On November 15, 1982, "Whitesnake" released their fifth album "Saints & Sinners". The album stands as a pivotal album in "Whitesnake's" discography and the last to feature the classic " Ready An' Willing " lineup including David Coverdale , Jon Lord , Ian Paice , Micky Moody , Bernie Marsden and Neil Murray . Produced by Martin Birch after an initial stint by Guy Bidmead, the album was recorded during a turbulent period marked by financial strain, tensions within the band, and uncertainty about their future. The result is an album that captures "Whitesnake" in the midst of change, retaining the bluesy grit of their past while hinting at a more commercially polished hard rock style that would come to define their later success. Despite internal conflicts, "Saints & Sinners" proved successful, peaking at number nine on the UK Albums Chart. The album includes " Here I Go Again " and " Crying in the Rain ," which would later be re-recorded on "Whitesnake's" " 1987 " self-titled album and go on to become international hits. In their original forms here, both tracks are rawer and more emotionally charged, reflecting David Coverdale ’s personal struggles, particularly his marriage’s breakdown, which influenced much of his songwriting. The recording process of "Saints & Sinners" was challenging for the band. Tensions and exhaustion were high, as bassist Neil Murray , drummer Ian Paice , and guitarists Micky Moody and Bernie Marsden were dealing with financial setbacks and friction with management, headed by "Deep Purple’s" former manager, John Coletta. David Coverdale ultimately decided to put the band on hold, firing Coletta and later dismissing several members to reassemble "Whitesnake" with a new lineup Including former "Trapeze" guitarist Mel Galley, former "Rainbow" drummer Cozy Powell and Colin Hodgkinson on bass guitar. However, Marsden, Moody, Murray, and Paice had already contributed significantly to "Saints & Sinners", so the album captures the original lineup’s chemistry one last time before Coverdale embarked on "Whitesnake's" next chapter. Musically, "Saints & Sinners" delivers a blues-infused hard rock sound that remains true to "Whitesnake’s" roots while showcasing David Coverdale ’s knack for blending pub-rock attitude with a more commercial edge. Tracks like " Young Blood " and " Rough an' Ready " offer an energetic blend of riff-driven hard rock with Jon Lord ’s signature organ work adding depth. The second single from the album " Victim of Love " sounds like a "Bad Company" song. " Bloody Luxury " and " Rock an' Roll Angels " showing the bands Rock an' Roll roots. " Dancing Girls '" riff sounds like the "Ready An' Willing" riff on steroids. The album also sees David Coverdale  embracing more commercial themes, especially on tracks like " Love an' Affection " adding a "sexed-up" flair to the straightforward rock-and-roll ethos. But the song is actually a rip-off from "Led Zeppelin's" "How Many More Times", which was influenced by Howlin' Wolf's song "How Many More Years". " Crying in the Rain " in its original, slower blues form and " Here I Go Again ," both centerpieces of the album, resonate with a raw emotional core. The latter, inspired by Coverdale’s personal struggles, narrates resilience in the face of hardship, capturing his lyrical honesty and vocal intensity. Moody’s guitar work and Marsden’s contributions further emphasize the bluesy aggression and grit that defined "Whitesnake’s" early sound, making "Saints & Sinners" feel both unrefined and powerfully genuine. "Whitesnake’s" journey was far from over, and "Saints & Sinners" marks the end of one era and the beginning of another. The album serves as a testament to David Coverdale 's resilience and vision, pushing forward despite the band's turmoil to create an enduring rock classic. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Ozzy Osbourne 's third studio album "Bark At The Moon", was released on November 15, 1983. The story of this album begins with what was probably Ozzy Osbourne 's biggest low point, and we're not talking about a musical one. Ozzy Osbourne 's drinking and drug problems were at their peak, and these not only affected his functioning as an artist, but also led to a sequence of unusual events that put him in a negative light in the media, all within two months. On January 20, 1982, Ozzy bites a bat during a performance and is forced to receive a series of shots against rabies. He later collapsed during a performance on stage, and a month later, on February 19 he was arrested for urinating at the Alamo Memorial in Texas and if that wasn't enough, then he was even spotted sniffing a long line of working ants. But the biggest blow of all landed on Ozzy on March 19, 1982, with the news that the talented guitarist, who was also his co-writer on his first two albums - Randy Rhoads , died in a plane crash. For more details about that horrific accident, click and read the end of our review for the album " Diary of a Madman ". But Ozzy is Ozzy, right? He managed to get out of what seemed like his biggest low point and land on his feet like a cat with nine lives. Just two weeks after Randy Rhodes' death, Ozzy Osbourne hires the services of guitarist Bernie Tormé, who previously played with Ian Gillan , and returns to the stage to complete the tour to promote the album " Diary of a Madman ". He does not stop there and immediately afterward records the live album "Speak of the Devil" which focuses on songs by the mother band "Black Sabbath", while in the process he replaces his backing players like socks, in an attempt to reach a winning lineup with which he will record his next album. This line-up got locked up during the tour with Bob Daisley returning to play bass, the formidable Tommy Aldridge on drums, and of course Don Airey on keyboards. But as we know Ozzy's "X-Men" must be a high-class guitarist, charismatic, virtuoso, one who will push the whole band forward, one who can step into Randy Rhoads ' big shoes of Tony Iommi 's heavy cowboy boots, before him. The one who was chosen after a careful selection to fill this important role was eventually Jake E. Lee who played in one of the first lineups of "Ratt" and later in "Rough Cutt", and which rumor has it that his name was even considered at one point as a second guitarist in "Motley Crue" at their early days. The idea was to return to "Ridge Farm Studios" in England in an attempt to recreate the magic that existed on the first two albums. The problem was that this time Ozzy Osbourne was completely out and could not contribute to the writing process, so those who took the reins were mainly bassist Bob Daisley, who also wrote most of the lyrics for the album, and the excellent new acquisition - guitarist Jake E. Lee . Rumor has it that Daisley received between £ 50,000 and £ 60,000 from Sharon Osborne just to write the material for the album. The two worked for hours in and out of the studio writing most of the album material, with Ozzy Osbourne occasionally showing up in the studio stoned, adding and correcting the materials the two wrote. Although as mentioned the vast majority of the material was written by Daisley and Jake E. Lee ., They ended up not getting credit for it, when on the album it was written that all the songs were written by Ozzy Osbourne . Some say the two were even forced at the end of the recordings to sign a contract in which they waive their credit. This conduct of Ozzy and especially Sharon Osborne, is also well known to us from the first two albums of the Prince of Darkness, in which no credit was given to the real writers, leading to a point that Bob Daisley and Lee Kerslake (the previous drummer), filed a lawsuit against Ozzy in 1986 for not paying them royalties for their part in writing the songs on his first two albums. As we told you at the time in a review of the album Blizzard Of Ozz , in response to the lawsuit, Ozzy re-recorded all the bass and drum roles on these albums, along with drummer Mike Bordin from "Faith No More" and bassist Robert Trujillo . But let's not let this story obscure the real treasure that exists on this amazing album. It opens up with the theme song " Bark at the Moon " featuring one of the most amazing riffs in heavy metal, not to mention not one, but two crazy solos by Jake E. Lee . The song tells the story of a werewolf who returns from the world of the dead to take revenge. Ozzy noted that the title of the song came from a joke he used to provide and her punchline was "eat shit and bark at the moon". Ozzy provided the title to Jake E. Lee and Bob Daisley, who simply wrote the song based on the title. It was the first song written for the album and is also one of the greatest songs from the Prince of Darkness, in his entire glorious career. And it is impossible to talk about this song without mentioning the amazing clip in which Ozzy changes shape with heavy makeup and becomes a werewolf. Ozzy claims it took 8 hours to prepare him for the clip. Please note that this clip was preceded by a month the iconic Michael Jackson clip for "Thriller" in which similar heavy makeup was used on Michael Jackson. Still, at a faster pace relative to the album, we have the “ Center Of Eternity ” that opens up the other side of the vinyl which is in our opinion also one of the best songs on the album and Ozzy Osbourne ’s most beautiful. The song opens slowly with a scary and creepy bell ringing in the style of "Black Sabbath" and continues with the ecclesiastical choir evolving to the dark sounds of Don Airey 's synthesizer. This opening track of the song has been dubbed "Forever" at the European album version, but is undoubtedly an integral part of the song that just explodes in 1:15 minute with Jake E. Lee 's bouncing riff and the "speed drug" Ozzy Osbourne's singing, that seem to chase after Jake's riffs during the verses. Listen how beautifully Ozzy Osbourne 's voice blends during the chorus with Don Airey 's keyboards in a sweeping melody. And you must not, but you must not miss Jake E. Lee 's solo in this song. Jump right into the bridge part that starts at 2:49 to get into the atmosphere and go through with us in the hallway that leads straight to this psychic solo that is simply a school for guitarists. The third and fourth tracks on the album " Now You See It (Now You Don't) " and " Rock 'n' Roll Rebel " move at a mid-pace relatively to the album's average RPM, with a clear lead of Jake E. Lee 's riffs. The first of which was written by Bob Daisley as revenge against Ozzy and Sharon Osbourne, for their attitude towards him and especially in the subject of song credits. He was even surprised that Ozzy and Sharon did not notice this and included the song on the album. Still staying more or less at the same rhythm with " Waiting for Darkness " and with the catchy and monotonous guitar-keyboard line, without a doubt one of the most beautiful and special songs on the album. The album also features two ballads that prove that even the Prince of Darkness sometimes knows how to slow down, light a candle and be a little romantic. Already in the second track, we meet " You're No Different " an exciting song full of "eighties" keyboards with a melodic and sweet melody that slowly intensifies and develops until the end with Jake E. Lee 's solo leading us to the song's Fade Out. And make sure not to miss the special and uncharacteristic of metal bass playing of Daisley in this song. Similarly, the second track on the other side of the vinyl " So Tired ", is a charming and melancholy ballad with a production that includes strings arrangements, conducted by Louis Clark. It reminds us at times of things that the "ELO" did very successfully in a completely different genre. Here it is worth noting that there are differences between the European and American versions of the album, with the American version having the song " Slow Down ", one of the weakest on the album that sounds like a filler, while the European version includes " Spiders " that seals the album. The album's reissues included the two songs and another bonus track - " One Up the 'B' Side ", which was the b-side of the single "Bark at the Moon". The story of this album ends as it began, with the entanglement of Ozzy Osbourne . In the year of the album's release, a 20-year-old Canadian man claimed that the song "Bark At The Moon" caused him to murder a woman and her two children. A year later, the parents of a 19-year-old boy in the United States sued Ozzy over the fact that the song " Suicide Solution " from his first album caused their son to commit suicide. The well-publicized lawsuit against him was dismissed. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 14, 2000, Geddy Lee released his first (and currently the only) solo album, "My Favorite Headache". As time goes by since the death of Neil Peart and the realization that "Rush" will cease to exist, the relevance of this album only grows, especially in light of the fact that it gives us a glimpse of how Geddy Lee Lee's next project might sound, if at all, alone or with Alex Lifeson , who knows? This album probably would never have come to this world, if the mother band "Rush" had not entered a long hiatus in 1997 and if disbandment wouldn't have been hovering over it's head. As you may recall, this long break was forced on "Rush" following the two tragedies that befell drummer Neil Peart . In August 1997, at the end of the tourto promote " Test For Echo ", Neil Peart 's 19-year-old daughter was killed in a car accident. 10 months later, Peart's partner died of cancer. In his book "Ghost Rider" Peart said that at his daughter's funeral he informed his friends, Geddy Lee and Alex Lifeson , that he was retiring from the band. Out of respect and understanding for Neil's condition, Geddy and Alex gave him all the time he needed to recover from the tragedies that befell him. Geddy said he never had the desire to do a solo project. He was good with what he had within the "Rush family" and he never thought of doing something outside of the band. He enjoyed what this band had and saw no need to do anything alone. But as the forced hiatus grew longer and when it became clearer to Geddy that it was not going to end anytime soon, if at all, he began to feel the urge to engage in music again. The partner that seemed most appropriate to him at the time, was his good friend Ben Mink, the songwriter, producer and multi-instrumentalist known among others from the band "FM", and as the one who played the amazing violin solo in the song "Losing It" from the album " Signals ". Geddy Lee and Ben Mink have a broad common ground. Both were born to Jewish, Polish, Holocaust survivor parents, both grew up and lived in Toronto Canada and were both influenced by the same music. Geddy said that the whole thing started as a joke and as an excuse to spend time with Ben. It started small, they thought of setting up a production company and starting to manage and produce young bands, write material for other artists and help them promote it. Geddy also noted that the last thing he thought of doing was an album, certainly not one that would present him as a solo artist. But slowly he began to fall in love with the material being written and feared for the way it would sound when other artists performed it. At this point the record company encouraged, supported and pushed him and Ben Ben Mink to go with it farther. And so this small and modest project grew and developed into the first solo album and we certainly hope not Geddy Lee 's last. The writing process was different from what Geddy was used to for a very long time with the mother band "Rush". He had to re-adapt the ability to write lyrics. He has not done so for over two decades. When Neil Peart joined the band in 1974, he took on the role of lyricist almost exclusively. Geddy Lee noted that it was the most challenging part for him in this project, but in the end also the most interesting, rewarding and fun. Also in terms of composition the writing was a bit different, especially with the new writing partner Ben Mink. It started with Geddy Lee's aggressive unloading on the bass. He wrote all the music on bass guitar. It started with short lines and sentences and continued with chords played on the bass guitar. On the one hand this album is not much different from what the "mother band" did just before the hiatus that was forced on them. Listen to "Half the World" and "Resist" from " Test For Echo " and you will understand what we are talking about. On the other hand, this album is definitely not "Rush". In this album there is a lot of emphasis on melody and less on The musical complexity. Geddy Lee's singing is softer and more mature, and Ben Mink's production is much busier and more meticulous than we are than we are used to with "Rush." This album has a full and rich sound. For the recordings, the two had to added drummer Matt Cameron , who we know from the bands "Pearl Jam" and "Soundgarden", among others. Matt had a window of three weeks before embarking on a tour to promote Pearl Jam's "Binaural" album, and he took the time to enter the studio with the two to record the album. Geddy said in an interview with him following the release of the album, that very few people heard the material before it was released, not even the record company itself that encouraged him to release the album. The name of the album came from a story that Ben Mink told Geddy Lee about his parents. It represents something you really like to do, but it still hurts you in one way or another. This title probably illustrates what happened to Geddy Lee who really wanted to make music, he preferred to do it within the family, but when he realized it was not going to happen soon, he did it alone despite all the difficulties he went through in the writing process. The unloading of aggression that Geddy Lee recounted can be heard already at the opening of the album with his edgy bass line in the first few seconds of the theme song. Ben Mink's electric guitar is very reminiscent of the sound of the guitar and the wild and "primitive" playing style of Alex Lifeson from his solo project "Victor". But just when you're sure it's going to be a rough and aggressive album the atmosphere changes at once, and in a minute and a half into the song we slow a bit and change to something softer and more melodic with Ben Mink's acoustic guitar and violins, which after half a minute are replaced by an electric and rough riff. This combination of rough and clean, between rhythmic and calm, but mostly between calm and caressing, passes between other songs on the album, producing a fluid and very pleasant flow to listen to throughout. There are no bad songs on this album and you will probably not find "fillers". Each track has its own charm and all together complete a whole musical fabric that is just fun to listen to repeatedly. The grunge and sweeping riff in the opening of " The Present Tense " changes after half a minute from the beginning of the song in a peaceful and calm verse and so on. The third track " Window to the World " opens with a chord with a psychedelic sound that sounds like something Robbie Krieger did in the 1960s with "The Doors", later evolves into alternative nineties rock. This song was recorded in three different versions, before Geddy and friends got to the final version they love. The song " Working at Perfekt " is one of the most beautiful and special on the album. It oscillates between the sound of grunge guitars and the sounds of strings and piano. This "sound swing" also exists in the song " Runaway Train " which opens with a "Zeppelin" guitar sound and corresponds with " The Present Tense ", in the funky " Home On A Strange " which was the last to be written for the album and in the excellent ending " Grace to Grace " which seals the album wit Rhythmic and a kicking rock, that for a moment reminded us of "Pearl Jam". This album also features some beautiful and exciting rock ballads like " The Angel's Share " with the double viola-guitar solo, " Slipping " which opens with Geddy Lee 's special piano playing and includes one of the album's catchy chants and " Still " which continues the lyrical and musical line of Predecessor and proves to us that Geddy Lee 's voice can also be warm, soft and caressing. This wonderful solo project remains small and modest, just as it started. Geddy Lee did not go with this further. He gave up on the idea of ​​promoting the album live and apparently Matt Cameron 's unavailability was not the main reason for that. It is interesting to note that in 2023 Geddy Lee released two more songs that were written during the sessions for the album, but did not make it into the final version. Over 20 years later, the demos for the songs " Gone " and " I Am...You Are " were mixed, mastered and released on streaming services under the name "The Lost Demos". It is not clear if this is really true, but we speculate that the release of this album nevertheless had some effect on Neil Peart . A kind of "alarm clock" that reminded him how much he loves to hang out with his two longtime friends, create and experience this great thing called music. About two months after the release of the album, in January 2001, Geddy, Alex and Neil met and for the first time in 5 years entered the rehearsal room to work on what would become the band's 17th album, " Vapor Trails ". The screen may have gone down on Geddy Lee 's solo project to fast, but it probably broke the long hiatus of the power trio that continued to accompany us for over a decade later with excellent albums and sweeping performances. Geddy summed up his creative experience on this album as something very positive that the deeper he went into it, the more he realized how much it was rewarded for him. In the absence of any chance of seeing any new material from this marvelous trio following the death of Neil Peart , let's hope that the memory of this rewarding experience will push Geddy Lee to more and more projects like this and soon! For Listening : Spotify , Apple Music For Listening to "The Lost Demos": Spotify For Listening to an interview from the relevant time with Geddy Lee, click H ere : "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 13, 2020, "AC/DC" released their 17th studio album - "Power Up". The band that was responsible for the biggest comeback in rock history 40 years earlier, with " Back In Black ", hits again with another tremendous comeback that marked the return of singer Brian Johnson , as well as drummer Phil Rudd and bassist Cliff Williams. As well known, the troubles and tragedies kept falling upon the band and the sequence was unbearable. In 2015 drummer Phil Rudd was replaced amid a "Rock or Bust" tour after being accused of drug possession and death threats. In 2016 lead singer Brian Johnson was forced to stop performing in the middle of the band's tour, after experiencing severe hearing loss that threatened to deafen him and he was replaced by Axl Rose . Bassist Cliff Williams also retired from the band in 2016 after completing the "Rock or Bust" tour. In 2017 Malcolm Young who suffered from dementia succumbed to the disease and with the loss of the "living spirit" behind the band, we were sure "AC/DC" would cease to exist. However, Brian Johnson discovered state-of-the-art hearing aids that allowed him to sing with the band again even at the tremendous volume levels on stage. Williams and Rudd were "called to the flag" and immediately returned, and Malcolm Young 's place on rhythm guitar was filled by his nephew Stevie Young, who had already filled Malcolm's place in the band's 1988 tour of the US and from 2014 did so again. The combination of all these events brought the band back in full force, while the family atmosphere that faded a bit with Malcolm's death was strengthened. That is why the release of this album for us deserves to be listed as one of the greatest comebacks in history, alongside the previous 1980 comeback. If you will, the younger and "red" brother of "The Black Phoenix" (that's what we called the huge comeback of the album " Back In Black "). This is the band's 17th album and the first in 6 years since the excellent "Rock or Bust". "Power Up" is entirely dedicated to guitarist Malcolm Young , who passed away in 2017, and here too we see a kind of resemblance to the previous comeback, with " Back In Black " dedicated to vocalist Bon Scott . The album is laden with Malcolm's rock and roll spirit and features songs written by him. In fact, each of the 12 songs on the album was co-written by Malcolm in collaboration with his brother Angus Young , and they were drawn from their vast stock of riffs and ideas that the band built over the decades it has been active. This album is without a doubt the band's best in the current millennium, and maybe we would even stretch it for another decade. The songs are well written and some of them could have stood even on one front with the band's big hits from the seventies and eighties. They've bouncing, they're sweeping, noisy and dirty as we love so much with this band. The production is one of the best we've heard from the band in recent years and here we have another similarity for " Back In Black " and its superb production. 5 amazing singles have been released from the album, but we can tell you that they are definitely not the only great songs on the album. The first single released on October 7, 2021 album " Shot in the Dark ", shows us exactly the same familiar and beloved sound that has not really changed in almost five decades. We've talked and written about it quite a bit before. The genius of this band is simplicity. It's one of the only bands we know that has not evolved over the years, has not really changed the sound and style, and yet succeeds in every song to make us shake our heads and move our bodies in the frenzy of a stupid teenager. The second single " Realize " released on November 11, 2021, will make you raise your fists in the air from its very first second. What a simple and amazing riff from Angus that occasionally doubles it to make it sound as if his Gibson SG is turning into a machine gun. What an amazing voice Johnson has, he came back in a big way and sounds just like in the good old days 40 years ago. He leads the song with a high hand while Williams and Rudd hold the stunning rhythm of the track. The third single " Demon Fire " opens with Rudd's beating on the hi-hat and takes us 40 years back to the album and the song " Back In Black ", but then the tempo on the cymbal doubles, the deep and low voice comes in and for a moment we did not realize it was Johnson at all. This song presents one of the coolest "AC/DC" riffs, what a sweeping rhythm and what a cool groove that brought us flashbacks from "Whole Lotta Rosie". This single was later followed by " Witch's Spell " whose "hybrid picking" opening threw us straight into the warm arms of "For Those About to Rock (We Salute You)". Although the chorus of the song is one of the catchiest on the album, we think there are much stronger songs on this album that would have worked better as successful singles, but this is exactly the proof of why this album is just awesome. The latest single released from the album " Through The Mists Of Time ", already proves to us that the selection of songs to be released as singles was apparently aimed at diversity. It's an exciting Mid-Pace song in which the band looks back on the beautiful moments passed together, from the time when everyone was young and energetic to the present day, while acknowledging the reality that imposes on us the inevitable passage of time. Angus Young wrote the lyrics and singer Brian Johnson noted that when he recorded the song a shiver went through his body. He thought of Malcolm and noted in one of the interviews that he still sees him in his mind every time he hears this song playing. As we mentioned, this album is far beyond the five singles released from it and is one of the band's greatest in recent decades. So go ahead, click on the link, "Power Up" and enjoy a particularly electrifying day: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

"Soundgarden's" " King Animal" was released on November 13, 2012 !! This album represents a new beginning for the band, so it should not be labeled as a "comeback" album. But as we time passed by we learned that this is also the album of the "End", the last album the group have recorded with Chris Cornell. "But it's fate I only ever really wanted a break I’ve been away for too long Though I never really wanted to stay I’ve been away for too long I've been away for too long I've been away for too long" Back in 2012, the news that "Soundgarden" might reunite and possibly release a new album came as a total shock to us. At that time, Grunge was almost non-existent. "STP" had disbanded in 2010, "Pearl Jam" had drifted far from their early 90s revolutionary days, "Alice In Chains" had lost their essence in 1995, and "Nirvana" needs no explanation. With the only band left in its original lineup hinting at an album release, we felt immediate tremors and a sense of vulnerability. Our hearts were deeply moved by the news. The return of the band we adore, known for their distinctive, powerful sound and exceptional lyrics, led by one of the world's most talented vocalists, was a thrilling moment. After a 16-year hiatus, we eagerly awaited discovering what surprises our Seattle friends had in store for us. We meticulously absorbed every detail, scoured the internet for hints, and listened intently to unearth what lay ahead. Then, on September 27, 2012, the debut single "Been Away Too Long" was released, offering insight into our current moment, as we immerse ourselves in "Soundgarden's" latest album. Whether attributed to destiny, yearning, or a resurgence from obscurity, this album remains authentic, raw, weighty, and harmonious, reminiscent of their earlier work. It resonates as though it were crafted in the 1990s, preserved in a time capsule, only to resurface over two decades later. The nostalgic journey started in 2009 when the band members came together to talk about re-releasing some of their music and introducing new merchandise. Then, in 2010 Chris Cornell surprised everyone on Twitter when he wrote: “The 12-year break is over and school is back in session. Sign up now. Knights of the Soundtable ride again!” Back in 2010, the band members initially decided to revisit their old songs, perform a few shows for enjoyment, and leave it at that. However, when they were in the process of recording a new track titled "Black Rain," which was included in the 2010 compilation "Telephantasm," they experienced a resurgence of energy that brought them closer together. The recording sessions for the song evolved into a spontaneous jam session, resulting in the creation of new material and collaborative improvisations involving all band members. At that point, it became evident to everyone that they needed to release a new album! In the spring of 2011, the "Fantastic Four" began recording a new album at the renowned "Studio X" in Seattle with their longtime producer Adam Kasper. Despite facing challenges, such as interruptions due to Chris' "Songbook" tour, the band managed to release their sixth album in November 2012, marking the end of a 16-year hiatus. Tragically, this album also served as the band's final release before disbanding following Chris' passing in 2017. (Photo: Justin Borucki) Looking back in time... In 1996, the band released "Down On The Upside", their final album before a lengthy 16-year break. It was a daring, diverse album that significantly fueled the musical disagreements and diverse artistic directions each band member wished to pursue. In retrospect, "King Animal" can be seen as more of a continuation of the sound from the album "Superunknown" rather than a follow-up to "Down On The Upside" that came after it... The album kicks off with the track "Been Away Too Long" , where Chris passionately expresses his frustration not only with himself but also with the feeling of being disconnected from others. He is upset about his absence, feeling unrecognized by those around him. The return of Kim's guitar and Chris' distinctive vocals over "Soundgarden's" rhythmic backdrop is a nostalgic reminder of the band's powerful presence, reminiscent of their earlier days. It is evident from the start that the band has returned with vigor, just like they were 16 years ago. Chris revealed that the song's initial inspiration struck him during a restless night, with the lyrics coming together later in the album's production. He emphasized that the song's message extends beyond rejoining the band, delving into the broader theme of revisiting a place after a prolonged absence. The album maintains its impact with the powerful track "Non-State Actor" swiftly followed by "By Crooked Steps", one of the album's standout songs characterized by intricate syncopations and unconventional rhythms. Matt Cameron and Ben form an impeccable rhythm section, while Kim and Chris deliver a heavy and intense guitar riff that captivates the listener. This amazing song that Chris called "a little weird" sat on an asymmetrical rhythm of 5/4 and was released as the second single from the album. It is interesting to note that its music video was directed by none other than Dave Grohl , an honorary member of the Seattle grunge scene himself. In the video below he is talking about working with "Soundgarden" on the clip. Overall, this album has successfully lived up to our expectations as a comeback album from one of our favorite bands, maintaining a consistent high quality throughout. "A Thousand Days Before" pleasantly surprised us with its oriental rhythm, while "Blood On The Valley Floor" transported us back to the band's early days with its heavy and somber riff. The melodic and captivating "Bones Of Birds" left a lasting impression on us, with Chris' vocals taking us on an emotional journey. Chris drew inspiration from his children when writing this song, expressing his desire to protect their innocence and shield them from the harsh realities of the world. "Taree" was originally composed by Ben in 1997 for his solo project "Deep Owl," but he later felt it was better suited for a "Soundgarden" treatment. Chris penned the lyrics during the album's recording sessions, describing it as a tribute to the Northwestern United States, his childhood home. "Black Saturday" was among the first tracks Chris crafted for the album, drawing musical influences from Paul McCartney and the "Beatles." The lyrics serve as a warning to friends, signaling them to intervene when someone is heading towards dark times, reminiscent of "Fell On Black Days." The song "Halfway There" , as per Cornell, shares lyrical similarities with "Fell On Black Days." Despite feeling more aligned with Cornell's solo work than with "Soundgarden," this poignant track resonates with us on a deep level. We need to point out (even if it may be somewhat frustrating for you) that while this album is solid and meets our expectations in various aspects, it is missing a standout track, a memorable tune that captivates us, that becomes addictive, that compels us to listen on repeat. Similar to the band's classic hits from the 1990s. Speaking in a somewhat personal manner, it can be challenging to meet the expectations of fans after 16 years of silence. On one hand, there's a desire to relive the past, to freeze our emotions and relive the sensations we experienced back then, and to hear the beloved band just as we remember them. On the other hand, we have grown and changed, our lives have evolved, and we rightfully anticipate the band we cherish to evolve as well, to be more contemporary and innovative, which may be the discord of this album. It stirs up emotions from the nineties within us, which is pleasant, nostalgic, and enjoyable, yet once the music stops, it may feel somewhat disjointed and not quite in line with our current state and desire for something fresh. It fades. While we were thrilled to hear Chris with Kim, Matt, and Ben once again, like in the past, there was also a part of us hoping for a surprise, something new and refreshing that would prompt us to include songs from this album in our latest playlist because we have moved forward a bit... Listen to the album on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Well, it's certainly the longest review we've had to date, so please take a deep breath, we promise it's going to be very interesting, it's really worth it. Neil Young is celebrating his birthday today and we are going to tell you 76 (!!) facts about him: (Photo: Michael Putland) 1. He was born on November 12, 1945, in Toronto Canada. 2. Young's middle name is Percival. 3. His father Scott Alexander Young was a well-known journalist and author in Canada who wrote more than 30 books. 4. In 1966 Neil Young was diagnosed with epilepsy. 5. Although he is considered Canadian, Young's mother has American roots that go back to the early days of the Republic. 6. Although Young lived in the US for decades he never relinquished his Canadian citizenship. 7. As a child, Young listened to rock 'n' roll, rockabilly, country, and rhythm and blues in his youth. 8. He adored Elvis Presley and was influenced by Chuck Berry, Hank Marvin, Cliff Richards, Johnny Cash, and Roy Orbison. 9. While only 7 years old, Young got infected by the polio bacterium which almost led to his death. 10. During Young's recovery process, his parents brought him to Florida, where the family lived for six months until his full recovery. 11. The first instrument he played was the ukulele he received in 1958 as a Christmas present. 12. Two years later, in 1960, his parents divorced and his mother moved with him to Winnipeg, Canada, where he formed his first band, "The Jades". 13. In 1963, when he was only 17, he joined the band "The Squires" with which he released the single "Sultan / Aurora. The two Surf-style tracks were influenced by" The Shadows ". 14. Today it is known about the existence of only 10 copies of this single, which makes it one of the rarest singles in the world. 15. To make it easy for him to move around with the equipment for his performances, Neil Young bought an old funeral car from 1948, in which hearse coffins were carried and gave it the amusing name Mortimer Hearseburg or Mort for short. (Photo: Rapalje.com) 16. He met Stephen Stills in 1965 when he performed with his band at a club in Ontario Canada. 17. On his 19th birthday he wrote the song "Sugar Mountain" which was influenced by his childhood in Winnipeg Canada. 18. This song was not released on an album until 12 years later in 1977 as part of the compilation album "Decade". 19. At the time of writing the song singer Joni Mitchell was Young's girlfriend. She loved the song and was influenced by it to write the song "Circle Game". 20. In 1966 Young joined the band "Mynah Birds" which included members of the future "Buffalo Springfield" Bruce Palmer, as well as Goldy McJohn and Nick St. Nicholas who would later form the band "Steppenwolf" and in addition the none other than the funk and black soul artist Rick James, yes yes, that one from the freaky hit "Super Freak". 21. Together with "Mynah Birds" he managed to get a recording contract, but at the recording stage of the album, Rick James was arrested after he defected from the army, which led to the disbandment of the band. 22. Young and Bruce Palmer sold all of the band's equipment and purchased a funeral vehicle that replaced the broken "Mort". The replacement vehicle was given the original name "Mort II". Together with "Mort II" the two crossed the border into the USת illegally, in search of a musical future in Los Angeles. 23. During the trip the two wrote "Mr. Soul" which would become a hit for "Buffalo Springfield". 24. While the two were stuck in a traffic jam at Sunset Boulevard in Los Angeles, Stephen Stills spotted "Mort II" from across the road. He was with singer and guitarist Richie Furay in the car and made an illegal U-turn to get Young and Palmer. This incidental encounter gave birth to the "Buffalo Springfield." 25. "Buffalo Springfield" has greatly influenced the development of the country rock and folk rock genres. 26. Their great hit "For What It's Worth" was adopted by the Vietnam War protest movements as an anti-war anthem. Here is a performance of the song as a medley with "Mr. Soul", in which Young takes the lead. 27. After the breakup of "Buffalo Springfield" Young signed a recording contract as a solo artist and released on his 23rd birthday in 1968 (exactly 53 years ago), his first album was named "Neil Young". 28. About a year later Young recruited Danny Whitten, Billy Talbot, and Ralph Molina, who adopted the name "Crazy Horse". This lineup will serve as his backing band. 29. Young will record his second album, " Everybody Knows This Is Nowhere " with "Crazy Horse". It also becomes his breakthrough album. 30. The masterful songs "Cinnamon Girl", "Cowgirl in the Sand", and "Down by the River" are recorded by Young while he was ill at 40 degrees Cel. 31. After the release of the album " Everybody Knows This Is Nowhere " Young joins the "Crosby, Stills & Nash" trio. 32. Their second-ever appearance was at the Woodstock Festival. 33. Young objected to being photographed during the festival and even threatened one of the photographers that if he approached him he would hit him with his guitar, so the only songs filmed at that show were "CSN" without Young. 34. Young's favorite electric guitar is "Gibson Les Paul Goldtop 1953", a particularly tough guitar that bears the name "Old Black". 35. 25 years later Young received a fantastic $ 1,000,000 offer to perform at the 1994 Woodstock Festival. Young refused because the event was too commercial and that he preferred to stay with the memory and atmosphere of the original festival. 36. Young was not the first choice of "Crosby, Stills & Nash". Their record label thought they needed a keyboardist and recommended Steve Winwood, but he was busy at the time with "Blind Faith". 37. In March 1970 Young released the successful album "Déjà Vu" as part of the band "Crosby, Stills, Nash & Young". 38. That same year he wrote the protest song " Ohio " in response to the killing of four students at Kent State University by the National Guard. 39. In August 1970 Young releases his third album " After the Gold Rush " which includes the song "Southern Man", a protest song against racism and the treatment of blacks in the US. 40. In 1972 he released the masterpiece album " Harvest ", which includes the song "The Needle and the Damage Done", which Young wrote about the addiction of guitarist Danny Whitten, who also died a few months later from a heroin overdose. 41. The album featured all the members of "Crosby, Stills & Nash," country singer Linda Ronstadt and James Taylor. 42. Although Young released hundreds of songs during his glorious career the song "Heart of Gold" is the only song that reached number one on the charts. 43. The album also includes the song "Alabama" which deals with the same theme of "Southern Man", in protest against racism against blacks. 44. The members of "Lynyrd Skynyrd" did not remain indebted and released in 1974 the successful song "Sweet Home Alabama" with a direct response to Neil Young whom they admired, including the words: "I hope Neil Young will remember A Southern man do not need him around anyhow ". 45. The quarrel between "Lynyrd Skynyrd" and Young was inflated by the media, in practice the two sides continued to admire each other, as evidenced by Skynyrd's singer Ronny Van Zant appearing with a Neil Young shirt on the cover of the band's " Street Survivors " album. 46. ​​In 1973 Young recorded what was to be his fourth album " Tonight’s The Night ". The album was grim and depressing and it addressed issues like loss and death, influenced by the deaths of Young's two friends, Danny Whitten and Bruce Berry from a heroin overdose. 47. The record company was so frightened by the content that it thought it would be a commercial failure and decided not to release it. The album was finally released two years later after the albums "Time Fades Away" and "On The Beach". 48. These three albums are known as "The Ditch Trilogy trilogy", as they were released during his melancholy, gloomy, dark period. 49. In 1976 while Crosby & Nash recorded and performed under the name "Crosby & Nash", Young and Stills formed "The Stills-Young Band" and released the album "Long May You Run". 50. The idyll between the two fell apart after only nine live shows, while Young abandons Stills in a telegram message as follows: “Dear Stephen. Funny how some things that start spontaneously end that way. Eat a peach. Neil”. 51. In 1976 Young joins "The Band" for their last show, which was recorded for Martin Scorsese's album and film " The Last Waltz ". 52. In 1979 Young released " Rust Never Sleeps ", an album that would later become one of the reasons why the nickname "Godfather of Grunge" stuck with him, partly due to the feedback, distortions, and the rough sound he used to produce from the guitar. 53. Kurt Cobain 's quoted some of the lyrics to the song "Hey Hey, My My" from the above album in his suicide note. 54. The news of Kurt Cobain 's suicide and the contents of the suicide note catches Young during the recording of the album " Sleeps With Angels " in 1993. Young did not remain indifferent to the tragic event and this is reflected in new songs written following Cobain's death and included in the aforementioned album dedicated to him. 55. That same year, "Pearl Jam" warmed up Young during his live shows. Young used to bring "Pearl Jam" members on stage during the encores to perform the anthem "Rockin 'in the Free World" from the album " Freedom ". 56. This Collaboration worked so well that the members of "Pearl Jam" joined Young and record the joint album " Mirror Ball " which was released in 1995. 57. Neil Young and "Pearl Jam" minus Eddie Vedder came to Israel for two shows that year. 58. In 1982 Young released an experimental electronic album called "Trans". Young said he tried to communicate through experimental music with his son who suffered from cerebral palsy as he felt his Distorted voice (in the album) would help. 59. This album created great tension between Young and the record company, which reached its peak when the record company refused to release material that Young had already recorded for his next album, "Old Ways". 60. In response, Young entered the studio and quickly concocted an entirely new "Rockabilly" -style material, which he quickly recorded for Everybody's Rockin', which was released in 1983 and became Young's shortest album in just 25 minutes. 61. Following this, the record company filed a lawsuit against Young, alleging that he deliberately released non-commercial albums. Young for his part filed a counterclaim alleging breach of contract, as he claimed he was given full creative freedom under the contract, which the record company denied him. Young won the lawsuit. 62. In 1991, Young releases an entire album (Arc) featuring guitar feedback noises recorded during his live performances. He released the album on the advice of Thurston Moore from "Sonic Youth". 63. In 1997, Young boycotted the induction ceremony of his band "Buffalo Springfield" to the Rock N 'Roll Hall of Fame, because he thought the ceremony was over-commercialized, after discovering that the organizers were demanding $ 1,200 to enter the ceremony. 64. Two years earlier in 1995 he was inducted into the Rock N 'Roll Hall of Fame as a solo artist. In this case, he did not boycott the ceremony. By the way, the one to give the induction speech was none other than Eddie Vedder . 65. Young is the first artist to record two different shows in the MTV Unplugged series. It happened after Young was completely unhappy with his performance on the first show, that he abandoned the show before it ended. Young returned for Second Attempt on MTV Unplugged , two months later and this time the magic worked, and thus Young's wonderful " Unplugged " album was born. 66. Young has since the early 1970s produced several films under the pseudonym Bernard Shakey. 67. Young was a partner in "PonoMusic" which developed music players and high-quality music download and streaming services. Young disliked the qualities of the MP3 format and the likes and claimed that their quality was so poor that it was impossible to enjoy music that way. 68. He also realized his love for trains by being a partner in a company that created toy trains and was called Lionel Trains. 69. Young almost obtained a recording contract with none other than convicted killer Charles Manson. He met him in 1968 at the home of the Beach Boys drummer Dennis Wilson and recommended him to the record company "Reprise". 70. Young never agreed that his songs would be used for commercials. 71. He protested against two presidents of the United States - Bush the father and the son. The protest against the father is expressed in the song "Rockin 'in the Free World" and against the son on the album "Living With War". 72. In August 2020, he also sued President Donald Trump for $ 150,000, for using his songs "Rockin 'in the Free World" and "Devil's Sidewalk", for his campaign: 73. Neil Young and Bob Dylan mentioned each other's names in songs they wrote. Young did this with the song "Bandit" and Bob Dylan in the song "Highlands". 74. Neil Young has a kind of obsession with the moon. He has written more than thirty songs reminiscent of the moon. 75. Neil Young has released throughout his solo career, no less than 45 studio albums. Now add to that CSNY, Buffalo Springfield, live albums, and box collections and you will understand how prolific and influential this amazing man is even today. 76. Young also collaborated with so many artists like "The Monkees", Emmylou Harris, Warren Zevon, Randy Bachman, Jerry Lee Lewis, Chrissie Hynde , Sheryl Crow , and more. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 12, 1971, "Yes" released their fourth studio album, "Fragile". It was the moment when the band stopped being a promising progressive rock act and became one of the defining forces of the genre. After the breakthrough of " The Yes Album ", the group experienced a lineup change — keyboardist Tony Kaye was replaced by the young virtuoso Rick Wakeman, who brought an entire symphonic universe with him. Together with Jon Anderson, Chris Squire , Steve Howe , and Bill Bruford, this became the classic Yes lineup — five musicians whose chemistry turned complexity into art. Recording began in the late summer of 1971, with Eddy Offord co-producing. The band was running short on money, so they came up with a creative solution: each member would contribute a solo piece alongside the main group compositions. The result was an album that balanced individuality and unity — a showcase of technical brilliance wrapped in celestial imagination. Roger Dean’s artwork, depicting a small, breaking planet, mirrored the album’s vast soundscapes and cosmic reach. "Roundabout"  bursts open like a sunrise over misty English fields — Steve Howe ’s acoustic intro evolving into Chris Squire ’s thunderous bass riff the music world hasn't heard before and Anderson’s soaring high pitched voice. Jon Anderson and Steve Howe wrote the song while traveling through Scotland near the end of a tour. Inspired by the breathtaking landscapes on the road from Aberdeen to Glasgow, Anderson began crafting the lyrics. The full version of the song lasts 8 minutes and 29 seconds, but it was shortened to 3 minutes and 27 seconds for the single release, which reached No. 13 on the U.S. Hot 100 — becoming Yes’s biggest hit until "Owner of a Lonely Heart" surpassed it in 1983. "Cans and Brahms"  follows, a brief but dazzling display of Wakeman’s classical training, transforming Brahms’ Fourth Symphony into a whirlwind of Moog and organ. "We Have Heaven"  is Jon Anderson at his most ethereal — layers of vocals looping into infinity, his voice floating like a mantra in space. Then comes "South Side of the Sky" , a monumental piece that fuses heavy rock with haunting piano interludes. It tells of a mountaineering expedition as a metaphor for human endurance — the climber’s struggle between life and death reflected in the music’s contrast of ice-cold riffs and warm harmonies. The playful "Five Per Cent for Nothing"  — Bill Bruford’s 35-second rhythmic experiment — is a burst of humor and precision. Its brevity is deceptive; every hit and rest are calculated to perfection. "Long Distance Runaround"  brings the album’s pop sensibility to the surface, with its catchy rhythm and cryptic lyrics about faith and confusion. It seamlessly blends into "The Fish (Schindleria Praematurus)" , Chris Squire ’s bass-driven odyssey that turns low frequencies into a symphony of their own. "Mood for a Day"  is a moment of quiet brilliance — Steve Howe ’s classical guitar solo feels timeless, a gentle interlude between the storm and the stars. And then, "Heart of the Sunrise"  — the eleven-minute finale that encapsulates everything "Fragile" stands for. Dynamic, emotional, and expansive, it builds from thunderous riffs to serene calm and back again, capturing the tension between chaos and beauty. It remains one of the defining pieces in progressive rock history. Upon its release, "Fragile" reached No. 7 in the UK and No. 4 on the Billboard chart in the U.S., propelling Yes into global stardom. Critics praised its ambition and technical mastery, while fans were captivated by its grandeur. It was the beginning of "Yes’s" golden era — soon to continue with "Close to the Edge", but "Fragile" was the album that truly defined their sound. Decades later, the album still feels alive — a fusion of mind and heart, intellect and emotion, precision and dream. It is not just a milestone of progressive rock; it’s a universe of its own, orbiting endlessly in the imagination of anyone who has ever listened. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Some bands do not survive the upheaval that "Genesis" went through after the release of their second album " Trespass ". After recording the album, guitarist Anthony Phillips, who was one of the pillars of the band, left due to health reasons and what is defined as "stage fright". In addition, drummer John Mayhew was fired from the band living it with only three members. losing 2/5 of the lineup is surely not easy for any band, especially in case you lose one of your main writers. But "Genesis" has proven that not only they can recover from such a shock, but that they are even capable of surpassing themselves and producing their best album to date. Reinforced by drummer Phil Collins and guitarist Steve Hackett , "Genesis" entered its "Golden Age" and on November 12, 1971, released its third album "Nursery Cryme". This is the first album of the four masterpieces from the classic lineup of "Genesis". The album in which the band completed the transition to progressive rock, the album in which the sound that so characterizes this band in its classical era is finally designed. An album that is a "progressive" milestone that greatly influenced the development of the genre. But all of this probably would not have happened had it not been for the shock the band had experienced shortly before. After the release of " Trespass , " Anthony Phillips left the band. His last appearance with "Genesis" was on July 18, 1970. He felt the increasing pressure of live performances affecting him. At the same time, he contracted pneumonia and isolated himself from the rest of the band, until he decided to retire. Keyboardist Tony Banks , singer Peter Gabriel and bassist/guitarist Mike Rutherford saw Anthony Phillips as an essential member of the band. He was one of the main writers and also an important and motivating factor in encouraging them to become professionals. They saw his retirement as the biggest threat to the band's fate and thought it would be very difficult to overcome it. Peter Gabriel and Mike Rutherford were very interested in continuing. Tony Banks agreed but on the condition that the band finds a new drummer with an equal level of playing to the rest of the band, and this led to the dismissal of John Mayhew. In August 1970 Phil Collins joins the band, after responding to a newspaper ad. He auditioned successfully at Peter Gabriel 's parents' home and joined the band. At the same time, Steve Hackett published an ad in the Melody Maker newspaper, in which he stated that he was looking for a band. The ad was answered by Peter Gabriel who invited him to audition, not before advising him to listen to " Trespass " before auditioning. The act of course passed the audition and his first appearance with Genesis was held on January 24, 1971. Recruiting Phil Collins and Steve Hackett , breathed new life into the band. The two brought with them a wealth of new musical ideas and contributed both to the creative process in the studio and to the renewed energies on stage. Collins brought the diverse and versatile drumming that he, among others, drew from the world of jazz and of course the vocal harmonies that complemented Peter Gabriel . Hackett on the other hand helped change and shape the sound of "Genesis", thanks in part to his very unique playing style and new playing techniques such as "Tapping" and "Sweep Picking" that he brought with him to the band. In addition, Hackett was also the one that pushed Tony Banks to make more significant use of the Mellotron, an instrument that became an integral part of the band's DNA. In terms of the musical line, this album starts right where " Trespass " ended. You can hear the musical connecting thread between them. The masterpiece " The Knife " that finished the previous album is not much different from what we get in this album and it certainly does not fall short of the great works in it. The musical connection between the two albums also exists thanks to the fact that even before leaving the band, Anthony Phillips contributed to writing some of the material for the album, including the amazing work that opens it " The Musical Box ". This piece was even played on a show when Phillips was still part of the band. Despite that, Steve Hackett managed to bring "added value" into the song in his clever guitar playing, in the little guitar sentences, in the amazing solo starting at 4:10, and in the harmonic solo at the end of the song, which Brian May admitted he was influenced by it. Listen to it starting at 9:55 onwards and you will immediately understand. The somewhat weird lyrics are based on a Victorian fairy tale written by Gabriel, about two children in a country house. The girl, Cynthia, kills the boy, Henry, by cleaving his head off with a croquet mallet (this part is also shown on the album cover). She later discovers Henry's music box. When she opens it, "Old King Cole" plays, and Henry returns as a ghost, but begins to age very quickly. It causes him to experience a lifetime's sexual desire in a few moments, and he tries to convince Cynthia to have a relationship with him. However, the noise causes the nurse to arrive, and she throws the music box at him, destroying both. It can be said that " The Musical Box " is a purposeful display of Genesis' sound and style on this album as well as on subsequent albums. Long musical pieces, complex compositions, strong and even extreme dynamics, smart and melodic playing of Hackett, pleasant vocal harmonies of Collins and Gabriel, virtuoso playing of Tony Banks , and more. This album has shaped the sound and style of "Genesis" so no wonder it is one of the more influential in the prog-rock genre, but not only. Brian May was not the only one to be affected by it. Geddy Lee bassist of "Rush" noted that it is one of his favorite and most influential albums. Guitarist Eddie Van Halen has taken from this album a musical technique that will accompany him throughout his entire career, and we have not yet begun to mention the plethora of prog and pro-metal bands that have been inspired by it. This playing technique can be heard, among other things, in " The Return of the Giant Hogweed " based on the book "The Day of the Triffids" by the writer John Windham from 1951. The song warns against the spread of the poisonous plant "Heracleum Mantegazzianum" after being brought From Russia to England by a Victorian scholar. Although the real plant is extremely poisonous and dangerous, the lyrics of the song are in the best of the masculine tradition with a humorous exaggeration that implies that the plant is trying to take over the human race. Steve Hackett 's "Tapping" technique was born when he tried to impress his friends and suddenly discovered the unlimited possibilities of playing with both hands on the guitar fret. A few years later, this playing technique will be perfected by guitarist Eddie Van Halen who said that he attended a Genesis performance in the early 1970s, where he learned the technique from Hackett. It's also the album where you can hear the voice of one of the best-selling singers in the world - Phil Collins singing his first solo. " For Absent Friends " is a short acoustic ballad that shows us the talent of Phil Collins who will later become the band's lead singer and later will have a wonderful solo career. This is also Steve Hackett 's first significant composition in the band and the two really remember how embarrassed they were when they presented the piece to Peter Gabriel . So if you have a spear 39 minutes, go ahead and listen to a great and influential classic: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 11, 1985 (or at least that's the date we invented), Faith No More's debut album was released, the album that started the career of this amazing band. It all started somewhere in 1979 with a band called "Sharp Young Men". Singer Mike Morris and keyboardist Wade Worthington formed the band and later added bassist Billy Gould and drummer Mike Bordin . The band's name was a contra to all the pop boy bands at the time but it created a different reputation for the band than they wanted so they decided to change the name to Faith No Man. In 1983 the band members recorded the song "Quiet in Heaven / Song of Liberty" which was released under the name Faith No Man. The young band started performing in several clubs and bars but immediately after the song came out Wade left the band and immediately after he left the other members decided to break up the group. Immediately upon disbanding Bordin and Gould recruited keyboardist Roddy Bottum and decided to create a new lineup called Faith No More. They went through several singers including Courtney Love and finally, they decided on Chuck Mosley. In October 1983 they made their first appearance when shortly afterwards they recruited guitarist Jim Martin and completed the lineup. Without the support of a record company, they started recording their first album with full self-funding. They managed to record five self-funded songs until during the recordings a woman named Ruth Schwartz recognized their potential and turned them into the first independent new label to sign up with Mordam Records. After the signing, they recorded five more songs funded by the new label and released their debut album in November 1985. The band members said that because the album was recorded on a very low budget every minute counted, sure they would have done things differently but because they knew they were limited in budget they practiced and did a lot of rehearsals before they started recording. The only single that came out from the album "We Care a Lot" was also included in the band's second album "Introduce Yourself" , the band's first album released under a major label. It was also the first single that came out from that album. The album was reissued on August 19, 2016, by the Koolarrow Records label. The reissue included nine additional tracks that included three remixes, four demos, and two performances from 1986 live shows. 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 11, 1991, "Genesis" released their fourteenth studio album, "We Can’t Dance". It was the group’s first studio effort in five years, following the enormous success of "Invisible Touch", and would ultimately stand as Phil Collins’ final "Genesis" album before his departure in 1996. It marked the end of an era — the last time the legendary trio of Phil Collins, Tony Banks, and Mike Rutherford would create new music together in the studio. The creative process behind "We Can’t Dance" was highly improvisational, with Genesis building songs from lengthy jam sessions in the studio. As with "Invisible Touch" and "Genesis" before it, the material was developed organically rather than being pre-written, reflecting the band's spontaneous approach. Originally considering a double album due to the amount of material, Genesis ultimately condensed the project into a powerful, thematically varied release with social critique, personal stories, and emotional reflection. The album’s recording took place at "The Farm Studios" in Surrey, England, and was co-produced by the band with Nick Davis, who would later handle remastering for their entire catalog. Just like with "Invisible Touch", the band initially divided the writing duties evenly — each member was responsible for roughly a third of the material, with their own lyrics and ideas. But as the sessions unfolded, Collins found himself more creatively engaged than ever, contributing a larger share of the words. Rutherford praised his work as “among his best in Genesis history,” while Collins himself said the music “stimulated him” to write some of the most personal lyrics of his career. The album opener "No Son of Mine", born from a placeholder phrase Collins repeated during rehearsals, evolved into a powerful story of domestic abuse and estrangement. "Jesus He Knows Me" is a joyful biting parody of the American televangelist scene. In The Way We Walk DVD, Banks explained how it came together: "Phil was playing really fast on the drums and I started playing a chord sequence on top of it". The ten-minute epic "Driving the Last Spike" tells the tragic story of 19th-century Irish railway workers, their grueling lives, and the dangerous conditions they endured — a narrative Collins was inspired to write after receiving a book on the subject. "I Can’t Dance" pokes fun at male fashion models that look good but can't string a sentence together. The song was built around Rutherford’s deliberately awkward, heavy guitar riff. "Genesis" wrote this song in the studio in one session. "Once we started we kept going 'til we finished it," Phil Collins said in the documentary "Genesis: Sum of the Parts". "Never a Time" offers a beautifully understated melody and heartfelt lyrics about love, regret, and communication. With its gentle instrumentation and classic "Genesis" harmonies, it reflects the trio’s ability to deliver emotional resonance through simplicity — another reminder that even in their late career, their songwriting depth remained intact. "Dreaming While You Sleep" explores the torment of a hit-and-run driver haunted by guilt. The song’s eerie atmosphere was enhanced by a unique sound effect — created when Mike Rutherford, experimenting with bending notes, produced a tone that Banks recorded, sampled, and slowed down on his E-mu Emulator until it resembled the distant call of an elephant. "Tell Me Why" confronts the Gulf War and humanitarian crises through imagery Collins absorbed from television news. "Living Forever" offers a cynical commentary on society’s obsession with self-help, diets, and immortality. "Hold on My Heart", one of the band’s most tender and soulful songs, presents a moment of quiet introspection amid the grander arrangements. Built around a slow, steady groove and Collins’ delicate vocal phrasing, it captures the essence of emotional vulnerability that defined many of his finest solo performances. The song became one of the album’s biggest international hits and remains a staple of the band’s softer side. The reflective "Way of the World" continues the album’s socially aware thread, turning its gaze toward global inequality and humanity’s recurring failures to learn from its past. "Since I Lost You", one of the album’s most heartbreaking moments, was written for Eric Clapton following the tragic death of his young son, Conor. Collins quietly penned the lyrics after a real conversation with Clapton, only revealing their meaning to Banks and Rutherford once the song was finished. At the heart of the album’s closing lies "Fading Lights", a majestic, introspective piece that feels like "Genesis" bidding farewell to an era. Its melancholic vibe is underscored by the knowledge that Collins would soon depart the band. Built around Tony Banks’ sweeping keyboard passages and Collins’ poignant vocal delivery, it meditates on aging, memory, and the passage of time. The song’s extended instrumental section recalls the band’s progressive roots. Many fans have interpreted it as Collins’ personal goodbye — a final statement before the curtain fell on his time with "Genesis". Two tracks — "On the Shoreline" and "Hearts on Fire" — didn’t make it onto the final album because of space limitations. Instead, they were later released as B-sides, accompanying the singles "I Can’t Dance" and "Jesus He Knows Me" respectively. "We Can’t Dance", was a commercial triumph that combined pop-rock with the band’s progressive roots, resulting in their fifth consecutive No. 1 album in the UK and a No. 4 spot in the US, selling over 10 million copies worldwide. The album produced six singles, became one of "Genesis’" best-selling albums, and led to their hugely successful 1992 world tour, documented in "The Way We Walk" live albums resonating as a closing chapter for the classic "Genesis" lineup. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"Foo Fighters" album "Sonic Highways" was released on November 10, 2014, and the captivating narrative of its creation during a road trip across the US is truly unmissable! While some may view it as an interim album bridging the gap between the acclaimed "Wasting Light" and the invigorating "Concrete and Gold," the backstory of this record is just as intriguing as that of other Foo Fighters albums. Dave Grohl strongly believes that the setting where an album is recorded plays a crucial role in shaping the music and the final outcome of the album. He strives to avoid replicating past recordings in each album by pushing the band to record in a new and unique way compared to the previous one. According to him, embracing greater challenges leads to enhanced creativity, which is evident in the music produced. (Photo: Foo Fighters) After wrapping up the recordings and filming for "Sound City: Real to Reel" , the directors presented Dave with the film enclosed in a box along with a pen and notebook, inscribed with the words: "And now for the next project..." Inspired by the interviews and recordings at Sound City, Dave decided to embark on a unique tour with the band across historic cities in the US. Collaborating with HBO, they planned to visit 8 cities renowned for their musical legacy, recording a distinct song in each location. During their week-long stay in each city, the band, alongside the photography and production team, interviewed musicians, producers, and other influential figures in the music scene. They absorbed inspiration, energy, and creativity from their surroundings, channeling these into the songs recorded in each city at significant locations that resonated with them. Overseeing the album production was the experienced producer Butch Vig. The entire journey was captured in an HBO documentary series titled "Foo Fighters: Sonic Highways." Interestingly, Dave penned the song lyrics right before the vocal recordings, drawing from the interviews conducted in each city after the musical recordings were completed. Shall we start with the tour??? 1. Chicago - "Something from Nothing" The band embarks on their journey in Chicago, but why Chicago, you may wonder... Well, here's the explanation. In Chicago, Dave attended his first-ever concert, a performance by a local punk rock band called Naked Raygun. This experience inspired Dave to pursue a career in music, setting the stage for what was to come. Prior to the recording sessions, they conducted interviews with Rick Nielsen, a guitarist and songwriter from the renowned 70s rock band Cheap Trick. With a track record of over 5,000 shows, more than 20 million albums sold, and induction into the Rock & Roll Hall of Fame in 2016, Cheap Trick is a legendary band. The band members have a longstanding friendship with Rick. At the end of the interview, Rick jokingly asked, "So, are you going to invite me to play on the song?" Without premeditation, the friends glanced at each other and enthusiastically agreed. This marked the inception of their collaboration with local musicians, recording a song with a different artist in each city they visited. The recording took place at Electrical Audio Studio, founded in 1997 by Steve Albini, serving as a hub for numerous local independent bands over the years. 2. Virginia - "The Feast and the Famine" The song was inspired by the punk rock band "Scream", hailing from Washington, D.C. (which, yes, is in Virginia). The band had a direct tie to the "Foo Fighters" when guitarist Franz Stahl briefly joined them on tour after Pat Smear's departure. However, this musical partnership was short-lived as Stahl was eventually replaced by Chris Shiflett . The track was recorded at Inner Ear Studio, and to come full circle, Pete Stahl, Franz's brother and the lead vocalist of Scream, as well as Skeeter Thompson, the band's bassist, both participated in the recording session. Coincidentally, Dave Grohl, who was also Scream's drummer, completed the lineup. 3. Nashville - "Congregation" This song was recorded by the band with singer Zac Brown. Dave produced an album with his band "Zac Brown Band". A country rock band that is considered to be very big in the province of Tennessee and even played at The Bluebird Café (mentioned in the song), this is where any artist who wants to succeed in Tennessee must go. If you have not passed the "Bluebird" test then you are not talented enough and you should look for another profession. Dave said that when Zack approached him to produce the album for him, he was surprised because he did not know him and when he asked people from Tennessee if they knew him, everyone told him he was a huge star. 4. Austin - "What Did I Do? / God as My Witness" This song was recorded in Austin Texas at KLRU-TV Studio 6A with singer and musician Gary Clark Jr, best known for his blues and rock style with a combination of hip-hop elements. He has performed on stage with Eric Clapton , Bibi Kin,g and the Rolling Stones, among others, and has won a Grammy for Best Traditional R&B Performance 5. Joshua Tree - "Outside" The song was recorded in the middle of the desert in a studio on the Rancho De La Luna farm. The song features guitarist star Joe Walsh who has a glorious career of 50 years in which he has played in several bands the most famous being the Eagles. Taylor said that when you add a guitarist like Joe, you don't let him play two, chords, but you let him explode and that's how it sounds. The song is also joined by Chris Goss who is a musician and producer (who also worked with Queens of the Stone Age) and is considered an important figure in the development of the subgenres Stoner Rock and Desert Rock. 6. New Orleans - "In The Clear" Dave expressed that leaving New Orleans was a regrettable experience for him, as he had developed a strong attachment to the city's people, cuisine, music, and overall ambiance. His connection to New Orleans was particularly significant during the creation of this album. The track was recorded at Preservation Hall, a jazz club and non-profit organization dedicated to safeguarding and supporting the city's music culture. Notably, the song features the club's own jazz band, known as the Preservation Hall Jazz Band. 7. Seattle - "Subterranean" Seattle, where Nirvana, Grunge, and Dave (despite not being born there) originated... The band revisits their roots and records the song at Robert Lang Studios, where Dave previously recorded the Foo Fighters' debut album alongside producer Barrett Jones. The track includes creator and guitarist Ben Gibbard, renowned as the lead vocalist and guitarist of the indie rock band Death Cab for Cutie. 8. New York - "I Am a River" The final track on the album, recorded in New York City, inspired the number eight on the album cover, which also features the infinity sign. Dave explained that the song served as a reflection of his observations, feeling like a river where everything is visible and all the water flows. Furthermore, the song was recorded at The Magic Shop recording studio, which was constructed in a New York basement. During construction, the floor collapsed, revealing a river flowing beneath the entire city. Dave expressed how he perceived a cosmic connection between the various studios they visited, envisioning a river flowing beneath them that united all music and creativity in an endless manner. This concept serves as the inspiration behind the symbol on the album cover. By the way... when they first released the album cover, Dave was so excited that he went in to check out the reactions to the cover and the first response was: "Dream Theater called to ask for their album cover back!" During numerous interviews, the band expressed that they embarked on a profound journey while recording the album, delving into spiritual experiences intertwined with the people, music, and history they encountered. The continuous movement from one city to another for recording sessions intensified their connection to the music-making process, leaving no room for breaks or distractions. The band found the experience binding and intense. Conversely, they also acknowledged that despite the intensity and dedication, creating the album was a solemn yet remarkably enjoyable endeavor. Each location they visited taught them valuable lessons in recording, band leadership, and music distribution. The amalgamation of interactions with individuals, exploration of new places, and immersion in history rendered the entire process profoundly unique and extraordinary. Now you are going to listen to the album 3-4 times and then search and watch the documentary. Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 10, 1967, "The Moody Blues" released their second studio album  "Days of Future Passed". This is the band's first album with bassist and singer John Lodge (who replaced Clint Warwick) and with singer and guitarist Justin Hayward who replaced guitarist and vocalist Denny Laine who joined Paul McCartney 's "Wings" in 1971. It is an influential, unique and groundbreaking album in many ways, which symbolizes a significant moment in the evolution of rock. This is the first album in the history of rock that was made entirely in full collaboration with an orchestra - the London Festival Orchestra conducted by Peter Knight. The album, which was initially considered as a demo record for Decca Records' stereo sound and the new Dynamic Sound System, developed into a groundbreaking mix that fuses orchestral arrangements with rock, classical music and psychedelic elements, thus also its influence on progressive rock (some would call it the first progressive rock album) . Moreover, it is one of the first concept albums, which presents a day in the life of a person, starting with "dawn" and ending with "night", with the masterpiece song " Nights in White Satin " written by Justin Hayward. The innovative combination, between a rock composition and sweeping orchestral arrangements created an abundant and sweeping sound that was new to listeners at that time. The album opens with " The Day Begins ", a kind of prelude that includes orchestral pieces that introduce the recurring themes and melodies heard throughout the album. Knight's orchestration sets the tone for the journey ahead. This track flows seamlessly right into " Dawn: Dawn is a Feeling ", a peaceful piece that evokes a sense of awakening with a soft and gentle melody that reflects the beauty and calm of the early hours of the morning, accompanied by Justin Hayward and Pinder vocals. As the day progresses, " Another Morning " takes over, with a more upbeat and whimsical tune for Ray Thomas' voice. This song depicts the light bustle of the morning, using playful lyrics and an upbeat melody to the sound of refreshing flute playing, to reflect the innocence and joys of a new beginning. It is followed by " Lunch Break: Peak Hour " which shifts gears to represent the rush and madness of midday. The upbeat rhythm and throbbing bass evoke the energy of noon in a bustling city. The mood turns more introspective with " The Afternoon " which is divided into two parts and contains the favorite track "T uesday Afternoon ". This song is one of the highlights of the album which is characterized by its dreamy quality, when the vocals that evoke the guitar playing and the poetic words of Justin Hayward transport the listeners to a peaceful and idyllic setting. " Evening: The Sun Set: Twilight Time " brings a change in mood, with Pinder and Thomas taking the lead vocals. This track presents a mystical feeling in anticipation of the approaching night. The combination of sitar-like sounds and eerie orchestration creates a sense of anticipation and the surreal beauty of dusk. The album reaches its climax with " The Night: Nights in White Satin ", the track that has become a symbol of the great legacy of the "Moody Blues". The ballad, written by Hayward, delves into themes of love, loss and longing. His vocal delivery, along with the soaring orchestral arrangement, create a deep emotional impact that resonates long after the song has faded. The album comes to an end on a contemplative note with " Late Lament ", which reflects the fleeting nature of life. The production of "Days of Future Passed" was also groundbreaking for its time. "The Moody Blues" and producer Tony Clarke leveraged the experimental Deramic Sound System, which added depth and clarity to both the orchestral and rock elements. The result was an immersive, almost "cinematic" listening experience that was ahead of its time, influenced generations of bands and reshaped the perception of what rock albums should sound like. In retrospect, "Days of Future Passed" is a conceptual masterpiece that helped raise the status of rock from light and simple singles aimed at the radio, to a complete, full and dignified work of art, capable of tying together weighty themes and complex music. The album's innovation and ambition continue to captivate listeners, setting it apart as a milestone in the evolution of rock music. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website