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Metallica's James Hetfield and Sammy Hagar Going Acoustic-4-A-Cure

But the married mother, who was at the show with her husband, says she was simply checking that her 14-year-old daughter was okay and posting a Facebook status update about being at the show.

Pardue tells the Dallas Observer: "I looked down and everybody was staring at me. Have you ever seen a movie where a dorky kid is standing there and 20 bullies are making fun of him, making him feel alienated? That's what happened to me."

When Draiman addressed her from the stage, Pardue at first waved from her position in the balcony before realizing she was about to become the subject of a rant.

Wylde says in a new video interview (via here Blabbermouth): "That's really sad, man. 'Cause Brian's� I met Brian one time. He's a really sweet guy; he's super cool. But with the hearing, I read [an interview] where Brian was saying [the hearing loss was caused by] him being in race cars and not wearing his earplugs when he was in the car. And he said he actually heard his eardrums explode when he was in the car, 'cause he didn't have the earplugs in. 'Cause he said it didn't have anything to do with music."

He continues: "Me personally, if you don't have anything aimed directly at your head� That's what it's all about. Pete Townshend [of The Who] said [his hearing loss] was [caused by] all the years of cranking the music when he was mixing the records and making the album, of just blasting it, so it's right here [puts hands close to his ears] - as opposed to surrounding it. I mean, a 4x12 [guitar cabinet] is a very directional cabinet, so if you step to the side of it� especially the bottom ones, 'cause it's only hitting your legs. I mean, the top ones is where� If you're standing right in front of it, that'll smash you. Anything that's not directional� I mean, if anything's near you, that's when it's gonna really blast you; it's like a ice pick going off in your head."

Wylde had this to say about the band carrying on with another lead singer, "Supposedly [late AC/DC singer] Bon [Scott] was the one that recommended� he was talking about how awesome Brian was. He saw him playing one night - Bon did. And he was saying, 'I saw this singer, this Brian Johnson guy, who's amazing,' when Brian was doing his band [before AC/DC]. And that's how they got tipped off on Brian, how they knew about him, was through Bon. So who knows?

Frehley's Spaceman persona was taken over by Tommy Thayer full-time in 2002, while drummer Peter Criss' Catman was handed off to Eric Singer. But Frehley says the idea of Simmons and Stanley being replaced is a non-starter.

He tells WZLX 100.7 (via Blabbermouth): "That's the most ridiculous statement I've ever heard them make. I think the only reason they make those statements at this juncture is to try to validate the fact that they have two other guys in the band that aren't the original members.

It features iconic shots of the Iowa band and includes never-before-seen pictures of Corey Taylor and co. Harries said: "The reason it's called Dysfunctional Family Portraits is because Slipknot really is a family. The way they are and the way the present themselves - they're not like any normal family.

Recorded over a two-week period with producer Terry Brown at Toronto Sound Studios, the group's fourth studio effort proved to be a turning point in Rush's career at a time when they needed it the most.

"The record company was concerned," Lifeson tells Rolling Stone about the lack of commercial success following the band's 19784 self-titled debut. "We called the tour for 'Caress Of Steel' the 'Down the Tubes Tour.' We had passes made that had that on it.
"But that experience gave us the courage to stand up to what everybody was demanding of us. I remember clearly saying, 'OK, screw it. We're may go down in flames, but at least we know that we've done it our way.' There's no way we're gonna remake the first record just because that's what the record company wants and they're worried about sales."

Despite record company pressure, Lifeson explains Rush's independence was partially aided by the terms of their contract. "The fortunate thing is our deal at that time was a production deal," he says. "So, really, we had full control over content, including artwork. Once we delivered it to the record company, it was theirs to work with. So we were really lucky.

The Hellpop Tour 2016 will kick off at the Flags Event Center, Des Moines, Iowa, on June 18 and wrap up on June 12 at the Limelight Event Complex, Peoria, Illinois.

In This Moment are playing in support of their 2014 album Black Widow and will also tour with Rob Zombie and Korn this year. Hellyeah will release their as-yet-untitled fifth album in May. They launched a lyric video for their track Human last month.

Butler tells Armi Official: "I like Mastodon, but I'm not sure how big they will become. And I like Royal Blood, but I'm not sure they could maintain the longevity required.

He adds: "The music industry today is unrecognizable from when we first started. I think it's harder than ever to break through the success barrier, especially for rock and metal bands.

"It's very hard to make a good living out of music for new bands, especially with the access to the internet these days, having so many people posting their videos online.

He says: "Today was a huge baby step. I sat behind a drum kit for the first time since the accident, and it felt incredible. Every encouraging word and support from you all has gotten me to this point. I may not reply to every single person, but I've read every single message and comment. From every single one of you.

The thrash icons issue their Bataclan tribute Liberte, Egalite, Fraternite, Metallica! on Record Store Day (April 16) via Blackened Recordings. It's a live recording of the group's 2003 show at the venue, and Hetfield says there is an almost endless supply of unique live and studio recordings in the Metallica vaults.

In an exclusive interview for members of Metallica's website, Hetfield says: "There's such a freedom, having your own record company and being able to do cool stuff like this. And we've got so much stuff recorded, pretty much every show we've ever done since we knew you could record has been recorded.

The Pink Floyd guitarist launched a series of spring North American dates this past weekend with three shows in Los Angeles - including two at the Hollywood Bowl.

Once Upon A Dead Man features Charlie Simpson and his brothers Will (More Dangerous Animal/Brigade) and Edd (Prego), while longtime friend and collaborator Simon Britcliffe completes the line-up.

The song is the opening track on the group's upcoming album Prayers For The Damned Vol. 1 and, according to the vocalist, represents a style Sixx AM have never attempted before.

As well as singing with the band, Michael produced the record and has been behind the desk for a string of rock and pop artists. The video is the first in a series in which Michael hopes to give fans a better idea of how songs come together.

Describing the opening part of Rise, he says: "One of the things that I think will strike you immediately when you hear the song is that it starts off with a big, choral vocal part. Sixx AM has never done anything like that before, so you'll notice immediately that it's a new, fresh sound for Sixx A.M.

The follow-up to 2014's Magic Mountain arrives on April 1 via Mascot Label Group and BSC are on the road across North America before dates in Australia and a run on the Carnival Of Madness tour with Shinedown and Halestorm.

They are also lined up to appear at the Ramblin'Man Fair in the UK on July 24. Despite filling bigger and bigger venues, the band insist they still see themselves as a small group.

Guitarist Ben Wells tells TeamRock Radio presenter Pete Bailey's The Playlist podcast: "I don't think it's soaked in yet. I don't think we're officially considering ourselves an arena band yet, and I don't think we ever will. The day that we sit back and go, 'Oh well, we're doing arenas now, we're good,' will be a dangerous day for us.

The band say in a statement: "We're very sorry to announce that due to the Belgium attacks we've been forced to postpone our European tour to October/November.

The Swedish band say in a statement: "We are very happy to work with someone like label owner Ken Golden and Sensory that has a genuine passion for and interest in the kind of music that we play."

It tells the Swedish outfit's story in the words of mainman Akerfeldt, his bandmates, their friends, former members and collaborators. The package - part of the band's 25th anniversary celebrations - comes with exclusive unreleased acoustic versions of Atonement and Demon Of The Fall that won't be issued elsewhere.

It will be available in two versions - a classic edition and a signature box set limited to 500 copies, signed by Akerfeldt and including a numbered print of the Pale Communion triptych by Travis Smith.

In the unboxing video, Akerfeldt recalls signing 500 copies of the limited set. He says: "I remember doing these, I had to do 500 of these...really boring. But they only come with the limited, deluxe version of the book. I signed it and numbered it myself. It's got pictures from pre-recording days, before we even had a record deal."

And Bruce has repeated his stance that the new man has been a breath of fresh air, while adding that they teased Worsnop in the past about his role. Bruce tells The Rockpit (via Blabbermouth): "We actually heard of Denis a few years ago. People send us links, like, 'Check out this killer YouTube video covering your band's songs. He's really good.'

"We're combining ideas from post, progressive and black metal with classical, industrial and electronic influences in a way that we have not heard other bands do," says guitarist Andrei Alan.

The record is said to be a continuation of 2015's Something's About To Change, with Trower previously saying: "It ranges from rock to funky soul, with some epic blues grooves. The title track is me reflecting on my life and career, and how we have no idea how our lives might unfold."

This isn't the first time Bruce has focused the spotlight on his mother during one of his shows. Back in 2013, he walked off stage halfway through his performance of 'Dancing in the Dark" at the Hard Rock Calling festival in London to bring his then-87-year-old mother out for a dance off.

Originating from just a guitar riff, "Misery" was a song that came together relatively quickly in the writing process. Often, we will work on a song for weeks at a time, playing it 100 different ways, but this song took form in the course of just one or two rehearsals. It was clear that we had come across something special: a new sound for us that made perfect sense. The contrast of the up-tempo drums and shimmering guitars with a moody vocal felt just right.

It wasn't until the lyrical vision began to take shape did the song really start to go through its transformation phase. As a songwriter I've always been enthralled with the concept of bad luck, Karma, or a looming darkness in a scenario where it seeks to trap an individual who rejects it all together. Imagine in a horror movie where the lead protagonist actually curses out the evil spirit right to its face at the very start of the film, rather than waiting till the end of the film where the evil thing takes away everything they love. In this song, I created a protagonist who challenges this dark force, who I have named "Misery", from the very beginning of the track and continues to almost mock this feeling of looming darkness as the song enfolds.
I think in many ways this protagonist I've created is who I want to be, but am not. I am sensitive, insecure, defensive, and easily affected by how others treat me. I have a very positive view of the world but often feel let down, and it tears me a part. It's a loss of innocence, and I wish we all world stand up and face or darkest fears to make the world a better place, but time and again we see that we are not living in a world like that.

We soon learned that this was a powerful song to play live. We would place it at pinnacle points in the set and play it with great intensity. It soon became a fan favorite and one of our personal favorite tracks to perform. When it came time to select the songs we would be recording for FEVER, "Misery" was at the top of the list.

As far as the recording goes, this one probably changed the least when we got to the studio. The live arrangement had translated very well so the real focus here was to embellish what was already a strong performance. The bridge of this song was one of the first places on this record where we figured out how to build up an elaborate arrangement supporting the core sounds of the band. The feel of this particular section took its cues from a Brian Eno track off of Apollo. For the rest of the sections we looked for ways in the studio to accent the emotional qualities of the song and overall eeriness through the use of falsetto harmonies, ambient synth pads, and shimmer type textures.