Jefferson Airplane's Paul Kantner Dead At 74

"Guns N' Roses would like to respectfully thank the many people taking credit for our upcoming shows and everything in between," posted the group. "Especially those whom we haven't spoken to in numerous years who, through the power of media, have somehow served a pivotal, even if non-existent, role. We and the fans thank you!"

The note takes direct aim at headline-making comments Tyler made to Howard Stern on his SiriusXM radio show earlier this week. "I'm sure I'm not solely [responsible for them getting back together], but I did meet Axl in a couple of clubs a year ago and two years ago and three years ago," Tyler told Stern. "I bumped into him, and I had that talk� I said, 'You need to get f***ing back together again soon, because we all miss you.' Same thing someone said to me when Joe [Perry] and I were fighting. 'You've gotta get back together. What are you, crazy?'

"In fact, it was Jon Bon Jovi. I'm in rehab. He calls me up and goes, 'What the f*** are you in rehab? The world needs you. We're out here ripping it up, and everybody's asking for Aerosmith. You need to get out of here, because people in the world need you.'"

Instead, an isolated vocal track of singer David Lee Roth is set against images of the car, which will become available this spring for the sum of $156,000. Los Angeles ad agency MullenLowe U.S. created the commercial after reviewing a variety of songs from different genres.

"Ultimately we knew that we wanted this to be a rock song," says Leila Cesario, the national advertising manager for American Honda's Acura division. "The Super Bowl is a big American platform. It needed a big American band that screams excitement."

The Van Halen ad marks Acura's first Super Bowl commercial since 2012, when comedians Jerry Seinfeld and Jay Leno dueled over the first NSX to come off the production line.

Along with the title reveal, the band treated fans to a 30-second sample of Gore. This is the first project Deftones has dropped since their 2012 collection of material Koi No Yokan.

Deftones will be hitting the road to promote Gore starting in March. The tour will stop at music festivals and arenas around the country before heading across the pond this summer.

Frontman Jesse Leach - who returned to the band in 2012 - recently said: "Disarm The Descent was sort of my comeback album, and was about us feeling out the new vibe.

Def Leppard have become the first band to debut a new video in a music game, having teamed up with Guitar Hero Live, Activision and FreeStyleGames for the clip, which mixes animation with live concert footage.

"When the idea to premiere our newest music video for 'Dangerous' in Guitar Hero Live came about, we were thrilled," says singer Joe Elliott. "The way our fans discover and listen to our music has evolved so much throughout the years. Whether they're playing on vinyl, streaming the songs online or playing along to our music video in Guitar Hero Live, it's amazing to see how interactive music has become.

"There are so many interesting ways our fans experience our music, and having the video for 'Dangerous' debut in Guitar Hero Live felt like such a great way to reach all of our fans."

It's not a stretch to imagine that Ulrich will be on hand to present Deep Purple. A few years ago, when Rolling Stone spoke with the drummer about the Hall of Fame inductions, he said, "I'm not gonna get into the politics or all that stuff, but I got two words to say: 'Deep Purple.' That's all I have to say: Deep Purple. Seriously, people, 'Deep Purple.'"

Crue bowed out with a farewell show on December 31 after a two-year world tour. The performance is to be released as a film later this year, while the move version of their book "The Dirt" is also expected in 2016.

Neil tells the Michigan City News-Dispatch: "I'm going to always be the guy who was in Motley Crue - but I'm looking forward to recording more stuff.

Bain died while Last In Line were taking part in Def Leppard's cruising festival in the Bahamas. He'd been unwell, but was determined to keep working.

In one of the conversations Bain recalls how he helped put Dio together with Ronnie James Dio, Vinny Appice and Vivian Campbell. He says: "I got a call from Ronnie in the middle of the night. 'We've left Sabbath, Vinny and I. We're going to put a new band together. We're looking for a bass player and a guitar player.' I said, 'Well, you've got the f***ing bass player.'

"I recommended two guitar players - Viv and John Sykes. John Sykes was too tall so we went with Viv. We jammed for about 20 or 30 minutes. It just clicked."

In another conversation, Appice explains how the band had to hide Bain in a flight case to avoid him being arrested, to which the bassist replies: "That happened a number of times."

The singer and drummer confirmed in October that he was returning to work after rethinking his life and receiving treatment for physical problems. He underwent back surgery the same month.

Describing himself as "back, a bit," Collins tells the BBC: "I woke up one morning last October with a devastating pain down my right side. It's from sitting for 60 years playing drums - bits wear out.

"We were doing the Genesis reunion tour in 2007 and something happened to my left arm nerve-wise. I lost a bit of grip. So I haven't played - but I should start practising again. To be honest I've stood back."

He says of another reunion: "We could probably put to bed the Peter Gabriel Genesis, especially if I can't really play that well. In my eyes that would be my role - I'd go back behind the drums.

The Gaslight Anthem mainman also made Nobody Wins available to stream earlier this week in the run-up to the release of his debut solo album Painkillers on March 11.

A promo video for Graffiti was shot in London this week and will be unveiled in due course. Frontman Jaren Johnston previously told Classic Rock the band were looking for a more "arena-friendly" sound on the album. He added: "Everybody wants to be that big arena rock band. So we're trying to grow in a way where it makes sense."

The organizers promise a wide range of activities, from artist Q&As and workshops to collections of memorabilia and merchandise. There will be 150 stalls stocking rock and metal-related items, as well as film screenings and meet-and-greets.

They also issued EP Restoration in 2014, which contained three reworked tracks from their 2008 demo. Guitarist Griffiths told prog docu-series Into The Machine: "I love albums and I don't see that ever changing. I listen to it front to back. That's how the artist wanted it to be.

"It's like reading one page of a novel - you won't get the full picture without listening to the whole thing. I won't ever let go of the album format." He adds: "With the new album we're writing, it is a complete piece. That's how I approach writing.

On Black Swan, the band had the following to say: "The Black Swan mockumentary suggests a dramatic and unexpected shift in the routines that define our comfort zones.

"How would you react to being stripped of the illusion of freedom? Would you long for an idyllic past, warped by memory? Or would you rather adapt to the promise of a hostile and sublime future? Prepare yourself for A Year with No Summer."

The record is described as an "existential concept album with an alien theme based on the essay The Myth of Sisyphus by the French philosopher Albert Camus."

Cosmograf mainman Robin Armstrong says: "It's essentially a more modern re-telling of Camus's writings about mankind's struggle to understand the universe and our role within it.

On the album's release last year, Duchovny said he was nervous about the prospect of performing live. He told USA Today: "I'm learning what it's like to sing with a live band, how close to be to the mic, learning about singing, period.

"Our debut was a lyrical meltdown," says guitarist Chris Pritchard of the band's 2015 debut, Inside My Head. "It expressed the issues Kaya (Tarsus, vocals) has had for the past six years in a way he hadn't been able to show until the band started.

"With this EP Closure, it's about what he once felt coming to an end. And for all of us, this EP is literally closure for the personal anxiety we all felt while writing our debut. The whole thing was a recovery process. Full circle.

More than 2500 people so far have signed the online petition, which reads: "It's been out for seven months now mate. Get a stubby and your Aussie flag thongs and listen to some PWD.

"Do it for the Aussie battlers. Aussie government - you know the choice you have to make." The band have not commented on the petition, which appears on change.org

The two acts will play five UK arena dates in England and Wales, along with thrash icons Suicidal Tendencies. Vocalist Mikee Goodman had the following to say:

Tigertailz submitted the song to the judging panel, who choose a shortlist for a public vote, with the winner going on to represent the UK on May 14 in Sweden. But it was almost immediately rejected.

Guitarist Jay Pepper says: "Here it is people - the track the BBC and Eurovision 'experts' said wasn't worthy of putting before the British public. But the people have spoken - you can't stop the rock."

In his rant against the UK Eurovision panel, Pepper said: "Was our song even listened to? Who knows, but clearly the BBC and UK Eurovision Fan Club didn't think a song and image that celebrated David Bowie's Ziggy Stardust, Mott The Hoople, The Sweet and T Rex was worthy of showing the British public and letting them decide.

"And this is in a month when British glam rock legends like David Bowie and Mott The Hoople's Dale 'Buffin' Griffin died. A perfect chance to celebrate that great British era of music with a UK glam rock entry at Eurovision.

I actually can remember exactly where I was when I wrote most of "Step Into The Light." I was riding in the car, on the way to the grocery store, and the song "Cath�" by Death Cab for Cutie started playing on the radio. I had not heard the song in years but I immediately remembered how much I liked it. There was a good vocal melody with a lot of space in between the notes as well as a lot of really lush, interesting guitar parts. The tempo wasn't too slow and the drums still kind of kicked ass even though this wasn't exactly AC/DC I was listening to. The bass player was really crisp and even slightly funky in parts. I thought that I would really like to write something with those qualities.

I got to my destination and as I was perusing the aisles of the grocery store I was trying to come up with a basic vocal melody to build off of. Eventually I came up with something very similar to the vocal melody of the final song and just started humming it over and over again so that it would sink in. When I got home I recorded the melody idea over some crappy digital drums on my computer and then added the various guitar parts. I added the lyrics last which is typically what I do. The song is simply about helping out a friend in need. There is the recognition that the friend may refuse your helping hand and the menacing guitar riff that appears after the chorus symbolizes that possibility.

I didn't edit the vocal melody or lyrics very much once they were down but I remember doing a lot of edits to the guitar parts. Every day for about a week I would listen to the tune and would hear something in the arrangement that I wouldn't like and would then rerecord the guitar part that I found lacking. Eventually I got it to a point that I was happy with it.

As far as the studio recording of the song goes, I remember that we knocked it out pretty fast with one major exception - The little guitar riff that is played during the chorus took forever! It was actually the idea of our producer/engineer Phil Mann who thought that an interesting guitar riff could help fill the spaces during the chorus when the vocals are absent. I said I would give it a shot but didn't have any ideas for a riff. He said that he was hearing something in his head and would hum it to me and then I could try playing it on guitar.

So I went into the recording room while he stayed in the mixing room. He started singing all these ideas to me and I would try and play them on guitar while he recorded me. We would listen back and then he would tweak it ever so slightly - or change his idea entirely in some cases - and have me do it again, and again, and again. I wasn't really hearing what he was after, I didn't have a lot of input on the part, and frankly I really wasn't putting down great takes anyway. After what seemed like the 25th attempt I got frustrated and just got up and said, "Why don't you just do it." I then went in and manned the computer and he went into the recording room and then he played the riff a few times. After just a few takes he got what he was after and I believe that very take is still on the recording. It's a great