Family Confirms AC/DC's Malcolm Young Has Dementia

"I don't think it looks as though that's a possibility or on the cards, so there's not much more I can say about that," Page told the NME during a playback of the forthcoming reissues of "Led Zeppelin IV" and "Houses Of The Holy" at Olympic Studios in London on Tuesday. "I'm not going to give a detail-by-detail account of what one person says or another person says. All I can say is it doesn't look likely, does it?"

During Tuesday's playback session in London, Page shared his thoughts on forming a new project. "If I was to play again it would be with musicians that would be� some of the names might be new to you," said the guitarist.

"I haven't put them together yet but I'm going to do that next year. If I went out to play, I would play material that spanned everything from my recording career right back to my very, very early days with The Yardbirds. There would certainly be some new material in there as well."

"I love playing live, I really do," he added. "Live concerts are always an interesting challenge because it means you can always change things as you're playing every night. You can make it even more of an adventure. I would play all of the things I'm known to play - instrumental versions of 'Dazed And Confused' etcetera, etcetera�"

Now, New Found Glory are alleging that they've been ripped off by One Direction. The pop-punk band's guitarist Chad Gilbert took to Twitter to call out the similarities between the main piano riff in their song "It's Not Your Fault" and One Direction's new track "Steal My Girl," as Alternative Press points out.

"Props to the @onedirection "steal my girl" single for reworking the "it's not your fault" piano part into a top 40 single. Let me get a cut," he tweeted, before mocking One Direction's fans and the track "What Makes You Beautiful."

Weezer have teased a return to form on Everything Will Be Alright in the End - it's an album full of self-referential lyrics; just look at the entire first verse of lead single "Back to the Shack," which finds frontman Rivers Cuomo singing about how he'd returned to lead guitar, to the fans' eternal gratefulness.

As for whether or not the album as a whole, from its lyricism to its instrumentation and overall sound, represents Weezer of yore rather than Weezer of bore (sorry, that was really horrible), curious listeners can now stream Everything Will Be Alright in the End in full on iTunes Radio.

Thal says it is impossible to compare the process of putting out his own solo record and the logistics behind Axl Rose releasing a new GNR album and he insists it's not easy for the much maligned mainman.

Thal tells Legendary Rock Interviews: "I don't even know how to begin to compare the two. For one thing, in my own situation, in Bumblefoot world, I have all the keys to the whole project. I know I have to write an album, record it and release it.

"In the GNR world, Axl holds the key, and when he decides to do something is when he decides to do it, and it's definitely at a different pace than say when I do things.

"Axl and I are two different people with two different lives and two totally different sets of hurdles to jump over, which totally affects our ability to release what we create.

"It's very hard to bust out anything when life becomes more complicated or you have more people trying to pull you in a million different directions or distract you. The bigger a band gets, the more that happens - so at Axl's level, it's definitely not easy and there's a million fires to put out where at my level there is maybe 10 fires."

The Metal God tells Billboard: "There's a sense there's another great metal song to write, another great metal album to put together, and another great tour to go out on.

"It's the hunger - if you've still got that, it serves a series of purposes and reasons why you still do it. Maybe we're chasing the elusive finale, but right now I feel like it's amazing to think what might come next.

And the addition of In This Moment drummer Jeff Fabb - who has also performed live with Black Label Society - made a big difference to the recording sessions, according to GNR man DJ Ashba.

Ashba tells Legendary Rock Interviews: "Jeff Fabb is an incredible drummer. It was a lot of fun to work with him and we were really happy to have him on the record.

She says: "The approach to this record is very different than our past two records - it's very performance-based. It's based on whether or not we can all hit it at the same time or whether or not I can hit a note without having to be auto-tuned. It's definitely a challenge."

"We're going back to the beginning - it's the four of us in a room playing the songs that we've worked hard to narrow down and write - it's incredible. I'm so excited every day to wake up and get into the studio.

"Everyone's going after the emotion of it. They're going after the performance and is it magical? That's what we're going after - that amazing performance. We're all on the same level and just riding this wave together."

The band released remastered versions of 1981 album Don't Point Your Finger and Third Degree from 1982 earlier this year via Universal - and Greaves reveals those two albums will make up the majority of their live set.

He says: "We are only performing songs from the first three albums Live At The Marquee, Don't Point You Finger and Third Degree. "To be back on tour with all the guys is incredible - the energy, enthusiasm and the magic are back. We never had a hit single but we became a cult band with an almost fanatical following. It will be great for us all to reconnect with the fans."

Jackson says: "The album reflects on the sorting of what is important in life from the humdrum of everyday existence, and is in itself an analogy for the process of the creation of the album."

Signal To Noise will be available as either a single CD edition or a two-disc Digipack deluxe limited edition with a 5.1 Surround Mix. Jackson made his name as a recording engineer at Utopia Studios in London where he worked on Boomtown Rats' I Don't Like Mondays and Spandau Ballet's Chant No 1.

Cruise To The Edge 2015 will take place onboard the Norwegian Cruise Liner Pearl from November 15 to 19 and will sail from Miami, visiting Key West, Florida and a private island in the Bahamas.

The vessel will feature multiple stages of progressive rock music, 13 bars, 16 dining options a four-lane bowling alley and a rock climbing wall.

Frontman Roddy Woomble is joined by guitarist Rod Jones and drummer Colin Newton, as well as new members Luciano Rossi on keyboards and Andrew Mitchell on bass.

Formed in 1995, Idlewild's most recent album was 2009's Post Electric Blues. The band will formally announce their comeback on Steve Lamacq's BBC 6Music show on November 3.

Guitarist Ivar Bjornson says: "My favourite time of the year is whenever we enter the studio with Enslaved to record a new album. Now the season of creative madness, endless days, and bleeding fingertips is upon us again."

He'll also perform in Edinburgh, Gateshead, Nottingham and London before playing shows in Europe and Russia in May. Cave will be joined on stage by four of the seven members of his band, the Bad Seeds, including violinist and multi-instrumentalist Warren Ellis, bassist Martyn Casey, drummer Thomas Wydler and keyboard player Barry Adamson.

The follow-up to 2013's Conduit appears on January 19 via Distiller Records. It's described as "unapologetically political" and "a far cry from the band's early material."

Even though they released their new album for free, with a full physical release coming next month, the band have found a way to become eligible for the award ceremony by pressing limited-edition vinyl right before the cutoff date.

The GRAMMYs require that an album or song is available for purchase before Sept. 30, and the band acted fast, shipping a small batch of LPs to stores, as noted by Rolling Stone.

According to a representative for the GRAMMYs, who spoke to the publication, "As long as the album, be it CD, vinyl or digital, is available commercially for sale to the public by our eligibility cutoff date at a nationally recognized retailer or website, then it's eligible for consideration."

Bassist Amos Williams says: "Really looking forward to discovering the possibilities of working with such a creative label. We admire everything Kscope has done with bands like Anathema, Katatonia and Steven Wilson, and can't wait to see where they will guide TesseracT in this new chapter of the band. Very excited."

Earlier this summer TesseracT brought former singer Daniel Tompkins back into the band after parting company with Ashe O'Hara - a reorganisation of the line-up which Williams described as 'seamless.' Tompkins' first show back with the band was on the main stage at this year's UK Sonisphere Festival.

Townsend says: "It's been a few weeks since the Z2 album was delivered, and we've been getting everything ready for the upcoming tours and the release of the records.

"As I've mentioned, Z2 is an experiment for me in trying different mediums to illustrate a concept, and as such I'm really excited to present to you the new Ziltoid website, and the first of three ZTV episodes leading up to the album release.

"The crowdfunding campaign has allowed me to actualise Ziltoid and its music in ways I'd always hoped for, and the idea with the three web episodes is to set up the concept of the album."

The follow-up to 2012's Blood Of Saints is the first to include vocalist Mikael Sehlin, who joined last year following the departure of Magnus 'Mangan' Klavborn.

A press release says: "Raven Kings is produced by founders Marcus Sunesson and Niclas Engelin. Engel have established themselves as one of the most stunningly impressive and stylish acts in their genre. Now it's time to unleash their true potential."

Petrucci tells Ultimate Guitar: "One of the cool things is when you see it come full circle, meaning playing a style that's obviously not what's popular, and it's not the easy road and it's very difficult.

The Jamaica, Queens-based band were one of the seminal groups in the early U.S. thrash metal scene, along with Metallica, Megadeth and Slayer (nowadays, they're known as "The Big Four"). In this excerpt, Ian tells the story of future Megadeth frontman Dave Mustaine's unceremonious firing from Metallica, and he recalls picking up his replacement - former Exodus guitarist Kirk Hammett - from the airport.

It was New Year's Eve 1980, and we had a big party at my friend Richie Herman's house. He lived on the first floor of our building, and his dad was always out of town, so we had fifty or sixty people at his house to celebrate my birthday. I went nuts. I'd been drinking before, but now I was almost legal. I was seventeen, and I drank so many screwdrivers made with that ultrapremium vodka, Popov. It's right up there with Grey Goose and Tito's, if they tasted like used Russian bleach. I must have had twelve. I have vague memories of making out with this girl, and we stopped kissing because I was getting queasy. I felt the vomit come up my esophagus, and I pulled away and puked all over her and then proceeded to puke all over Richie's bathroom.

I crawled up the stairs one flight back to my mom's apartment, crashed out, and woke up the next day still throwing up. I was sick for two or three days. Just the smell of booze nauseated me for years after that. Looking back, that was an advantage because I didn't drink much during all the formative years of Anthrax, and that helped me maintain focus. I'd go to bars and have a beer or two, but I was not part of the Alcoholica team. Looking at Metallica now, they had a totally different dynamic. Their music was strong enough to hold up even when they were sloppy drunk, and even when Dave Mustaine was in the band they really were the Four Horsemen. They just all had very strong, different personalities. James Hetfield was actually the wallflower. He was quiet like [Anthrax drummer] Charlie [Benante] with a good sense of humor and hadn't developed his rock star persona yet. He looked awkward around people, but when he was holding his guitar and screaming into the mike he was right at home. That was where he belonged, even though he never said anything onstage. That was all Dave.

Mustaine was the real front man of the band. He did all the talking onstage and he had that rock star personality. He was also an out-of-control, mean drunk, but he had a sharp sense of humor. Lars could be funny, too, and he could talk a ton of s-t. He actually couldn't really play when they started. He learned by jamming along with James's songs and just got better as they went. It would be hard to imagine Lars in any other band, but he's the right drummer for Metallica. He was also the voice of the band from day one.

If I were to single any of them out as someone who looked like he didn't belong, it would be Cliff. Anthrax and Metallica had a certain look: tight jeans, high-top Nike or Converse sneakers, metal T-shirt, leather jacket, or denim over leather. And then there was Cliff in his bell bottoms, cowboy boots, R.E.M. T-shirt, and jean jacket decorated with Lynyrd Skynyrd and Misfits pins. He was definitely an oddball, but in his own way, he was the most metal of all of us because he flew his own flag and he was the most talented musician-possibly the best I had ever met-even better than [original Anthrax bassist Dan] Lilker. He was a virtuoso bassist, and he understood music and theory. Compared to him, we were cavemen. He was very aloof but not standoffish. He was cool, laconic. He almost resembled a character from the '50s, like the Fonz from Happy Days, if the Fonz played in Molly Hatchet. Cliff would stand there with a cigarette, give you a squint-eyed Clint Eastwood grin and say, "What's up?"

The original song was the first solo track recorded by the late Queen legend in 1984; it was featured in producer Giorgio Moroder's 1984 restoration and edit of the 1927 silent film "Metropolis", as part of the project's new soundtrack.

Due November 10 (Nov. 11 in North America), "Queen Forever" presents a mix of Queen's hits and classic tracks, including three previously unreleased songs featuring Mercury.

The package include a long anticipated track from Queen and Michael Jackson, "There Must Be More to Life Than This", a previously unfinished Mercury-Queen track "Let Me In Your Heart Again" originating from the band's "The Works" album recording sessions, and the new stripped-down take on "Love Kills."

Due November 17 (Nov 18 in North America), the project features a variety of artists joining McCartney's long time band to perform songs from the bassist's legendary songwriting catalog.

Guests include Bob Dylan, Billy Joel, The Cure, The Who's Roger Daltrey, Brian Wilson, Alice Cooper, Def Leppard, Dr John, Yusuf, Barry Gibb, Jamie Cullum, KISS, Chrissie Hynde, ELO's Jeff Lynne, and many more.

Of the album's 14 tracks, the new video features the band's signature sound on "Collision Course," title track "Honor Is All We Know" and the ska-inspired "Evil's My Friend."

Shot in black and white, the Bay Area punk band chose to stay far away from fancy visual effects in favor of a stripped-down performance on a David Letterman-esque sound stage, surrounded by stacks of amps.

Produced by Epitaph Records founder and Bad Religion member Brett Gurewitz, the new album was recorded in Los Angeles at Red Star Studios and The Boat, a studio owned by Red Hot Chili Peppers' Flea, known for its resemblance to beached double-decker houseboat with its porthole-style windows.

The track features new frontman Matt Walst, who took over vocal duties following the departure of Adam Gontier in 2013. Walst joined from My Darkest Hour.

Drummer Neil Sanderson tells Loudwire: "As far as the record, it's almost done. It's turning out to be pretty heavy musically - a lot like our first couple of albums. I Am The Machine is hot off the press - we filmed ourselves during the recording process for the song."

Atkins May Project features original Judas Priest singer Al Atkins. He is joined by guitarist and artist Paul May. May says: "Our first album, Serpents Kiss, set the benchmark for the second, Valley Of Shadows, a mature classic metal affair. That in turn set a much higher new benchmark for Empire Of Destruction, which has evolved into something I believe will stand the test of time, an to be album to proud of."

The first 1000 CDs comes with a limited-edition DVD. The version of Here Comes The Rain that has been made available for streaming is shorter than that which appears on the album.

The next releases in the reissue series will be Wings' 1975 album Venus and Mars and 1976's At the Speed of Sound, and McCartney has just released a video for "Call Me Back Again" from the former album.

Guitarist Douglass Ott's latest lineup features singer Ted Leonard (Spock's Beard), bassist Ed Platt, keyboardist Bill Jenkins (Sound Of Contact) and drummer Sean Flanegan (Cynthesis).

Ott says: "There was a time I was unsure of Enchant's future - but fear not. We're very excited and proud of this endeavour. It's classic Enchant, but with a bunch of new twists and turns. It's been a long time in the making, but it's surely worth the wait."

Soen guitarist Kim Platbarzdis says: "It is finally time for the first video from our forthcoming second album Tellurian to surface. The video features the song Tabula Rasa, and gives a glimpse into our common frustrations with the world, the way it's run today and how the effects of it exclude no one."

Harvest Home is one of the 10 tracks that will appear on the group's upcoming new album Phantom Radio, due out on October 20 via Vagrant Recordings.

Former Screaming Trees frontman and long-time Queens Of The Stone Age collaborator Lanegan will bring his band to the UK and Ireland in January next year for 11 gigs as part of a wider European tour.

"Song for You" is a song that that came about during the breakup of my marriage. It was one of the dramatic moments, I had never written a song for her was one of the reasons for her leaving. I usually get around to things in my own time, so I guess better late than never. It's not really meant as a cut down on her-more a meditation on my own procrastination and bad patterns in my past relationships. I really like the kind of smart-ass-ness of the song-"well take that, here's a song for you�and you're gone." I though it was a good title track for this EP because most of the songs are about difficult topics from my past disguised with deceivingly mundane titles, (and the line reappears at the end of "The White Dress")

I wrote it in my during my studies at NYU where it went through a lot of critiques, revisions, lyric changes, etc. Music school gave me more of a thick skin when it came to songwriting, and that song was maybe a little too personal, but it was really good that I did it.

That's where I met Julian Cassia, who produced the song and the EP. It was on the shelf for a while and we revised it again into its current version, funky bass line, swirling synths and kind of bare vocals. The guitar work from Julian is very good on the track, I like the Middle Eastern vibe of the first solo. The song is different live, where we've added more vocal harmonies and simplified some of the bass lines. It is a very fun song to play (and hopefully hear) live!