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Video From Rolling Stones Cuba Show Goes Online

"Everybody in China plays it," explains Roth, "and, if they can afford it, they get tutors to come in and teach their kids every day of the week. You play chess? It's a little like chess but it's about four times as big the board and about four billion times the opportunities."

Draiman says: "What is so important going on in the world that you need to be texting the entire f***ing show? The whole show. You're right up front, I can see you clear as day. You've had your face in your f***ing phone the whole goddamn show. Are we that boring?

"Don't tell me to go f*** myself. You already did by looking in your phone instead of paying attention. It's f***ing rude. If you don't want to watch, don't watch. But don't stand there in front of the f***ing stage in the front row of the balcony where everybody can see you texting the whole f***ing time on your phone."

The album was produced by Petty and Mudcrutch/Heartbreaker member Mike Campbell along Ryan Ulyate, who has worked on several recent Heartbreakers projects. The album includes seven new songs written by Tom Petty, with band members Mike Campbell, Tom Leadon, Randall Marsh and Benmont Tench composing one each. Tench is also a member of the Heartbreakers.

Of course, the saxophone solo on the song is now handled by Jake Clemons, the nephew of the late E Street sax legend Clarence Clemons. Jake recently told Radio.com that Vedder and singer/songwriter Glen Hansard were instrumental in getting him back on stage after his uncle's passing.

"I had a hard time coming out of my bedroom after Clarence passed away, it was a really difficult time, and I certainly wasn't looking at playing my saxophone," he said. 'Through the kindness of their hearts and their care for me, Glen Hansard and Eddie Vedder [who toured together in 2011] gave me a call and asked me to come out of my room and bring my sax. There was a moment on stage when I played with them in Philadelphia where' I always understood the saxophone as an extension of myself and a communication device, but that night it became something enormously bigger than that. I was able to have this euphoric sense of being with my uncle again [they all covered Springsteen's 'Drive All Night" together that night], and that sense of healing was something I was desperate for."

Prior to the January exchange as Eddie turned 61, the pair had not been in touch in a dozen years following a 2004 reunion tour. Hagar tells Rolling Stone: "It would be misinterpreted.

The rare audio captures Metallica performing at J Bees Rock III in Middletown, NY, without their own equipment after it, along with their rental truck, were stolen during a blizzard in Boston the week before.

The band say: "This was recorded at the first gig that we played after having our gear ripped off in January of '84. Anthrax was cool enough to lend us their equipment for the night."

The film's official description reads: "The day before Halloween, five carnival employees are kidnapped and held hostage in an isolated compound known as Murderworld.

The tour is scheduled to kick off on May 19th in Dallas, TX at Gas Monkey and they will be wrapping up the trek on June 21st in London, ON at Call The Office.

Voivod's drummer Michel "Away" Langevin had this to say about the tour, "After an exciting North American East Coast tour with Vektor, Eight Bells and Black Fast, we are thrilled to tour the West Coast of USA and across Canada with King Parrot and Child Bite.

The show at the Norris Theater and Pavilion mixed rockers with world-renowned classical musicians to take the audience on a journey from 17th century to today's modern hits, with proceeds to be donated to the Peninsula Education Foundation (PEF).

In addition to STP, other performers included Gary Wright ("Dream Weaver"), Yutong (Pacific Symphony, LA Phil, Hollywood Bowl Orchestra), Chas West (Bonham, Foreigner), Marten Andersson (Lizzy Borden, George Lynch), Monte Pittman (Madonna, Solo Artist), Stan Sharp (Long Beach Symphony, Hollywood Bowl Orchestra) and Jane Lee (accomplished pianist).

The project was recorded at various places, including Gilmour's Astoria houseboat studio and in Hove, Sussex, UK. He worked on the record with co-producer Phil Manzanera and wife and lyricist Polly Samson.

As members of The Ghost Inside continue their recovery from a horrific road crash, they say in an Instagram post: "Us playing shows again is the furthest thing from our minds at the moment while we focus on our recovery, but none of us could ever imagine playing again without Chris.

It is out now on Purple Pyramid Records and features both stripped down solo performances by Rundgren as well as full band recordings with The Hello People. It includes some of Todd's most well-known songs including Hello, It's Me, I Saw The Light and It Wouldn't Have Made Any Difference.

The metallers are Down Under as support for the Sabbath's 'The End' tour. An invitation Spencer and the band were thrilled to accept. "We're huge Ozzy fans and Sabbath fans, we've been listening to them forever," continues Spencer.

"Part of the reason we do what we do, I mean we're big fans and to be able to finish our show playing for a huge audience and then get to watch them do their thing every night is going to be a whole lot of fun man, because it's their last tour so it's a really special thing because we'll never get to see them again."

On the forthcoming end of Black Sabbath he says: "Well there's always a time, they've been doing it so long, I can see why they're ready to not keep doing the grind of the road. But it's a bummer, it's part of my whole upbringing of music.

He says: "April 20, 2017, is my 50th birthday. If I could have any wish, any birthday gift to celebrate half a century on Earth, it would be to gather all of my family, friends, bandmates and fans on a ship sailing across the ocean and celebrate my 50 years of life and 30 years of making music with all my loved ones.

Vocalist Telle Smith tells Billboard: "Trapped is about the inescapability of our overthinking and progress-restricting behaviour. We all have something we struggle with internally, and sometimes we have to realise our mind can be a strange dark place, and our own worst enemy."

The band shot the video the day before filming last single Sellout - but Smith insists this promo is the best they've ever done. He adds: "While filming the music video for Trapped with director Marcus Eden, we knew instantly that it would be our favorite video to date.

Frontman John Rzeznik, who was honored with the Songwriters Hall of Fame Hal David Starlight Award, called on a few of his songwriters and producers, including Gregg Wattenberg (with whom Rzeznik wrote four songs on the Goos' 2013 album Magnetic), Wattenberg's production partner Derek Fuhrmann, and Drew Pearson (who has worked with Phillip Phillips and OneRepublic).

Bonamassa said of the album: "I want people to hear my evolution as a blues-rock musician - somebody who isn't resting on accomplishments and who is always pushing forward and thinking about how music can evolve and stay relevant.

In an interview with Russia's Classic Rock, Hale says: "I think it's getting harder and harder to categorize anything anymore, just 'cause everything is� there's so much out there, and it's so broad. If you say 'rock music,' it's so all over the place. And same thing with metal - same thing. Depending on your spectrum of heaviness and your opinion of it, it's getting harder and harder to categorize."

She continues: "We know a lot of the people at The [Recording] Academy [which oversees the Grammy Awards] now, and it must be such a hard job to try to narrow all of that down and choose the best one. So, yeah, there's always things that, like, you personally are, like, 'Ah, I would have voted for that. I would have done that.' But, you know, at the end of the day, it is what it is."

It is over a year now since Worsnop announced his departure on his Twitter page after eight years fronting the band. Now Asking Alexandria guitarist Bruce has opened up on the final months with Worsnop admitting they were 'difficult' as he praised new singer Denis Stoff.

In an interview with Australia's The Rock Pit, Bruce recalls: "We hadn't really rehearsed or hung out that much before we even hit the stage together but I think the first show we did together, we headlined a festival in Austria I believe and there was 30 thousand people there," says Bruce.

"Before we went on stage it was like, 'F***, what's going to happen? Are they going to bottle us off the stage because they miss our old vocalist? Is he going to be booed off stage? What the hell is going to happen?' But everyone was just excited, everyone welcomed him with open arms.

The band worked with Lucion Media to create the multi-screen visuals and animations that play a leading role in their stage show, which just completed a European run.

Speaking of the shoot, Pesch tells Femme Metal Webzine: "Me being from the 80s, I like big productions. We've always had really high class, top-notch videos back in the 80s and I wanted to do something like that for that song.

"For a normal rock song maybe it's cool to be in a rehearsal room or on stage just shooting a little video but I feel that this is a big song and it deserves the best."

Tickets for the London bash are on sale via the official Brooklyn Bowl website, which states that along with entry to the show on the night, fans will get an hour's worth of bowling with the band.

Frontman Derrick Green says: "The hardest thing is definitely being away from my son - it's always top of the list. It's such a tough sacrifice doing what we do on the road and being away from family and everything, but it's for the betterment of our family."

Singer Janne 'JB' Christofferson had the following to say: "Metalheads. Grand Magus are back. We are proud to unleash this iron-clad anthem, we give you...Varangian."

"Tom Boy" was inspired by my ten year old daughter, Angella, who'd asked if I would write a song for her whilst working on material for Fire and Gasoline. In a distracted moment I said yes, I would, and immediately regretted making this promise, because I realized I'd trapped myself. What on earth would I possibly write that wouldn't be sappy as heck?

I've always felt that the best songs write themselves. There is something inherently magical when a song idea arrives in your psyche almost fully formed and gets stuck there. When this happens, I almost feel like I should give writing credit to someone else, some spiritual force, some Bob Dylan in the cosmos. Well, "Tom Boy" was one of those experiences for me.
A few nights later, while getting ready for bed, the chorus and first verse literally landed in my head like a lightning bolt (thank you Lord!). I ran for my phone (I must say that iPhone memo feature has become my best friend) to record the melody and words. Over the next week, while vacationing, I fine tuned the lyrics and wrote the bridge section on my acoustic guitar by the lake. By the end of the week everyone was singing it, ha, ha... so I knew I was on to something.

"Tom Boy" was initially inspired by the free-spirited energy and spitfire attitude that young girls have before they hit their teen years and start becoming self conscious. There's purity there, idealism about the world and a real love and acceptance of themselves that I adore. They're in touch with their truest selves and aren't yet weighed down with the trappings of a photo shopped 'beauty culture' that our media foists upon young women. My daughter, of course, is a tom boy and completely comfortable in her own skin. I was a tom boy growing up too (still am actually) so there were a lot of connections for me too. I asked Angella to contribute her own ideas to the song, hence the lines: "don't girlie, girl me," "I'd rather shoot and arrow than have a tea party," and "I'm not into fuchsia..."

The rhythm and changes in the song lent itself really well to fun, precocious word play, so I had a blast writing the lyrics. The geek in me had always wanted to fit 'quantum physics' into a song somewhere and finally I had a chance to do it.

The video features Angella on guitar and her school friends as the backing band. I loved the idea of doing a modern emulation of Elvis' Jailhouse Rock video with school girls. The girls totally rose to the challenge and gave amazing performances brimming with pre-teen, sassy attitude.

Songs often evolve, and it became apparent after a while that "Tom Boy" had taken on a life of its own. The song had a much more universal theme - one of individual empowerment for anyone feeling pressured to conform to a persona that wasn't authentic for whatever reason: societal, religious or parental pressure. "Tom Boy" is meant to be a positive message to young girls but even more so, it's a shout out to all of us who want to be loved and accepted for who we really are. I hope that's the message that really resonates.