On November 6, 1970, "Aerosmith" took the stage for the first time as a band. (Photo: Aerosmith On Twitter) It happened at "Nipmuc Regional" in Mendon , Massachusetts. The band members had to exercise some "protection" to get the show. Guitarist Joe Perry's mother, who worked at a nearby school, knew someone at "Nipmuc School" and helped organize the show for her son and friends. At the time Ray Tabano was the band's rhythm guitarist and he was replaced by Brad Whitford just a year later. A ticket to the show cost 50 cents and the band earned only $ 50 for it. The setlist consisted mostly of cover versions of "The Yardbirds", "Fleetwood Mac", "The Rolling Stones", "Led Zeppelin" and more. Here is list of songs played on that historic evening: 1. Route 66 (Bobby Troup) 2. Rattlesnake Shake (Fleetwood Mac ) 3. Happenings Ten Years Time Ago (The Yardbirds) 4. Movin' Out 5. Somebody 6. Think About It (The Yardbirds) 7. Walking the Dog (Rufus Thomas) 8. Live With Me (The Rolling Stones) 9. Great Balls of Fire (Jerry Lee Lewis) 10. Good Times Bad Times (Led Zeppelin) 11. The Train Kept A-Rollin' ( Tiny Bradshaw ) "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 7, 1981, Ozzy Osbourne released his second solo album, "Diary of a Madman". It's Ozzy Osbourne 's last studio album with the talented guitarist Randy Rhoads , who even surpassed himself in comparison to the previous album Blizzard Of Ozz , both in writing and playing, and it's hard not to think how his next albums with Ozzy would have looked like had he not passed away. Listen for example to the theme song " Diary of a Madman " that closes the album and you will understand what we are talking about. Randy Rhoads is at his peak, he managed to concoct in his genius an epic work bordering Progressive, while throwing into the bubbling dark cauldron the best influences on him as a child, classical music, opera and of course virtuoso and electrifying guitar playing reminiscent of his idols, including Ritchie Blackmore . Bassist Bob Daisley said that when he and Randy played the song for Ozzy for the first time, Ozzy's jaw fell to the floor and the first thing that came out of his mouth was: Who the hell do you think I am Frank Zappa ? How am I supposed to sing it at all? It's not for me. Ozzy's instinctive reaction was in place. It's a very dynamic song that features unconventional rhythms and complex transitions that reflect Rhoads' musical abilities, who received a musical education from childhood and even became a teacher himself at his mother's music school. The lyrics were written by Bob Daisley About himself and the nervous breakdown he experienced when he was 16. He thought that as a sensitive child he was his own greatest enemy and that he slowly filled the "diary" with his problems until that breakdown. The title of the song was influenced by a 1963 film of the same name starring Vincent Price and Daisley thought it would be very appropriate for Ozzy and his insane character. This song is just one example of the musical development of Ozzy Osbourne and his band members on this album. While it was clear that the goal was to try and recreate the success of the previous album Blizzard Of Ozz , the band still takes it one step further, In terms of writing, sound and production. It is amazing to think that this result was achieved even though the album was written and recorded in less than two months, under pressure from the record company to finish it before the tour scheduled for the band. For example, Randy's solo in the song "Little Dolls" is a demo that the band did not have time to replace with a more polished one. This mighty song that opens the other side of the vinyl with Lee Kerslake 's marching drumming refers to black magic and voodoo dolls, and features Randy Rhoads ' relatively modest solo, for the reason that it was a demo designed to guide Rhoads how to play the real solo during the recording. The album opens up with the amazing drum "dribbles" of " Over the Mountain " that leads us to the dominant and powerful riff of Randy Rhoads . It is interesting to note that drummer Frankie Banali known from Randy Rhoads' previous band "Quiet Riot" claimed that he was the one who invented the basis for drumming in this song. He claims he played in a rehearsal room in Los Angeles with Randy and Ozzy in the early stages of the band train and one of the first sketches of this song was played there. Immediately after that, " Flying High Again " emerges with the stretched riff and mid-pace rhythm. Many thought this song was about getting addicted to cannabis, but Ozzy denied it and claimed it refers to his solo career causing him to “fly high” again after the free fall from "Black Sabbath". Here is the place to note that Ozzy did not write the lyrics of this song alone. Similar to what happened on the previous album, here too the songs on the album were written by Randy Rhoads , drummer Lee Kerslake and bassist Bob Daisley, who claimed to have written all the lyrics without exception. Despite that, the credit for the album cover was given to drummer Tommy Aldridge and bassist Rudy Sarzo, Randy's friend from "Quiet Riot", whose photos even adorned the inside cover of the album. In 1986, Bob Daisley and Lee Kerslake sued Ozzy for non-payment of royalties for their part in writing the songs. In response Ozzy re-recorded the bass and drum parts on these two albums, along with drummer Mike Bordin from "Faith No More" and bassist Robert Trujillo and released in 2002 a remix of the album with the bass and drum channels replaced. Eventually Justice was served after Daisley's bass and Kreslake drum roles were returned to the album in the 30th anniversary of its release. The third track " You Can't Kill Rock and Roll " is one of the ballads of the album and is without a doubt one of the best from it. 7 minutes of pure and refined magic with an amazing technique by Randy Rhoads that highlights his two contrasts in playing. On the one hand the classical music and on the other hand the electrifying heavy metal. An amazing song whose only title justifies its entry into the Rock and Roll Hall of Fame. The first side of the vinyl ends with " Believer ", which opens with Daisy's beating bass that serves as solid ground for Rhoads' heavy, dark riff that corresponds with Ozzy's previous band and could easily be part of one of their albums, especially when listening to the genius transition section at its center. Right after " Little Dolls " which we wrote about above, comes the second ballad of the album " Tonight ". This time it's Power Ballad in the full sense of the word. A melodic and moving song that brings out and highlights the soft and charming side of Ozzy out. The song " S.A.T.O. " Illustrates the sad side of Ozzy. The song written by Daisley was originally called "Strange Voyage" and was influenced by a letter written by Buddhist Nichiren Daishonin and was called "A Ship to Cross the Sea of ​​Suffering. After Daisley and Lee Kerslake were kicked out of the band Ozzy and Sharon changed it to "S.A.T.O." Which are actually the acronyms for Sharon Osbourne and Thelma Riley (Ozzy's first wife) - S haron A rden, T helma O sbourne. Upon its release, the album received good reviews and it also sold well compared to the debut album, although it did not include "hits" that marched high in the various charts. Very sadly, just four months after the release of this album, on 3/18/1982, Randy Rhoads made his last appearance with Ozzy Osbourne at the Civic Coliseum in Knoxville, Tennessee. The next day, the band made their way by bus to Orlando, Florida, where they were scheduled to perform at a festival. The bus broke down on the way and the band parked near a small airport in the estate of the travel company manager, to fix the malfunction. Bus driver Andrew Aycock, who was also a certified pilot, took keyboardist Don Airey and the tour manager on one of the small planes. He passed very close to the bus in an attempt to wake up drummer Tommy Aldridge who was sleeping inside at the time. In the second round the bus driver took Randy Rhoads and the costume designer and tried to do the same pranks, the plane circled several times above the bus, only this time the plane's wing touched the bus and crashed into the mansion. Randy Rhoads died on the spot. Before concluding we will refer to the album cover. So for those who are wondering who the child who appears on it is, this is Ozzy's son from his first marriage - Louis. For Listening: Spotify , Apple Music Follow us on Facebook or Subscribe to our website "Face/Off" - Israel's Rock Blog & Podcast

On November 7, 1969 "Pink Floyd" released their forth album "Ummagumma". "Ummagumma" is a slang expression for "sex" that was common at Cambridge University, where the band members studied. Their classmate and who later became a member of the band's technical team - Iain "Emo" Moore used to use the phrase when talking to them about their existing sex. In stark contrast to the sexy expression that rolls so beautifully on the tongue, this is definitely not the album you want in the background as a soundtrack for romantic moments. It is likely that even if you are among the fans of "Pink Floyd" you skipped it or at least did not devote more than a few consecutive listens to it. This is an album where "Pink Floyd" went the furthest in terms of musical style and sound. An experimental, unorthodox, psychedelic, spice-rock, avant-garde album, that didn't produce even one single, let alone a hit. It finds the band in a transition phase from the psychedelic origins led by Syd Barrett to a more experimental and avant-garde sound. It's a double album, which is divided into two separate halves: a live album that showcases the band's technical and improvisational abilities on stage, and a studio album that includes individual works by each of the band's members. This ambitious approach emphasizes both the band's creativity and its willingness to push boundaries, even if the result is unusual and extreme. The first half, recorded live at venues in Birmingham and Manchester, features some of "Pink Floyd’s" early staples, including “ Astronomy Domine ,” “ Careful with That Axe, Eugene ,” “ Set the Controls for the Heart of the Sun ,” and “ A Saucerful of Secrets .” Here, "Pink Floyd's" live energy and improvisational skills are on full display, with extended, atmospheric renditions that breathe new life into the studio versions. “ Astronomy Domine ” is both haunting and electric, still echoing the psychedelic influence of Syd  Barrett , while “ Careful with That Axe, Eugene ” showcases Roger Waters' visceral screams, evoking an intense, almost cinematic horror. These live tracks capture the band's atmospheric layering and gradual buildups, which would later become central to their classic sound. The second half, which was recorded in the studio, on the other hand, is a unique unbridled, even disturbed, experiment in the personal creativity of each member of the band. Instead of working collaboratively, each member of the band took part of the studio album to create their own solo piece, and as a result this part of the album is a kind of fragmented and diverse mosaic that explores the sound, style and musical ideas that each band member is drawn to. Richard Wright brought " Sysyphus " a brooding four-piece piece influenced by classical music, but prone to chaos, experimenting with musical dissonances and electronic textures. Roger Waters' " Grantchester Meadows " is a serene acoustic piece that captures a pastoral serenity, filled with natural sounds that create a vivid sense of place. On the other hand, his " Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict " is an abstract and surreal composition, built on sounds influenced by loops and unstructured voices, and adds an eccentric twist to the album. David Gilmour 's " The Narrow Way " is perhaps the most conventional of the studio tracks. A three-part suite that begins with an eerie, ambient sound and "Led Zeppelin"-style acoustic guitar, before moving into the guitar work more associated with the "Pink Floyd" sound. Finally, Nick Mason 's " The Grand Vizier's Garden Party " features extreme avant-garde music, often considered one of the album's more challenging listens due to its avant-garde structure and lack of melody. While "Ummagumma" doesn't offer the cohesion or polish of later "Pink Floyd" albums, it serves as an important artistic statement. This album marked a moment of musical experimentation and development, laying the foundation for the band's next masterpieces. It's a bold, imperfect and sometimes even embarrassing album, but despite its unevenness it remains an essential part of "Pink Floyd's" legacy, giving listeners a rare glimpse into the raw and unfiltered imagination of each member at a pivotal time and heralding the innovation that would define their career. For Listening: Spotify , Apple Music Follow us on Facebook   or Subscribe to our website "Face/Off" - Israel's Rock Blog & Podcast

The eternal boy Jonny Greenwood is celebrating his birthday today, so let's tell you some interesting facts about him: (Photo: sfcv.org) = Johnny was born on November 5, 1971, as Jonathan Richard Guy Greenwood in Oxford England. = As a child played in various youth orchestras. His first musical instrument was a flute given to him at the age of 4, but he also took musical lessons playing viola, making him the only "Radiohead" member with a background in classical music. = Together with his two-year-old older brother, Colin Greenwood, he attended Abingdon Boys' School, where he also met his "Radiohead" bandmates. = In 1986 he joined the band "On a Friday", which was named after the only day of the week when they could practice. = As the youngest member of the band Johnny was the last to join it, initially as a keyboardist and harmonica player, but very quickly he became the lead guitarist. = Within a short time the band had its first demo and they received an offer for a recording contract. = The band changed its name to "Radiohead" and signed a recording contract with "Parlophone". = Greenwood left his music and psychology studies as soon as "Radiohead" signed the recording contract. = In 1992 the band released their first hit "Creep" which featured Greenwood's aggressive guitar playing. = His iconic entry in the chorus of “Creep” with the three guitar blasts was originally intended to ruin the song. He did not like that the song was so quiet and calm. = Johnny is a multi-instrumentalist and in addition to guitar he also plays bass guitar, banjo, a variety of keyboards, viola, xylophone, harmonica, and even drums. He also plays on Martenot which is a kind of early electronic keyboard. = In addition to his musical talent Greenwood also has knowledge in computer programming and he uses this to enrich the sound of "Radiohead" as reflected among others in the album "The King of Limbs". He uses electronic techniques, programming, sound samples, and loops and even writes music software for the band to use. = Greenwood describes his place on "Radiohead" as a producer who helps turn Thom Yorke 's demos into full songs. Indeed, Greenwood also serves as the arranger of some of the band's works and, among other things, performs arrangements for strings and brass instruments. One of the first examples of Greenwood's string arrangements is in the song "How to Disappear Completely." = Greenwood composed music for eight films, including "Phantom Thread" and "There Will Be Blood." = He also composed classical music for orchestras, including: "London Contemporary Orchestra" and "BBC Concert Orchestra". = He even formed an independent label for classical music called "Octatonic Records". = In 1995, he married Sharona Katan, an Israeli visual artist from Kiryat Ono. He speaks excellent Hebrew and the two have three children. = Sharona and Greenwood met during Radiohead's first tour of Israel in 1993, which included live shows at the mythical "Roxanne" Club. = In 1998 Greenwood co-formed with Thom Yorke , Bernard Butler of "Suede" and Andy McKay of "Roxy Music" the band "Venus in Furs" which recorded cover versions of "Roxy Music" songs for the movie "Velvet Goldmine". = It was not the only Greenwood's collaboration with a member of Roxy Music. He has played on two solo albums by Brian Perry "Frantic" from 2002 and "Olympia" from 2010. (Photo: Gaelle Beri) = In 2003 Greenwood released his first solo work, a soundtrack for a documentary called "Bodysong" starring his brother Colin on bass. = In 2004 Greenwood received an offer to fill in for guitarist John McGeoch who passed away during the reunion tour of "Magazine". Although he is a fan of the post-punk band he declined the offer. = In 2007, on the occasion of the 40th anniversary of "Trojan Records", Greenwood put together a collection of reggae and dub songs by the label's artists and released a compilation album called "Jonny Greenwood Is the Controller", which included songs in the style of Dub and Roots Reggae from the seventies. = In 2008 Greenwood collaborated with Dudu Tassa on the song "Some Day" from the album "Basof Mitraglim LeHacol". = This is not Greenwood's only collaboration with an Israeli artist. In 2015 he collaborated with composer Shai Ben Tzur and the band "Rajasthan Express" to create the album "Junun". = The album "Junun" was chosen as the Sunday Times Album of the Year in the world music category. = Although he's a really good lead guitarist, Johnny does not like guitar solos, he thinks they are boring because you can predict what the next note the guitarist is going to play. He prefers to surprise the listener. = His favorite guitar is "Fender Telecaster Plus", but he also plays "Fender Stratocaster" and Gibson Les Paul guitars. = He appeared in the 2005 Harry Potter film "Harry Potter And the Goblet Of Fire" as part of the "Weird Sisters" bans. Along with him in the band was Radiohead drummer Phil Selway, see here: = The first ever live rock show Greenwood saw in his life was The Fall in 1988. = In 2006 he co-starred with Thom Yorke in the remake of the song "Do They Know It's Christmas?" As part of the "BBand-Aid20" project. = In 2010, NME music magazine named Greenwood one of the best guitarists. = That same year he was also voted the seventh best guitarist of all time in a poll of more than 30,000 BBC 6 radio listeners. = In 2011 Greenwood reached number 48 on Rolling Stone magazine's list of the best guitarists of all time. = In the same year he also reached number 29 on SPIN magazine's list of the best guitarists of all time. = His solo in the song "Paranoid Android" was ranked 34th on Guitar World magazine's all-time great solo list. = He also managed to put three of his solos on NME Magazine's list of the greatest solos of all time, the songs "Paranoid Android", "The Bends" and "Just". = Greenwood has released throughout his musical career along with Radiohead 9 studio albums and 6 EPs. = In 2019 he entered with his bandmates into the "Rock and Roll Hall of Fame". = In 2021 Greenwood co-founded "The Smile", with Thom Yorke and drummer Tom Skinner. They gave their first appearance on May 22, 2021, in a livestream show. Watch here . = In May 2022, "The Smile" released its debut album, "A Light for Attracting Attention". The album consists mainly of songs that Yorke and Jonny wrote together during the COVID-19 pandemic. = That same year, the two composed music for six episodes of the phenomenal TV series "Peaky Blinders". = In 2023 Greenwood together with the Israeli musician Dudu Tessa released an album called "Jarak Qaribak". An album with Eastern Mediterranean influences that combines different artists from the region. The album was produced by Nigel Godrich who also worked with Radiohead. = In January 2024, the band "The Smile" released its second album, "Wall of Eyes". The album achieved significantly greater success than the debut, reaching the top ten in several charts worldwide. = In October 2024, "Cutouts" released its third album, recorded alongside the previous one. This album also enjoyed relatively good success, reaching number 7 on the UK chart. = In September 2025, the film "One Battle After Another," directed by Paul Thomas Anderson, was released. This marked the sixth collaboration between Paul and Jonny, with Jonny composing the film’s soundtrack. = During the war, Jonny faced heavy criticism and even saw several of his and Dudu Tassa’s performances canceled due to his support for Israel. The controversy peaked when, in an October 2025 interview, he expressed deep regret that his bandmates had been dragged into the protests. Although he did not formally speak out against Israel, Yorke stated that he would not agree to perform in the country as long as Netanyahu’s government remains in power. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Today we will tell you about Ken Hensley, best known as the keyboardist and lead songwriter in the band "Uriah Heep" from 1970 to 1980. (Photo: Theaudiodb.com) Hensley was born Kenneth William David Hensley, in Plumstead in south-east London, on 24 August 1945. He taught himself to play the guitar when he was 12 years old and already when he was 15 he made his first show. In 1965, at the age of 20, he formed the band "The Gods" with guitarist Mick Taylor. Hensley wrote most of the material, singing and playing the Hammond organ. In early 1968 the band signed a recording contract with "Colombia" and recorded two albums and a few singles, but later split up when Hensley joined "Toe Fat" - with whom he later recorded an album. In between, he released the album "Orgasm" with "Head Machine" in 1969. (Photo: Trevor Hensley on Facebook) In 1969, Hensley joined "Spice" as a keyboardist, a band that also included guitarist Mick Box and vocalist David Byron. The band later changed its name to "Uriah Heep". Under the new name, Hensley recorded with "Uriah Heep" 13 studio albums, including masterpieces such as "Salisbury", "Look at Yourself", "Demons and Wizards", "The Magician's Birthday", "Return to Fantasy" and more. (Photo: Michael Putland) Hensley served as one of the lead writers of the band and beyond his tremendous influences on the band's sound playing keyboards and guitar, he also took on singing roles, sometimes even as a solo singer as in the songs "Lady in Black" and "Look at Yourself". in 1971 he released the album "Weed...!" with "Weed". In 1980 Hensley left the band and in 1982 joined "Blackfoot", a Hard Rock band from Florida, with whom he recorded two albums "Siogo" from 1983 and "Vertical Smiles" from 1984. Hansley also had a number of collaborations, including with John Wetton , Glenn Hughes , "W.A.S.P.", "Ayreon", "Therion", "Cinderella" and more. Hensley had an extensive solo career that began in 1973 with the album "These were Proud Words on a Dusty Shelf" and ended with his 12th studio album "My Book of Answers", which was released after his death in 2021 . On November 4, 2020, Hensley was found dead after a short illness. He was 75 years old. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 4, 1981, "Mob Rules", "Black Sabbath's" tenth studio album, was released. This album proved that the huge success of the previous album, " Heaven And Hell ", was not an accidental or one-off shot. This is the band's second album with Ronnie James Dio and it certainly does not fall short and may even surpass some of the albums from the band's golden age with singer Ozzy Osbourne . This is the band's first album with drummer Vinny Appice replacing Bill Ward during the " Heaven And Hell " tour, due to his addiction issues. Vinny was a big fan of Bill Ward and was well acquainted with all of Ward's drumming roles and his drumming style, so he got into his big shoes immediately and smoothly. We can say that on this album the band continues with the same successful formula that characterized the previous album, only taking it one step further with heavier riffs, faster and more technical playing by Tony Iommi and Geezer Butler , and the empowerment of the dark atmosphere that also hovers over the entire album. Sticking to the formula of the previous album was not only in the musical line, but also in the mix of songs and their distribution across the album. For example, on both albums, the opening song is short and energetic (" Turn Up the Night " vs. " Neon Knights ") and the song that seals the album is slower and calmer (" Over and Over " vs. " Lonely Is the Word "). In addition in both albums, the theme song is the one that seals the first side of the vinyl, and in both, there is also a more dynamic and complex epic song (" Children of the Sea " versus " The Sign of the Southern Cross "). Immediately after completing the tour that accompanied their previous album " Heaven And Hell ", the band received an offer from producers of the cult film "Heavy Metal" to record a song for the soundtrack. The band was in England at the time. They used the house where John Lennon 's music video for the song " Imagine " was filmed, to write and record the song. The band managed to write the theme song " Mob Rules " that day and the next day a version of the song was recorded and found its way to the movie soundtrack that came out that year. This is a slightly different version of the song which was re-recorded as part of the recording session for the album. It is interesting to note that the film "Heavy Metal" also included an initial version of the instrumental track " E5150 " which is a part of the film, but was not part of the album soundtrack. The band later flew to the United States and rented a house in the Toluca Lake area of ​​Los Angeles to write and record the material for the album. The initial intention was to record the album independently in a private studio that the band would set up, and for this purpose, the band purchased a console and recording equipment. However, the band failed to get the right sound, especially that of Tony Iommi 's guitar, which caused them to give up on the idea and turn to "Record Plant" studios in Los Angeles to record the album. (Photo: Official Dio On Twitter) The album opens with 4 quick taps on Vinny Appice 's hai-hat which dictates the rhythm to the song " Turn Up the Night ". An energetic and powerful song that is characterized by Iommi 's fast and technical guitar playing and Butler's heavy and rolling bass. Notice Iommi's little touches with the short guitar sentences that alternately separate the sentences in Dio's singing. There is no shadow of a doubt that the band tried to recreate the magic of the opening track from the previous album "Neon Knights", with even the title of the song rhyming the same, but we definitely have no problem with that, a bombshell of song, period! From there we move on to one of the darkest songs on the album as also the title, " Voodoo ". Although the song is led by Iommi 's Catchy riff, it is Butler's bass playing here that is simply wonderful. Vinny Appice keeps pace with his hammer blows thrusting into our guts and the melodic singing of Dio is so beautiful and mesmerizing that we don’t even notice he threatens to burn us if we say we don’t know him: "Say You Don’t Know Me You Burn…." The third track is one of the most beautiful on the album. " The Sign of the Southern Cross " is an epic and dynamic piece on the progressive border, lasting almost 8 minutes. The track opens with Iommi's quiet acoustic and Dio's caressing voice, as at 1:16 this serenity is interrupted by Iommi 's slow riff. What is amazing here is that the verses in this song are held almost entirely by the drums, while the guitar and bass have almost no roles. The transition section starts at 4:05 minute is very special and includes a cruise of Iommi 's guitar between the left and right speakers with a direct connection to his crazy solo in which the guitar sound is just perfect. The song ends with a fade-out that connects with Fade-in to the instrumental track "E5150" which means EVIL in Roman letters (5 is V 1 is I and 50 is L), and this experimental and psychedelic section does sound dark and frighting. The Track " E5150 " is a kind of bridge to the theme song " Mob Rules " which begins immediately at the end. This is the first single from the album that also seals the first side in a heavy, aggressive, and perfect way. The other side of the album opens with " Country Girl " and Iommi 's slow guitar riff dragging this whole song down to the amazing and melodic transition section at 1:30, and what a beauty is the combination between Dio's singing and Iommi's howling guitar, just sheer pleasure! " Slipping Away " makes it very difficult for us not to notice the obvious influences from "Led Zeppelin". Listen to the short bass lines that just take the lead from the guitar in some parts of the song. And the guitar solo... Just Wow!! what an adorable solo, a duel between Butler and Iommi who takes the lead alternately from each other. From here we move on to the breaking and breathtaking track " Falling Off The Edge Of The World " which begins with a slow, quiet, and melodic playing, which gradually increases to a heavy riff that just explodes at 2:06 with Iommi 's crazy riff. And again it's hard not to make the comparison to the energetic rhythm in the corresponding track from the previous album "Die Young". The song that seals the album " Over and Over " is a classic blues-rock track with long solos, the last of which lasts "Over and Over" until the end of the song. We do not have a bad word to say about this amazing album, which in our opinion did not get the appreciation it deserves, probably because it fell the shadow of the previous masterpiece as well as the slightly problematic production. The person who produced this amazing album is none other than the super producer Martin Birch , but in this case, he was not at his peak in the face of the fact that at the time he was trying to get over his drug addiction. Unfortunately, this album was the band's second and final with vocalist Ronnie James Dio , until reunion a decade later in 1992 with the album " Dehumanizer ". Immediately after the release of the album, friction between the band members will arise over the fact that "Dio" received an offer from "Warner" to release a solo album. This friction will intensify during the mixes for the live album "Live Evil" and at its peak, Dio and drummer Vinny Appice will leave the band and form the band "Dio", with bassist Jimmy Bain (Dio's friend from "Rainbow"), and with then young and unknown guitarist - Vivian Campbell. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Here are some interesting facts about Jordan Rudess, mostly known as "Dream Theater" keyboard player: (Photo: Fanart.TV) = He was born Jordan Charles Rudes, on November 4, 1956 in New York, raised in a Jewish family. = In second grade, his teacher noticed his piano talent, leading to professional instruction soon after. = At age 9, he was accepted into the Juilliard School’s Pre-College Division for classical piano, where he studied under Katherine Parker and Adele Marcus. = His early theory instructor at Juilliard was future collaborator Joseph Lyons. = Rudess studied classical piano at Juilliard for seven years. = A Juilliard teacher took him to the Fillmore East to see "The Who" performing " Tommy " when he was 13 years old. = By his late teens, he developed a keen interest in synthesizers and progressive rock, influenced by Jon Lord ’s Hammond organ sound. = He discovered progressive rock via "Emerson, Lake & Palmer" album "Tarkus". = He also Cites keyboardists like Keith Emerson, Tony Banks , Rick Wakeman and Patrick Moraz, guitarists like Jimi Hendrix , and bands like "Genesis", "Yes", "Gentle Giant", "Pink Floyd", "Emerson, Lake & Palmer", "King Crimson" as major influences. = Despite Juilliard training, he decided against a classical career, pursuing progressive rock against his family’s and teachers’ advice. = One of his earliest bands was "Complex", an "electronic space music" group he formed with his former Juilliard instructor, Joseph Lyons. = In 1977 "Complex" performed at Hansen Galleries in New York, earning positive reviews from The New York Times. = That same year, he worked at Lexington Conservatory Theatre with Lyons, composing scores for productions, including "The Prevalence of Mrs. Seale". Rudess played drums briefly, even recording the song "Bring the Boys Back Home," for "Pink Floyd's" during " The Wall " sessions, though his part was rejected by producer Bob Ezrin. = In 1980 Rudess joined "Speedway Boulevard", a studio project by Jerry Kasenetz and Jeffry Katz, which after releasing one album disbanded without live performances. = He released his first solo album, "Arrival", in 1988 focusing on electronic and progressive music. = By 2024 he release no less then 21 albums as a solo artist. = During the 1980s Rudess participated in various projects, establishing his name as a versatile session musician. = In 1994 he was voted "Best New Talent" by Keyboard magazine readers following the release of his second solo album "Listen", catching the attention of The "Dixie Dregs" and "Dream Theater" whom invited him to join. = He chose "Dixie Dregs" over "Dream Theater" due to family commitments, marking his first high-profile gig. = After a power outage during a "Dixie Dregs" show, leaving Rudess and drummer Rod Morgenstein to improvise on stage until power was restored, they formed the power due "Rudess/Morgenstein Project" and have since released a studio album and a live record. = One of the tracks on the "Rudess/Morgenstein Project" album is called "Masada" - influenced by the ancient fortification in southern Israel. = In 1997, Rudess joined the "Magna Carta" supergroup "Liquid Tension Experiment" with John Petrucci , Mike Portnoy , and Tony Levin. = Up until 2021 he released 3 albums with this supergroup including " Liquid Tension Experiment - LTE3 ". = Impressed by his work with "Liquid Tension Experiment", "Dream Theater" asked him to join in 1999, replacing Derek Sherinian. = In 1999 Rudess’s released his first album with "Dream Theater" - " Metropolis Pt . 2 : Scenes from a Memory ", which became one of their most acclaimed releases. = Since then Ruddes was part of every "Dream Theater" Album, including 10 studio albums susch as " Six Degrees of Inner Turbulence ", " Octavarium ", " Systematic Chaos " and many more. = In the album " Octavarium " Rudess started playin lap steel guitar and continuum in addition to all keyboards. = In 2001 Rudess released the album "An Evening with John Petrucci and Jordan Rudess", showcasing his collaboration with John Petrucci and his interest in emulating guitar techniques on keyboards. = In 2002 he played keyboards on David Bowie 's album "Heathen". = In 2004 Rudess released the album "Rhythm of Time", featuring guest musicians like Joe Satriani , Vinnie Moore and Steve Morse . = In 2005 Rudess supported "Blackfield" on their first U.S. tour and later opened on their second tour in 2007. = This freindship with "Blackfield" Member led Aviv Geffen to invite him as a special guest in his show in Israel in 2006. = In 2010, Rudess composed "Explorations for Keyboard and Orchestra," his first classical composition. = The same year he started "Wizdom Music", a company specializing in innovative music software. = He said that upon receiving the news that Mike Portnoy was exiting the band in 2010, he sat on the steps of his studio and wept. = In 2011 he was voted “Best Keyboardist of All Time” in a "MusicRadar" poll. = In 2013 Rudess released "Levin Minnemann Rudess" album, that was a collaboration with bassist Tony Levin and drummer Marco Minnemann. = The same year he contributed to "Ayreon’s" "The Theory of Everything" album. = Rudess is also a great guitar player, he can even play keyboards and guitar at the same time, see here: = His solo album "Wired For Madness" from 2019 features guests musicians like James LaBrie and John Petrucci , Rod Morgenstein, Marco Minnemann and even Joe Bonamassa . = When "Dream Theater" covered full albums by "Iron Maiden" (" The Number Of The Beast ") and "Metallica" (" Master Of Puppets "), he had to learn how to play the second guitar parts on the keyboard. = Rudess developed instructional series, including Keyboard Wizardry, Total Keyboard Wizardry, Keyboard Wisdom, and Keyboard Madness. = During the years he collaborated and guest appeared in many artists albums such as: Vinnie Moore, Annie Haslam, Neal Morse, Steven Wilson, the Israeli composer/producer Eyal Amir and more. = In October 13, 2024 he released his debut episode of "The Jordan Rudess Podcast" "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 3, 1992 "Bon Jovi" released their fifth album "Keep the Faith". The album marked a pivotal moment in "Bon Jovi's" career, showcasing a band willing to grow and adapt during one of rock's most turbulent eras. After a four-year gap following their 1988 hit " New Jersey " in which Jon Bon Jovi wrote and release the " Blaze of Glory " album and Richie Sambora released " Stranger in This Town ", the band returned with a new sense of purpose and a sound that was distinctly different from their glam-rock roots. This transformation was a calculated response to the rise of grunge, which had reshaped the musical landscape and placed emphasis on introspective, stripped-down aesthetics. knowing that "Bon Jovi" had to evolve their image and sound to stay relevant and, in doing so, created one of their most mature albums. "Bon Jovi" embraced a more down-to-earth aesthetic, moving away from the glitzy, leather-clad look that had defined them in the ‘80s. Instead, they adopted a simpler style that aligned with the era's stripped-back, "real" aesthetic—a nod to grunge's influence without entirely abandoning their rock roots. Musically, the album combined the band’s signature hooks with a richer, more mature rock sound. There were hints of blues, hard rock, and a heavier reliance on keyboard melodies provided by David Bryan . The shift worked well, allowing "Bon Jovi" to bridge their classic sound with a contemporary edge that kept their fans engaged. To help them evolve and transform the band brought producer Bob Rock, who had helped craft "Metallica's" "Black Album". Working in this isolated environment, they created songs with a harder edge and more introspective lyrics, reflecting both the band’s desire to mature and the sobering tone of the 1990sת that can be heard in the sound and the heavy riff of " If I Was Your Mother ", in the bassline of " Fear " and more. Out of thirty songs written for the album, most were collaborations between Jon Bon Jovi and Richie Sambora, with a few co-written by David Bryan and Desmond Child. Ultimately, 12 songs were chosen for the original album, with Jon Bon Jovi writing half of them on his own. Before reuniting in the studio, Jon Bon Jovi spent the summer of 1991 riding his motorbike through places like Arizona, experiencing life anonymously. These experiences inspired him to write " Dry County " and " Bed of Roses ." Reflecting on this, he later noted, that he could never have written songs like this five years ago. The album was packed with strong singles that received considerable airplay, helping "Keep the Faith" go double platinum in the U.S. The first single and title track " Keep the Faith " marked a bold declaration of the band's new sound. Characterized by its driving bass line and infectious chorus, it reassured fans that "Bon Jovi" was still a force to be reckoned with, even if their look and sound had evolved. The second single " Bed of Roses " is one of the most beloved ballads of "Bon Jovi’s" career. The song demonstrated the band's new, more mature sound after their success as a glam metal band in the 1980, showcasing Jon Bon Jovi ’s growth as a songwriter. " In These Arms " – This track continued the band's tradition of catchy, sing-along choruses while introducing a more complex arrangement that reflected their evolving sound. It's one of the album's most upbeat moments, mixing romantic lyrics with a stadium-rock energy. It is characterized by a strong bass rhythm, as well as soulful, emotional singing by Jon Bon Jovi , especially in the iconic line "Baby I Want you.....". "I'll Sleep When I'm Dead " Brought a touch of fun to the album and serves as an anthem of living life to the fullest. Its lighthearted nature added balance to the record's darker themes, and it became a fan favorite during live performances. The opening track " I Believe " with its a brooding, guitar-driven intro and a Bruce Springsteen sound was one of the album’s more experimental tracks. It signals "Bon Jovi's" shift towards a more mature sound and highlights the band’s evolution in both sound and songwriting. The epic " Dry County " clocking in at nearly 10 minutes, is a true diamond and mayby the best song Jon Bon Jovi ever wrote. It is a true epic telling the story of economic hardship and resilience in the face of adversity that pushed "Bon Jovi" into uncharted narrative territory. The song is a sprawling journey through blues-infused guitar work with coplex and dynamic melodies, that stands out as one of the band's most ambitious songs to date. "Keep the Faith" showcased "Bon Jovi’s" adaptability in a decade that wasn’t always kind to ‘80s rock icons. Rather than attempting to compete directly with grunge, they chose to refine their sound, embrace more sophisticated songwriting, and present a more mature image. The result was a well-crafted, thoughtful record that kept them relevant and resonated with fans old and new. "Keep the Faith" not only demonstrated "Bon Jovi's" resilience but also paved the way for their continued success in the decades that followed. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 3, 1992, a bomb fell on the world of music, its intensity and impact were unimaginable and created an earthquake and utter chaos in the ears of various rock lovers. "Rage Against The Machine's" debut album has been released, creating top-notch hits that have never been seen before on planet Earth. We will try to do it gently for fear of further flare as this album after 30 years is still very flammable. The Los Angeles gang had no chance of succeeding. On the contrary - they had all the conditions to fail: the members of the band were from different "races", which was not customary then to play on the radio; The lyrics contained sharp and blatant political messages and despite the rise of grunge roughness something in “Rage” was even sharper and more painful. True, at the time "Body Count" was singing about killing cops and Sinéad O'Connor tore up a picture of the Pope on "Saturday Night Live," but still nothing matched what "Rage" created so their expectations were very low. Immediately after we bought the album we realized that what we have in our hands is a dangerous explosive of the highest degree. It is very difficult to describe in words the associations that your brain produces once the image on the album cover is burned into it, in which the Vietnamese Buddhist monk Thích Quang Duc is seen going up in flames. This is a real picture: he set himself on fire at the main intersection in Saigon in 1963, in protest of Buddhist oppression. The second thing we remember is the caption on the back of the album which says: "No samples, keyboards, or synthesizers used in the making of this record" Until the release of this album, there was not a single band or an album that had such a large collection and such a large concentration of political and social protest messages. The band's protest was sharp, harsh, poignant, provocative, and uncompromising. Tom Morello and Zack De La Rocha argued that music crosses cultures and bridges social gaps and it is their tool for expressing their position, conveying a message, and perhaps bringing about change. (Photo: Lindsay Brice) "Rage" took the rhythm and groove of hip-hop with Zack, combined it with Morello's phenomenal guitar, and created a whole new sound. Zack's ripping words with the singing/preaching/rap/roar created a kind of verbal mix that went in not only through the ears but also through other holes in the body (and don't ask us which holes). Add to that the guitar with the one pick-up, which sounds like 30 guitars playing together and the strings change their shape to different and weird instruments according to Morello's fingertips. This is simply a supernatural phenomenon that needs to be investigated at the Weizmann Institute. Do not be confused - these two did not work alone. Brad Wilk is one of the great groove drummers. His bounces on the snare and pedals sometimes sound like relentless landings coming from the metal world. Tim Commerford , who sets the tone for the rhythm, actually allows Tom to run through the vast expanses of the world of sounds with the guitar close to his chest. By the way, they all said they were influenced by "Led Zeppelin", "Deep Purple" and "Black Sabbath". The album opens with the bomb "Bombtrack" , the explosive material from which it is made consists of human materials. 20 seconds from the start of Tim's scary bass line an explosion of punk and uncontrollable hip-hop takes place. The shock waves hit the body and the ground and everything starts to shake: "Landlords and power whores on my people, they took turns Dispute the suits, I ignite and then watch 'em burn Burn, burn, yes, you're gonna burn! " We're just getting started. We have not yet digested what we just heard and we feel it is necessary to stop for a moment to rest, but "The Rage" does not let go and hits us with one of the greatest passages in the band's history: "Killing in the name" . The song reached the top 40 on the charts when the BBC's Radio One broadcaster accidentally broadcast the entire song, with all the "Fuck You". By the way, most of the band's songs were not broadcast in the United States, as the band members did not agree to change or censor the lyrics. But why bother with nonsense? "Fuck You, I will not do what you tell me" is one of the strongest phrases on the album (or in life at all). The song has 16 "Fuck you I will not" and one "Motherfucker". The song reached number one on the UK's Christmas parade in 2009, following a determined fan campaign. The band members did not put the lyrics of the song in the album booklet, as they thought they would not be able to convey the message properly in writing compared to the singing. Who can stand in front of Zack shouting "Bring that shit in"? What a nervous reef explodes in his ears. Right now, with everything that has happened and is happening in the United States and right now before the election, it's just creepy and scary how relevant the song "Take the Power Back" is, as if it was written in the studio yesterday. Wearing the shoes of a teenage boy in a troubled neighborhood. Poverty and violence close in on him from every corner and he thinks that the only solution is suicide. The bass's dramatic opening, with Brad's clicks on the ride accompanying Zack's whispers, puts us in a slight panic. "Settle for Nothing" sounds a bit calm at first, but something is brewing behind the scenes. This something is the chorus, perhaps the most aggressive and musically heavy of the band. A relentless explosion of uncontrollable rage. Once again we get a break and return to the narrative atmosphere as the chorus returns and leaves us speechless in the face of this poetic solo, which feels like unicorns hovering in the middle of a violent protest. Let's stop and move on to the next section. The second single from the album and one of the album's other anthems: is "Bullet in the Head" . Crazy musical genius. In the recurring message in the song, the band claims that the US uses the media to control the minds of the citizens, to determine their desires, attitudes, and views like a bullet in the head! This is the second song the band was supposed to sing when it was a guest on Saturday Night Live, but after hanging the USA flags upside down on the amps in the first song she was removed from the studio. If you've not felt the urge to protest by now then here's a golden opportunity: "Know Your Enemy" , with Morello's nervous riff, just sweeps us up. Zack attributes the image of the enemy to the people in power and calls on the citizens to recognize the enemy, not to trust him with closed eyes to fulfill the American dream but to demand it. says James Keenan "We have no patience, It's time to pay the price." The next song is one of the most groovy sections on the album. What a beauty of a combination of all the members of the Rage Quartet: "Wake Up" . Musically, this is one of the great tracks on the album. The song's opening feels like a spaceship crashing into the atmosphere and immediately the rescue forces come to the rescue. Try to imagine it, Zack makes extreme use of several elements here, such as adopting a text from an FBI memo, talking about African-American discrimination, quotes from Malcolm X's speeches, and ending with a sentence from Martin Luther King Jr.'s speech: "How long? Not long Cause what you reap is what you sow " Morello's guitar scream opens with a heavy riff the song "Fistful of Steel". How we banged our heads and bounced our bodies in clubs to the sounds of this song. How powerful this quartet is, it is impossible to explain. On this occasion, we will mention that even if the texts do not specifically address our reality, we manage to connect to the messages of Zack, each one, and his rebellious alter ego. Another one of Morello's charms on the guitar as he makes it sound like a frog croaking in the swamp until the chorus arrives and it becomes a deadly explosion. The familiar, beloved, and successful formula of the band! This time Zack refers to the white supremacy that has dominated all sorts of countries like South Africa and left its racist imprint. Let’s end with a deadly cluster bomb with a half-world hit radius: “Freedom,” which closes the album and was also the fourth and final single to come out of the album. How much energy does this quartet manage to produce? Even if we repeat ourselves, that's how we feel and there is no other way to describe it. Four generators taken from one of Marvel's Avengers movies just explode in the air in perfect coordination. In this song, Zack talks about the subject of Indians in the United States, referring to the trial and imprisonment of an Indian named Leonard Peltier, who was active in the American Indian Movement and was accused of killing two FBI agents. Wow, we have no words or energy left after this huge frenzy !! Now leave everything you do and click play on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 3, 1980, "Whitesnake" released their first live album - "Live ... in the Heart of the City". In our humble opinion, this is one of the greatest live albums of all time, which deserves a place of honor alongside albums like "Made In Japan" by "Deep Purple", "Live And Dangerous" by "Thin Lizzy", " Tokyo Tapes " of "Scorpions", " If You Want Blood You've Got It " by "AC/DC", " Unleashed in the East " of "Judas Priest", " Strangers in the Night " by "UFO" and more. As we have mentioned before, the decade of the 70s abounded with great live albums. Many artists released live albums at the time, stretching the limits of their abilities and performing on stage in what we call a "test of courage." Every artist or band that considers themselves good performers at that time, tried to pass the test, while being aware that they are being judged by their ability to play their material live as well as the studio albums and even with added value. Although this album was released in 1980, it undoubtedly belongs in its spirit and essence to that crazy decade of the 70s, especially when half of it was recorded in 1978. Why only half? Because it's a double live album made up of two different tours of the band. The first vinyl record was recorded at the "Hammersmith Odeon" on June 23-24, 1980, during a tour that accompanied the excellent album " Ready An' Willing " which was released only three weeks before the performances took place. The second vinyl was also recorded on "Hammersmith", but during a performance held on November 23, 1978, about a month after the release of the album "Trouble". The band's lineup on both shows is the same, except for drummer Dave Dowle who played on the show from 1978 and was replaced by Ian Paice in 1980. For some reason, Dave Dowle did not get credit for the original album cover, but this was corrected in the later releases of the album. The second vinyl recorded in 1978 was released that year only in Japan and was called "Live at Hammersmith". Two-year layer justice has been done with the band's fans around the world as it has become an integral part of the internationally reviewed album. Before David Coverdale conquered America and the whole world with the album " Whitesnake (1987) ", he was leading the band's classic lineup, which played blues-based hard rock, and this album was undoubtedly one of their great moments. An energetic and sweeping display that includes live and special performances of the band's best songs from their first three albums, along with songs from the Coverdale era in Deep Purple and a cover version of the song " Ain't No Love In The Heart Of The City " which was none from Bobby ‘Blue’ Bland. The album opens up with " Come on " from the mini-album "Snakebite'". An amazing way to open the show especially when Coverdale roars and excites the audience: "Are You Ready? ... Come On" and even before the first guitar riff is being played the audience gets up on its feet and applause. The tempo is increased with " Sweet Talker " from " Ready An' Willing ", to the beat of Ian Paice . The band sounds at its peak, Bernie Marsden's riff, and Micky Moody 's slide guitar that takes the lead with an amazing solo after a solo by John Lord. We go slower to align with the bluesy masterpiece “ Walking in the Shadow of the Blues ” taken from the " Lovehunter ". Bernie Marsden who co-wrote the song with Coverdale takes the lead in the guitar solo to the beat of Neil Murray 's beating bass. It's one of the band's greatest songs with an amazing vocal performance by Coverdale which explains very well why it stars in the band's setlists even four decades later From there we move on to “ Lovehunter ” which stretches for approximately 11 minutes with a long Micky Moody solo flirting with the enthusiastic crowd that returns with their insane energies. The other side of the vinyl opens with a tremendous rendition of the song " Aint 'No Love in the Heart of the City ", which also gave this album its name. This is without a doubt the highlight of the album and one of the band's greatest moments of all time. Neil Murray 's groovy bass and Paice's sensitive and powerful drumming hold the bluesy rhythm of the song and allow Micky Moody 's tremendous talent to break out. But the real power of this song comes from the band's seventh member - the "audience" who gives a tremendous performance here and sweeps the band and Coverdale after them. We have not yet calmed down from the melting blues of the previous song and Coverdale already informs us that he has a big surprise for us, as he presents the huge hit " Fool For Your Loving " with the iconic phrase: "Here's a Song for You" .. This song was written by Coverdale Originally for B.B. King, but he realized that he must not give up on such a great song which became the band's first hit, on both sides of the ocean, and the performance of an even more rhythmic and sweeping performance than that of the album. We continue with " Ain't Gonna Cry No More ", another song from " Ready An' Willing " that dominates the setlists during this tour. A dynamic song that opens soft and quiet with Bernie Marsden 's 12-string guitar and explodes with Paice's double snare blow at 2:50. Murray gives a great job here in keeping the rhythm, Jon Lord adorns us with a keyboard solo and Moody surpasses himself with the iconic slide solo. From here we move on to another iconic and memorable sentence that excites the audience with the rhetorical question: Are You Ready an’ Willing? And the audience makes sure to answer in the affirmative and show Coverdale that he's really interested. This is the second hit and single from the album " Ready An' Willing " which features a catchy bluesy riff and allows Coverdale to improvise around it as he engages the audience in a sort of singing duel. The song that ends the first vinyl and the show that was recorded in 1980 - " Take Me With You " is taken from the album "Trouble". The band picks up the tempo and accelerates as in the last sprint towards the finish line, with each of its members getting a short solo section. The second show located on sides 3 and 4 of the vinyl album features 6 tracks of which two were also included in the first show, the same opening song " Come on " and the song that inspired the name of the album " Aint' No Love in the Heart of the City ". This show also features two songs by the mother band "Deep Purple", the first " Might Just Take Your Life " in which Bernie Marsden sings the vocal parts that Glenn Hughes originally sang, and " Mistreated " which gets a crazy version here that stretches over 11 minutes. The track " Lie Down " sounds even more bouncy and rock 'n' roll here than the original performance, and "Trouble" gets Jon Lord 's devoted Treatment who was not part of the band at the time of its original studio release. So if you want to learn how a great live album sounds, close your eyes and click play : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 2, 1967 "Cream" released their second album "Disraeli Gears". This album is often hailed as a landmark album that captures the height of the psychedelic rock era and "the summer of love". The album blends blues, hard rock, and psychedelia into a powerful and innovative sound. "Disraeli Gears" saw Eric Clapton , Jack Bruce, and Ginger Baker explore a sound that pushed the boundaries of blues-rock, venturing into surreal and imaginative territory. With its swirling colors, wah-wah guitars, heavy basslines and poetic lyrics, "Disraeli Gears" marks a defining moment not only for the band but also for 1960s counterculture The iconic opening track, “ Strange Brew ,” sets the tone with its bluesy guitar riff and guitar solo closely mirrored Albert King's work, particularly from "Oh Pretty Woman". This was "Cream's" first single with Eric Clapton on lead vocals, mostly sung in falsetto. This segues into one of the album's biggest hits, “ Sunshine of Your Love ,” driven by Jack Bruce's unmistakable bassline, inspired by seeing Jimi Hendrix perform in January 1967, drummer Ginger Baker ’s unique tom-tom rhythm and Eric Clapton 's soaring, feedback-laden solo, which became a defining moment in rock guitar history. This song, with its unforgettable groove, is arguably one of the most influential rock tracks ever recorded. Several rock journals have placed the song on their greatest song lists. The "Rock and Roll Hall of Fame" included it on its list of the "500 Songs That Shaped Rock and Roll". Other songs on the album highlight the band's improvisational strength. Tracks like “ World of Pain ” and “ Dance the Night Away ” explore rich, layered melodies and a more surreal, dreamlike quality. “ SWLABR ” (“She Was Like a Bearded Rainbow”) is another standout, featuring Clapton’s distorted guitar riff and Ginger Baker ’s lively drumming, combining whimsy with fierce musicianship. Clapton’s solo work throughout the album—particularly on tracks like “ Tales of Brave Ulysses ”—showcases his mastery of the wah-wah pedal which he plays throughout the song, and became synonymous with the late '60s psychedelic sound. Baker, meanwhile, is relentless on the drums, driving songs like “ We’re Going Wrong ” with a mix of power and precision that with its 6/8 time signature also gives the song a distinct and irregular sound. "Disraeli Gears" remains a pivotal release in rock history. By fusing blues roots with psychedelic influences, "Cream" created a sound that set the stage for heavier rock styles while still holding an experimental edge. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 2, 1999, "Rage Against The Machine's" third album was released, it was more than 20 years ago!!! Beyond the fact that this is the group's last studio album with original materials, this album is also probably the creative climax of the "Rage Quartet", which in every hearing even 20 years later shakes our bodies, shakes our heads, and rattles our bones. Seven years after the debut album that changed the musical map with the unique and psychedelic combination of rap, metal, punk, and funk and three years after "Evil Empire" that infused us with sounds we did not believe could be produced from a guitar, we get this album that is nothing short of a musical paradox. On the one hand, it is the most calculated and mature album of the band and on the other hand, it has the spontaneity, power, and audacity of the spirit of youth. On the one hand, it includes a new and updated sound and on the other hand, is still strongly connected to the roots of the band. (Photo: fanarttv.com) One does not have to delve deeper into the lyrics to understand that this album does not fall far from the tree lyrically and that it also deals with political and anti-establishment issues that characterized the previous two albums. It's enough to look at the album cover that includes graffiti of a man waving his fist in the air or in song titles like "Voice of the Voiceless" and "Testify" to understand that we are going to get a serious indictment against American society here as well. Well, we really did not expect anything different from a band with declared social and liberal views. We start with "Testify" and the wall of sound by Tom Morello 's guitar that may sound impenetrable at first, but Brad Wilk 's drumsticks that land firmly and steadily on the snare drum manage to gnaw at it slowly until it surrenders and finally collapses in perfect timing with the "ahhhhhh" of Zack De La Rocha . The song that goes against the lies of the American media just explodes inside us with George Orwell's a-la "1984" slogan: "Who controls the past, controls the future. Who controls the present, controls the past", and just sets the tone for what will happen later in the album. We continue with the first single from the album "Guerrilla Radio" , which deals with the presidential campaign between Bush and Gore in 2000. Wilk's snare attack gradually intensifies to the point of crescendo and the eruption with the frenetic and bouncy reef of Tim Commerford and Morello. What a great song it is... and there's even a harmonica solo here, shocking? A harmonica solo that makes us bang our heads against a wall like it's a cruel slayer riff. The third track "Calm Like a Bomb" is very misleading in its "soothing" title and Commerford's silent bass opening, but Zack whispers in our ear that it is not going to last that long feel the full blast he whispers and we really feel the earthquake that is going to fall on us with cry-baby effect on Commerford's bass and with the rising and falling alarmed that Morello produces from the guitar. The song "Mic Check" corresponds with the Beasty Boys with whom the band was supposed to go on tour immediately after the album's release, slowing down a bit, just like the "quiet before the storm" that comes with the catchy and bouncy riff of "Sleep now in the fire". But these two are just a preparation for the madness that is going to come in the fifth strip. "Born of a Broken Man" is a song that breaks and destroys just like its title. It's a personal song that Zack wrote about the nervous breakdown his father experienced, and you can feel it in the song, including the anger and rage that goes through Morello's reef. This amazing album also includes the track "Voice of the Voiceless" written about journalist Mumia Abu-Jamal whom Morello visited in prison before being sentenced to death, the "Wake Up" that appeared in the soundtrack of the movie "Matrix", the mighty "No Shelter" that was added as a bonus only in the Japanese and Australian versions of the album and more. It's a shame that this great piece was the "beginning of the end", and it's amazing to just think what else this band could have given down the road. Rage is perhaps the best-performing band in the world, and we had the fortune to have it here in Israel for a series of shows in 2000 right after the album was released. This was without a doubt one of the best performances the writers have seen in Israel and we hope we can come back and see this musical wonder soon. Listen to the album is the sole responsibility of the listener on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website