Today's Day in Rock Stories

Axl Rose Sued By Former Guns N' Roses Member

The veteran group will be playing a special pre-game show ahead of the Los Angeles Rams home opener at the Memorial Coliseum on Sunday, September 18.

The team will be taking the field for their first regular season home field game in Los Angeles in over two decades with then take on the Seattle Seahawks.

Flea had this to say about the special show and the return of the franchise to L.S., "Since I was a little boy, I've taken joy in the beauty of the Rams. When I moved to Los Angeles in 1972, I was getting uprooted from my home and I thought, 'Well, where I'm going they've got the Rams. It's going to be all right.'"

Dun reports that he was forced to hide albums by artists including Green Day, Blink-182, Dr Dre and Eminem when he was younger, as his parents disapproved of his taste in music.

Dun reports: "They were pretty strict - I was never allowed to play video games. Music was actually the biggest factor - they were real conservative about what I listened to. Looking back, I was the first kid, so I think they were really trying their best.

The Daily Mail says fans were struck by the resemblance between Saavedra and the late Nirvana frontman, as well as the similarities in their voices. But Saavedra plays the guitar right-handed - while Cobain was left-handed.

A statement on Nirvana's Facebook page reads: "It is true, Kurt is alive. He needed time to learn to play the guitar with his right hand. Finding left-handed guitars is not easy. We are so happy to have him back and forgive him for all of the sadness that we have held so deeply in our hearts."

"It's just the fact that we were totally fearless," Page tells Rolling Stone. "You can hear the energy and the attitude - and the fact that we could go in there and make up numbers but not tell the people in the control room. We were testing ourselves as much as anything else, just really going for it."

The package features live recordings selected from Led Zeppelin's appearances on BBC Radio between 1969 and 1971 while presenting the expanded and definitive edition of their 1997 set, "BBC Sessions."

"There is no point in putting out The Complete BBC Sessions and someone's growling that you missed something," laughs Page. "I made sure they can't do that."

Much of the material was presented back in the day by BBC DJ John Peel, who Page says was an early believer in the band.

Korn will be hitting the road in support of upcoming 12th album The Serenity Of Suffering, set for release on October 21 via Roadrunner Records.

The original soundtrack was composed by Survive, who have cited Tangerine Dream as a major influence. Now the German electronic pioneers have returned the favour by issuing streams of two of the tracks.

Survive's Kyle Dixon recently spoke about how he and the band's Michael Stein would visit their I Luv Video store in Austin, Texas, in an effort to unearth films featuring scores by Tangerine Dream.

Dixon told Rolling Stone: "There's a Tangerine Dream score for Sorcerer that's great. I've rented that one a few times. I think you can only get The Keep on VHS.

On why they chose to independently fund and release the follow-up to 2015's Brainwashed, While She Sleeps say: "After 10 years of dealing with the ups and downs of the music industry, we have decided to continue our journey independently and self release our third full length album, available now for pre-order on PledgeMusic.

The new album is expected in 2017 and Hughes says he and guitarist Joe Bonamassa have been "inseparable" since beginning work on the music. But as he has a busy schedule ahead with a full 12 months of touring lined up in support of his upcoming solo album Resonate, Hughes is not sure whether BCC will hit the road.

Hughes tells Classic Rock: "It's due to be recorded in January and will come out in May, but I'm not worried that Resonate will get lost in the shuffle - not at all. It's more than strong enough to stand up in its own right.

His comments come after guitarist King said the band's future was "very unclear" because Araya appeared to be considering retirement. Repentless was their first album since the death of co-founder Jeff Hanneman in 2013.

Araya tells Billboard: "There hasn't really been any talk of a new record yet. The Nuclear Blast people have, but we haven't. We haven't been a put-a-record-out-year-after-year band since back in the 80s, when Reign In Blood, South Of Heaven and Season In The Abyss came out.

In the promo, cult mistress Sister Imperator tells the band members that they shouldn't be proud of the recognition they've received, including a Grammy, two Swedish Grammis, a Metal Hammer Golden God and more.

Guitarist Ben Weinman reported last month that they wanted to bow out while they were still a force to be reckoned with, after a career spanning 20 years.

He said: "I think in some ways we wanted to pull a Seinfeld - we didn't want to get to the point where we're stopping because we have to, because we're old or people are kind of over it.

Their five-track release was produced by Todd Campbell and mixed by Motorhead collaborator Cameron Webb and it's described as "raw, gritty, classic and instantly accessible rock'n'roll."

Starr recently told Kaaos TV (via Blabbermouth): "You know what you're going to get because Phil is the riff god. You hear those Motorhead riffs - Phil wrote a lot of those.

Pantera included the flag on the rear of their 1996 album The Great Southern Trendkill and also displayed it as part of their live stage displays. In a new interview with Rolling Stone to promote Joe Giron's upcoming photo book A Vulgar Display Of Pantera, Brown says: "The Confederate flag is on the back cover of The Great Southern Trendkill. That was the 'Southern' part of it.

"There were still states that had that on their state flags. Nowadays it's forbidden to use it. It's not so politically correct. But it had nothing to do with racism. None of us were like that.

His comments come as he argued that the music industry's problems over the past 15 years held lessons for the rest of the world - and soon after he completed Maiden's world tour in support of 16th album The Book Of Souls.

Dickinson, who's also worked as an airline pilot, recently told CNN: "I know a lot of musicians who are pilots and a lot of professional pilots who are musicians also. There's something about the three-dimensionality of both mediums, and there's also something about the creative aspects of both things.

"For the last three or four years I've been doing some business speaking - something I call corporate stand-up. One of the big questions is creativity. People want to know, 'How do you be creative in business?'

But Cazares says he's fine with it as fans have paid money to be there. On a video documentary charting the band's recent shows across Europe, the guitarist says: "It doesn't bother me. I know it bothers other people.

"It always seems to be the singers that seem to have issues with it - whether they slap the camera out of the hands of fans, or whether they stop the show to talk sh*t about somebody holding up a camera phone.

"What does it matter? It doesn't f***ing matter. They should just worry about doing their show. And if a kid wants to watch the show through the phone, then that's fine - he already paid for the ticket.

The Boss joins performers Jerry Seinfeld, Jon Stewart, Jim Gaffigan and Louis C.K. for the evening of entertainment, which combines music, comedy and an auction to raise money to support injured service members and their families.

He recently he travelled to the Indian town of Dharamsala in the Himalayan foothills to meet the Dalai Lama to discuss Lim's cross-party group, the Taiwan Parliamentary Group For Tibet.

Eleven Seven Music say: "From the outsider anthem We Will Not Go Quietly to the operatic showstopper Maybe It's Time and groove-driven, radio-ready rocker That's Gonna Leave A Scar, Prayers For The Blessed displays the many sides of Sixx AM's sound - something the band was able to develop by ramping up the amount of time they spent on the road."

I had the chorus for "Moon Eclipsed the Sun" in my head for a year or so before I finally wrote the verses. The subject matter was fresh territory for me as a songwriter at the time so it took me a little while to get in the right headspace to finish it. This chorus was inspired by another song of ours that we don't really play anymore called "This is the 90s". That song was really upbeat and had a line in it that went, "Let's Sha-na-na-na-na now!" One day I was sitting around in a sort of prickly mood and started thinking "ain't gonna be no sha-na-na-na-na" in stark contrast to the tone of "this is the 90s". So before I had my hands on an instrument I was singing this dark line "Ain't gonna be no sha-na-na-na-na / Or even Sha-na-na-na-na".

This was an essential moment for me that marked a shift in my songwriting. I had felt trapped in this super upbeat, dancey, and very positive funk thing. It seemed that people had come to expect nice, fluffy upbeat music and lyrics from us. There was a time when my favorite promoter to work with in Boston told me we were "happy and fun and upbeat". He would bill us exclusively with funk and jam bands and it just never felt right. He meant it as a compliment and I still love this guy but it was clear to me that he wasn't seeing us the same way that we saw us. And meanwhile he's booking all of my favorite psych rock and punk bands and I'm thinking: wait I want to be playing those shows!! I wanted to be able to pair with bands that were dark and sinister and dramatic and adventurous. I felt stuck in this "hey everybody shake your booty!!" thing and it was really unfulfilling. So Moon Eclipsed the Sun was a deliberate step into darker tones. It was part of a realization that I wanted to add more depth to our world and that there is nothing wrong with that.

Anyway, after I knew I was ready to declare to the world that there wasn't gonna be no sha-na-na-na-na I had to finish the thing. I brought this chorus to our keyboard player Rafferty to help me get the rest of the lyrics underway. We got the idea that this could be a psychedelic murder ballad. The guiding concept would be a relationship where one person is thinking "something's up and I'm not gonna do this anymore". I wanted to tell a story about that but not overtly with characters and a linear plot. My hope is that the lyrics supply some guidance to the listener but that the tones and instrumental sections fill in the gaps. The instrumental bridge, for example, tells an essential part of the story. I picture someone doing some soul searching or vision questing. I kept thinking of the episode of the Simpsons where Homer eats some psychedelic peppers and trips out in the desert trying to decide if Marge is really his soul mate. There are all these swirling colors and there's this great story arc that's all wrapped up in love, adventure, and mortality. Those were the ideas I put to the band while we conceived of parts.