For all of the great guitar riffs that Jimmy Page could lay down, he was never cut out to be a singer. He did have a few backing vocals on a handful of Led Zeppelin songs, but when you look at any of the records that he released since the end of the group, he was more interested in making the best guitar riffs that he could than going on the same vocal riffing that Robert Plant did. No one could match what ‘Percy’ did in his mind, but there were more than a few people that could get pretty damn close.  Because even when Zeppelin was first forming, Plant wasn’t automatically the first person that sprung to mind when Page was putting together the group. It was always going to be a bit of a jump for him to break free from The Yardbirds, but even if John Bonham pounded the drums like an absolute madman, Plant’s voice was what gave the group character. Those songs had a lot more depth thanks to Plant’s riffing, but those first records would be an extremely double-edged sword for him. Plant didn’t like the idea of everyone starting to copy what he had done throughout Zeppelin’s career. He was already willing to move on to better things after Bonzo passed away, but it’s not like Page was going to move on in the same way. Zeppelin was his baby, and if he was going to make any new music afterwards, he was going to need a halfway house between him flying solo and leaving his old band behind. And The Firm was hardly a bad place for him to start. Paul Rodgers was indebted to the blues from the first time that he performed with Free, and while Bad Company was already signed to Swan Song when they got together, Page figured that Rodgers could help him move on. He had the same kind of bluesy voice, and getting someone else to bounce off of was the perfect kind of foil that he needed. Page didn’t envision the band as taking over for Zeppelin by any stretch, but he did admit that Rodgers was up there with the greatest singers that he would ever work with, saying, “I don’t have any regrets about doing that at all. Paul Rodgers is one of the best singers this country has ever produced, and any musician would want him on a record. I don’t want to labor the point, but [The Firm] was the perfect vehicle for me to express everything I wanted to express and it had gone before its time.” But even if The Firm is Page’s story to a certain degree, it’s not like Rodgers didn’t have time to work out his own problems as well. Bad Company had been drifting for a little bit ever since the late 1970s, and even though Rodgers wanted to move on to something different, it was going to be a much harder task for him to make that kind of jump after having to lose two different bands over the course of a decade. When you look at some of their songs, though, Page is still the guitarist that everyone knew and loved from back in the day. It wasn’t out of the question for him to break out the double-necked guitar every once in a while or bring the bow on tour to add some theatricality to everything, but he felt that there was a lot more that he had to offer once he decided to fold the band after the album Mean Business. Both he and Rodgers managed to go their separate ways without many hard feelings, but it’s not like they were clamouring to get back together at every opportunity. They were only looking to have some fun and help each other through their dark times, and I imagine having someone like Page on your resume as a singer is probably going to do wonders for someone like Rodgers. ADD AS A PREFERRED SOURCE ON GOOGLE The post The 1980s band that gave Jimmy Page “one of the best singers” first appeared on Far Out Magazine.

There aren’t too many pieces of Guns N’ Roses’ discography that haven’t gotten a firm green light from Axl Rose. Since he controls the entire band for the most part, Rose is the one who has operated as the overseer ever since Appetite for Destruction, despite his instincts leading them down rabbit holes that no one has any business going down. Rose can still hold his own in front of the microphone in the studio, and when he dialled himself in, he thought that his true masterpiece came with the song ‘Coma’. Then again, looking at the entire Use Your Illusion is like looking at Rose’s musical firstborn child. The band had already been looking to switch things up, but Rose wanted to grow up by five years within the course of just one album, which is a lot easier said than done. What we got instead may have accidentally killed hard rock as we know it. As much as people heaped praise on the album for its ambitious side, more than a few songs tended to feel half-baked. There’s a good idea at the heart of a piece like ‘Breakdown’, so why do we need to explain it for over nine minutes before we get a proper ending? That being said, there are a few times when Rose’s lyrical talents do shine a bit. Every piece of ‘November Rain’ is immaculately done, and kudos to him for turning an argument with his neighbour into a classic song like ‘Right Next Door to Hell’. Even by the album’s ambitious standards, ‘Coma’ is a weird beast. Credit: Far Out / YouTube Still The track feels like the fullest realisation of Rose’s tendency to blur the line between personal experience and theatrical storytelling. Rather than following a conventional structure, it unfolds in fragments, mirroring the confusion and intensity of the situation it depicts. That lack of restraint gives the song a raw, immersive quality that sets it apart from the rest of the album. At the same time, ‘Coma’ highlights both the strengths and excesses of the Use Your Illusion era. It is undeniably ambitious and emotionally charged, but it also leans heavily into the sprawling, unfiltered approach that defined the project as a whole. In that sense, it stands as a microcosm of where the band were creatively at the time, balancing brilliance with indulgence. There have been allusions to drugs throughout every era of Guns, but ‘Coma’ is where everything hits its apex. Inspired by a near-death experience that Rose had when overdosing, half of the song focuses on him trying to make sense of whether he’s going to live or die over Slash’s twisted chord progression. While Rose admitted that the track was like pulling teeth, he said it stands as his true magnum opus, saying, “I went to write it at the studio and passed out. I woke up two hours later and sat down and wrote the whole end of the song, like, just off the top of my head. It was like, don’t even know what’s coming out, man, but it’s coming. I think one of the best things that I’ve ever written was maybe the end segment of the song ‘Coma’. It just poured out.” Compared to other songs that seek to describe what an overdose is like, Rose manages to put you in the mind of someone who’s overdosing, almost like you’re on the operating table as everyone is getting the defibrillators to revive him. Even though the piece has a happy ending when Rose comes out on the other side, the rolling chord progression keeps going, almost suggesting that he might end up returning to his old habits. It might have been a good story, but the band were not about to stop the excess ahead of their massive tour, leading to some of the wildest shows they ever put on, a handful of riots when they didn’t show up on time, and ultimately being responsible for every member leaving the group soon after they got back. ‘Coma’ may be a decent snapshot of the life of the band, but it may be a bit too close to reality. These guys were hanging by a thread, and it was a matter of time before everything went up in smoke. ADD AS A PREFERRED SOURCE ON GOOGLE The post The 1991 Guns N’ Roses song Axl Rose calls his masterpiece: “Off the top of my head” first appeared on Far Out Magazine.

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I really appreciate Ron Johnson. https://t.co/NCcCpCQ45Z — Edward Dowd (@DowdEdward) May 2, 2026

from The Conservative Treehouse: I apologize for the deep weed details, but this stuff will soon become critical.  If James Comey is indicted for leaking the “Comey memos” suddenly the door opens wide to see how the Robert Mueller appointment was a coordinated ongoing ‘conspiracy’ effort to target Donald Trump. Back in June 2017 CNN […]

by Brenda Baletti, Ph.D., Childrens Health Defense: Experts who analyzed a recent study claiming that fluoride exposure from drinking water doesn’t affect IQ told The Defender the study was deceptive and relied on a flawed methodology. The “highly anticipated long-term study,” published April 13 in Proceedings of the National Academy of Sciences (PNAS), was widely cited by media and proponents of […]

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