Today's Day in Rock Stories

Phil Rudd Not A Fan Of Axl Rose Fronted AC/DC

Co-directed and produced by Colin Shane Hakes, the band took over a high school gymnasium in San Rafael, CA on August 16 to shoot the video ahead of its release on August 18.

The band says the concept for the "Hardwired" video was "a good old fashioned chaotic, gritty, dirty performance of perhaps the most ripping, super-charged and thrashiest song Metallica has written since the '80s� but with a twist - this video was to be one take. One shot. No edits. No nip, no tuck.

"One continuous shot captured by the camera going counter-clockwise around the performing band with the song's chaos and energy being reflected by a flash-bulb-strobe-like lighting effect, making it look like a series of disorienting fast-edits but (in truth) being nothing of the sort."

The two Guns N' Roses stickers are titled Overworked Axl and Gunnin' For Rose, and show the vocalist on the throne he borrowed from Foo Fighters Dave Grohl after breaking his foot earlier this year, being pulled from one side by Slash and the other GNR members, and the other by members of AC/DC.

The band worked with director Zev Deans to create a concept for the animated clip, which illustrates the story told by the song. "Lyrically," says singer Myles Kennedy of the tune, "it reflects the frustrations that a lot of people are feeling with the current state of things."

Titled "Out of Sand," Vedder debuted the song during his set at the Ohana Festival on August 27. The melancholy tune finds Vedder practically howling with emotion. "But now it's gone, gone/ And I am who I am/ Who I was I will never be again/ Running out of sand," he sings on the chorus. A Pearl Jam fan site tweeted a picture of the lyrics which you can check out below.

The clip sees David Gilmour and Roger Waters deliver an acoustic performance for the BBC alongside keyboardist Richard Wright on the song, which originally appeared on the band's fourth album, "Ummagumma." The footage was featured in a 1970 special broadcast by PBS affiliate KQED in San Francisco, CA and will be included in the comprehensive 27-disc box set exploring the first seven years of the band's legendary history.

Due November 11, "The Early Years 1965-1972" will present 7 individual book-style packages and feature 130 tracks, accounting for more than 12 hours of music and 15 hours of video.

The package will contain TV recordings, BBC Sessions, outtakes and demos and more than 20 unreleased songs - including 7 hours of previously unreleased live audio and more than 5 hours of rare concert footage.

Frontman Jonathan Davis said at the time: "Rotting In Vain was written about being in that black place, being in situations that I don't like in life - feeling you're stuck and you're just being abused, and you just sit there and rot. That's where Rotting In Vain came from: I'm just sitting there, dying, and letting it happen for years and years."

Bob Weir will be recognized with a Performer Lifetime Achievement Award, honoring his work with the Grateful Dead, and his songwriting and rhythm guitar playing accomplishments. The Americana Music Awards recognized how Weir has 'personally [carried] on the Grateful Dead's music and ethos for more than 50 years," both with the iconic band and with other artists.

He tells Cleveland Scene: "I'm proud that people came out and supported this record the way they did. It was worldwide No. 2, which is unheard of for a band like us - and it's unheard of for a band with a deceased guitar player and a carousel for drummers.

He's joined on Resonate by guitarist and co-producer Soren Andersen, drummer Pontus Engborg and keyboardist Lachy Doley, with a guest appearance by Red Hot Chili Peppers drummer Chad Smith.

Hughes says: "It is the first kind of complete Glenn album. It's a rock album for rock fans and it's heavy. Everybody needs to know that this is absolutely a return to rock music for me. My work is very varied - groovy, funky, soulful, although the genre has always been rock.

And he's told of the moment he sat with Jack in a restaurant and tried to persuade him to change his ways, by sharing his own experiences. Flynn says: "When his wife discovered heroin needles and threatened to divorce him, I sat him down at Red Robin burger joint and I laid into him.

"I wasn't judging him. Because I was not better than him. I had done heroin at least 10 times. I tried to share with him where it had gotten me. The night we signed the contract with Roadrunner Records in 1993, a buddy and I decided to do some heroin at his dealer's. They shot me up - I could never do it - and I ODd.

"I woke up six hours later on a filthy bathroom floor in a puddle of vomit, feeling like death. At a heroin dealer's house they weren't about to call an ambulance to save me. They just hoped I was alive."

The frontman has launched an acoustic version of the track to raise money for Martlets Hospice in Hove, where Tom was cared for in his final days. Fans can pay on an 'as-much-as-you-want basis' via Music Glue, where it can also be streamed.

Addressing his late friend, Macleod says: "Dear Tom, I know you're probably deep in conversation with Bowie and Prince about writing and recording so I'm going to keep this short and sweet. I threatened for years I'd record one of your songs acoustically and I've finally done it.

Hosted by Prog and Classic Rock magazine's Jerry Ewing and Malcolm Dome, these will see the Brown brothers talking about their 50 year careers in studios, during which they have both recorded some of the most iconic artists of the period.

And he also reports Disturbed are playing some of the best music of their careers - and says deciding to cover Simon And Garfunkel's The Sound Of Silence was a "daunting" prospect.

Draiman tells Fight+Music: "It's been amazing - the fire has been stoked. We're performing at a level that I personally believe is unprecedented in our careers. The crowds have been amazing, huge.

Kyle opens the competition using two 4 Stroke 500's through an OBC810 Cab. Troy fights back with his double OB1-500 amps through a OBC115 and OBC410H full stack. Go to OrangeAmps' website for more information.

Trey Gunn and Michael Cozzi are joined in the by drummer Jerry Marotta, keyboardist David Jameson and singer Brian Cummins. Speaking about the project, Marotta previously said: "Peter was always great at setting the table for us as musicians. He always got us started with great ideas.

The follow-up to The Killer Instinct is currently being recorded with producer Nick Raskulinecz. Guitarist Scott Gorham says: "It's great to be back with Nick. After such a great job on The Killer Instinct it was a no-brainer to continue the relationship. This album is going to blow everyone away."

Frontman Ricky Warwick says: "It seems like ages since we did the Def Leppard and Whitesnake tour, so we're all really looking forward to be back out on the road.

"Our third album will be out just prior to the dates - it's going to be great to play tracks from that along with favourites from the first two records also. Having my old friends from Backyard Babies, Gun and The Amorettes out with us too is just icing on the cake."

It will also feature the original album's pop-up book artwork and an exclusive 112-page booklet, which includes an extensive history of the album and a track-by-track annotation by Ian Anderson.

Crosby later claimed the "inaccuracies" and "misinformation" of Nash's 2013 memoir Wild Tales: A Rock & Roll Life had contributed to their spat. The feud reached boiling point last year when the pair had a physical altercation onstage, with Nash insisting Crosby "single-handedly tore the heart out of CSNY and CSN."

But he now appears to have softened his stance on a comeback, after he was told Young hinted at the possibility of future CSNY activity. Nash tells Rolling Stone: "Well, he's right, you never know. There have been times when I've been so pissed at us all for wasting time and not getting on with the job that I wouldn't talk to any of them.

The Nameless Ghoul tells Live Nation: "A couple of record pressing plants didn't want to print our previous record. it was not the upside-down cross or anything, it was a vagina. They just couldn't stand to look at that - that was just too downright blasphemous.

"I do think to a certain degree that we are misunderstood. We started off doing this with the intention of becoming this small horror rock band. It was supposed to be entertaining.

"The more puritan sort of metal people think we're too funny, or too this or that. We want people to be happy." He adds: "We represent humor and happiness. It's quite commonly known that laughter, satire and humor - at least from a medieval point-of-view - was very much regarded as a craft of the devil.

In June, they announced that bass player Taria Dawson would leave the band at the end of 2016 "in the pursuit of real life." But the group have issued a statement, confirming that Dawson will, in fact, remain with the London-based outfit.

The band say: "After a few fairly tumultuous weeks, we are extremely happy to let you all know that Taria has decided to stay with us. There's no way back down this mountain.

The Knife is by far the heaviest song from our new album "Triumphia" and was purposely written to be the heaviest song. Triumphia is a concept album featuring the story of two characters, one male, one female, fighting incredible odds to get back to each other. One of the obstacles is the main protagonist called "The Fog" which of course is another song from the album. The Fog starts out in the story as exactly that, FOG. The Fog represents a general haziness that prevents our characters from seeing or believing, hindering them off all strength and will. As the story progresses the two characters have found their way to each other, and The Fog takes on a human form in a last ditch effort to stop the good guys with a physical fight. Musically, the song starts quickly. There is no time to be wasted, and the mood is angry, dark and determined.

As the song says, "without hesitation" one of our characters grabs The Knife and immediately takes The Fog's life in a moment of revenge and extreme clarity. This moment, when The Fog is killed is represented at exactly 3:19 with impressive sub bass explosion leading into what is one of my prouder moments as far is guitar solos go. Before this song, I had never really attempted to "shred" in this manner. The Sub explosion that you hear was a slight matter of contention while recording. Our producer Nick Morris was initially against this idea saying that it reminds him of newer electronically influenced metal bands, feeling like it didn't match what we are doing, but in the end, we won, and now everyone can feel the impact of The Knife as well as hear it. The outro, which is heavy and drags along to fill the listeners imagination of a glorious defeat of the The Fog, was purposely written this way to reflect what would be swirling in someone's head after finally destroying their captors.

As I finished writing the song, I knew the following song on the album would close it out and was going to sound like what it was, a happy ending. So, I needed to come up with a way to transition this dark, brooding and heavy song into a nice and happy acoustic passage. The solution was simple, a slow climb up into a major scale on the piano. This is truly one of my favorite songs I've written, and is a ton of fun to play live.