"Persona Non Grata", "Exodus" 11th studio album, was released on November 19, 2021. This is their first studio album since 2014 "Blood In, Blood Out" which included a guest appearance by founding guitarist Kirk Hammett , and their second with vocalist Steve "Zetro" Souza since returning to the band that year. Work on the album began back in 2016 right at the end of the tour to promote the album "Blood In, Blood Out", but the writing and recordings were delayed due to schedule issues and the commitments of guitarist Gary Holt who joined "Slayer". Following the "Slayer" farewell tour and dissolution in 2019, Gary Holt was able to resume the intense work and recordings of "Persona Non Grata" more vigorously, and these took place in September-October 2020, when the album was fully completed in January 2021. The album was supposed to be released in the summer of 2021, but its release was postponed to November, due to the illness of drummer Tom Hunting. It is interesting to note that the album also includes guest appearances by the band's former guitarist Rick Hunolt in the guitar solo on the song " Lunatic-Liar-Lord " as well as a guest appearance by singer Chuck Billy on the theme song. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Rush's live album "Clockwork Angels Tour", was released on November 19, 2013. This live album is special and different from the band's other live albums, mainly due to the fact that this is the first time in the band's history that "Rush" shares the stage with other musicians. An ensemble that includes 10 string players and a conductor, who accompanied the band throughout the second part of the setlist. The addition of the string ensemble greatly enriches the sound of "Rush" and pushes the band and the songs forward. This can be heard especially in songs like "The Garden", "Red Sector A" and "Manhattan Project", where the strings just blend in perfectly, upgrading the performance and adding to the experience. The strings blend very nicely even in the noisier tracks like " Caravan " where they play right on Alex Lifeson 's riff, in the song " the Anarchist" , especially in the transition parts starting from 1:51 and up to the chorus, in the song " Carnies ", especially in the crescendo towards the end, so you can really hear the strings along with the power trio and pyrotechnics of the show, all together in one huge climax, and even in the instrumental track " YYZ " which has never sounded so special. Another reason for the uniqueness of this live album is the conscious decision the band has made, to "pull "out of the attic" songs that have not been played live for almost three decades and include them in the show's rich and varied setlist. In this way, most of the setlist (except for the songs from the album " Clockwork Angels " which we will refer to later), consists of songs from the band's synthesizers and new wave era. For example, you can find songs like " Grand Designs ", " Territories ", " The Body Electric ", " Force Ten ", " Middletown Dreams ", and " Manhattan Project " that have not been played live for a very long time, along with other songs from that era that was played here and there over the years like " The Analog Kid ", " The Big Money ", " Subdivisions ", " Red Sector A ". The show is divided into two parts. The first set is played by the band on stage alone, when after the break the band goes on stage with the ensemble and plays with it almost the entire album " Clockwork Angels ", from beginning to end. Remember this is the only full concept album of "Rush" and those who have not read our review of it and do not know the plot story of the album, are welcome to do so. There is no doubt that the second part of the setlist is the highlight of this show. It includes a video art that accompanies the story of the concept album and adds much to the experience of the show, with one of the highlights in our humble opinion, being the ending track of the concept album " The Garden ", in a very moving performance and accompanied by particularly impressive video art. It is interesting to note that this time the album features a short solo by Neil Peart , relative to other performances, during the song " Headlong Flight ". At the same time, the album also includes a nice surprise in the form of a guitar piece by Alex Lifeson called " Peke's Repose " which is an introduction to the song " Halo Effect ". Such an opening track by Alex Lifeson is well remembered from " Exit... Stage Left " with the track " Broon's Bane " which was the introduction to the song " The Trees ". The CD version of the album includes 3 discs. The first includes the first part of the setlist with only three "Rush" members on stage. The second includes the second part of the setlist centered on the album " Clockwork A ngels " with the string ensemble and the third includes the sequel to the second part of the setlist also with the string ensemble, including the encores and bonus tracks of songs played in additional performances on the same tour, as well as a recording of the song " Limelight " during the band's soundcheck. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 18, 2016, “Metallica” released their tenth studio album, “Hardwired… to Self-Destruct”. Eight years had passed since “Death Magnetic”  — the longest gap between studio albums in the band’s history — and the expectations surrounding their return felt heavier than any amplifier they had ever dragged onstage. This wasn’t just curiosity about a new record. It was a question of identity. Whether a band that shaped the foundations of thrash metal on albums like “ Kill 'Em All ”  and redefined mainstream heaviness on “Metallica (The Black Album)”  could still summon that fire after decades, tragedies, triumphs, reinventions, and a changing musical landscape. By the time work began on this album, the band was in a more stable place than during the dramatic years that followed “Load” . Relationships had strengthened, battles were behind them, and the hunger to write something meaningful had returned. "Hardwired… to Self-Destruct" became a project of renewed focus — a reminder to themselves of what “Metallica” truly is, and what drives them beneath the noise and the legend. Recording began at their San Rafael headquarters with Greg Fidelman producing alongside James Hetfield  and Lars Ulrich . The process was disciplined and deliberate: hundreds of riffs catalogued, sorted, sharpened and sculpted into shape. A major shift came when Kirk Hammett  famously lost his phone — and with it, nearly 250 riffs that he hadn’t backed up. For the first time since joining the band in 1983, Hammett had no songwriting credits on a "Metallica" album. The weight of structuring the record fell largely on Hetfield and Ulrich, giving the music a tightened, focused edge. Robert Trujillo contributed the intro to “ManUNkind” , written as a tribute to the late Cliff Burton . The album’s lyrical themes circle around destruction, anxiety and the darker wiring of human behavior. “Moth Into Flame”  mourns the seduction and toxicity of fame, “Hardwired”  dives into self-destructive impulses and addiction, “Dream No More”  reaches back into Lovecraftian nightmares, and “Murder One”  stands as a heartfelt tribute to Lemmy Kilmister , the iconic "Motörhead" frontman, named after his favorite amplifier. The album begins with “Hardwired” , a blast of pure thrash aggression — short, sharp, and unfiltered. It reconnects instantly with the spirit that originally fueled the band. “Atlas, Rise!”  carries that energy into a triumphant stride, with harmonized leads and a chorus built for arenas. “Now That We’re Dead”  dives into a muscular, ritualistic groove that balances heaviness with melody, while “Moth Into Flame”  becomes one of the album’s defining peaks — urgent, addictive, and lyrically piercing. “Dream No More”  which finds Robert Trujillo singing backing vocals drops into thick, sludgy depths, pulling listeners into a slow-moving monster of a track, and “Halo on Fire”  ends the first disc on a long, emotional rise, opening into brightness and release. Disc two shifts into darker, heavier terrain. “Confusion”  marches with a sense of psychological fracture and inner conflict. “ManUNkind”  blends tribute with tension, twisting between eerie harmonies and unsettling rhythms. “Here Comes Revenge”  delivers one of Hetfield’s strongest modern vocal performances, built on cycles of anger and consequence. “Murder One”  honors Lemmy with thick, pounding riffs. And the album ends with “Spit Out the Bone” , a full-throttle thrash explosion — one of the most exhilarating tracks the band has recorded since their earliest days. In addition to its two main discs, “Hardwired… to Self-Destruct” was also released in a deluxe edition featuring a rich third disc of bonus material. The Bonus disc opens up with a re-recorded version of “Lords of Summer” , originally released as a rough 2014 demo. “Ronnie Rising Medley (A Light in the Black / Tarot Woman / Stargazer / Kill the King)”  was recorded for the 2014 Ronnie James Dio tribute album "Ronnie James Dio – This Is Your Life". “When a Blind Man Cries”  initially recorded for "Re-Machined: A Tribute to Deep Purple’s Machine Head" (2012). “Remember Tomorrow” , originally recorded for the 2008 Iron Maiden tribute "Maiden Heaven: A Tribute to Iron Maiden". Beyond the studio material, the bonus disc delivers a vivid burst of live energy recorded at Rasputin Music in Berkeley, California, on April 16, 2016, and U.S. Bank Stadium in Minneapolis on August 20, 2016. Upon release, “Hardwired… to Self-Destruct” debuted at number one in more than fifty countries, instantly embraced by fans as a return to intensity, energy and purpose. Critics praised its ambition, its balance between old-school speed and modern weight, and the genuine spark running through its best moments. The “WorldWired” tour that followed became one of the band’s most successful, confirming several of the album’s tracks as new-era staples. In the years since, the album has come to represent a meaningful milestone — not a reinvention, but a reaffirmation. A reminder that even after decades, “Metallica” can still tap into the essence that made them monumental in the first place. It is a record that stands confidently beside the giants of their catalog, not as a copy of the past, but as proof of continued evolution and vitality. “Hardwired… to Self-Destruct” is the sound of a band rediscovering its bite — powerful, emotional, aggressive, and alive. A confirmation that “Metallica”, even after so many years, can still shake the earth the moment they choose to. 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Before we begin our review, we would like to express our gratitude... We invite everyone to come together and express their appreciation by saying "thank you very much" (even silently). We are grateful, Rick Rubin!! One day, a large and sturdy explosive barrel found its way into Rick Rubin's studio, posing an apparent danger. Despite this, Rick, a skilled fighter and demolition expert, acted swiftly and placed the barrel in his studio without hesitation. Later, he discovered that the barrel was missing a key component – a detonator. Unfazed, Rick considered the situation and remembered owning a unique detonator, crafted in Seattle in the 90s. This particular detonator, far from ordinary, held special importance. When Rick connected the detonator to the barrel, a remarkable synergy emerged, almost as if the barrel and detonator were meant to be together. To his amazement, this combination initiated a series of inevitable chemical reactions, leading to three significant and extraordinary explosions. The first explosion, causing a powerful shockwave, signaled the beginning of this explosive sequence – an album unlike any other! If you have stayed engaged following our captivating metaphor (as we see it), we will now elaborate on our intended message... On November 18, 2002, the debut album of Audioslave was born. After Zack de la Rocha's departure from Rage Against The Machine in October 2000, the remaining members, known as the "Rage Trio," were determined to move forward into a new era. While their commitment to staying together was evident, the question of who would fill the void left by Zack lingered. At this critical juncture, Rick Rubin, who was familiar with the band's situation, proposed an interesting solution - none other than Chris Cornell , the acclaimed lead singer of Soundgarden. The band members were immediately excited about the idea of having the voice behind "Badmotorfinger" join their ranks. Anticipation grew, but one crucial step remained. Rick contacted Chris, who was busy working on his second solo album at the time. A jam session was arranged to assess the potential chemistry and dynamics. The Rage Trio, along with Chris, entered the studio under Rick Rubin's expert guidance. As the scene unfolded, Tom Morell o kicked off the session with a guitar riff that produced a metallic sound reminiscent of an alarm. Suddenly, Brad Wilk joined in on drums, Tim Commerford on bass, and Tom shifted the sound to a distorted tone. After an intense opening of eight bars, the trio unleashed their energy and awaited Chris's response. Taking the mic, Chris sang, "In my hour of need, On a sea of gray." In that moment, the studio was filled with a burst of magical fragments and cosmic waves. Tom, astonished by what he heard, commented, "It wasn't just good... it was sublime!" The fusion of Chris Cornell's vocals with the instrumental prowess of the Rage Trio had created a moment that transcended the ordinary musical experience. And we have no other way to describe Chris' voice than sublime !! Indeed, this session showcased a preview of a tune titled "Light My Way" . It marked the debut performance of the band members playing in unison, and they instantly sensed a flawless chemistry, as if their partnership was destined. (Photo: Interscope) There is no denying that this partnership connected two slightly different realms. One side features the intense band with sharp riffs, consistently conveying political and social messages with a confrontational approach. On the other side, there is a prominent singer with a background of battling drug and alcohol issues, mainly focusing on expressing life's challenges and avoiding political and social discourse. Nevertheless, this exceptional supergroup cleverly merges these opposing components, with each aspect influencing the other in surprising ways. The trio of anger moderates their fervor, incorporating a style that remains powerful yet exudes a notable softness and harmony, free from obvious political or social passion. In contrast, Chris becomes increasingly outspoken and instinctive, exploring a mix of aggression and loud outbursts alongside instances of sensitivity and affection. The band's first album, named after themselves, is a masterpiece filled with vibrant musical elements that resemble a symphony of fireworks, especially in the music video for the opening track. It's a situation where the individual songs outshine the album as a whole. Each track is a significant piece, with no weak or insignificant songs on the record, regardless of personal preference. Every song is meticulously created, showcasing exceptional talent. The album starts off with the powerful anthem "Cochise," featuring Morello's distinctive guitar style that builds up tension like a coiled spring before releasing it with precision. The listener is swept away as the song takes flight. From the very first note, Chris pours his heart out as if he had been eagerly anticipating this trio to offer the stage for him to passionately release his emotions. Similar to the music video, we are delighted by a magnificent show of fireworks where the powerful trio meets this expressive singer. The next song features an intense rhythm with a strong snare and bass that hits hard, complemented by Morello's guitar work that appears crafted to make you feel like crawling on the ground. "Show Me How To Live" stands as nothing short of an exemplary anthem, with a delicate balance between the verse and the chorus that creates an abyss, compelling you to scream out loud. Regardless of your religious beliefs or the force that shaped your existence, you find yourself turning to your creator and letting out a scream. While some may argue that the reference here is to the creator of the monster Frankenstein rather than Jesus, for us, the significance lies in the act of screaming itself. The choice of who to scream to is a personal one. By the way, if you've ever wondered about the special effect on Cornell's voice at the end of the song, it's not an effect at all. It's Cornell himself gently patting his hands on his throat, adding a unique and personal touch to the sonic landscape. Now, let's "calm down" a bit with "Gasoline." Here, too, the familiar pattern of tranquil verses is followed by an eruption of the chorus, this time fueled by gasoline, so caution is advised to avoid burning everything down. In "What You Are," we are greeted by the mesmerizing fret and sweeping rhythm. At the 22nd second, Chris begins singing in a soft and caressing voice, seemingly leading us into a gentle ballad. However, the trio has other plans and once again introduces a powerful chorus when Chris exclaims, "Now I'm Free…" Prepare your handkerchiefs and keep an onion nearby as an excuse, because now we arrive at the emotionally charged climax of the album (time flies), "Like a Stone." The song brings together the rage trio's raw intensity with a softer side. Once again, we start calmly, but this time the chorus doesn't explode too much, allowing Chris to continue with his tender and soothing vocals. This track stands out as one of the most emotionally stirring on the album, if not the most poignant. Even Tom's solo seems to weep over what Chris has conveyed, capturing a powerful and poignant energy. You might find it amusing, but this is 21st-century poetics, and it's genuinely moving to tears—such is the profound impact a person can transmit through their voice. (By the way, the castle in the music video was where Jimi Hendrix lived and created, adding an extra layer of historical resonance.) Let's take a refreshing pause with a glass of water and then dive back in, because things are about to change, and we're reigniting the explosion with "Set It Off." The track kicks off with a sound that suggests something went awry in the studio, as if Rick accidentally nodded off on the buttons while editing Tom's recording. But then, it catches fire because someone "lit it." If we had a can of "gasoline" before, now you're urged to "set this [expletive] off," so go ahead and let it rip—we're not holding back. The combination of Tom's instrumentation and Chris's vocals feels almost celestial. Now, add the pulsating bassline, and you've got the formula for creating a powerful resonance in the heart (yes, we're pouring here, and we're doing it consciously, so no need to worry...). Introduce the drums to the chorus, and it becomes sheer pleasure. "We can't tell you why," maybe it's the "Shadow on the Sun." The song's finale from 4:40 is an explosive culmination of the rage trio, sounding as if Chris is roaring and urging those who have already moved the sun. Close your eyes and let Chris take the spotlight. Here, the rage trio truly eases off, allowing him to shine brilliantly. "I Am a Highway," some claim it was written about Chris' departure from Soundgarden, while others argue it was penned about his separation from his wife. Regardless, the song is undeniably stirring. Feel how he takes command of the song, embodying the lyrics—he is the highway and not just a wheel. He's not the hitchhiker or the magic carpet; he is the sky, and we wholeheartedly resonate with that sentiment. Going back a bit to Rage's distinctive style, Chris roughens his voice and unleashes an explosive force in "Exploder." While our interpretation leans toward the song reflecting Chris' personal struggles and addictions, it's merely our perspective. The track "Hypnotize" seems to be plucked directly from the demos Chris recorded for his solo album. Aside from Tom's little riff, it deviates from the style we've heard thus far, but we love it for its refreshing and different quality. Imagining the rage trio playing this song adds an intriguing layer. Bringing them back, we dive into "Bring 'Em Back Alive," which carries hints of religion and faith, infused with Rage's funky yet softened style. Yet another anthem from the supergroup's creator, "Light My Way" opens with Tom's sounds propelling us into a realm of electrical connections in the brain, inducing uncontrollable facial distortions. It's a monumental track, even with a touch of Chinese elements in the background. "Do not save it for another day," urges Chris. Click Repeat and let this song envelop you again. To unwind a bit, "Getaway Car" takes the stage with Chris leading the way and featuring "The Escort Band." It's a beautiful fusion with bluesy undertones, delivering a delightful musical experience. The album concludes with "The Last Remaining Light," where Tom's guitar seems almost broken, and Chris sits alone in a dark room recording the lyrics. But pause for a moment and focus on the sound of the snare. Notice how it rises above everything else, as if conveying a message, orchestrating perfect harmony among all the instruments. We've said it many times, but it's worth repeating: Music is a wonderful thing! And this album is no less wonderful! The album cover, created by artist Storm Thorgerson, renowned for his work with bands like Queen, Pink Floyd, Genesis, Rainbow, Black Sabbath, and more, originally featured a naked man in front of the fire. Eventually, they opted for clothing in the final version. This album stands as the band's most successful, reaching number seven on Billboard and earning a Grammy nomination in 2004 for the song "Like a Stone." It would be ridiculous to say "click play" now because if you do not do it automatically, there is nothing to talk about at all ... So go ahead, do not make us vent ... Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

There are moments that are never forgotten. Such was the initial shock from the sound of The Edge's guitar moaning in the opening of "Zoo Station", the sound of the industrial drums emerging right behind it and Bono's distorted voice informing us "I'm Ready ..", but caught us really "not ready". As the years go by we increasingly realize the magnitude of the change "U2" made at the time, and the courage it took for it to step out of its comfort zone, and out of a conscious choice to go as far as possible from the meteoric album "The Joshua Tree," which bought it world fame. On November 18, 1991, "U2" made the biggest turnaround in its history, with the release of its seventh studio album, "Achtung Baby". Stay tuned for more coverage in the "Class of 91' Albums" series. It was a year we thought we had heard almost everything. A year that drove us crazy in the good sense of the word. A year that played with our musical taste, one that broadened our horizons and even changed our look. But with all the positive upheavals we went through on that meteoric year, we really were not ready for this thing. The sounds that came from the speakers did not remind us at all of the band that a few years earlier had released one of the great albums of the 1980s. We later learned that the band had gone through a long and painful creative process with this album. A process that began with a self-search, but very quickly caused frictions and crises that threatened its future and almost led to the disintegration of the so cohesive Irish gang. After the release of "The Joshua Tree" in 1987, "U2" was on the top of the world. It was their most commercially successful album, with sales of over 25 million copies worldwide. It gave the band great critical acclaim, it conquered the tops of the charts and won a Grammy Award for Best Album in 1988. It brought them world fame and turned them from a band of medium venues into a formidable stadium monster. But after the high tide, came the low. In 1988 "U2" released the double album and movie "Rattle and Hum" and received less sympathetic criticism and accusation that they lost their direction and became pretentious and bombastic. In retrospect, this ambitious project was not properly understood by the crowd and some of the criticism it got did it no justice. The fact that the album sold a nice amount of 14 million copies did not sweeten the bitter pill and the members of "U2" felt a huge emptiness. They felt they had everything but still something essential was missing. Drummer Larry Mullen, Jr. was even later quoted as saying in an interview with "Rolling Stone" magazine "We were the greatest, but we were not the best". The big question that was written on the wall was "Where do they go from here?" During the "Lovetown" tour to promote the album "Rattle and Hum", the band began to get bored of performing their big hits. The feeling was of musical stagnation. At the end of the tour, during a performance in front of a local audience in Dublin, on December 30, 1989, Bono noted the following: it was "the end of something for U2", and that "we have to go away and ... dream it all up again" And indeed it was. After the tour, the band took its longest break to date. It was already clear to everyone that things were going to look different and that they needed to reinvent themselves. The band members realized that in order to do so they had to, first and foremost, change old habits. They believed that working on the album close to home was their "enemy", and that if they wanted to do it different this time, they should distance themselves from the usual "family" routine. The four members wandered following the "winds of change" that heralded the new post-Cold War in Europe, choosing the city of Berlin as their source of inspiration. On the recommendation of Brian Eno, they sought to record at the mythical "Hansa" studios in West Berlin, right next to the recently fallen Berlin wall. Quite a few acclaimed albums were recorded in these studios, including two of David Bowie's "Berlin Trilogy" in which Brian Eno was involved in and the members of the band hoped to draw inspiration for writing the material for the album there. The band members arrived in East Berlin on the very last flight, on the eve of the city's reunion, on October 3, 1990. But instead of being inspired by the "winds of change" and the festive atmosphere that brought with it the fall of the Berlin wall, "U2" members found the city cold, alienated and depressing. The hotel where they stayed in, in East Berlin was gloomy and dark and the winter was not welcoming. They discovered that Studio 2 of the "Hansa" studios where they plan to work served as the "SS" ballroom, and in addition they find that it was neglected for years, forcing producers Brian Eno and Daniel Lanois to rebuild it. To these logistical difficulties one can add the emotional difficulties experienced by the band members including the fact that The Edge had just divorced his wife and mother of three children as well as the immense mental pressure on the band to reinvent itself. And if you thought it could not be more difficult, then came the frictions that almost led to the disbandment of "U2". The band worked in the studio for long days but could not agree on a musical direction. The Edge listened at the time to electronic music and industrial rock with influences from bands like "Einstürzende Neubautenu" and "Nine Inch Nails". Bono was also connected to the new musical directions and was influenced by the Manchester club scene, but that was not the case with Larry and Adam. At the time they preferred "classic rock" such as "Blind Faith", "Cream" and Jimi Hendrix. The gaps between the two "groups" were abysmal. While Bono and The Edge looked ahead and turned to innovation, Larry and Adam were stuck in the past and preferred to focus on music that was from the same family of materials the band had previously recorded. This disagreement caused Bono and The Edge to distant themselves from the other two and start writing on their own. The situation worsened when they returned to the studio with preliminary sketches, as The Edge's growing interest in industrial and electronic music and club mixes, established the beat on drum machines and it made Larry Mullen, Jr. feel that his contribution as a drummer was diminishing. Similar to the previous two albums "The Joshua Tree" and "The Unforgettable Fire" the band preferred to continue with the duo Brian Eno and Daniel Lanois as the ones who would accompany them in producing the album. They saw the two and especially Brian as a formidable source of knowledge, literally a "school of music." He was the one who pushed them to explore and develop musically and he was also the one who taught them to use the studio and effects as creative tools for anything and everything. For this reason "U2" members have realized that they are simply not allowed to give up on the duo, especially in circumstances where they seek to reinvent themselves. Eno took on the role assigned to him very seriously. He deliberately distanced himself from the band and came to the studio from time to time, went over the materials, advised and gave the band a different and fresher perspective aimed at innovation. He noted that his said his role was "to come in and erase anything that sounded too much like U2". But even that did not help the band overcome its external and internal difficulties. After many hours in the studio and repeated attempts with drum machines, electronic sounds and effects, they felt stuck and frustrated. But just then, out of desperation during a repetitive musical work on "Sick Puppy" which is an early version of the song "Mysterious Ways", a breakthrough suddenly came. The Edge played a new chord sequence that simply grabbed Lanois's ear. He suggested taking this sequence out and using it for a new song. The band found in this chord sequence the inspiration and enthusiasm they needed and they quickly improvised a new song on it, that became the third single from the album "One". Bono noted that this song just fell from the sky. His core was written in 30 minutes as he improvised words that were influenced, among other things, by the crumbling relationship between them, the divorce of The Edge and the union of Berlin. This song breathed new spirit into the band morally and creatively, it gave them the confidence they needed and most of all united them and restored their faith in themselves. The Edge later said: "It was a pivotal song in the recording of the album, the first breakthrough in what was an extremely difficult set of sessions." This song completely did not match the musical direction the band was aiming for. On the contrary! It was closer in spirit to what the band had created on the previous album "The Joshua Tree" and maybe that's why Brian Eno did not really like it at first. But this song was exactly what the band needed for saving itself, what's more, it eventually became their anthem, which among all its titles and achievements become the "Song of the Decade" of the 90s of "Galgalatz" radio station charts held in Israel in the year 2000 . The big change that "U2" underwent on "Achtung Baby" can be heard from the first notes on the album. The metallic sound of the moaning guitar at the opening of "Zoo Station", which we mentioned at the beginning of the review, heralds the arrival of a new band. One that was born on the ruins of the previous band. Anyone who accompanied "U2" in the 1980s and listened to their albums in real time, will surely tell you about the total shock he experienced while listening to the first sounds of the album, which were light years away from those produced by the band on the previous album "The Joshua Tree". Bono would later define the sound of this album as the "the sound of four men chopping down The Joshua Tree" and he was so right !!! There is no doubt that the choice to open the album with "Zoo Station" was not accidental. It is meant to shake and shock the listener and make him ponder and wonder if he is indeed listening to "U2". The lyrics were inspired by a surrealist story about the Berlin Zoo that was bombed during World War II and the animals fled from it and wandered through the ruins of the city. But the total turnaround that "U2" made with "Achtung Baby" was not just musical. It was also expressed in look & appearance, dress, attitude and the way they refer to live performances from that moment on. The song (or rather the clip) that best presents this makeover is of the song "The Fly", which is a showcase to "The Fly" persona that Bono adopted in the form of a stereotypical, pretentious, megalomaniacal rock star, wearing leather and big black sunglasses that look Like insect eyes. This character was undoubtedly a central part of the band's transformation and it among other things came as an answer to all those critics who claimed that the band was pretentious and full of itself, just like the character created by Bono. Based on this character, "U2" will build the concept of the "Zoo TV" tour that will accompany the album, as well as the idea for the album cover. In this case, too, the band made a conscious choice to release this song as the first music video and single from the album, with the clear aim of introducing the world to the new "U2" and its updated sound. The lyrics were written based on an imaginary idea of ​​a phone call going on between the character of the "Fly" from hell and a man on the other end of the line. "The Fly" enjoys being in hell and is telling that person what he learned and experienced there, but in the end his got to hang up since he is "running outta change... There's a lot of things if I could I'd rearrange". The change in "U2"'s sound was not only reflected in The Edge' guitar effects. This is the band's first album with a drum machine. The fact that Edge brought it into the studio, initially created great frustration for drummer Larry Mullen, Jr., who felt that his contribution to the band was diminishing. But Larry learned to get used to the new situation and at one point even started having fun with the drum machine and learning to operate it. He later began recording himself playing short drumming parts and looping them through the drum machine. This gave the drum machine a more lively and authentic sound. The turning point in Mullen's attitude towards the drum machine is related to the song "Mysterious Ways" which was released as the second single from the album. The song started as a jam of Bono, Edge and Adam Clayton on a drum machine. The friends really liked Adam's amazing baseline but they had a very hard time developing the song. The breakthrough came after The Edge began experimenting with the effects unit of "Korg A3". He played the funky riff with the familiar effect on the drum machine and then it worked. Towards the end of the session drummer Larry Mullen recorded a much more groovy beat into the drum machine and this is already what made the difference between the mechanical sound of a drum machine and the live sound of a real drummer. The fourth single released from the album was "Even Better Than the Real Thing". It originated in a guitar riff that The Edge composed in Los Angeles during the "Rattle and Hum" sessions. It was even recorded during the same session in which the song "Desire" from the same album was recorded. The band thought the song's guitar riff reminded them to much of "the Rolling Stones", and the song was shelved until the "Achtung Baby" recording session. Also in this case the band made very little progress in the first sessions in Berlin, which were full of conflicts. The turnaround came after The Edge acquired a "DigiTech Whammy Pitch Shift" effect, through which he created a double octave sound on the guitar riff. This excited the band and made them rediscover the song and finally finish its writing. The fifth single "Who's Gonna Ride Your Wild Horses", is in our opinion one of the most beautiful and special of it, but the band does not really think so. It started as a demo the band recorded in 1990. They worked on it endlessly and recorded a variety of versions for it and some say about ten mixes, but failed to reach a satisfactory result. In desperation they invited producer Steve Lillywhite who produced the band's first three albums, to experience his opinion and try to help as a third party who had not heard the song yet. Lillywhite said the band just hated the song. He worked on it for about a month and he is still sure that the song did not fulfil it's potential and he noted that probably the band just tried too hard. Maybe that’s also the reason why the band said they had a hard time playing it on stage. The five singles released from the album certainly do not sum up all the good that is in this mighty album, which does not have even one weak moment. The band began writing the song "Until the End of the World" back in 1990. It was then called "Fat Boy" and originated in a guitar riff written by the lead singer Bono. Even though The Edge loved the riff, the band had a hard time finish writing it until they met with German filmmaker Wim Wenders (Wings of Desire), who was looking for music for the soundtrack to the film "Until the End of the World". The Edge was re-inspired to use the riff that Bono wrote and this time the band managed to finish writing the song. It moved them so much that they decided to include it on the album as well. They informed Wenders that he could get the song for the soundtrack, but that they were also going to include it on the album and use the name of the film as its title. This album is darker and gloomier than its predecessors. There is no denying that this is due to the musical influences on the band during the writing process and the general atmosphere in Berlin at the time. But it is mostly so in light of the divorce proceedings that The Edge went through at the time. The four friends knew each other from childhood and the difficult breakup that Edge went through had a significant impact on them as well and from there on the writing topics that recounted the pain and hardships experienced by The Edge. These songs are mostly (and probably intentionally) concentrated in the second part of the album, and you can even find a loose connection between them, which can even be interpreted as a kind of mini-concept that describes a relationship between him and her. It starts with the exciting "So Cruel" which talks about disappointed in love, obsession and possessiveness, it continues with "Tryin 'to Throw Your Arms Around the World" which presents a character of a drunk man stumbling home to his partner and it ends with a sequence of songs describing how the couple dealing with the suffering they forced on each other. "Ultraviolet (Light My Way)" describes a strained relationship and the discomfort that comes with commitment, "Acrobat" the betrayal, weakness and hypocrisy in the relationship and the mighty ending song "Love Is Blindness" is a bleak description of a failed relationship led by the moaning and howling guitar of The Edge, mourning the bitter fate of the one who holds it. The Edge will later admit that he was actually crying while constructing the solo. "Achtung Baby" may not be U2's biggest album, but it's probably it's most important one. This is the album that saved the band from disbanding. The album that saved them from a painful dying process, experienced by a large part of the eighties bands, who were unable to adapt to the changing musical reality. But more than that, it's the album that made "U2" one of the greatest bands in history. A band that, at least until the beginning of the 2000s, will continue to reinvent itself time and time again, in order to maintain its relevance at the top of the music world. This album, released in one of the greatest years ever in music history, won a Grammy Award for Best Rock Performance By A Duo Or Group With Vocal. This is not a trivial matter, especially when it comes to a year in which so many masterpieces have been released in, a year in which Grunge has exploded into the music market. It is therefore no wonder that "Achtung Baby" is still considered today, by many, to be one of the greatest albums of the 90's and one of the most important of all time. 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Guitarist Kirk Hammett is celebrating his birthday today. So let's tell you a little bit about him: (Photo: Gina Wetzler) 1. He was born in San Francisco to a mother of Filipino descent and a father of Anglo-Scottish-Irish-German descent. 2. In high school he studied with Les Claypool from "Primus" and since then they have remained friends. 3. He started playing guitar relatively late, only at the age of 15. 4. His first guitar was the "Montgomery Ward catalog special". He connected it to a small speaker he had assembled inside a shoebox to create a resonance. 5. He worked at "Burger King" to save money so he can buy himself a Marshall guitar amp. 6. His favorite band is "UFO". When he first heard Michael Schenker play there he was immediately addicted. 7. Before joining "Metallica", he formed, in 1979, the thrash metal band "Exodus". That was when he was only 16 years old. 8. The first time Kirk left California was when he flew to New York to audition for "Metallica", which recorded its first demo there. The phone call inviting him to the Audition was received while sitting on the toilet. 9. The first song he played along with "Metallica" in the audition was "Seek and Destroy". His solo there was enough for guitarist James Hetfield and drummer Lars Ulrich and they immediately accept him into the band. 10. Kirk was the last student of virtuoso guitarist Joe Satriani . He took guitar lessons from him after recording his first album with "Metallica". 11. The passage section in the song "Creeping Death" is a riff that Kirk "imported" from his time in "Exodus". He claims he wrote the riff when he was only 16 years old. 12. During the tour of " Master Of Puppets " in Europe, Hammett got into an argument with bassist Cliff Burton about the beds on the band's bus. They decided to settle the dispute using a deck of cards. Cliff Burton pulled the ace of spades from the pack, won, and choose the bed he slept on that later led to his death after being thrown away from the bus. 13. His inspiration for writing the immortal riff for "Enter Sandman" was "Soundgarden". Hammett claimed he was trying to recreate the sound of the heavy riffs on Soundgarden's " Louder Than Love " album. 14. One of the names suggested for the black album was "Married To Metal". This was because Kirk, Lars Ulrich , and Jason Newsted divorced during his recording. 15. After touring the " Black Album ", he began studying film and art at the "University of San Francisco". 16. During this time he developed his love for blues and jazz. 17. He wanted to contribute solos to the album " St. Anger " but drummer Lars Ulrich and producer Bob Rock thought they were not good enough so they stayed out of the album. 18. During this time (and perhaps because of it) he seriously considered working on a solo album. 19. He has a large collection of vintage toys. 20. He is also a fan of horror movies and a collector of related items. 21. His intense love for horror films led him to found an annual festival for the aforementioned genre called "Kirk Von Hammett's Fear FestEvil". 22. In 2015 he lost his phone, which he claimed contained about 250 musical ideas for Metallica's next albums. The phone was not backed up and he remembered only 8 of those 250 ideas. 23. Maybe that's why he did not contribute at all to writing the material for the band's latest album " Hardwired ... to Self-Destruct " which was released on his 54th birthday. 24. Hammett appears in the clip for the song "John the Fisherman" by "Primus" as one of the fishermen. 25. He plays solo on the song "Trinity" from Santana's 12th album, "All That I Am". 26. In 2014 he rejoined his bandmates in "Exodus", when he played solo on the song "Salt the Wound" from the band's 14th album - "Blood In, Blood Out". 27. That same year Kirk purchased the "1959 Gibson Les Paul" guitar used by Peter Green and Gary Moore . He use it in the band's performances, during the song "Whiskey in the Jar". (Photo: MetalCastle) 28. This guitar is very dear to Hammett. He was greatly influenced by Gary Moore and noted that the opening lick of the guitar solo of " Master Of Puppets " is a variation of the lick that Gary Moore played. Kirk added that when he listened to the album " Still Got the Blues " he was simply amazed - not only by the music but also by Gary's guitar sound and tone. He remembered being inspired to write a few riffs just based on Moore's sound and those riffs ended in "The Unforgiven" from " The Black Album ". 29. He shares his birthdays with "birthdays" for two "Metallica" albums - " Reload " and " Hardwired ... to Self-Destruct ". 30. Kirk is a vegetarian but only for health reasons. He believes that meat is unhealthy. 31. Kirk is ranked 11th on "Rolling Stone" magazine's 100 Greatest Guitarists. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 18, "Genesis" released their sixed studio album "The Lamb Lies Down on Broadway". "The Lamb Lies Down on Broadway" stands as a magnum opus in "Genesis's" catalog and one of the most ambitious concept albums in progressive rock history. The double album, with its sprawling narrative, rich soundscapes, and intricate musicianship, marks the band's final collaboration with Peter Gabriel as their frontman, but also showcases the tension that shaped its creation. The album’s experimental storytelling and surreal themes demands attention and repeated listening. In fact, while the album features stunning musical moments and daring storytelling, its excessive runtime, the loose plot, and imbalanced instrumentation make it a challenging listen. This concept album was Peter Gabriel ’s brainchild, centered on Rael, a Puerto Rican youth from New York City. Gabriel’s insistence on writing all the lyrics resulted in a narrative that is both deeply personal and notoriously difficult to decipher. Even Gabriel himself later admitted that parts of the story were obscure and nearly impenetrable. Rael, a disaffected youth in New York City, embarks on a surreal journey after witnessing a lamb on Broadway. Drawn into a bizarre alternate reality, he confronts symbolic challenges and encounters, from being trapped in a cave to meeting grotesque creatures and navigating dreamlike landscapes. Along the way, he relives key moments from his past, including gang life, his first sexual experience, and emotional struggles. Rael’s journey involves fantastical elements such as the Lamia, who seduce and die after drinking his blood, and the grotesque Slippermen, with whom he shares a disturbing transformation. He seeks redemption through sacrifices, including castration, and chases his stolen essence down a river. Faced with a choice to return home, Rael instead rescues his drowning brother, John, only to discover his own face in John’s. In the climax, their identities blur, and Rael transcends his individual self, merging with the universe. The story blends existential themes with a dreamlike narrative, leaving interpretation open-ended. The album’s creation was fraught with tensions within the band. Gabriel’s insistence on writing all the lyrics caused friction, especially as he temporarily left the project to collaborate with filmmaker William Friedkin and attend to personal matters. Meanwhile, the rest of the band crafted the music through jam sessions, with Banks taking the lead in composing most of the melodies and arrangements. This lack of collaboration is evident in the final product, with the album leans heavily Tony Banks  keyboards which dominate the arrangements and often overshadow the contributions of Mike Rutherford  and Steve Hackett  guitars. This imbalance reflects the less collaborative dynamic of the album’s creation, with much of the instrumental work being shaped by jam sessions that Gabriel was absent from. Still, there are moments of brilliance: “ The Lamb Lies Down on Broadway ” is a powerful opener with a driving piano riff and theatrical flair that immerses the listener in Rael’s world. "Fly on a Windshield" : A hauntingly cinematic piece where Rael is enveloped by a dark cloud. The track features one of the most atmospheric moments on the album, with a dramatic build led by Banks’s keyboards and Hackett’s brooding guitar. “ In the Cage ” features some of the album’s most dramatic and intricate arrangements, with Banks’s keyboards leading the charge. " Back in N.Y.C. " which sees Genesis adopting a more aggressive sound than in past compositions. “ Carpet Crawlers ” offers a hauntingly beautiful and melodic respite, showcasing "Genesis’s" knack for ethereal atmosphere. “ The Chamber of 32 Doors ” captures Rael’s existential struggle with emotional weight carried by Steve Hackett  guitar . "Lilywhite Lilith" : A powerful track built on two song fragments, both of them written by Phil Collins , that stands out for its dynamic structure and evocative lyrics, describing Rael’s encounter with a blind woman who briefly guides him before leaving him trapped in a cave. “ The Lamia ” stand out for it's haunting melody and climactic resolution. However, at 94 minutes, the album struggles to maintain momentum. Some experimental sections, like “ The Waiting Room ", " Silent Sorrow in Empty Boats ", " Ravine " feel like filler rather than essential parts of the story. "The Lamb Lies Down on Broadway" is undeniably bold and ambitious, offering moments of brilliance and some of "Genesis’s" most iconic songs. However, its sprawling length, incomprehensible plot, uneven pacing, and imbalanced instrumentation prevent it from achieving its full potential. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

"Reload" - " Load " twin brother was released on November 18, 1997. This is Metallica's seventh album !! Let's start with a candid acknowledgment that might stir some feelings, but honesty is crucial. There's no denying that the "black album" marked a pivotal moment, whether you enjoyed it or not. Now, here's where we might draw a parallel, possibly even a comparison to Pearl Jam's "Vitalogy," where the magic or aura seemed to diminish. While subsequent albums, excluding "St. Anger," weren't necessarily bad, they didn't quite capture the same powerful Metallica magnet. Consequently, these later albums were perceived as less exhilarating or influential compared to the initial ones, despite the captivating renditions of songs from those albums in performances like "S&M" or live shows. Before the release of "Load," Metallica initially planned a double album. They delved into songwriting, completed demos, and recorded just over half of the intended tracks. However, as the album's release date loomed, they decided not to exhaust themselves and opted to release the recorded songs as a separate album. Thus, "Load" hit the shelves in June 1996. Metallica embarked on a tour to promote the album, lasting a little over a year. Upon concluding the tour, they returned to work on the second part, the second album. (Photo: rockcelebrities.net) During the tour, Metallica generated numerous ideas for improving and adding different elements to the songs. However, when they entered the studio, they made a conscious decision to adhere to the authenticity of the original demos, resisting the urge to alter the songs. They were aware that there might be a perception that Reload included songs that didn't make the cut for Load, but they clarified that the split was not based on the quality of the songs but rather the band's schedule. Remarkably, within three months, Metallica completed the recording of the album, and just three weeks later, it was edited, mixed, and ready for release. Comparing Load and Reload to the "black album," there's a noticeable shift in style, at least in our humble opinion. While Metallica was once the queen of thrash or speed metal in their early albums, the "black album" saw them crowned as the queen of heavy metal. However, with Load and Reload, they ventured into the territories of Southern Rock, perhaps even Country, and occasionally flirted with Hard Rock. If you were to play songs from the "Ride The Lightning" album and then tracks from Reload to a random listener, they might find it hard to believe it's the same band. It's like some of the DNA got lost along the way. Nevertheless, the album has its highlights, such as the explosive "Fuel," the nostalgic "Unforgiven II," and "The Memory Remains," which had a noteworthy version in "S&M." As you probably know, the band would eventually return to its roots with the album "Death Magnetic" about a decade later. Indeed, it's worth noting that "Reload" marks the last album on which bassist Jason Newsted played with Metallica. And regarding the album covers, they are certainly notable and controversial. The covers were created by the photographer and artist Andres Serrano, who also crafted the cover for "Load." The image on the "Load" album, titled "Blood and Sperm III," featured cow blood and human semen injected between two adjacent glasses. The cover for "Reload," named "Piss and Blood," consisted of blood and urine. The sources of these bodily fluids are undisclosed. It's interesting to note that while Kirk Hammett appreciated the artist and the concept, James Hetfield was not as enthusiastic, possibly not at all. The provocative nature of these covers added another layer of intrigue to the albums. So now you are welcome to receive a dose of blood and urine on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

A Sneak Peek... On November 17, 1998, came out the album that brought us "Pretty Fly (for a White Guy)" which was one of the anthems of the late 90's when we were dancing in clubs on weekends. This is the fifth album by the punk rock band The Offspring, it was a huge success and reached number six on the Billboard 200 when it sold more than 150,000 copies in its first week. This is the band's second best-selling album after "Smash", their breakthrough album released in 1994. The album, or rather the famous single we mentioned above even got them to perform at the famous Woodstock 99 Festival. According to band leader Dexter Holland this album is a band matriculation certificate, here they understood what the band's boundaries are, where they can play / change / experiment, here they have defined their DNA (as we like to say). Although it was not pre-defined as a concept album and even today it is not exactly defined that way according to the band, but the album has a very clear central motif. Each song is basically a story of a character or event that exposes the ugly side of American society and actually criticizes it and shows it in a negative light. Remember the memorable opening ??? Listen to the album on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 17, 1975 Tommy Bolin released his debut solo album "Teaser". Some albums aren’t just debuts — they are declarations. "Teaser" arrived not simply as Tommy Bolin ’s first solo statement, but as the moment he finally tore open the door to his own musical universe. It was released in parallel with "Deep Purple’s" "Come Taste the Band", the very album that had consumed his time, energy, and schedule. And yet, in this whirlwind of commitments, Bolin delivered a record that showed the world everything he was capable of when left entirely to his own imagination. To understand "Teaser", you have to understand the man behind it — a singular talent whose career took him through "Zephyr", the "James Gang", the breathtaking jazz-fusion explosion of Billy Cobham’s "Spectrum", and ultimately to "Deep Purple" itself. By the time he entered the studio to craft this album, Bolin wasn’t just a guitarist. He was a shapeshifter. A visionary. A musician whose curiosity was bigger than any band he’d ever been part of. Here, at last, he had the freedom to explore every one of his instincts. "Teaser" is cherished because it refuses to belong to a single world. It is an album that moves effortlessly between hard rock, blues, funk, jazz fusion, reggae, and Latin influences — and sometimes blends several of them within the same song. This was Bolin at full power: fearless, playful, emotional, and endlessly inventive. The variety is not a lack of focus; it's the sound of an artist who had no interest in repeating himself, an artist who understood music as a spectrum rather than a box. The players surrounding him reflected that spirit. Session musicians came and went depending on the track, creating an atmosphere that felt more like a creative laboratory than a structured band environment. Among the contributors is a name many miss on first glance: Phil Collins , who appears on percussion in “Savannah Woman” , adding a subtle rhythmic layer that ties beautifully into the song’s Latin-jazz touch. Even though the album is eclectic, it still has clear pillars — moments that defined its enduring legacy. "The Grind" , open up the album with a funky, muscular groove that immediately announces Bolin’s voice as a frontman and his uncanny feel as a guitarist. It became a live club staple for "Van Halen" in their early days, a testament to how deeply Bolin’s grooves resonated with young guitar players hungry for something fresh. The title track "Teaser"  grew into one of Bolin’s signature pieces, later covered by "Mötley Crüe" for the charity compilation "Stairway to Heaven/Highway to Hell", bringing his music to an entirely new generation. The song twists funk, rock, and exotic harmonies into something intoxicating. The groove is seductive, the melody addictive, and Bolin’s guitar stabs slice through the mix with razor precision. It may be the album’s most beloved moment. "Wild Dogs" is a song of aching beauty. It was even powerful enough that "Deep Purple" themselves performed it on their 1975–76 world tour — a rare honor for a solo piece. The connection with "Deep Purple" is woven deeply into the album’s history. Because Bolin’s commitment to the “Come Taste the Band” tour was absolute, he had almost no time to promote "Teaser". Nemperor Records even added a sticker to the album’s wrapping that read “Guitarist for Deep Purple”   in an effort to boost recognition, but it wasn’t enough. And yet, over the years, "Teaser" became something far more important than a commercial success story. It became the album that fans point to when they talk about Tommy Bolin ’s genius. It became the record musicians dissected to understand how effortlessly he could jump between colors and moods. It became the definitive evidence that Bolin was one of the most versatile guitarists of his generation, an artist who could have reshaped rock, fusion, and beyond had he been given more time. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 16, 1999, Korn's fourth album, "Issues", was released, the album in which everyone was "clear". So here are some interesting stories about the album that celebrates its birthday today... Strong lyrics as always After the insane success of the third album "Follow the Leader" , the band was considered one of the leading bands when the Nu-Metal genre, began to erupt in the US and around the world. Jonathan Davis like the rest of the band had a crazy life of drugs, alcohol, parties, sex, and total insanity. At that time Davis' first son Nathan was born and he married three years later. So he decided to pull himself together and went to rehab, believing it would clear out all his paranoias, but the opposite have happened. Davis was afraid to get out of bed and felt that the whole world was sitting on his shoulders. In addition, he developed existential anxieties and anxiety about bacteria. He refrained from eating because he was afraid of bacteria in food and lost a lot of weight. It was even difficult to take the pills due to fear of bacteria or toxins in the pills. He was also afraid that the pills will impair his ability to write or sing. Finally, he relented, and indeed the use of pills affected him for the better and he felt more positive. That is why the first sentence that opens the album is: "All I want in life is to be happy ". Davis released everything he experienced before rehab on the album. The role of the educator As they gathered for the work on the album, all the band members decided that this time they needed to change the form of the work and act differently from the previous albums. This time they wanted to work neatly, and professionally without the distractions of sex, drugs, and alcohol. To that end, they enlisted producer Brendan O'Brien who was known for his rigid and thorough form of work. Davis said they wanted Brendan because they knew he would not let them go wild and crazy like what happened during recordings on previous albums. Although the industry has raised an eyebrow at the combination of the grunge and hard rock producer with the rejected metal quirks, the combination has proven to be a winner both in the work on the album and in the result. (Photo: Robin Platzer) Musical characteristics Work on the album began in early 1999, when Munky, Head, Fieldy, and drummer David Silveria began writing the music for the album. By June they had already finished writing more than 15 songs and enlisted Davis to work on the final product. A month later they had already started recording with O'Brien. It took only three months to complete the recordings that took place at A&M Studios in Hollywood. The band members said they wanted to get to a simpler but fuller sound, riffs, and heavier groove than the previous two albums. In addition, they also wanted to achieve a more powerful melody in Davis' singing that was reflected in higher abilities than previous albums. The iconic doll In order to create the album cover, the band, in collaboration with MTV, launched a campaign to design the album cover by the band's fans. MTV published and produced the competition in which the band's fans were invited to create an original album cover and send it to the band. The final cover that won the contest was Alfredo Carlos's famous doll. He designed the cover that will become one of the band's famous icons. In addition to Alfredo's work, 3 other covers were chosen that came out in different versions of the album. End of continuity This is the band's first album that does not hold a hidden track at the end, instead, at the end of the album after the song "Dirty" there is a static silence of more than four minutes, which finally ends with nothing. Another interesting thing is the link to the previous album. The music video for the first single from the album "Falling Away From Me" which was an insane success and played non-stop on MTV, begins where the music video "Freak on a Leash," from the previous album ends. The music video opens with the same animation in which the clip from the previous album ends. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Nostalgia strikes Metallica and in return, it embraces it with love !! Following the thirties celebrations for the band's Black Album , in November 2021 the band launched an exciting, huge, and ongoing archive project called "The Metallica Black Box". In this project, the band will share an array of artifacts, memorabilia, and rare vault content from throughout their 40-year career. The project is not one-time and defined in time but is an ongoing project with the band occasionally adding more pieces to "the black box". The Black Box launches on Nov. 16, 2021, with The Black Album Exhibition, which features a variety of items tied to the band’s 1991 self-titled album, which just celebrated its 30th anniversary. The exhibition includes a handful of galleries filled with rare photos, while Metallica will also livestream 10 rare shows from The Black Album era, selected by super-fan and Metallica historian Dan Nykolayko (also known as “Spider Dan”). Years in the works, Metallica is now officially “unboxing” collections and pulling their favorite, most significant, and personally meaningful artifacts. Features available exclusively in the Black Box will range from the virtual to the physical—including weekly livestream events to extremely limited signed memorabilia. In the weeks, months, and years ahead, The Black Box will venture progressively deeper into the vaults, the sounds, the visuals, the instruments, the culture, and beyond. Metallica launched a special website for this project: metallicablackbox.com But drop all this nonsense !!! The most amazing, important, exciting, and surprising thing is... As part of the above project, on February 19, 2022, the phenomenal, tremendous, and unforgettable show of "Metallica" that took place on June 30, 1993, in Hayarkon Park, Tel Aviv will be broadcast live !!! Yes, yes you read that right, Metallica takes out of the vault "The Black Album LIVE" where it chose only 10 shows from the tours that took place in 1991-1993 and put this great show in the "Black Box" !!! The performance that was part of the "Nowhere Else to Roam" tour will be broadcast in a special and festive event on February 19, 2022 (Saturday) at 22:00 (Israel time) and will be accompanied by a live chat with the band members ( buy ticket here ). Filmed with the house cameras during the June 30, 1993 gig at Park HaYarkon in Tel Aviv, Israel during the Nowhere Else to Roam tour and taken from a pair of Betacam tapes located in the Metallica Vault. Audio Mastered by Reuben Cohen at Lurssen Mastering. Since this was not a professionally shot concert film, there are several imperfections ranging from a raw soundboard audio recording to occasional camera dropouts, some short, some significant, as well as a tape glitch during “Seek & Destroy”. Some short cover doodles have been edited out. This was filmed in standard definition in 1993 so this live-stream is a snapshot in time, warts & all! It is important also to mention that non of the performance materials were released before!! And just to make you even more excited, here are some pictures from the band's most dedicated and number one fun which maintain an incredible memorability treasure!! "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website