Alice In Chains and Korn Announce Summer Tour

The shows for The Legacy Of The Beast tour feature production inspired by Iron Maiden's free to play mobile game of the same name. The North American leg will open in Sunrise, FL on July 18.

Iron Maiden's 2019 series comprises 41 shows in six countries; when combined with the band's 2018 European dates, the tour will have played to more than one and three quarters of a million fans around the globe when completed.

"We gave a lot of thought to the set list for this tour as the songs needed to follow the narrative of the changing worlds of the stage show," says bassist Steve Harris. "We feel we ended up with a very strong and well balanced set mixing songs we haven't played in many years like 'Flight Of Icarus', 'Sign Of The Cross' and 'The Clansman' with songs we know the fans want to hear like 'The Trooper', '2 Minutes To Midnight', 'The Number Of The Beast', 'Fear Of The Dark', 'Run To The Hills', 'Hallowed Be Thy Name' and others, reflecting the journey through the different themes of the show.

The pair join a star-studded lineup of artists - including Robert Plant, Sheryl Crow, ZZ Top's Billy F. Gibbons, Jimmie Vaughan and more - who will take the stage at the benefit show hosted by Whoopi Goldberg, Martin Short and others to raise funds for God's Love We Deliver, a home delivery service that provides customized meals for more than 1.8 million New Yorkers living with illness.

Heart went on an extended hiatus following an August 2016 incident that saw Ann's husband, Dean Wetter, involved in altercation with Nancy's children backstage during a hometown show in Seattle, WA; Wetter eventually plead guilty to two counts of fourth-degree assault and was put on two years of probation with no contact with his nephews.

The projects celebrate the singer's catalog and her history-making entry as the first female artist to enter the Cleveland-based institution twice - first as a member of Fleetwood Mac in 1998, and this year as a solo artist.

On the day of the rocker's induction - March 29 - the single disc "Stand Back" will deliver 18 recordings by Nicks, including studio tracks, collaborations with Tom Petty and Don Henley, and live performances of a pair of her classic Fleetwood Mac hits: "Dreams" and "Gold Dust Woman."

Due April 19, an expanded 3-disc, 50-song version entitled "Stand Back: 1981-2017" will explore a set of solo hits and deep cuts; a second disc of collaborations with everyone from Sheryl Crow, Chris Isaak and Dave Stewart to Lana Del Rey, Lady Antebellum, Dave Grohl and more; and a collection of live material and soundtrack work; a 6LP edition will follow on June 28.

As a member of Fleetwood Mac, Nicks launched her solo career in 1981 with her debut album, "Bella Donna", which topped the US Billboard 200, produced a pair of US Top 10 hits ("Stop Draggin' My Heart Around" and "Leather And Lace"), and went on to sell more than 4 million copies in the country.

The new U.S. and Canadian run will be dubbed the Second Base Tour and follows the band's previous North Amerian First Love trek and will feature support from SCARLXRD.

The trek will include headline dates and festival appearances and is set to kick off on May 5th with an appearance at this year's Welcome To Rockville.

Alan had this to say about the collaboration with Mraz, "I met Jason two years ago through a neighbor who grows coffee on his ranch. Jason wanted to grow coffee himself and our neighbor, Jay was kind enough to introduce us since we had mutual musical interests. For 'Miracle', Jason recorded his vocals in Dallas while I listened in Santa Barbara and we sent files back and forth, resulting in this song. Thus proving that you don't necessarily have to be in the same studio with someone to create music. This was also the case with Lou Gramm on the track "Sometimes", which he sang in New York.

Mraz added, "'Eye In The Sky' is a song I have a very early memory of, strapped in the backseat of my mom's green Fiat, 1982. Alan Parsons is on the radio and I'm singing along, harmonizing. That sound of rich harmony over magical words would stick with me for my whole life and ultimately become what my own career is about, trying to solve universal quandaries through song craft."

"We are very excited to unveil our new video," says the band. "This song and video is based on real events that sparked the onset of the Syrian war. We would like to thank David Brodsky and Allison Woest from My Good Eye: Music Visuals for bringing our vision and concept to life on screen!

Vera had this to say, "Just a quick heads up with something regarding the upcoming Fates Warning tour. Over a year ago I had committed to playing a gig with Armored Saint in Athens, Greece this March 15th. I wish to honor that commitment but that means that I'll sadly have to miss a couple of gigs with Fates in order to do it. So I will be not playing on the Detroit, Chicago and Milwaukee shows (some of my favorite cities by the way!).

The set will feature Blu-Ray/DVD/2 CDs and was captured during the first live performance from the pop-pop band Utopia in 32 years. A vinyl the vinyl a gatefold jacket with 2 Green LPs will follow on April 19th.

Ryan Clark says that the clip :was filmed in Seattle by Andy Maier. For this - the first video from our new album, Warkeep things straightforward with regards to the overall approach. Though the video is strictly performance, we did have some fun by filming each setup the same way a number of times using different lighting scenarios in each.

Mendel had this to say, Man, where do I begin? I guess I'll cut right to the chase: After almost 7 years of what has been one of the best experiences of my life, we mutually have come to the agreement that this is the point where Aborted ends for me.

"After my father passed away last year my focus started to slowly shift on different levels whereas the others were dedicated and motivated to make Aborted dominate, and believe me: they will, and I'm extremely proud of them.

"I remember I started listening to Aborted back in 2004, becoming a fan boy and I'll never forget the moment Sven asked me to join 8 years later; truly a moment I still embrace to this day.

"Of course I will miss my brothers, I love them; I wouldn't be the person I am today without them. I couldn't have wished for any better group of idiots, not a chance! For now I will focus on my solo project 'Mendel', my job (being a mixing/mastering engineer) and other musical endeavors. And the following is a clich� perhaps, but truly: All the fans around the world and all those who've supported us, you guys f***ing rule from the bottom of my heart.

If you wanna simplify it, the title of my song "Ashtray" came about because I smoked an ashtray-worth of cigarettes in the half hour that it took to write the song. If you wanna get really deep into the technical process of how each and every line was inspired, crafted and executed, I would have to explain it like this.

I had been playing music full time for quite a while. I was tired of finding myself performing at shows that were as empty as my pockets and was frustrated at the state of my life, the world, and the indie art community. I had been listening to a lot of obscure music circulating in the punk scene and had stumbled across a song by another artist which included a lyric that said: "If I found God anywhere it would be by the tracks". From there, inspiration threw me my own variation on the line that would open "Ashtray" "Someone asked me if I found God, yes, I think we've met a couple times. But, I'm not sure if it was Him 'cause I can't look Her in the eye"

Next came a lyric that came from parts unknown. "All I heard were warnings from the prophets in the Brooklyn night". This lyric made no sense in relation to the first line I had written, so I took a walk and thought about it for a minute. Shortly after a bit of brainstorming, the lyric evolved into "All I heard were warnings from my conscience in the guilty night"

That sounded better, and I felt that familiar buzz in my head that comes whenever I stumble upon the inspiration for an important song. So I sat down, looked up at the ceiling and a flurry of lines followed in rapid succession and the song "Ashtray" was completed in a little over 30 minutes.

When I am putting lyrics together, I try to keep in mind a statement I once read by another songwriter, Sam Cooke, who said something like when you are writing you have to be having a conversation; you have to be able to talk it. Then you have written a good lyric. That philosophy stuck with me. I tend to use that approach in a lot of my work and I think "Ashtray's" lyrics are a good example of applying this technique. I wrapped up the chorus with the refrain "I don't believe in nothing anymore" a line which originally came to me in the form of "I don't care about nothing anymore" which I felt wasn't accurate at all, given the fact that I care about a lot of things despite the rather nihilistic theme that flowed through "Ashtray". I thought a moment and stumbled upon the final form of the lyric which I felt could be taken in two ways depending on the perspective of the listener, "I don't believe in nothing anymore".

That obviously had to be the new "hook" in the tune. The double entendre it created implied that one could either accept that they no longer believed in anything, a line that embodied complete hopelessness, or that they no longer believed in�nothing, which proposed the concept of the listener finally believing in something...instantly giving the lyric a much more hopeful outlook.

When it comes to writing, sometimes I try to give the listener a blank face, let them look inside and see themselves. Depending on the type of expression they project, maybe they will stop and think a moment and get a better look at who they are.