Roger Waters Explains Why He Doesn’t Really Care About Eddie Van Halen and AC/DC
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Roger Waters helped redefine rock music with Pink Floyd’s expansive, conceptual albums. While the band’s early identity was shaped by Syd Barrett, Waters soon took creative control, producing visionary works like The Wall that mixed personal themes with social commentary. His songwriting often moved beyond traditional structures, crafting experiences that felt more like theatrical journeys than typical rock records.
Unlike many of his peers, Waters never seemed concerned with trends or chasing mass appeal. His approach to music was introspective and layered, preferring tension-building movements over catchy hooks. For this reason, he often stood apart from bands that thrived on energy and guitar heroics rather than narrative and experimentation.
So when it came to American rock acts like AC/DC or guitar virtuosos like Eddie Van Halen, Waters simply wasn’t interested. His tastes lay elsewhere, and he never made an effort to hide that. In fact, he was surprisingly blunt about it in a now-infamous interview.
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Waters’ Blunt Disinterest in Rock Icons
During a candid conversation with Joe Rogan, Waters didn’t hold back. “I couldn’t care less about AC/DC or Eddie Van Halen,” he said flatly, continuing that he knew of them but wasn’t moved by their music. Though he acknowledged Eddie’s skill, he quickly added, “That just doesn’t interest me.”
This wasn’t a new stance for Waters. Throughout his career, he often emphasized storytelling and emotion over technical prowess. Where AC/DC delivered gritty, electrifying anthems and Van Halen dazzled crowds with solo wizardry, Waters was more interested in crafting sonic landscapes and conceptual narratives.
His dismissal wasn’t necessarily a critique of their talent but rather a reflection of his personal disconnection from that style of music. In his world, musical brilliance wasn’t measured in shredding solos or loud riffs—it was about atmosphere, message, and emotion.
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The Unexpected Collaboration
Ironically, despite his indifference, Waters did end up working with Eddie Van Halen. The song “Lost Boys Calling,” created for the film The Legend of 1900, saw Waters collaborate with legendary composer Ennio Morricone—and feature Eddie on guitar. It was a rare intersection of two contrasting musical forces.
Unlike Van Halen’s high-energy performances, his contribution to the track was subtle and soulful. His guitar solo added an emotional layer to Waters’ reflective lyrics and Morricone’s lush arrangement. It was a far cry from the tapping technique Eddie was famous for—but it showed his range.
Waters’ vocals on the track were raw and poignant, and Eddie’s tasteful solo fit perfectly within the song’s cinematic mood. The collaboration proved that even artists with vastly different philosophies could find common ground when the right project came along.
Legacy Beyond Opinions
Though Waters and Van Halen came from opposite corners of the rock spectrum, they both left lasting legacies. Waters shaped the progressive rock narrative through depth and concept, while Eddie redefined what was technically possible on a guitar. Their paths rarely crossed—but each helped redefine their genre in unique ways.
Interestingly, David Gilmour, Waters’ former bandmate, offered high praise for Eddie. “I can’t play like Eddie Van Halen,” Gilmour admitted. “Sometimes, I think I should work at the guitar more.” That kind of humility from one guitar icon to another added a layer of respect that Waters seemed to withhold.
In the end, personal taste doesn’t rewrite history. Waters may not have cared for Eddie’s music, but the world certainly did. And together, knowingly or not, both men helped push rock music to places it had never gone before.
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