Today's Day in Rock Stories

Rami Malek As Freddie Mercury Video Leaked

The mysterious set comes "packaged in a massive 12" x 12" x 6" leather-bound commemorative book featuring dozens of never-seen-before images of Simmons over his 50-year career" and will only be sold online in special VIP packages that offer personal face-time with the KISS demon, which of course won't come cheap.

According to Ultimate Classic Rock, the packages start at $2000, which gets fans a spot at one of 21 "Vault Experience" events across the world where they will receive the personalized and autographed box set as well a "songs and stories" playback and Q&A session with Simmons. Fans at this events will also get a one-on-one photo and video time with the "God of Thunder."

'The Foo Fighters Arms' will be located at 339 Cambridge Heath Road, London E2 9LH, and will be open between the 15th and 20th September. The pub will sell exclusive merchandise and limited edition items.

The song was the closing track on the group's legendary third record, "Master Of Puppets." Metallica's major label debut became thrash metal's first platinum album on its way to US sales of more than 6 million copies.

A series of 30th anniversary reissues of the album classic will be released on November 10. The remastered project will be available on CD, vinyl and digital, alongside an expanded 3CD edition and a deluxe box set.

The 3-CD set includes the remastered album, a disc that is a combination of rough mixes, demos and an interview, and a disc featuring a mix of live songs that are sequenced into a typical set list from the Damage, Inc. tour.

The limited-edition deluxe box set includes "unreleased demos, rough mixes, interviews and live tracks, many of which have never even been available in the collector or bootleg community and were pulled from our personal collections," says the band. "There's also a 108-page hardcover book with rare and never before seen photos and essays from those who were there with us for the wild ride.

"All in all, there are three LPs, ten CDs, a cassette, two DVDs, a lithograph with art by Pushead, a folder with handwritten lyrics, and if that isn't enough to push you over the edge, we've also thrown in a set of six buttons (!)."

I knew from the moment I accepted the proposal to make this record that I wanted to write about subjects that meant a lot to me, to explore my anger and frustration at world events as well as my own personal inner demons, so the narrative of the album became essential to get right. I didn't want this record to be simply riff driven, or the sonics be the centre of it all, it had to be about what I was saying, and how I said it. It needed to be my truth, warts and all. A very song centric album for want of better description.

So I spent quite a bit of time 'filling the reservoir' by revisiting and falling in love all over again with my favourite albums, and being as honest as I could be about my genuine touchstone artist and records, some of which surprised me! I found that even though the usual suspects were there, I was also as much as interested in bringing my love of British punk rock - GBH, anti nowhere league, Pistols and also the American and European new wave of the late 70's/early 80's - Blondie, Elvis Costello etc - to the table, as in all honesty, a lot of that sound has accompanied me as an artist in equal measure as my hard rock hero's.

It's funny, but long ago, I realised I'd grown tired of the labels, and just started listening to music! It's either good or bad to me, it just so happens I love the sound of loud guitars!!! Once I had digested and stimulated I began to write and one of the first songs to really crystallise and form the clear ethic of the album was the title track 'Ghost of yet to come' it is the central message of the record: I believe that we, as communities all over the world,
specifically in the developed wealthy 1st world, have become somewhat detached from reality where we view everything through a screen, make our judgements based on how many of our FB friends agree with our status, rather than seeking the facts and making a human judgement call.

We jump to conclusion, attack from behind a keyboard, say anything, no matter how ill judged and informed, and somehow it has become acceptable to behave terribly towards often the most vulnerable and disenfranchised in our societies. We dismiss clear fact in favour of what we want to hear and sadly many find it easy to have no sympathy with others in terrible situations.

This seems to be leading to mass paranoid and hysteria, I genuinely don't know what has happened to common sense? I guess giving everyone a platform to announce them selves has had as many negative results as positive, and so the title represents that modern phenomenon - we're terrified of things that have not yet happened due to the overhype and desensitisation - the song and ultimately, the whole record, seeks to stimulate the discussion about what I feel are some of the most important questions facing our world right now; who are we? What have we become? Where do we want to go? And how long can we keep this up? Please understand, I'm not trying to preach, I'm not a religious man by any stretch, but I do think we as artists have a responsibility to challenge and ask questions, in anyway we feel we can. I choose to do it with a rye smile as well as meaning every bloody word whilst we rock hard!

Supporting the tour will be Devin Townsend Project and The Obsessed, while the Mike Wescott Band will be on board for the annual "Holiday Run" dates as well.

McCartney also has two-night engagements lined up at Madison Square Garden in New York City; Barclays Center in Brooklyn, New York; Nassau Veterans Memorial Coliseum in Uniondale, New York; and Little Caesars Arena in Detroit. The tour also includes a Sept. 23 gig in Syracuse, New York. View his roster below.

After he wraps up the U.S. dates, McCartney will perform a string of shows in Mexico, Colombia and Brazil in October and then hit Australia and New Zealand in December.

The frontman's set included covers of George Harrison, Neil Young and Pink Floyd--as well as some Pearl Jam classics. During the weekend festivities, he shared the stage with Glen Hansard and Social Distortion.

Finally released as part of the 20th-anniversary OKNOTOK reissue, the band left the song off of the original OK Computer because according to member Ed O'Brien, it was just too good.

"It was a really interesting song. The audience'suddenly you'd see them get up and start grooving. It had this infectiousness," O'Brien told BBC Radio 6 earlier this year (via SPIN). "It was a big anthemic song. If that song had been on that album, it would've taken us to a different place, and probably we'd have sold a lot more records, if we'd done it right. And everyone was saying this, and we kind of subconsciously killed it."

While states in the southern regions of the US were advised to evacuate due to both Hurricane Harvey and Hurricane Irma, the Dead Boys have, thus far, pressed on with their 2017 Young Loud And Snotty At 40 tour. They have (literally) weathered the storm, moving forward on the road through Texas, Louisiana, and Florida. After delivering sell-out shows in Austin and New Orleans, the band is now propelling up the East Coast, with upcoming shows in Atlanta, Charleston, Richmond, Baltimore, and a sold-out show in New York City.

Cameron said transitioning from drummer to de facto frontman of his solo material was daunting, especially when it came to singing. After all, he has supported charismatic lead vocalists like Eddie Vedder and the late Chris Cornell through his tenure in Pearl Jam and Soundgarden.

"The vocal aspect was the toughest part for me," he told Rolling Stone. "I'm pretty limited in terms of what I can do, but it's better for me to do it all as opposed to bringing in a real singer and doing it that way even though my vocal prowess is very limited in comparison to Chris and Eddie."

Cameron was touring with Soundgarden when Chris Cornell tragically died by suicide in May. The drummer says Cornell got to hear parts of the record before he passed away.

"I played some of it for him last March," he said. "He really liked it. He was always very supportive of me writing music for the band and kind of going for it."

"Time Can't Wait" leans on psychedelic influences and evokes the sound of Blue Oyster Cult and other '70s icons of the genre. In the studio, Cameron recruited drummer Mark Guiliana and bassist Tim Lefebvre, who contributed rhythm to David Bowie's final album Blackstar.