On October 4, 1994, "Dream Theater" released "Awake", their third studio album. After the success of "Images and Words", it was easy to expect another "Dream Theater" album that would bring dazzling musicianship together with soaring choruses. Yet within the opening minutes of "Awake", it becomes clear that the band arrived in a different frame of mind. The guitars are heavier, the vocals rougher, and even when the melodies take flight, something beneath them remains unsettling. This album demands a little more patience than its predecessor, but once it draws you in, it is hard to leave. For us, the strength of "Awake" lies in the tension between its five musicians. Everyone is at the top of their game, and everyone has something to say, though they are not always saying the same thing. John Petrucci pulls the music toward heavier metal, Kevin Moore gives it a melancholy depth, James LaBrie reveals a more forceful side to his voice, and Mike Portnoy and John Myung keep the whole thing moving. Behind the impressive performances, we can also hear a band approaching a painful change. Two years earlier, "Images and Words" had taken the band from a well-kept secret among progressive rock and metal fans to a name heard on the radio and MTV. "Pull Me Under" gave them an unexpected breakthrough, while touring allowed the members to find their footing together onstage. Now they needed to prove that their success had been no accident. Their record label, "East West", wanted another hit, and at a time when metal was becoming heavier and more groove-driven, it also encouraged a tougher direction. Work on the new material began in February 1994 at "Prince Studios" in New York. The lineup still consisted of the same five musicians who had recorded the previous album, but rehearsals were tense. The players scrutinized every detail, and arguments over the arrangements dragged on. Moore, who had been part of the journey since the "Majesty" days, already had different musical ambitions. His importance to the finished "Awake" only makes the departure that followed its completion more painful. The album was recorded at "One on One" and "Devonshire" studios in Los Angeles, with John Purdell and Duane Baron producing, the same duo who had worked on Ozzy Osbourne's "No More Tears". This time, the musicians had more room to shape their own sound. Petrucci introduced a seven-string guitar for the first time, and its lower register gave the riffs a weight they had not possessed before. Meanwhile, LaBrie expanded his approach, bringing grit and anger into his singing without sacrificing his upper range. The change is immediately audible in "6:00". Portnoy opens with sharp, restless drumming, the keyboards add an almost funky rhythm, and the guitar enters with a dry, aggressive tone. Samples from the film "The Dead" interrupt the flow, suggesting thoughts that keep returning. Moore wrote the lyrics, and their concerns with routine, frustration and the desire to find a way out take on added meaning when we consider his position within the band. Even so, this is no song weighed down by its own heaviness. It has a wonderful bounce and a chorus that catches on more quickly than the opening might suggest. "Caught in a Web" gives the seven-string guitar room to do its work. The riff is low and oppressive, yet there is an almost "danceable" movement within that heaviness. LaBrie sounds determined, at times downright furious, as the lyrics he wrote with Petrucci describe someone tired of other people's expectations and determined to live according to their own feelings. It is interesting to hear "Innocence Faded" follow it, briefly recalling the melodies of the previous album. The guitar rings out, LaBrie's voice climbs high and the chorus opens up, but the lyrics deal with disillusionment and changing relationships. Petrucci has said that the growing distance between him and his friend Moore was one of his inspirations. As the track progresses, the playing becomes denser and more complex, and the band closes it with a magnificent instrumental passage. At the heart of the album sits the three-part suite "A Mind Beside Itself". "Erotomania", its opening instrumental, is a feast for anyone who enjoys hearing the band play with different musical ideas. Angular riffs, playful keyboards, quiet passages and rapid solos follow one another without the music losing its way. The technique offers real pleasure, but the structure has been carefully considered too. Ideas introduced in one passage continue to echo through the later sections, holding the whole suite together. "Voices" is, for us, one of the high points of "Awake". Myung's bass and the restrained opening create a sense of anticipation before the track unfolds into a grand drama of eruptions, pauses and an emotionally charged guitar solo. Petrucci wrote about a troubled inner world, drawing on religious imagery to convey its confusion. LaBrie moves between quiet singing and cries, and the changes in intensity matter as much as the notes themselves. Almost ten minutes pass, and we remain absorbed in the struggle of someone trying to decide which of the voices around him he can trust. After the storm comes "The Silent Man", a short acoustic song written and composed by Petrucci. The guitar and vocal harmonies finally give us a little breathing room, though the silence in its title should not be mistaken for complete peace. The lyrics raise questions about communication, the things we cannot bring ourselves to say and the distance that can develop even between people close to one another. Its place at the end of the suite is perfect. After the inner struggle of "Voices", this modest song feels like exactly the right thing in exactly the right place. Then "The Mirror" brings us crashing back to earth. Petrucci plays a seemingly simple riff, while Portnoy shifts the accents beneath it so that the same guitar phrase sounds slightly different each time. This also marked the first time the drummer had written all the lyrics to a song on one of the band's studio albums by himself, addressing his struggle with alcohol and the difficulty of admitting the truth while facing yourself in the mirror. The heaviness suits that confession, and the keyboards add sadness beneath the anger. Portnoy would return to addiction in later works, but it already finds a powerful personal expression here. The transition into "Lie" barely gives us a moment to catch our breath. The two tracks grew out of shared material, and their kinship remains audible even after they were separated. This time, Moore wrote about lies and broken trust, LaBrie bites into every line, and the groove gives the riff tremendous momentum. Petrucci settles the score with a fast, incisive solo, one of his most memorable on the album. This was the single that led "Awake", and it is easy to understand why. It is relatively concise and direct, while still allowing the band to retain its identity. The contrast offered by "Lifting Shadows Off a Dream" is essential as the album continues. Myung wrote the lyrics, and his bass gives the track a delicate, melodic foundation. The effects-laden guitar and keyboards gradually build an open space, while the vocals soften. The imagery of water and light allows us to read the lyrics as a story of love helping someone change. After the mistrust of "Lie", there is a willingness to believe in someone again. It is a wonderful ballad, and the restraint shown by every member is a large part of its beauty. At almost eleven minutes, "Scarred" offers one of the album's most fully realized arrangements. It begins with relaxed bass and blues-tinged guitar, then gradually expands into metal, broad melodies and exchanges between guitar and keyboards. Petrucci's lyrics describe pain, doubt and the desire to break free of them, while the playing gives each feeling time to develop. We particularly love the way this band builds its climaxes. Nothing has to happen immediately, so when the music finally erupts, it truly moves us. But Moore gets the final word. "Space-Dye Vest", for which he wrote both the lyrics and music, opens with somber piano and singing free of grand gestures. Its inspiration came from a photograph of a model in a clothing catalog, following a breakup. He realized that he was projecting feelings that had not yet found another home onto someone he did not know, and turned that realization into a song about loneliness and the fear of opening up again. The spoken samples sound like voices from the outside world, while the piano keeps returning to the same pain. When the band joins in force toward the end, it does not change the song's character. The feeling remains exposed, almost uncomfortable, until the piano returns to close the album. It is difficult to imagine a more fitting ending to the final album with Moore. He did not write it as a resignation notice, but in hindsight we also hear the distance that had opened between him and the band. After all the brilliant playing we have heard, it is these simple phrases that stay with us. Larry Freemantle's cover art also invites us to return to the songs. The clock showing six, the mirror and the spider's web weave clues to the album's content into its strange landscape. As in the music, the image has a clear sense of order alongside the feeling that something is out of place. Upon release, "Awake" reached No. 32 on the US album chart, though its singles did not repeat the success of "Pull Me Under". Ahead of the "Waking Up the World" tour, Derek Sherinian stepped in for Moore and later became a permanent member. The album therefore marked both the band's continued establishment and the end of the lineup that had brought them their breakthrough. Over the years, "Awake" has become one of the most beloved albums in the "Dream Theater" catalog. Its demos were also released in 2022 as part of "Lost Not Forgotten Archives", offering another look at the material before the production was completed. For us, the original album remains a fascinating document of a band expanding its sound as the partnership within it began to change. It is easy to understand why "Images and Words" is the natural entry point into "Dream Theater", but "Awake" holds a special place of its own. Its heaviness, melancholy and the tension between the musicians give it a character that is difficult to recreate, while the virtuosity serves songs with far more to offer than a display of ability. It is an album we can admire on the first listen and grow much more attached to with every return. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

We do not often write about compilation albums, but "Pisces Iscariot" by "The Smashing Pumpkins" released on October 4, 1994, makes us go out of our way. This album was released between the 1993 "Siamese Dream" and the 1995 masterpiece "Mellon Collie and the Infinite Sadness". As a "sandwich" collection between two masterpieces, one would think that this is an unnecessary album designed to extort more money from fans. This hypothesis is strengthened because this compilation was released after only two studio albums. But this is not the case! This is an excellent album that for us can be considered as any other studio album, no less. When this album came out we blindly purchased it without even knowing it was a compilation album and enjoyed every song and track from it. What a shock it was when we opened the booklet that came with the disc and found out in Billy Corgan's explanatory that it was a compilation album. True, this album lacks a bit of the flow and coherence of the two exemplary studio albums, located before and after in the band's chronology, but it's definitely a good album that stands very well on its own, and which could certainly be considered a studio album, for all intents and purposes in the band's catalog. The album features outtakes that were not included in the previous two albums, Demos and B-Sides, which the band recorded in only 3 years, from 1990 to 1993, an amazing figure in itself. Just to think that after only two studio albums, Billy Corgan and his friends managed to gather such a large amount of musical material and of such good quality, is an inconceivable thing in the world of music, and do not think that we have forgotten the immortal "Sci-Fi Lullabies" of "Suede" which was released after three studio albums, "Masterplan" of "Oasis" or even "Lost Dogs" of "Pearl Jam" which was released more than a decade after the debut album. Similar to the band's first two studio albums, especially "Siamese Dream", this album also combines noisy guitar tracks, saturated with distortion and howling solos, and the acoustic and soft parts that bring out a lot of pure magic from Billy Corgan and friends. This combination can already be found in the two tracks that open the album, the melting and acoustic "Soothe", which is just hard to believe is a demo recorded at Billy Corgan's house, and the noisy "Frail and Bedazzled" which is an outtake from "Siamese Dream" but remind us of "Gish". This soft-to-noise dynamic from the two opening tracks, continues all over with the heavy "Plume" which was the b-side of the excellent "I Am One" which opens Gish, as opposed to the caressing and melodic "Whir" which was also an outtake from "Siamese Dream". This swing continues even with the quiet and magical "Blew Away" that was the b-side of the song "Disarm" and is the only one on the album written by guitarist James Iha, and on the other hand, we have the heavy "Pissant" that came out as a b-side of the song "Cherub Rock" from the previous album. This roller coaster accompanies us throughout the album, with the two most notable excerpts that follow, being the incredible cover of Fleetwood Mac's "Landslide", which we think even surpasses the original (and dear Stevie Nicks please forgive us for that), and the song "Starla" which comes right after it, a huge simple piece with psychedelic-progressive effects, which stretches over 11 minutes and proves how big and underappreciated Billy Corgan is. The original album contained 14 tracks. The limited US vinyl pressing of 2,000 copies included a bonus 7-inch single with two additional tracks. The expanded edition released in 2012 included 17 more rare tracks, which proves how prolific this band is and only adds to its aura for us. So if it was not clear until now, we strongly recommend listening to this album, which even "Spotify" did not include under the category of compilation albums: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On October 4, 1970, Janis Joplin was found dead from a heroin overdose and is only 27 years old. (Photo: David Gahr) Here are 30 facts about one of Rock's greatest female singers: 1. She was born on January 19, 1943, in Texas USA. 2. Joplin was brilliant and outstanding at school. 3. At the same time Joplin was socially rejected, partly because she was different and very fond of blues music, which in her childhood was associated mainly with "African-American". 4. During her time at Texas University, she was named the Ugliest person on Campus. It hit her very hard and left her with scars that caused her to leave school and Texas for San Francisco. 5. She was bisexual and had relationships with women and men alike. 6. One of the relationships with men was with singer Leonard Cohen. Cohen also wrote the song "Chelsea Hotel No. 2" about her. 7. Although she had many relationships and was always surrounded by people, Joplin was very lonely and could not maintain a serious relationship over time. 8. The album "Cheap Thrills" which she released with "Big Brother and the Holding Company" was originally supposed to be called "Sex, Dope And Cheap Thrills", but due to the opposition of the record company the name was shortened. 9. Her most recent recording was a birthday greeting to John Lennon. 10. Despite her low self-confidence, she liked to get rid of most of her clothes on stage. 11. In 1969 she was arrested in her locker room after cursing cops who tried to calm the rioting crowd at a show she held in Tampa Florida. The judge she was brought before released her stating that she had exercised her right to "freedom of expression". 12. She was very fond of the drink "Southern Comfort". In response, the beverage company gave her a fur coat as a token of appreciation for her contribution to raising sales of the intoxicating beverage. (Photo: Phactual.com) 13. She also broke a "Southern Comfort" bottle on Jim Morrison's head when he tried to kiss her. 14. Joplin had a black belt in karate. 15. She built a tombstone on the grave of one of her childhood heroes, blues singer Bessie Smith, after discovering that she was buried in an unmarked grave without a tombstone. 16. Joplin was also influenced by another African-American blues singer - Billie Holiday. 17. She adored Tina Turner and also got to perform with her on one stage in 1969. (Photo: Amalie R. Rothschild) 18. In 2015 the Porsche 356 car she purchased in 1968, with the psychedelic paintings, was sold for a fantastic price of $ 1.76 million. (Photo: FanBuzz) 19. She received great publicity at the Monterey International Pop Music Festival in 1967, where she gave an unforgettable performance. The band played two sets at the festival, including "Ball and Chain" in both. The second set allowed her performance to be filmed after the first had not been filmed. 20. On the other hand, she asked not to be included in the post-festival documentary on Woodstock. She thought her performance there was not good enough. 21. Joplin was among the first artists to enter the dubious "Club 27". She was preceded by Brian Jones and Jimi Hendrix, followed by artists such as Jim Morrison, Kurt Cobain, Amy Winehouse, and more. 22. Her ashes were scattered from a plane over the Pacific Ocean. 23. She changed her last will only 3 days before her death. In the amended will, she ordered, among other things, to leave an amount between $ 1,500-2,500 (there is a dispute as to the amount) for a party to be held after her death. 24. Such a party was indeed held about three weeks after her death on October 26, 1970. "The Grateful Dead" performed at the party and rumor has it that marijuana cookies were distributed there. 25. The last love letter sent to her arrived one day too late. David Niehaus whom she fell in love with while trying to quit drugs, sent her a telegram, to the hotel where she was staying. The letter arrived the day after her death and read "Love you Mama, more than you know." 26. Her only solo single to reach No. 1 on the US singles chart was "Me and Bobby McGee", which topped the chart after her death. It was a cover rather than a song she wrote. 27. Joplin did not know that her latest album "Pearl" would become her best-selling album. The name "Pearl" was also the nickname given to her by her close friends. 28. Although she did not finish recording the album "Pearl" before her death, the album was later released. Creepily, Joplin was supposed to record the song "Buried Alive in the Blues" on the day of her death, but she did not reach the studio and it remained instrumental... 29. Her sister Laura was the one who wrote her biography after her death. 30. She was inducted into the "Rock N Roll Hall Of Fame" only in 1995, twenty-five years after her death. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Singer and songwriter Gwen Stefani celebrates her birthday today!! (Photo: Lorie Shaull / Wikimedia Commons, CC BY-SA 4.0, cropped) From the ska scene of Anaheim and her breakthrough with "No Doubt" to her solo career, fashion ventures, and return to the stage. Here are 44 facts about Gwen Stefani. 1. She was born Gwen Renée Stefani on October 3, 1969, in Fullerton, California, and grew up in nearby Anaheim. 2. At home, she listened to folk music and artists such as Bob Dylan and Emmylou Harris. Her older brother, Eric Stefani, later introduced her to British ska bands including "Madness" and "The Selecter". 3. One of her major influences was Debbie Harry, the lead singer of "Blondie". Gwen admired her combination of commanding stage presence, femininity, and personal style. 4. In 1986, she joined "No Doubt", founded by her brother Eric Stefani and singer John Spence. The Stefani siblings and Spence worked at "Dairy Queen", and the band held its earliest rehearsals in the Stefani family garage. 5. She initially sang backing vocals alongside John Spence. After his death in December 1987, the band briefly continued with Alan Meade as its singer. When he left, Gwen became the lead vocalist. 6. Bassist Tony Kanal joined in 1987 and also became her boyfriend. Guitarist Tom Dumont joined in 1988, followed by drummer Adrian Young in 1989. Together with Gwen, they formed the lineup most closely associated with the band. 7. In 1992, the band released its first studio album, "No Doubt". Its ska and pop sound struggled to find an audience during the grunge era, and it initially sold only around 30,000 copies. 8. In 1994, she sang a duet with Bradley Nowell on "Saw Red", included on "Robbin' the Hood", the second studio album by "Sublime". The collaboration came before either band achieved its major breakthrough. 9. Her relationship with Tony Kanal ended in 1994 after roughly seven years. Around the same time, her brother Eric Stefani left the band to pursue his animation work, including on "The Simpsons". 10. In March 1995, "No Doubt" independently released its second album, "The Beacon Street Collection". Recorded in a home studio, it sold around 100,000 copies in its first year, a significant achievement for a band still struggling to secure industry support. 11. On October 10, 1995, "No Doubt" released its third album, "Tragic Kingdom", produced by Matthew Wilder. It topped the Billboard 200, earned diamond certification in the United States, and turned Gwen into an international star. 12. "Just a Girl", which she wrote with Tom Dumont, expressed her frustration with the restrictions and expectations placed on young women. It reached No. 23 on the Billboard Hot 100 and, following a reissue, No. 3 in the United Kingdom. 13. She co-wrote "Don't Speak" with her brother Eric Stefani. It began as a love song, but its lyrics changed following her breakup with Tony Kanal. The bassist she was singing about continued to perform alongside her in the band. 14. In 1996, "Don't Speak" became a worldwide hit. It topped the Hot 100 Airplay chart for 16 weeks but did not enter the US Hot 100 because the rules at the time required a commercially released single. 15. In 1997, "No Doubt" received Grammy nominations for Best New Artist and Best Rock Album. The following year, "Don't Speak" was nominated for Song of the Year and Best Pop Performance by a Duo or Group with Vocal. 16. In 1998, she sang "You're the Boss" with Brian Setzer on "The Dirty Boogie", the third studio album by "The Brian Setzer Orchestra". The duet revealed another side of her voice through swing and a big band sound. 17. In 1999, she appeared on Prince's "So Far, So Pleased", from his 23rd studio album, "Rave Un2 the Joy Fantastic". Prince later also contributed to "Waiting Room" by "No Doubt". 18. In April 2000, "No Doubt" released its fourth album, "Return of Saturn". It debuted at No. 2 on the Billboard 200 with 202,000 copies sold in its first week. Gwen wrote about relationships, motherhood, and the gap between public success and personal uncertainty. 19. In 2000, the single version of Moby's "South Side" was released with her vocals. Her voice had not appeared on the original version on "Play", his fifth studio album, but the duet reached No. 14 on the Billboard Hot 100. 20. In 2001, she featured on Eve's "Let Me Blow Ya Mind", from her second album, "Scorpion". Produced by Dr. Dre and Scott Storch, it reached No. 2 on the Billboard Hot 100. 21. In December 2001, "No Doubt" released its fifth album, "Rock Steady". The band combined dancehall, reggae, pop, and new wave, working with Sly & Robbie, "The Neptunes", and William Orbit. It debuted at No. 9 on the Billboard 200. 22. In 2002, Gwen and Eve won the first Grammy awarded in the Best Rap/Sung Collaboration category for "Let Me Blow Ya Mind". That September, she married Gavin Rossdale, the lead singer of "Bush". 23. In 2003, "No Doubt" won its first Grammy for "Hey Baby", featuring Bounty Killer. In 2004, the band won in the same category for "Underneath It All", featuring Lady Saw. Together with her win alongside Eve, these account for Gwen's three Grammy wins. 24. In 2003, "No Doubt" released the compilation "The Singles 1992-2003", featuring its cover of "It's My Life" by "Talk Talk". The recording reached No. 10 on the Billboard Hot 100 and received a Grammy nomination. 25. That same year, Gwen launched her fashion brand "L.A.M.B.", whose name stands for Love, Angel, Music, Baby. The connection between music, clothing, and design became a major part of her work beyond the stage. 26. In 2004, she released her first solo album, "Love. Angel. Music. Baby.". It combined 1980s pop, electronic music, and hip hop, with contributions from Linda Perry, Tony Kanal, André 3000, and "The Neptunes". It debuted at No. 7 in the United States and later peaked at No. 5. 27. She co-wrote her first solo single, "What You Waiting For?", with Linda Perry. The track turned her fears about launching a solo career and her struggle with writer's block into its subject matter. 28. In 2004, she appeared in Martin Scorsese's film "The Aviator" as movie star Jean Harlow. Around this time, she surrounded herself with the "Harajuku Girls" dancers, who became part of the visual world of her solo career. 29. In 2005, "Hollaback Girl", created with Pharrell Williams and Chad Hugo, topped the Billboard Hot 100. It became the first song in the United States to sell one million digital downloads. 30. On "Rich Girl", she reunited with Eve and Dr. Dre. The track drew on "Rich Girl" by the duo "Louchie Lou & Michie One", which was based on "If I Were a Rich Man" from "Fiddler on the Roof". Meanwhile, "Cool" explored the friendship that remained between her and Tony Kanal after their breakup. 31. In 2006, she released her second solo album, "The Sweet Escape". It debuted at No. 3 on the Billboard 200 with 243,000 copies sold in its first week. The title track, featuring Akon, reached No. 2 in both the United States and the United Kingdom. 32. On "The Sweet Escape", she incorporated "The Lonely Goatherd" from the musical "The Sound of Music" into "Wind It Up". She co-wrote "Early Winter" with Tim Rice-Oxley, the keyboardist and songwriter of "Keane". 33. In 2009, she returned to touring with "No Doubt". In September 2012, the band released its sixth album, "Push and Shove", produced by Mark "Spike" Stent. It reached No. 3 on the Billboard 200 and included the single "Settle Down". 34. In 2014, she first joined the US edition of "The Voice" as a coach for its seventh season. That year, she also sang "My Heart Is Open" with Adam Levine on "V", the fifth studio album by "Maroon 5". 35. In 2015, she announced her separation from Gavin Rossdale, and their divorce was finalized in 2016. They have three sons, Kingston, Zuma, and Apollo. The family crisis influenced her songwriting during this period. 36. In March 2016, she released her third solo album, "This Is What the Truth Feels Like". It became her first solo album to top the Billboard 200. Its singles included "Used to Love You" and "Make Me Like You". 37. In October 2017, she released "You Make It Feel Like Christmas", her fourth solo album and her first Christmas album. It topped Billboard's Holiday Albums chart, and its title track was recorded as a duet with Blake Shelton. 38. In 2018, she launched her Las Vegas residency, "Just a Girl", combining songs from her solo career and her years with "No Doubt". The residency continued, with breaks, until 2021. 39. In 2020, her two duets with Blake Shelton, "Nobody But You" and "Happy Anywhere", topped Billboard's Country Airplay chart. That same year, Carter Rubin, a member of her team, won the 19th season of "The Voice". 40. In July 2021, she married Blake Shelton in Oklahoma. The two met through "The Voice", and their relationship also developed into a musical partnership through a series of duets. 41. In March 2022, she launched the makeup brand "GXVE". On October 19, 2023, she received the 2,764th star on the Hollywood Walk of Fame in the Recording category. 42. In April 2024, she reunited with Tony Kanal, Tom Dumont, and Adrian Young for "No Doubt" performances at "Coachella", after years without playing together. Olivia Rodrigo joined them for "Bathwater". 43. On November 15, 2024, she released her fifth solo album, "Bouquet". Recorded mainly in Nashville and produced by Scott Hendricks, it drew on pop, soft rock, and country. It included "Somebody Else's", "Swallow My Tears", and the duet "Purple Irises" with Blake Shelton. 44. In May 2026, she returned with "No Doubt" for a residency at "Sphere" in Las Vegas. The first show took place on May 6, and Gwen became the first woman to headline a residency at the venue. The band returned to the ska and rock songs that made it known around the world. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Editor's Choice... And this time... "Lightning to the Nations", the debut album of "Diamond Head" which was released on July 1, 1980. This is the release date listed in the band's official discography. How does an album that was recorded, produced, and distributed with self-funding and without any help from the record companies, an album whose cover was white and did not include a title or even the band's name or list of songs, become such an influential album, a "classic"? All this in the following review: So for those unfamiliar, "Diamond Head" is one of the bands that influenced the thrash metal genre, especially bands like "Metallica" and "Megadeth". "Diamond Head" was founded in 1976 in the town of "Stourbridge" in England, by two high school students, leading guitarist Brian Tatler and drummer Duncan Scott. The two joined singer and rhythm guitarist Sean Harris and bassist Colin Kimberley and began performing in local pubs. In 1979, the band managed to record a self-funded demo tape. The tape was sent to several record companies, but the band did not manage to sign a recording contract. Instead, they managed to attract the attention of a loyal audience that accompanied it, as it warmed up bands like "AC/DC" and "Iron Maiden". In 1980, the band released their first single "Shoot Out the Lights", which was also self-funded, after no record company offered them a recording contract. It should be understood that at that time punk dominated the UK and record companies were not yet happy to sign new heavy metal bands, but that soon changed with the blossoming of the "New wave of British heavy metal". It is interesting to note, that the second side to the same single was "Helpless", which 7 years later will receive a cover version of "Metallica" on the album "The $5.98 E.P.: Garage Days Re-Revisited". Watch "Diamond Head" perform the song in a rare recording from 1979: Unfortunately, even the first single released did not help the band get a proper contract. But they didn't give up down and decided to record and produce their first album themselves. The person who helped finance the recordings at the time was Sean Harris' mother, Linda. Knowing the potential the band had, she believed that recording the self-funded album would make it easier for the band to get a contract with a major record company. The album was released on July 1, 1980. It came out in a smooth white cover with the signatures of the four band members on it. No caption of the band name, no title, no songs list to help identify "what's inside the jar". This was because the band director Reg Fellows owned a ticket factory and could produce the cover at a very low price. Initially, only 1,000 copies were produced and sold during the band's performances. In the absence of any title to the album, some fans called it "The White Album" and some others simply gave it the name of the first song from it - "Lightning to the Nations" and that's how the album actually got its name. This album became a heavy metal classic as he rode the wave of "New wave of British heavy metal" and the new bands that followed. Although in real time the band failed to break out commercially as did their colleagues, including "Iron Maiden", the album became critically acclaimed, including that of Geoff Barton of "Sounds" magazine who hailed the album by noting that only one "Diamond Head" song has more fine riffs than the entire "Black Sabbath" first album. Not only that critics praised the album, but it became a cult album, especially among the artists themselves, led by "Metallica" who performed no less than five songs out of the seven songs on the original album, and even recorded a large part of them: "The Prince", "Sucking My Love", "Am I Evil ?", "It's Electric" and "Helpless", so it undoubtedly influenced Metallica's sound and style. The album featured classics of heavy metal and immortal riffs, from the melodic riffs of the theme song, through the galloping rhythm that "Iron Maiden" would embrace and perfect, from "The Prince" to the 10-minute epic "Sucking My Love", "Diamond Head" simply created an impactful history here with the revival of an entire genre. But the highlight of the album is undoubtedly "Am I Evil?", Whos simply surpassed all others. An immortal and mesmerizing work that did not age a bit, so it is clear why it became a "Metallica" hit. Come and watch "Diamond Head" perform it here: Interesting to note that over the years, the band released a significant number of B-sides, so this album's reissues include 14 tracks and not seven as on the original release. On the occasion of the 40th anniversary of the album, the band released an updated version of the album in which the songs were re-recorded with the band's new lineup. In addition, several cover versions were recorded for songs by "Led Zeppelin", "Deep Purple" and "Judas Priest", as well as for Metallica's "No Remorse", as a kind of gesture for the covers they made for "Diamond Head" songs. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Recently, we use the phrase "mutual responsibility" occasionally. On October 3, 1978, "Aerosmith" showed their fans what "mutual responsibility" meant by offering financial assistance to fans arrested at the band's concert at the Fort Wayne Coliseum in Indiana. (Photo: Wordpress) The mass arrest occurred at Aerosmith's October 3, 1978 concert at the Coliseum in Fort Wayne, Indiana, during the band's US tour that year. The live album Live Bootleg! was released later that month. Dozens of people were arrested during the concert. Accounts mention marijuana possession or use, underage drinking and cigarette smoking in violation of venue rules. Sources disagree on the total number arrested. According to the account recounted in the biography Walk This Way, the band's wardrobe assistant was also arrested. Steven Tyler, cursed the policemen from above the stage through the amplification system. After finishing the show as planned, "Aerosmith" offered all of their arrested fans bail, at their own expense. According to the local retrospective in the Fort Wayne Reader, 28 fans accepted the band's offer, and Aerosmith paid approximately $4,200 in bail and fines. The number who accepted assistance should not be confused with the total number arrested, which varies between sources. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

What is the catchiest song in the world? The one that gets stuck in your head more than any other song? On October 3, 2011, Europa Press reported that the song "We Are The Champions" by "Queen", from their album "News of the World" topped a ranking of songs that encouraged audiences to sing along. Reports had already appeared on September 29 and 30; October 3 is the date of the agency report, not the first publication of the research. For the study, Alisun Pawley and Daniel Müllensiefen collected data on 1,054 song events over 30 nights at five venues in northern England. The analysis of musical features used a subset of 332 events. "We Are The Champions" topped the sing-along ranking in the sample; this was not a universal finding that it was the catchiest song ever written. The research was presented at a conference on July 30, 2011, and the full paper was published in Music Perception in 2012. The contenders for the crown were the songs: Y.M.C.A of "Village People", "The Final Countdown" of "Europe" and "Fat Lip" of "Sum 41". "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Today we will tell you about the legendary guitarist Stevie Ray Vaughan. (Rootsmusicmagazine.com) Here are 36 facts (in fact 27 you will find out why exactly 36), about this perfect guitarist: 1. He was born on October 3, 1954, in Dallas Texas. As a child, his parents took him to blues artists' performances. 2. At an early age he began playing the saxophone and drums. At age 7 he started playing guitar after being influenced by his older brother Jimmie. 3. Vaughan could not read sheet music and learned to play mainly by ear. 4. His first guitar was a toy guitar he received in 1961. He later received a "Gibson Messenger" electric guitar from his older brother Jimmie. 5. At the age of 13 he had already started performing in clubs. 6. Stevie Ray Vaughan named Jimi Hendrix and Albert King as the most influential artists. 7. Beyond the great influences of blues guitarists on Vaughan, he was also influenced by jazz artists like Wes Montgomery, Django Reinhardt, and George Benson who added jazz touches to his playing as well. 8. Before becoming a guitarist he played bass with his older brother Jimmy's band called the "Texas Storm". 9. In 1971 he left his studies and a year later he had already moved to Austin Texas in search of a musical career. 10. At the end of 1971 he formed the band "Blackbird" which was a local success and among others got to warm up "Wishbone Ash". 11. During the 1970s Vaughan continued to perform in pubs and clubs in Austin under various lineups and gained local success and recognition. During these performances, Stevie Ray Vaughan got to play alongside the heroes of his youth including Buddy Guy, Jimmy Rogers, and Albert King. 12. In 1977 he formed the band "Triple Threat Revue" which included singer Lou Ann Barton, bassist W. C. Clark and drummer Freddie Pharaoh" Walden. They recorded 4 songs in 1978, including the song "I'm Cryin'" written by Vaughan. 13. In 1978 Clark left the band and Stevie Ray Vaughan changed the band name to "Double Trouble", the name taken from a song by Otis Rush. 14. In December 1979 Vaughan was arrested for cocaine use and possession. At the time, the band "Double Trouble" served as the opening show for Muddy Waters who said of Vaughan that he could become the best guitarist who ever lived, but he would not be able to pass the age of 40 if he did not stop using cocaine. 15. Vaughan's big break came at the 1982 Montreux Jazz Festival, where David Bowie noticed him and later invited him to play on his next album. 16. Vaughan did contribute his skills to David Bowie's "Let's Dance" album, his best-selling album to date. 17. In 1982 the Rolling Stones hired "Double Trouble" to play at their private party in New York. 18. The first "Double Trouble" album was released in 1983 and was called "Texas Flood". It included the successful hit "Pride and Joy". 19. In 1984 Vaughan became the first white artist to be named W.C. Handy Blues Foundation Artist of the Year. 20. In 1985, he was named an honorary admiral in the Texas Navy. 21. He played drums in the "Soul to Soul" album version of the song "Empty Arms". 22. Stevie Ray Vaughan tends to play with the pick upside down, i.e. the thick and wide side up front. 23. Vaughan had a very powerful and unique style of playing, occasionally playing the roles of rhythm and solo simultaneously, as Hendrix did. 24. In 1988 Vaughan appeared in an advertisement for a television station in New Zealand. 25. In 1989, Vaughan played at the inauguration celebrations for President George H. W. Bush. 26. Vaughan always wanted to release an album with his brother Jimmy that was his inspiration for playing guitar. In 1990 he recorded with him 10 songs released after his death as part of the album "Family Style". 27. Stevie Ray Vaughan was killed on August 27, 1990, in a helicopter crash, 37 days before his 36th birthday. 28. On the evening of August 26, 1990, Vaughan played with Eric Clapton at "Alpine Valley Music Theatre". The helicopter carrying him after the concert crashed early on August 27. Vaughan, three members of Clapton’s entourage, and the pilot died. 29. Rumor has it that the night before the tragic accident Vaughan woke up from a nightmare after seeing himself present at his own funeral. 30. In 1991, Texas Governor Ann Richards proclaimed October 3 "Stevie Ray Vaughan Day". In 1994, Austin erected a memorial statue in his honor. 31. Musician John Mayer noted that Vaughan is his guitar hero. He has his tattoo of Vaughan on his hand. 32. In 2003 Vaughan was ranked seventh on Rolling Stone magazine's 100 greatest guitarists of all time. 33. He also reached number 8 on "Guitar World" magazine's list of the greatest guitarists of all time. 34. In 2000 Stevie Ray Vaughan was inducted into the "Blues Hall of Fame". 35. In 2015, Vaughan and "Double Trouble" were inducted into the "Rock and Roll Hall of Fame". John Mayer delivered their induction speech. 36. Vaughan released four studio albums with "Double Trouble" during his lifetime. He also recorded "Family Style" with his brother Jimmie; it was released after his death in 1990. Live albums and other archival recordings continued to appear posthumously. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

The superstar and drummer of one of the great glam metal bands Tommy Lee was born on October 3, 1962. So let's get to know him a little more in-depth than a sex tape... (Photo: Jim Dyson) 1. His full name is Thomas Lee Bass and he was born in Athens, Greece to an American father and a Greek mother. He has a sister named "Athena" who is also a drummer. When he was a year old the family moved to the US. 2. He first held the sticks when he was four but bought the first drum set only when he was ten. 3. He decided to drop out of high school to start a musical career and his first band was "Suite 19". They started performing a lot in clubs in Los Angeles alongside bands like "Van Halen" and "Quiet Riot". 4. At that time bassist Nikki Sixx had a band called London that also performed in the same clubs and through that, a connection was formed between the two. 5. In 1981, Nikki Sixx left London and joined Tommy to form a new band. Guitarist Mick Mars and singer Vince Neil joined them, completing Mötley Crüe. (Photo: https://pt.fanpop.com) 6. In 1981 the band released their debut album "Too Fast for Love" under their own independent label called Leathür Records. The band began to gain momentum and build a fan base when in 1982 it was signed by Elektra Records. 7. This is one of the most prominent heavy metal bands of the 80s, there is no doubt at all that "Motley Crue" is one of the biggest and most influential bands in the history of rock. 8. By 2008, the band had released nine studio albums. Several reached the Billboard 200 top ten, and 1989’s "Dr. Feelgood" was their only No. 1 album. 9. Especially in the glam metal era, Motley was one of the standout bands using every possible pyrotechnics and special effects on and off stage. (Photo: Ebet Roberts) 10. Tommy used to place his drum set on a huge platform that used to go up in the air and perform rounds while playing and also hover over the crowd by a formidable crane. 11. It's hard to describe in non - pornographic words all that happened around the band on and off stage and we will not try either, but let's say that drugs, sex, and rock n' roll were in the DNA of all the band members, without limits, without bounderies, going nonstop. Just look for the movie "The Dirt". 12. In the early 1990s, as glam metal faded and grunge and alternative rock rose, the band went through a difficult period. Vince Neil left, and the self-titled album released in 1994 entered the charts strongly but did not match its predecessor’s commercial success. Neil returned for 1997’s "Generation Swine"; Tommy left in 1999 to pursue his own projects. 13. That same year Tommy forms a Rap-Rock band called "Methods of Mayhem" and they release their debut album bearing the band's name and hosted artists like: Fred Durst, Crystal Method, U-God, Kid Rock, Snoop Dogg, Lil 'Kim and more. 14. The band disbanded immediately after the release of the album but returned to another album in 2010 called "A Public Disservice Announcement". 15. After the release Tommy decided to put his abilities and talents to the test, closed himself in the studio, and started recording his debut solo album "Never a Dull Moment". The entire album was written by Tommy with the help of producer Scott Humphrey and also help from members of our favorite band "Incubus". 16. The first single from the album was "Hold Me Down" which had a music video that had regular reruns on MTV2. 17. In 2004 Tommy returns to "Motley Crue" and after an exciting reunion performance, the historic band releases another album four years later called "Saints of Los Angeles". 18. In 2005, he starred in the NBC reality show "Tommy Lee Goes to College", in which he tried to fit in as a student at the University of Nebraska. 19. In 2004, Tommy published the autobiography "Tommyland", co-written with Anthony Bozza. His second solo album, "Tommyland: The Ride", followed in 2005. 20. At that time Tommy began to establish another career as a DJ. Together with his friend DJ Aero who was with him in the band "Methods of Mayhem" they perform at festivals and huge parties around the world, sometimes by the name Electro Mayhem. 21. In 2006, Tommy and Jason Newsted (Metallica) and Gilby Clarke (Guns N' Roses) formed a band called "Rock Star Supernova" based on CBS "Rock Star" reality show. On the show, winner Lukas Rossi was chosen to be the band's singer. They released a single album that year bearing the band's name. 22. It is impossible not to mention the hot sex tape with then-wife Pamela Anderson that was the breakthrough of viral pornography on the internet. Tommy said a porn actor who worked at his home stole the tape and distributed it. 23. Tommy has collaborated with various and diverse artists like: Rob Zombie, Fall Out Boy, Foreign Beggars, Courtney Love, The Smashing Pumpkins, and many more in the role of drummer or DJ. 24. In October 2020 Tommy released his third solo album "Andro", in this album Tommy performs the roles of drums, background vocals, and production with each song hosting a different singer. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Writer: Moti Kupfer Release date - 03.10.1980 After releasing two albums less than a year apart, and after setting out on a world tour in March 1980 in support of their second album, "Reggatta de Blanc", it seemed that "The Police" were in constant motion. Their success was also marked by the release of "Six Pack", a box set containing 7-inch editions of the six singles the band had released up to that point. But A&M Records wanted to strike while the iron was hot. The workload was barely taken into account, and the expectation was for another album roughly a year later. The creative well was no longer flowing quite as effortlessly as it had at the beginning, yet "Zenyatta Mondatta" became an important midpoint in the band’s career: an album that delicately balances the reggae and punk roots of the first two records with the new wave and more sophisticated rock that would define the next two. The result brought "The Police" both critical and commercial success at the dawn of the decade and established them as one of the era’s biggest rock bands. Behind that success, however, was an especially pressured recording process. The album was co-produced by Nigel Gray and the band and recorded at Wisseloord Studios in the Netherlands during a brief break in the touring schedule. Because of tax considerations, the band did not record in Britain, and the tight timetable left them only a few weeks to complete the album. The band members later expressed disappointment that the album had been completed in such a rush, but perhaps that very sense of urgency is one of the reasons for the energy and dynamism that can be heard throughout it. "Don't Stand So Close to Me" opens the album and was also its first single. Sting, who had worked as a teacher before becoming a musician, wrote a story about a teacher who becomes attracted to one of his students, explicitly referencing Vladimir Nabokov’s "Lolita" in the lyrics. According to Sting, the song was not autobiographical but a work of fiction. In Britain, the single became a massive hit. It spent four weeks at number one and was the best-selling single in the UK in 1980, with estimated sales of around 808,000 copies. It later earned "The Police" the Grammy Award for Best Rock Performance by a Duo or Group with Vocal at the ceremony held in 1982. The album’s title also became part of the band’s mythology. Sting later described a working method in which he would pull a phrase out of thin air and only afterward search for the story or meaning that might fit it. Years later, Jerry Moss, co-founder of A&M Records, named the champion racehorse Zenyatta after the album. "Driven to Tears" reveals another side of Sting and "The Police". It is one of Sting’s early protest songs, written in 1979 after he saw television images of starving children and people living in extreme poverty. The song confronts the gap between comfortable life in the West and the suffering shown on the screen, asking what responsibility we carry once we are exposed to a truth we can no longer ignore. Looking back, Sting’s answer at the time sounds almost helpless. In the years that followed, he himself would demonstrate that musicians with public visibility and influence can also act, draw attention to causes and affect the world beyond simply writing a song. "When the World Is Running Down, You Make the Best of What's Still Around" continues that sense of anxiety. Sting imagined a lonely future in which a man is left with canned food, a video recorder and old tapes of James Brown and Otis Redding, a kind of modern Robinson Crusoe fantasy in which personal survival collides with the realization that real survival is a collective effort. The video for the song, directed by Derek Burbidge, was filmed at Sugarloaf Mountain in Rio de Janeiro, in keeping with the band’s fondness at the time for exotic locations. In 2000, a remix by Different Gear returned the track to the charts, reaching the UK Top 30 and the Irish Top 10. "Canary in a Coalmine" brings the band back to its familiar reggae flavor. Sting describes an especially anxious person, but the metaphor of a canary in a coal mine gives that anxiety a more complex meaning: perhaps this is simply someone who recognizes danger before everyone else. The phrase comes from the days when miners carried caged canaries underground as an early warning against poisonous gases. "Voices Inside My Head" may suggest inner voices in a psychological sense, but Sting does not explicitly write about schizophrenia. The minimalist, repetitive lyrics are better suited to a feeling of indecision, obsessive thoughts and choices that keep circling inside the mind. "Bombs Away" was written by Stewart Copeland, and it is one of the album’s most overtly political moments. Copeland described it as a song with a nihilistic view of war, and the lyrics include a direct reference to Afghanistan in the period following the Soviet invasion. Copeland’s own experiences, having grown up in part in the Middle East, gave the subject an additional personal background. The second single, "De Do Do Do, De Da Da Da", focuses on the power and exploitation of words. Sting explained that the idea was to criticize banality and the way politicians, religious figures, entertainers and other people in positions of power use language to influence and manipulate. The irony is that, in trying to criticize simplicity, he wrote one of the simplest, catchiest and most addictive choruses in the band’s catalog. The album includes two instrumental tracks. "The Other Way of Stopping" took its title from a line in Bob Newhart’s sketch "The Driving Instructor". "Behind My Camel" was the first piece written entirely by Andy Summers. Sting refused to play on it, so Summers recorded the bass line himself and layered the guitars over it. Sting disliked the track so much that he later said he took the tape and buried it in the garden behind the studio. The irony was perfect: "Behind My Camel" later won the Grammy Award for Best Rock Instrumental Performance. "Shadows in the Rain" nearly closes the album’s darker circle with a dense, threatening atmosphere. More than a direct statement about nuclear war, it is a song of paranoia, shadows and a sense of danger, wrapped in a spacious dub-influenced sound that gives Andy Summers room to build layers of guitar and atmosphere. The band finished work on "Zenyatta Mondatta" at around four in the morning, and within hours they were already on their way to Belgium to begin the next world tour. It is difficult to imagine a more fitting ending for an album born entirely under the pressure of time and constant motion. Despite the band members’ feeling that the work had not been completed exactly as they wanted, "Zenyatta Mondatta" reached number one in the UK and became the first "The Police" album to enter the Top 10 in the United States. It captured the band at the precise point between the lean sharpness of the late 1970s and the ambition that would later lead to "Synchronicity". Sometimes an album made too quickly manages to capture a moment that could never have been recreated if it had been given more time. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or subscribe to our website

On October 3, 1983 Genesis released their 12 studio album "Genesis". This album marks a crucial moment in the band's career. "Genesis" proved they could reinvent themselves once again, not only surviving the arctic winter that fell upon the Progressive rock genre, but reaching their highest commercial success. After an eight-month hiatus, the trio - Phil Collins, Tony Banks, and Mike Rutherford - convened at their Chiddingfold studio, "The Farm", to embark on a musical journey that would redefine their sound. Departing from their previous method, songs were birthed from organic jam sessions, creating an environment that was both relaxed and remarkably collaborative. Integral to this transformation was the return of renowned engineer Hugh Padgham, previously involved in "Abacab." Padgham played a pivotal role in engineering and producing the album, helping strike a balance between the band's evolving pop sensibilities and their artistic roots. The change in sound and writing process was so essential that the band decided to call the album "Genesis", as if they are starting from scratch. This was mainly because it was the first album on which all three members helped compose each track. It was a group decision to write and record an album "on the fly" from start to finish, since they realized that their strongest material had been put together collectively, as opposed to developing someone's pre-arranged ideas. And so, every track in the album came through jamming and improvisations of all three members in the studio, making the recording more exciting and spontaneous. The album shows the band moving towards shorter, more commercial pop songs adapting the music trends of the era. The album was written and recorded after Phil Collins had already released two successful solo albums - "Face Value" and "Hello, I Must Be Going" producing incredible radio hits, so the change in sound and style felt natural to the remaining members. Rutherford said he wanted to write and record in a more relaxed approach and Banks considered the music, and overall sound as something that they had longed for many years. The album opens up with the commanding beat of the electronic drum machine of "Mama". The song came to life during a jam session, with Rutherford tinkering with a "Linn LM-1" electronic drum machine, pushing the volume to such extremes that amplifiers shook off the studio floor. Banks connected the MIDI to the drum machine to turn the keys on and off and thus produce the unique vibrating sound. Collins used his acting experience to deliver a dramatic and haunting singing that showcases his distinctive vocals. Collins, inspired by John Lennon's vocal style in "Be-Bop-a-Lula," adopted a similar approach for the song's verses. His distinctive laugh, reminiscent of "Grandmaster Flash and the Furious Five's" 1982 track "The Message", was introduced after producer Padgham played it for the band. The laugh was a spontaneous addition during an improvisation session, a touch that the band embraced and decided to incorporate. Collins revealed that the lyrics was influenced by David Niven "The Moon's a Balloon" book and it involves a young man's longing for a particular hooker. The second track is the infectious pop hook of "That's All", which exemplifies "Genesis'" deliberate pivot towards mainstream accessibility. The song sprang to life from Banks' straightforward piano riff, setting the stage for a mood that captivated the entire band. Drawing inspiration from "the Beatles", each member acknowledged their influence on the track. Collins, in particular, said that he paid tribute to Ringo Starr's drumming style. Yet, it is in the haunting suite "Home by the Sea / Second Home by the Sea" that we witness the band's true prowess. This two-part composition serves as a bridge between Genesis' earlier progressive sound and their evolving musical identity. The track's intricate narrative and instrumental intricacies captivate listeners, showcasing the band's ability to seamlessly blend genres. The narrative revolves around a burglar who, upon breaking into a house, discovers it's haunted. The spectral inhabitants capture him, compelling him to listen to their tales for eternity. During the genesis of this composition, the band was in a transformative phase, shifting from Progressive Rock to a more accessible style. Consequently, the suite weaves together accessible pop elements with an extended, more intricate section characteristic of progressive rock. The album's second side opens up with "Illegal Alien", which was released as the third single from the album. it offers a satirical narrative inspired by the band's own struggles obtaining visas for their U.S. tour. The song humorously portrays the challenges faced by an undocumented immigrant attempting to move to the United States. In the song music video, the members adopt the appearance of Mexican men striving, albeit unsuccessfully, to have their passports approved. Both the song and its music video garnered criticism for their portrayal of stereotypes and perceived racial insensitivity. After the humor of "Illegal Alien" we come upon the aching ballad "Taking It All Too Hard". No doubt, one of the finest tracks on the album, with a combination of emotional singing and catchy melody. Even though it became a hit, no music video was made for this song and it has never been performed live by the band. "Just a Job to Do" is a pure eighties pop song with a catchy chorus and strong vocals from Collins. “Silver Rainbow” opens up with a drum machine beat that after a few seconds replaced with Phil Collins' Simmons electronic drum kit. The song penned by Tony Banks, delves into the theme of people acting irrationally when in love. Phil Collins characterized the lyrics as both "romantic" and "lush." Initially, the track was referred to as "Adam" due to its rhythmic similarity to works by singer Adam Ant and the fact the lyric reflected the somewhat "juvenile" nature of the music. The closer “It’s Gonna Get Better” starts with a keyboard intro that Tony Banks sampled from a classical cello music album. Initially, he intended to use it to achieve a string sound on his keyboard, but this attempt was unsuccessful. Instead, he played four notes simultaneously using the same sample, resulting in a surprising and captivating interplay of harmonies. This unexpected outcome impressed Banks, leading him to keep and incorporate it into the song. In retrospect, "Genesis" remains an indelible chapter in the band's discography. It signifies a watershed moment in their musical evolution, displaying a newfound confidence in their pop prowess while still honoring their progressive roots. This eponymous release is a testament to the band's adaptability and their unwavering commitment to musical innovation. While the album may present a varied mix of styles, it undeniably showcases "Genesis'" growing prowess as a pop powerhouse, laying the foundation for their future successes in the mainstream music scene. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written by: Moti Kupfer Release date - 03.10.1994 "Unhappiness Where's When I Was Young, And we didn't give a damn, 'Cause we were raised, to see life as fun and take it if we can" A sense of freedom and youthful spirit swept over Dolores O'Riordan in the song that opens "The Cranberries"' second album, "No Need To Argue", released 32 years ago today, on October 3, 1994. And indeed, there is no arguing with what this album did once it entered the world. Only a year and a half earlier, "The Cranberries" had released their debut album. The band, made up of Dolores O'Riordan, Fergal Lawler and brothers Mike and Noel Hogan, initially made little impact. Even the dreamy and beautiful single "Linger", carried by Dolores O'Riordan's angelic voice, did not immediately change the picture. At that stage, hardly anyone knew who "The Cranberries" were. "The Cranberries" were formed in the Irish city of Limerick by brothers Mike and Noel Hogan and drummer Fergal Lawler, whom the brothers had met in the mid-1980s. The three bonded over a shared love of British indie music. In mid-1989, Niall Quinn, a musician from "The Hitchers", joined them, and together they formed the first basic version of the group under the name "The Cranberry Saw Us". After the demo and EP failed to move the band forward, Quinn left and returned to his previous group. The remaining trio kept developing music and instrumental song ideas while searching for a female singer to take his place. Quinn, who remained on good terms with the band despite leaving, recommended a singer he thought might suit them. It was Dolores O'Riordan, who arrived for an audition in 1990 with a broken Casio keyboard under her arm and liked what the trio had to offer. Noel Hogan gave the 18-year-old Dolores O'Riordan a demo tape containing an indie-jangle guitar piece. She took it home and came back with lyrics and a melody for what would become an early, rough version of "Linger". "One listen to Dolores singing and we were captivated by her and by the magic of her voice. Who would have believed that such a huge, bell-like voice could come from such a young, tiny girl," Mike Hogan said at the time, and Dolores became the fourth member. Noel, who had created many musical pieces before Dolores arrived, was now ready to work closely with her, with her lyrics and melodies completing his musical ideas. But the road ahead was still long and full of obstacles. Still using their original name, the band released a three-track EP through Xeric Records. Pearse Gilmore, owner of Xeric Studios, became the band's manager. Noel Hogan was determined to get the band out of pubs and underground clubs and sent another demo to London. In April 1991, the group shortened its name to "The Cranberries". Even before work on the debut album was completed, the band fired Pearse Gilmore after their relationship with him created tension within the group. Geoff Travis took over as manager, and the band returned to recording with producer Stephen Street, who had previously worked with "The Smiths". After the release of their debut album, "Everybody Else Is Doing It, So Why Can't We?", backed by the singles "Dreams" and "Linger", and despite an appearance at the Royal Albert Hall alongside "Mercury Rev" and "The House of Love", success was slow to arrive. It was only after they went on tour opening for one of the hottest British names of the period, "Suede", that things began to move. MTV started airing the videos frequently, and at one point the order of the shows was effectively reversed, with "The Cranberries" becoming the bigger attraction. The band struck while the iron was hot with an extensive US tour, and "Linger" became their first major American hit, reaching number 8 on the Billboard Hot 100. The single was also reissued in the UK and reached number 14 on the singles chart. "The Cranberries" were now ready to enter the studio and work on their second album, "No Need To Argue". On some songs, the dreamy band of mournful ballads disappeared and was replaced by a rougher rock sound, with wailing guitars and drums hitting with full force. The clearest example is "Zombie", written in response to the 1993 IRA bombing in Warrington that killed two children, and transformed into a cry against the cycle of violence in the Northern Ireland conflict. Stephen Street continued producing "The Cranberries" on their second album, but it was increasingly clear that Dolores O'Riordan was taking on a larger share of the writing. She wrote the lyrics to every song on the album and was also a major force in the compositions, gradually shifting the creative balance between her and Noel Hogan. Four singles were released from "No Need To Argue": "Zombie", "Ode To My Family", "I Can't Be With You" and "Ridiculous Thoughts". The album itself became an enormous international success, reaching number 2 in the UK and number 6 in the US, while topping the charts in numerous other countries. The album cover shows the band members sitting on the same sofa that had also appeared on the cover of their debut. Photographer Andy Earl returned to work with the band, and the sofa was brought into a Dublin studio where the white setting was created for the shoot. This time, the band chose to wear suits, inspired by a photograph of "Blur" they had seen around the same period. In 2025, an expanded 30th-anniversary edition of "No Need To Argue" was released alongside a new remaster of the original album. More than three decades after its release, the album remains the moment when "The Cranberries" moved from promising success to a global phenomenon, while "Zombie" became one of the defining songs of 1990s alternative rock. For Listening: Spotify, Apple Music Face/Off - Israel's Rock Blog You are welcome to follow us on Facebook / Instagram and/or subscribe to the website.