In the past year, the group have spoken openly about their farewell tour plans. "It's definitely for real," singer Vince Neil told the Oakland Press last August. "We want to go out on top. We don't want to be one of those bands that people are like, 'Oh, they're playing a ... little club now. We still sell out arenas and do stadium shows and stuff like that, and that's how we want to be remembered."

"It's just time," he continued. "Mick's (Mars) health is not that good, and touring is tough on him. I'm sure in five, 10 years' time we'll probably do something together again, but it's not gonna be like a KISS farewell to the farewell to the farewell tour. We're not gonna be like that."

The tragedy forced them onto hiatus until they began playing live shows over a year later. Then last month they shocked fans by splitting with drummer Joey Jordison, who later confirmed it wasn't his decision to leave.

But they're putting it all behind them. Root's Instagram posting shows him holding his guitar against a mixing desk and carries the hashtags #slipknot2014 and #work.

Yesterday (Jan. 9) the video was rereleased with the headline Fall Out Boy + Paramore = Monumentour 2014. In the video, the FOB guys and Paramore graffiti a wall to reveal the Monumentour with special guests New Politics.

"It's great to get the chance to share the stage with a band we have never toured with that has their own unique legacy. So glad that our buddies in New Politics will be there too. This summer is gonna be an unforgettable one for sure," Fall Out Boy wrote on their website.

Confirmed to join Hagar at the concert are Joe Satriani, Michael Anthony, Kenny Aronoff, Jack Blades, Billy Sheehan and other special guest to be announced.

He said in December: "We've done the Faces and he didn't turn up." And he added that he was more interested in celebrating the Small Faces' 50th anniversary in 2015, saying: "We would we f**k around the with the Faces when we've got bigger fish to fry?"

Now Jones has explained it was all a misunderstanding � because McLagan didn't know that he, Stewart and guitarist Ron Wood had just opened discussions about getting back together.

The BRIT Awards 2014 take place at London's O2 Arena on February 19 and will be broadcast live on ITV at 8pm GMT. "The Next Day", Bowie's first project in a decade, delivered the singer his first UK number 1 album in 20 years.

The prog rock project features Neal Morse (ex-Spock's Beard), Mike Portnoy (The Winery Dogs, ex-Dream Theater), Roine Stolt (The Flower Kings) and Pete Trewavas (Marillion).

"There was talk about a year ago about doing an album before we actually did it," reveals Morse. "I was feeling it for a while. Some of the music that ended up on my Momentum album (2012) seemed like good material for Transatlantic. Roine and my schedules have a little more space in them, and Pete and Mike's schedules finally aligned, so we were able to put this together. I'm just glad we got to do it again and I'm really happy with the way the album came out."

Morse, Portnoy, Stolt and Trewavas shared equally in the songwriting, with Portnoy ultimately sifting through the material and picking out what he felt was best. For the most part, the music that fans hear on Kaleidoscope (and all of their previous albums) was created for Transatlantic. There are, of course, exceptions. "I wrote the second song on Kaleidoscope, "Shine," before my Momentum album came out," says Morse. "I thought about recording it for myself, but it just smelled of Transatlantic. I presented it with two other acoustic songs, and that's the one the other guys chose, as well."

The band convened at Neal's studio in Tennessee; writing, arranging, and laying down the final drums and bass. Morse offers, "At this stage, we sketch out the house and build the foundation. Then Roine and I go off to our respective studios and do what we need to. We send those parts, including vocals, back and forth via the internet; but the writing is done together in Tennessee. We just go from the gut, and I think it's an amazing process of trusting each other. There's no shortage of ideas; it's more like which ideas do we want to use?"

The DreamTheater360� App in its first release will include five interactive songs filmed and produced using the Mativision technology, which virtually transports fans directly onto the Luna Park stage right next to the band members and completely immerses them in a unique experience that they can control in real time.

Each fan can direct the show by manipulating Mativision's multi-camera iOS player, and enjoy the concert in any way they want. They can seamlessly choose to switch from among six different cameras while also being able to rotate camera angles by taping and dragging, or by using the device's built-in gyroscope. Fans can even zoom in and out or simply switch to "auto pilot" mode and enjoy the show without interaction.

With this groundbreaking app, Dream Theater aim to share with fans all the intense moments of a live performance from right beside them on stage, and provide fans with true interactivity to experience the onstage moments with complete freedom.

Along with the unique interactive 360� content, the DreamTheater360� App will also include enriched up-to-date band-related content such as a biography, discography, photos, and continuously updated tour information, news, and social media.

Former Pantera drummer Paul, Mudvayne's Chad Grey and Greg Tribbet, Tom Maxwell of Nothingface and ex-Damageplan man Bobzilla are currently based in a Las Vegas studio with producer Kevin Churko, who has previously worked with Ozzy Osbourne, Five Finger Death Punch and In This Moment.

Hurt appears as the modern-day Allman while his younger self will be depicted by Tyson Ritter, singer with the All American Rejects. Duane Allman is played by Wyatt Russell.

"It's really coming along. We're sitting here right now with twelve songs musically arranged, and we're really focusing on lyrics now. At the pace we're going we would be ready to start recording maybe in April."

Palmer reports: "In January my band is looking forward to a headline show at the Progressive Rock Festival in Rio De Janeiro, Brazil, then in February we embark on our extensive tour.

The Cult spent 20134 on the road playing the Electric 13 world tour, which coincided with the release of the 2-disc set, "Electric Peace." The collection pairs 1987's "Electric" with the group's abandoned "Peace" album, a project The Cult recorded as the follow-up to 1985's "Love."

"Album cover meeting today with the immensely talented Mr. Richard Villa," posted Bach. "Richard is an incredible artist and we have brainstormed some kick ass ideas that I cannot wait to execute.

"And exciting for the collectors out there, it looks like I will be incorporating another one of my fathers paintings into this album design. My father painted the covers for 'Slave to the Grind' inside artwork for subhuman race 'Angel Down', and 'Bring 'Em Bach Alive!" as well.

After losing his voice during the writing of the album, Scorpions lead vocalist Klaus Meine had to undergo surgery on his vocal cords and it was uncertain whether he would be able to record it. As a result, demos of the material were recorded with Don Dokken as vocalist; however none of those recordings are featured on the album.

Hook posed with his guitar outside Gibson's tent, which is located outside the Las Vegas Convention Center. His appearance is part of a celebration of 120 years of Gibson Brands.

Speaking with Gibson.com last summer, Hook described having his own Gibson model as "a dream." "I always thought that I'd love to have my own Explorer," he said.

"I was very patient. Every other guitar manufacturer tried to approach me, and I said, 'You know, but I play this guitar. It's my favorite guitar. I don't want you to make me something like it. I just want to play it.' So, eventually, I lucked out where I met the right people at Gibson who said, 'I think we can make this happen for you.' I met Henry (Juszkiewicz). They said, 'We'll make it exactly how you want it. No limitations.'"

Findlay says: "Troy and I have worked together on many an occasion, both in Mostly Autumn and when I sang for him on his gorgeous album Madness of Crowds in 2009.

Frontman Martin Wilson bowed out for family reasons last year. GLD thought they'd found a replacement following a series of auditions, but sadly reported things "didn't pan out" after months of rehearsals. Now they're on the hunt once more.

Guitarist Steve Anderson tells Prog: "We're very excited about the new material we have. It's darker and more aggressive and we're using a twin-guitar approach that's opening up some interesting King Crimson-like areas.

Rothery says: "I've been totally amazed at the response to the campaign. It's now into the last two weeks and I've just announced a special edition with a bonus DVD. Anyone who orders the special edition on Kickstarter will get their name in the booklet.

It wasn't until after Waters, real name McKinley Morganfield, died in 1983 that BIll began moving away from his career teaching literature towards one playing music, responding to the iconic bluesman's dying wish that his descendants should keep the family name active in the genre.

Page remembers those early Led Zeppelin days, when he formed the group from the ashes of the Yardbirds with singer Robert Plant, bass player John Paul Jones and drummer John Bonham. Speaking with Rolling Stone, Page said he always felt Led Zeppelin was his band.

"There was no doubt about that," he said. "At that time, absolutely. I'm the one presenting the material and giving the ideas, how these things should be done. But the ruthless efficiency � everybody went into the first album with that."

He added, "Everybody knew how good we were. And we were strict in that if we were writing something and it sounded like something else we'd done, we'd immediately drop it. There was one tipping of the hat: 'Tea for One,' which was like 'Since I've Been Loving You' (on Led Zeppelin III). That was intentional, to apply a different feel to that blues."

Describing Illusory Blues as "a cosmic ode to the forces of nature and the inevitable cycle of life", the band tell Classic Rock: "To be a somniloquist is to talk in one's sleep. One interpretation is that the subconscious world we inhabit in our dream state holds some kind of a key to our existence in our waking life.

"The song is an ode to dreaming, to ambition, and to making the most of your time in the physical form on this plain of existence, whether through experiencing the joys of nature, or merely by existing in the present moment.