

Guitar World

“He told Sharon, ‘I know a lot of guitar players. We don’t have to use him’”: Jake E. Lee recalls how his conflict with producer Ron Nevison impacted Ozzy Osbourne’s The Ultimate Sin

The two clashed during the recording sessions – but a compromise was eventually reached

Guitar World

From analysis to the latest developments in health,
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"All of a sudden, she started biting my tongue and wouldn't let go. There was blood everywhere. Then she went for my forehead": How Thin Lizzy made the albums that saved them, only to be plunged into chaos

Thin Lizzy went from being stone broke to recording the two albums that came to define their career, but bad luck always seemed to be lurking in the shadows

Louder

“Those were the cocaine ’80s. They devoted a whole day to auditioning snare drum samples –just to double-up the actual snare”: Nancy Wilson knew Heart had to adapt to survive the excesses of the 1980s – but she didn’t expect their greatest success

Heart's self-titled 1985 album was just what the doctor ordered, ushering in a triumphant second act for the iconic Seattle rockers

Guitar World

“The recording of Appetite For Destruction eventually cost $365,000. It was an outrageous amount to spend on a debut. I worried that we would never dig out of that hole”: Guns N’ Roses’ former manager Alan Niven on the making of a rock classic

“Axl sounded like he had overdosed on helium at certain points”

MusicRadar

"Some people say it's too personal but I owe my fans the truth": Michael Schenker and the appetite for self-destruction

Confronting Michael Schenker with the truth about Michael Schenker

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“Those were the cocaine ’80s. They devoted a whole day to auditioning snare drum samples –just to double-up the actual snare”: Nancy Wilson knew Heart had to adapt to survive the excesses of the 1980s – but she didn’t expect their greatest success

Heart's self-titled 1985 album was just what the doctor ordered, ushering in a triumphant second act for the iconic Seattle rockers

Guitar World

“My first love was always acoustic guitar. That was the element that I brought, the idea of embracing electric and acoustic sounds”: Nancy Wilson says she felt pressured to ditch the acoustics as Heart went for the mainstream in 1985

The band’s self-titled eighth record saw them evolving into a mainstream superpower, but Wilson would clash with producer Ron Nevison over the use of acoustic guitars

Guitar World

"They took cocaine in the studio while making it, but Obsession didn't suffer" The deluxe edition of UFO's final studio album with Michael Schenker still functions highly

The one with the balls. Michael Schenker's Last stand. And a masterclass from all five of them

Louder

"When all those glamour models were banging at my door, I should have opened it and let them all in": Phil Mogg on 50 years with UFO, life on the road and new band Moggs Motel

Phil Mogg reveals why Moggs Motel doesn't have an apostrophe

Louder

"I knew we were going nowhere fast and I had to get out": Triumph were on the cusp of superstardom – then they let it all go

By the end of the 70s Triumph were living up to their name. Then came the falling-out, the split, and 20 years of toxicity before they shared a stage again

Louder

"Neither particularly good or particularly bad. It's just bang average": Freedom At Point Zero by Jefferson Starship

Grace Slick and Marty Balin were gone but Jefferson Airplane had Jane, an AOR landmark, and riffs from Craig Chaquico that would guide the band into the gleaming 80s

Louder

“I don’t mean to be arrogant, but we had the goods. We knew what we were doing”: how Bad Company hit the bullseye with their classic second album Straight Shooter

Bad Company’s second album, Straight Shooter, was the one that sealed their superstardom

Louder

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“We begged Stallone to send us the whole movie. When he did, we were blown away”: Survivor were just another struggling AOR band. And then Rocky III and Eye Of The Tiger changed everything

Their killer theme for Rocky III made stars of soft rockers Survivor – but their tale of heroism and heartbreak had no Hollywood ending

Louder

“It’s glossy as hell, and it sounds very corporate. The 80s were driven by cocaine and arrogance and it fit that bill”: the epic story of the self-titled 1985 album that saved Heart’s career

The 1980s was the decade of big hits and bigger hair – and Heart were all onboard with the hits These Dreams, What About Love and the multi-platinum album that spawned them

Louder

“After the first couple of years the darkness descended. There were some volatile individuals. We’re almost talking asylum levels”: how cult ’70s rockers The Babys blew their chance to be the next big thing

Fronted by John Waite, The Babys could have become one of the biggest bands of the 70s – if only they hadn’t torn themselves apart

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