Scott Weiland and Bumblefoot Supergroup Art of Anarchy Release Video

On Wednesday, Ward released a public statement outlining his personal need for Osbourne to amend and retract comments before he would consider any meetings about rejoining the group for their final album and tour.

"I never wanted to discuss this in a public forum but Bill's statements left me no option to but to respond honestly," begins Osbourne's response. "Wow Bill, What the f*** are you on about? I cannot apologize for comments or opinions I may have made about you in the press during Sabbath's '13' album and tour -- physically, you knew you were f***ed. Tony, Geezer and myself didn't think you could have done a two hour set with a drum solo every night, so we made the decision to move on. With Tony's condition we felt that time was not on our side."

The singer then challenged Ward over his ongoing remarks about a contractual disagreement the drummer says left him unwilling to participate in any reunion.

"Bill, stop this smokescreen about an 'unsignable contract' and let's be honest," adds Osbourne. "Deep down inside you knew you weren't capable of doing the album and a 16 month tour. Unfortunately for you, our instincts were correct as you were in hospital several times during 2013.

"Your last hospitalization was for a shoulder surgery that you now say you've only just recovered from. This would have meant that our world tour would have been canceled.

Last year, the group announced Young's retirement after he was diagnosed with dementia. Now, as AC/DC hits the road in support of the album - they headlined Coachella last Friday and will do so again this Friday - Johnson reveals it was Malcolm who inspired the group to carry on.

AC/DC did just that, bringing in Malcolm and Angus Young's nephew, Stevie, to handle rhythm guitar and, after recording "Rock Or Bust" with drummer Phil Rudd, hired former member Chris Slade following a series of events that have led to legal issues for Rudd in his current homeland of New Zealand.

"It's just given us that impetus to just do it for him," the singer tells the Telegraph, "because you know before the dementia really took hold of him he said 'just get out and make music lads, just for me one more time'. I don't want to be sentimental about this because, boy oh boy, I'm not a sentimental kind of guy. But that's what we're doing."

In an interview with Rolling Stone, guitarist Kerry King explained writing the song during a particularly hellish day in the backseat of the tour van. "I just stated jotting down hateful thoughts," King said.

The tour is scheduled to kick off on July 22nd in Clarkston, MI at the DTE Energy Music Theatre and will be concluding on August 30th in San Diego, CA at the Sleep Train Amphitheatre.

Menza explained his view of what happened in the interview (via a transcription by Metal Shock Finland): "I went and jammed with them for a 3 day weekend and then on the 3rd day we started to write new songs, and it was cool, they even told me that I was back in the band and to send a press release about it.

"I didn't want to say anything until I had an agreement, a contract in writing on what is going to happen and they send this ridiculous proposal which pretty much said 'You're not going to get paid until the touring', so basically I was going to be working on the new record for free, but then I had intended on leaning towards that anyway and then I thought to myself I'm not going to break, I'm not going to sell myself short for something that is going to be huge you know. They gotta realize the longevity it, and then the whole thing just became silly, I didn't even get a chance to negotiate about anything, they just cut it off and said 'that's it' and afterwards I couldn't get hold of Dave or anybody, he blocked my emails.

"We had a meeting at NAMM, the four of us got together with our old manager Ron Laffitte and started talking about touring plans and another record, Marty didn't say whether he was in the band or not, but I certainly was up for it and yeah, it all just took a turn for the worse.

"I was ready to be apart of it, I guess it just wasn't meant to be. I know Chris Adler will do a great job in the studio, but who will do these songs live?

"The reason why I refused to join Megadeth is because Dave [Mustaine] didn't show me any kind of 'love' at all, I wish I was doing it, but they didn't want to show me any contract in writing or anything, I guess it was just not meant to be."

"We realized that we have never made a live album with Dave," says the guitarist. "Since we had already released a studio album with Wolfgang playing on it, it also made sense for us to do a live album with both Wolf and Dave. Another reason why we put out a live record was to give people the experience of hearing us play our classic songs live."

When it came time for the project, Van Halen had plenty of source material to choose from. "We have a Pro Tools rig out by the front of the house and have recorded every show since the beginning of the 2007 tour when Dave first got back in the band," Eddie explains. "But we never originally intended to put out a live record. We just recorded our shows to archive them.

"We have so much material that it was too overwhelming to listen to about 150 shows and pick the best one. I didn't even bother listening to any of the past shows, outside of a few jams here and there. We played pretty much the same set every night, although we changed a few songs here and there. We played the classics. That's what people want to hear."

The band's 17-song set at the South Okanagan Events Centre began with 1983's "Rock! Rock! (Til You Drop)" from "Pyromania" and was followed by a selection of hits from the band's career - with emphasis on their biggest-selling release, 1987's "Hysteria."

Leppard performed "Paper Sun" from 1999's "Euphoria" for the first time in 15 years, as well as a cover of David Essex's "Rock On", plus a solo acoustic take on "Two Steps Behind" by frontman Joe Elliott.

The UK rockers tour across Canada wraps up in early May, following which the group will play a month-long series of shows in Europe and then launch a North American tour with Styx and Tesla on June 23 in Tampa, FL.

Ulrich teamed with the duo of vocalist/bassist Mike Kerr and drummer Ben Thatcher for the tune "Out Of The Black" from their 2014 self-titled debut album.

"Royal Blood" entered the UK album charts at No. 1 upon its release last summer on its way to becoming the fastest-selling British rock debut album in the UK in three years.

La Torre says via Twitter: "New Ryche material sounding really great! I Loved our last record 100%,but this one is DEFINITELY a new raging animal! Pure F'ing Ryche!"

Megadeth's fifteenth studio album includes Adler as a guest player following Shawn Drover's departure last fall, and former Angra guitarist Kiko Loureiro as a new band member in place of Chris Broderick.

Megadeth recently launched a PledgeMusic campaign to provide the opportunity to bring fans into the recording process with a list of incentive packages.

"Pre-order the album digitally, on CD or on vinyl plus tons of other unique offerings like signed CDs, signed vinyl, gear from the studio and much more," says the group. "No matter what you order, you will get access to a variety of behind-the-scenes content such as photos and videos from the writing and recording sessions. You'll get full access to the process in real time."

The album, named after the area where he grew up, was recorded in Nashville, California and at his home in Dallas with co-producer and co-writer Stan Lynch.

"I had a stereo camera with me the whole time," says May. "There's lots of pictures of us, both onstage and off. They're the kind of pictures you've never seen before, because you could never do the images justice unless they were 3D, and because they've been in my private collection since those times. An awful lot of history is in there, and there are onstage pictures as well: sometimes I would give the stereo camera to a local photographer and say, 'see what you can get'. You'll be able to see Freddie in the glory days - and John [Deacon] - and you'll be able to see us in the present day as well, all in glorious, stereoscopic 3D."

He recently said: "Each song on our 2013 album Shout! has its own personality - it sounds like Gov't Mule but doesn't sound like anything we'd ever done. These archive releases further that concept. They allow us to highlight some of our influences as well as how far we've come since the first album."

Their last release was 2013's Yes, It's True but mainman Tim DeLaughter said last year the group were planning another studio release to mark their 15th anniversary at some point this year.

It's the brainchild of Rob Reed, who recruited his Magenta bandmate Christina Booth, along with the Steven Wilson Band's Nick Beggs, and Big Big Train's David Longdon and Nick D'Virgilio for the project. Hackett also plays on the record which is scheduled for an April 27 release, with all proceeds going to.

Reed says of the track which originally appeared on the former Genesis man's 1979 solo album of the same name: "I've always loved the piece Spectral Mornings by Steve Hackett, (the classic instrumental from his 1979 album of the same name). It had a great guitar melody and thought it would be amazing to re-record with the addition of some lyrics.

And now the 55-year-old will release an entire album via Warner Music Canada this year. On Facebook, Col Hadfield says: " Space album! Happy to announce that we will release a full album's worth of music written and recorded in space in Fall 2015 with Warner Music Canada. Exciting!"

The suits can be viewed at kissreplicas.com and pre-orders will be available "soon," according to the site. Kiss are known for their remarkable range of merchandise, having previously made a Kiss Kasket coffin available.

The band, who've remained largely instrumental throughout their two-decade career, have welcomed Scars On Broadway's Franky Perez into the fold as their vocalist for the 12-track collection.

Byrne tells NME "I did a musical with Norman Cook at the National Theatre last year. I've got another one. No surprise.

Ricky Syers - best-known for inventing a machine that allows him to play guitar and drums at the same time - built the model version of Neil Peart complete with working arms and legs, and nodding head.

He also constructed a miniature drumkit from tin cans and metal discs, including operational bass pedal, cymbals and hi-hat control. Syers says: "A little puppet and props I made - and I didn't expect them to actually work! But here's Chops trying to get through Rush's Tom Sawyer."

Mainman Alan Nimmo recently said: "We're really proud of the album. It's faster, louder, more energetic and more exciting. It's got the potential to blow the roof off."

They say Shadow Of The Sun was written during "a rare and uneasy rest period, devoid of the constant adrenaline of performing live and the stimulation of traveling through endless moving landscapes."

The 'Fake and The Fabuless', though short, is actually the first chapter in a larger concept that will span across multiple releases. So, when it came to the title of the track I didn't want to get overly specific. I needed a song that could convey the overall meaning of the album, sort of like the way a narrator sings the introductory song in musicals or operas. I wanted everything on that album to sound as big and as theatrical as possible and this song was no exception. Even though it wasn't filled out with some of the orchestration of some of the other tracks (like timpani drums, strings, horns, etc.) I still wanted to give it the oversized feeling. To accomplish that I brought in everyone I knew with a half-way decent voice into the studio for choir vocals.(If you ever want a choir in your song, I highly suggest finding an actual choir because dealing with friends who think they're diva's gets very frustrating and very expensive very quickly.)

There was one girl in particular who, by the end of the day, I had no tolerance for. She thought she was "special". That she shouldn't have to sing what the other girls were singing. She had agreed to what I asked of her and then once we hit the record button she would do something entirely different. She truly believed that my very expensive, pay-by-the-hour, recording session was the place to let her very "special" vocal talents shine through. By the end of the night it was an all out screaming match. If she wasn't a 6'5" behemoth of a woman I probably would of tossed her out of the studio myself. As it was though, she definitely could have taken me. She probably could've taken out Peter Steele, and that guy was a goth super hero.

After a couple hours of her behavior, the entire studio was complete mayhem. The Amazonian diva was crying in the corner because she had been told to go home by pretty much everyone present. She had deteriorated into a ball of sweaty blonde weave, snot, tears, and bordello shoes. Though I probably shouldn't have had much compassion, I started to feel bad that everyone was laying into her so hard. I finally took the engineer aside and told him to record her however she wants and that we would just turn her vocals down during mixing. Ultimately, we were surprised to find one track from our practice run, that actually blended well with the rest of the choir. She had sung it properly the very first time, by accident. Hours wasted, money wasted, and a mountain of drama for nothing� lesson learned.