On October 14, 1994, the album "No Quarter: Jimmy Page and Robert Plant Unledded" was released. Here are 26 interesting facts about it: 1. Although most of the songs on the album are of "Led Zeppelin" and although Jimmy Page and Robert Plant participate in it, it is not a reunion album by of mother band. 2. Page and Plant added three musicians to the project. Bassist Charlie Jones, drummer Michael Lee and another banjo and guitar player Porl Thompson. 3. The additional guitar and banjo player Porl Thompson is also the guitarist and keyboardist of the band "The Cure". 4. Bass player Charlie Jones is the son in law of Robert Plant . He is married to his daughter Carmen Jane Plant. 5. Bassist Charlie Jones and drummer Michael Lee played in Robert Plant 's backing band as part of his solo career. 6. In addition, the band is accompanied by a Moroccan string orchestra of 29 members and an Egyptian ensemble of 12 musicians. 7. Page and Plant did not even inform John Paul Jones about the mini-union and he learned about it from the media. 8. At the time John Paul Jones was on a tour with avant-garde singer Diamanda Galas. 9. Multi-instrumentalist John Paul Jones was very upset that his friends did not tell him about the mini re-union, especially in light of the fact that they chose to crown the album and show as "No Quarter", which is a song mostly written by him and very much identified with his sound. 10. This album was part of MTV's unplugged project, although much of the songs played on it were completely electric. 11. Although this is not actually an unplugged show, it has become the most watched show in the "MTV Unplugged" series. 12. The songs that ultimately came closest to being "Unplugged" in this show were actually the special versions of the songs " Nobody's Fault But Mine " and " No Quarter " that were fundamentally different from the original. 13. Although the original recording of the song "No Quarter" is full with keyboards played by John Paul Jones , the show version does not include keyboards at all. 14. The show was recorded in three different locations. Morocco (three songs), Wales (two songs) and London. 15. The expectation for the mini re-union show was so great that the companies Pepsi and Coca-Cola were among the companies that sought to sponsor it. They were rejected by Jimmy Page and Robert Plant '. 16. On the occasion of the show, Jimmy Page and Robert Plant ' wrote four new songs: " City Don't Cry ", " Yallah (The Truth Explodes) ", " Wah Wah " and " Wonderful One ". 17. Following the positive reactions from the show, Jimmy Page and Robert Plant ' continued with the momentum and released in 1998 a joint album called "Walking into Clarksdale". 18. The ensemble of musicians that accompanied the band in the mini-union show continued with them to the album and the performances that accompanied it. 19. The meeting between Paige and Planet who created the mini-union took place in 1993, while Jimmy Page was on a tour to promote his album Coverdale/Page with David Coverdale . 20. Page surprised Plant in his hotel room in Boston and offered him to work together. 21. At the time, Plant was in the midst of a tour promoting his album "Fate of Nations" and performed two consecutive nights at the Orpheum Theater in Boston. 22. When the two received an offer from MTV to record a show for their unplugged series, their condition was that the show would not be an Unplugged show. 23. The idea to explore Middle Eastern and especially Moroccan music came, among other things, from Plant's musical direction in his latest (then) album “Fate Of Nations” which included Moroccan motifs. 24. Another inspiration for the oriental connection that this show has was Planet and Page's visit to India in 1972, where they recorded versions of the songs " Four Sticks " and " Friends " with the Bombay Symphony. 25. Indian singer Najma Akhtar who as part of the show sang the singing roles of singer Sandy Denny in the song " The Battle Of Evermore ", became after the show the girlfriend of Robert Plant . 26. The album version includes 14 songs, with the DVD version having three more songs: " What Is And What Should Never Be ", " The Rain Song " and " When the Levee Breaks ". 27. In 2004, a new version of the album was released. It omitted the song " Thank You " at the expense of the song " The Rain Song ". In addition, the song " Yallah " received the name " The Truth Explodes ". If you have not bothered to listen to the album until now , we recommend that you at least listen to the special performance of the songs " Since I've Been Loving You " and " Kashmir " from it, in our opinion they have added value. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On October 14, 1985 "Triumph" released their live album "Stages". "Triumph’s" "Stages" is a live double album that offers fans a chance to experience the band’s exhilarating performances from 1981 to 1985. While it captures much of the energy and musicianship that made "Triumph" a live staple, it falls short of the lasting impact seen in some of the classic live albums of the era, and there are key reasons for that. Unlike other live albums that focus on a single concert or tour, "Stages" is composed of performances recorded over several years, from different venues during the band's tours for " Allied Forces " (1981), " Never Surrender " (1982) and " Thunder Seven " (1984). This patchwork approach results in a lack of continuity between songs, with audience noise fading in and out awkwardly, creating a sense that the album is more of a compilation than a cohesive live experience. The transitions, while not entirely jarring, do affect the flow, making it difficult for the listener to feel immersed in a single concert atmosphere. This production choice may have contributed to "Stages" not achieving the classic status of other live albums from the same period, such as "Scorpions'" "World Wide Live" or " Live After Death " by "Iron Maiden" which was released the same day. However, the song selection is still strong. The album features "Triumph's" best-known songs like “ Magic Power ,” “ Lay It on the Line ,” " Follow Your Heart ", " Never Surrender " and “ Fight the Good Fight ,” allowing listeners to hear these radio staples in an energized live setting. The performances are tight, with Rik Emmett ’s virtuosic guitar playing shining through on extended solos, and Gil Moore and Mike Levine locking in a powerful rhythm section. As expected from a live album of that time, the two highlight moments of "Stages" is Gil Moore’s drum solo on " A World of Fantasy ," a thrilling moment that demonstrates his technical prowess and power behind the kit, and the crazy Rik Emmett guitar solo during " Rock & Roll Machine ," that proves his versatile playing and great technique. Given the disjointed nature of the live recordings, "Triumph" seemed aware of the album's limitations. As a result, they made the decision to include two new studio tracks: " Mind Games " and " Empty Inside ." These songs add a fresh dimension to the album, possibly an attempt to give Stages a broader appeal and to compensate for the fragmented live material. While not groundbreaking, these studio tracks are a welcome addition, giving the album a sense of novelty for fans who might have already owned most of the live songs in their studio form. Overall, "Stages" succeeds in showcasing "Triumph's" raw talent and their blend of hard rock, progressive elements, and melodic hooks. Still, its impact is somewhat diluted by the inconsistency in the recording sources. While it's not the definitive live album that "Triumph" could have delivered, it remains an essential listen for fans who want to experience the band in a live setting during their peak years and want to own their two new songs in their discography. Despite its flaws, the album offers enough strong performances and memorable moments to stand as an important part of "Triumph's" discography. For those of you who want to feel a cohesive live experience by "Triumph", you should probably try "Triumph - Live at the US Festival". For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On October 13, 1978, "AC/DC" released their first live album "If You Want Blood You've Got It". Beyond the fact that this album stars in almost every list of the greatest live albums of all time, it is also probably the album that is responsible for the great breakthrough of "AC/DC" in the world and especially in the US. So let's understand why? Hard to believe, but this great band, formed in Australia in 1973 by brothers Angus and Malcolm Young , was relatively successful in their country of origin, but for years failed to push the boundaries of their homeland and struggled to gain international recognition, especially in the US. The disregard for the band was so extreme that the "Atlantic Records" branch of the US, refused to release the band's third album "Dirty Deeds Done Dirt Cheap" in 1976, as they did not believe in its ability to succeed in sales. The band received the announcement during the tour to promote the same album, but instead of putting the band in depression, it did just the opposite! It spurred the tough guys from Australia to do everything they can to prove to the record company that they were wrong. The band returned immediately after the tour to Sydney Australia to record their fourth album "Let There Be Rock". The album was recorded within two weeks, during which the band made an effort to recreate their sound on stage right there in the studio. "AC/DC" was a band of gigs, an energetic and sweeping band that gives its all in front of an audience, so it was important for them that this crazy energy would be reflected in the studio as well. After the release of "Let There Be Rock" in the summer of 1977, "AC/DC" began their first tour in America, and without any help from the radio stations, begins to build her audience, from the bottom up, with a lot of hard work, on the road and in performances. "AC/DC" was a crazy energy bomb on the stage and the hard work on the roads, was definitely profitable. "AC/DC" slowly catch up with more and more young audiences and was also starting to attract the attention of record companies, who could no longer ignore the rumors about the band from Australia burning the stages in America. The highlight of this tour was a performance the band made in December 1977 at "Atlantic Studios" in New York. Yes, yes, the same company that a year earlier refused to release the band's third album in the US, suddenly hosts the band for a show that also aired live on WIOQ radio station in Philadelphia. By the way, this historic show was recorded and documented. It's called "Live from the Atlantic Studios" And it was released twenty years later, as part of the "Bonfire" box released in 1997. This US tour proved to the audiences and the record companies what this band was worth, and this was also reflected in the sales of their fifth album "Powerage", released in 1978. Reinforced by these positive results, the band decides it's a good time to release a compilation album that will help the audience and record companies to get to know the band's old material from their first five albums as well. This album was supposed to be called "12 of the Best", but the idea for a compilation album was eventually abandoned in favor of the reviewed live album, and of course, this was the right decision for the band. "AC/DC" understood that the fans and record companies need to know how they are sounds best, live, on stage. So the members agreed that it would be a "hits" album, but unlike the regular compilation albums, it would be recorded at a live show and try to convey in the best way the sound, energy, power, and "electricity" that this band has to give on stage. And indeed it was. This album is an electric volcano really a "Powerage" as the name of the tour it was recorded in. It presents "AC/DC" in their comfort zone, live, exposed in front of the audience, and best conveys what took place in that tour on stage. The album features the band's best songs from the albums " T.N.T. ", " Dirty Deeds Done Dirt Cheap ", " Let There Be Rock " and " Powerage ". It was recorded mostly at the "Apollo Theater" in Glasgow, the birthplace of Angus Young and Malcolm Young . The long versions of " Bad Boy Boogie " and " Let There Be Rock " proved Angus Young 's virtuoso abilities and introduced the world to one of the greatest performers of all time on an electric guitar, which was definitely worthy of the roars of the audience Angus! Angus! In between the riffs at the opening of the song " Whole Lotta Rosie ". The technicians of the recording mobile were probably unaware at the time of the treasure captured on their microphones and the history was caught in that recording, as the roars of the audience calling the name of their idol Angus Young would later become the cry of future generations of "AC/DC" fans and a kind of tradition. The live versions of songs like " Hell Ain't a Bad Place to Be ", " Problem Child " and " High Voltage " sounded even more energetic, powerful, and sweeping than the studio versions, and with the song " The Jack " poetic justice was finally done, when Bon Scott gave it different lyrics, "dirty" and more entertaining than the album version. The band's bet with the release of a live album, instead of a compilation album, turned out to be the right one. "If You Want Blood You've Got It" has become one of the greatest live albums of all time and is undoubtedly at the forefront with albums like "UFO"s " Strangers in the Night ", "Live And Dangerous" by "Thin Lizzy", "No Sleep 'Til Hammersmith" by "Motorhead", " Unleashed In The East " by "Judas Priest" or even the masterpiece " Kiss Alive ". Few are the performance albums that convey so well the feelings and energy that exist in a live performance and this album is one of them. The album of course received rave reviews from both the audience and the critics and put "AC/DC" on the map. The song " Whole Lotta Rosie " becomes the band's first song to be played frequently on U.S. radio stations. This success did not go unnoticed, of course, by Atlantic Records, which began to realize that it had a gold mine in its hands. In 1978 the American branch of "Atlantic Records" already began to believe that the band had the potential to be very successful in the US and they offered the band a recording contract which would eventually lead to its big break with the masterpiece album Highway To Hell released in 1979. By the way, "(If You Want Blood (You've Got It") is also a song that was included on the album " Highway To Hell " and it also happens to be one of the songs that marked the turning point in the recordings of that masterpiece album. Amazing and fascinating in itself and can be found in the review we wrote about. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On October 13, 1976 "Triumph" released it self-titled debut album (later titled "In the Beginning" on its 1995 reissue). This album marked the first step in the career of one of Canada's most iconic rock power trios. Formed in 1975 in Toronto, "Triumph" initially started as a four-piece blues-based band called "Abernathy Shagnaster", featuring Fred Keeler on guitar, Peter Young on organ, Mike Levine on bass, and Gil Moore on drums and vocals. The band released their debut single in 1975, but Keeler and Young left the band shortly after. During the summer of 1975 Moore and Levine met Rik Emmett , a guitarist from the band "ACT III", and after a jam session at Moore's house, Emmett joined the band. Emmett's progressive rock and classical music influences brought a new dimension to the band's sound. Released exclusively in Canada on Attic Records, "Triumph" remained relatively obscure until it was later rebranded and rereleased in 1995 as "In the Beginning" for international audiences. The album is a reflection of a young band still finding its voice, but it already showcases the signature blend of Blues, Hard Rock, Classical and Progressive that would come to define "Triumph’s" sound. The album kicks off with “ 24 Hours a Day ,” which starts as a quiet "Boston"-like ballad and slowly develop to a driving hard rock track that sets the tone with its energetic riffs and infectious chorus. This opener captures "Triumph’s" early party-rock spirit, giving listeners a taste of the power and excitement the band brought to the table. Already in this song we are witnessing this band added value with two excellent lead vocalist, with Rik Emmett takes the lead in the quiet intro, while Gil Moore doubled as lead singer on the heavier part. Following it is " Be My Lover ," a bluesy, riff-driven track that leans into the band's rock roots with a Talk Box solo by Emmet. The guitar sound and the sudden breaks will surly reminds you of "Rush" early years. " Don’t Take My Life " is another standout with its aggressive energy, with a chord progression reminiscent of the climax part in "Led Zeppelin's "Stairway to Heaven", while " Street Fighter " presents a two-part suite. The first part is fast-paced, almost proto-speed metal, and the second part takes on a more ethereal and dreamy quality, showing "Triumph’s" ability to balance both hard rock and more complex arrangements within one song. " What's Another Day of Rock 'n' Roll " will remind you of "Bachman–Turner Overdrive" and " Let Me Get Next to You " reveal the band's versatility with a hard rock intensity. " Easy Life ," on the other hand, offers a more laid-back vibe, showcasing the band's softer side. The album’s centerpiece, however, is “ Blinding Light Show / Moonchild ,” a nearly nine-minute progressive epic that blends Rik Emmett ’s virtuosic guitar work with atmospheric keyboard layers and expansive song structures. This track is where "Triumph’s" progressive rock ambitions are most fully realized, showcasing Emmet's strong classical and Spanish roots, hinting at the experimentation they would continue in future releases. Initially the album was released solely in "Triumph's" homeland Canada. It was only after the band's second album, "Rock & Roll Machine" that "Triumph" signed an international deal with RCA in the States. The label combined four songs each from the two Canadian albums into the "Rock & Roll Machine" (US) that was more available to fans around the world. While overshadowed by later albums "Triumph’s" debut plays a crucial role in the band’s early development. It captures the early spirit of a trio on the verge of breaking out and provides a glimpse into the elements that would make them one of the defining hard rock bands of the late ’70s and early ’80s. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

If we were asked to define through one and only one album what "progressive rock" is for us, it would probably be "Selling England By The Pound", the fifth studio album of "Genesis", released on October 13, 1973. This is an album that has all the features and elements that define this marvelous genre. A combination of styles like rock, folk, and classical music. Long (relatively) and dynamic songs, complex compositions, melodic tunes, and vocal harmonies, a musical idea with a recurring motif, a varied use of musical instruments, and the use of unconventional rhythms. In short, if the oxford dictionary had an entry for "progressive rock", the definition would probably have been "Selling England By The Pound" by "Genesis". We will clarify this already here and now! The definition does not diminish in any way the greatness and influence of other major albums in the genre, such as, " In The Court Of The Crimson King " which we reviewed only a few days ago and defined as "the big bang" that gave birth to progressive rock. Simply for us "Selling England By The Pound" is the creation that came after the "chaos" created by the "Big Bang". After the trillions of particles and shards, it distributed everywhere and reunited together to create the musical "paradise" called "progressive rock". This is the album that we are sure has put many of you through the gates of "Paradise". It will also probably be the first album we would play for an alien that will fall to Earth and ask to know what "progressive rock" is. Why? Because it has everything that defines the genre and yet, it is still melodic and accessible enough to make a person who does not familiar with prog to fall in love with it. True, there are probably more complex, sophisticated, even more, perfect albums in the classic prog-rock genre, but with all their greatness it is not certain that you would choose them as the first representative sample through which you would try to make a stranger fall in love with this wonderful genre, right? So we think it is enough to explain our choice. Before we dive into the review, let’s note that there is a less common opinion that “Genesis” is not defined as “pure progressive rock”. For those opinionated (and we are of course not among them) "Genesis" lacks the improvisations and virtuosity that are necessary elements that define progressive rock. The same sources claim that, unlike "pure" progressive rock bands, with "Genesis" everything is planned, directed, structured and pre-written, like a "song" that lyrics are a very important part of it, while real progressive rock should be built on an instrumental improvisation in which the lyrics play a small role. Well, Although improvisation and spontaneity are an important factors in the definition of progressive rock, it is certainly not the only one. Beyond that, you will find quite a few bands whose works are built on improvisation and are not really close to "progressive rock". Ready for another "statement"? It may be a statement that will make some of you wonder, maybe even resist, but trust us that we really "weighed words" before we wrote. This is the pinnacle of Genesis' work, both in terms of writing and playing. True, there will be many who will argue with us and claim that "Foxtrot" deserves the crown, we also seriously debated this question, but in our opinion, its greatness relies mainly on the masterpiece "Supper's Ready" and if it was out of the equation we would be left with a good album, but not much Beyond that. There will be those who will say that the mighty double album "The Lamb Lies Down on Broadway" is the one that surpasses all the rest, but for us, its length comes a bit at the expense of imbalance and coherence between the tracks. And if you want to say that this is actually the amazing " Nursery Cryme ", beyond the fact that it suffers from sound problems compared to the other albums we mentioned, it is also the first album with the band's classic lineup, which at this stage has not yet crystallized to perfection. There is no shadow of a doubt. Each of the albums we mentioned certainly deserves a crown, but it seems to us that "Selling England By The Pound" deserves it, if only because it feels more complete, more flowing as one complete work as opposed to a collection of tracks, a kind of concept album that starts with " Dancing with the Moonlit Knight ", whose melody repeats itself at the end of " The Cinema Show " and at the beginning of the closing track " Aisle of Plenty ". Listening to this album gives us a sense of listening to a radio program that has undergone musical processing. A performance of a theatrical story wrapped in a soundtrack, much like the way singer Peter Gabriel used to combine his acting skills with the music of "Genesis", on stage. It begins with an a-cappella that opens up the album, with the poignant question "Can you tell me where my country lies", and ends with the words "See the deadly nightshade grow" from the short song " Aisle of Plenty ", which is a kind of magical and gloomy reprise that ends the story to the amazing mellotron sound of Tony Banks . Every song on this album is a set in a show signed by Peter Gabriel and Tony Banks . True, Steve Hackett 's incredible playing cannot be ignored with the innovative guitar roles that will influence generations of guitarists, especially the "tapping" and "sweep picking" techniques and of course his simply chilling solo in " Firth Of Fifth ". It's hard not to notice the sound enrichment of Mike Rutherford , who plays bass, 12-string guitar, and sitar, nor his significant writing contribution. It is also impossible not to refer to the diverse and sweeping drumming and vocal harmonies of Phil Collins , who even sang lead vocals in one of the songs. But in the end, the lead on this album was done by Peter Gabriel with his witty and sarcastic lyrics and by Tony Banks who managed to write some of the best tunes he has ever written. The name of the album indicates its content. The phrase "Selling England By The Pound" which also appears in the lyrics of the opening song "Dancing with the Moonlit Knight", was taken from a slogan of the Labor Party in Britain at the time. This is a critical document. A kind of "indictment" if you will, against the people in the UK and those who "sold the UK by weight (Pound)". A sadly mixed critique of Britain's loss of identity and uniqueness since the 1960s, its commercialization and devotion to capitalist culture, or in one word - "Americanization". This critique runs like a second thread between some of the album's marvelous creations. Starting with "Dancing with the Moonlit Knight" which deals with the subject directly with sarcastic puns, through " I Know What I Like (In Your Wardrobe )" which tells the story of Genesis' stage worker Jacob Finster, who failed to hold a permanent job and at a certain stage became a gardener and lawn mower, ending with " Aisle of Plenty " which returns to touch on the main motif and refers to UK consumer society with a clever pun that defines it as "abundance", with the word "Isle" being replaced by the word "Aisle". The opening song " Dancing with the Moonlit Knight " evolved from several short piano compositions of Peter Gabriel l, which were combined with the guitar roles of Steve Hackett and these two formed the skeleton on which the song is built on. Tony Banks added his wonderful piano work (in the opening) and later the upgraded mellotron (not the one purchased from "King Crimson"), which created the all-too-unique choired-like sound. A very dynamic and moving piece that combines a lot of changes in rhythms and styles. It begins with the famous a-cappella and ends with Mike Rutherford 's 12-string guitar, which was originally supposed to fit in with "The Cinema Show" as one 20-minute long piece, but the band abandoned the idea to avoid comparison to "Supper's Ready". During the band's performances, Peter Gabriel used to dress up as "Britannia" - the good old "Britain", the one before the loss of identity, the one that is anxious about the situation the homeland has reached. The second track " I Know What I Like (In Your Wardrobe) " is the "hit" of the album, and the band members even joked about it during the recordings. A short, catchy, and melodic piece. the lyrics of which were inspired by the story of the band's stage worker and the cover painting of the album "Dream" painted by Betty Swanwick, which shows an old gardener sleeping on a garden bench and being completely ignored by lovers who do not see the working class difficulties. If you want criticism of the higher-class culture that pursues status and honor. The song was born out of the band's jam session revolving around Steve Hackett 's guitar riff, which was rejected for the previous album because the band members thought it was too reminiscent of "The Beatles". The percussion that is heard at the beginning of the song is a Nigerian drum that Gabriel played on. The song was released as a single which became the band's first to chart on the UK charts. In this case, too, Gabriel used to dress up in the band's live performances, this time as the character of the gardener/stage worker "Jacob". The third track " Firth Of Fifth " is one of the band's greatest and most appreciated songs. The epic piece opens up with a piano solo piece by Tony Banks . A great section with arpeggios chords played at odd time signatures such as 13/16 and 15/16. Banks wrote most of this amazing piece on his own. He tried to interest the band members for with it for "Foxtrot", but was rejected. Banks did not despair. He reworked some of the musical parts and offered them to the band again, this time it worked. The piece opens with a piano solo, parts of which are repeated and played by the band later. Steve Hackett took one of Banks' piano pieces and incorporated it into his guitar solo. This reprise also exists in Peter Gabriel 's flute solo starting at 3:28, which Steve Hackett simply embraced into his immortal guitar solo. Listen for example at 6:25 and to the climax at 7:25 repeating Gabriel's flute solo. Interestingly, the title of the song "Firth of Fifth" was chosen as a pun on the name of the river Forth and it is also a pun on "Fourth of a Fifth" which is supposed to relate to the theme of "Selling England in Pounds". The criticism does not skip this song either, in which the people are compared to a flock of sheep that need a shepherd. The first side of the album ends with " More Fool Me ". This is the second song in which Phil Collins takes the lead after "For Absent Friends" from " Nursery Cryme ". Uncharacteristically for the period and style of the band at the time, the song is a soft and romantic ballad that opens a small window through which one can peek into how "Genesis" would sound after the Gabriel era and Collins' solo career. The song was quickly written by Collins and Rutherford while sitting on the steps outside the recording studio and is a sort of light intermission between the two opus-like pieces before and after it. The other side opens with " The Battle of Epping Forest ". A humorous work inspired by a news story Gabriel had read several years earlier, about the territorial battles of two rival gangs on the east end of London, which were meant to fight in the "Epping" forest. Peter Gabriel searched the archives to find more information about the story, but when he didn't find he was forced to create fictional characters such as "Liquid Len", "Harold Demure", "The Bethnal Green Butcher" and more that fit into a witty and humorous story, combined with sarcastic criticism, which Gabriel made sure to spice up with A heavy accent that matched the replacement of the various characters. The criticism in this song is directed both at the general public who ignored the great gang fight and allowed it to happen and at the gang members themselves who eventually ended the battle by tossing a coin. The second track on the other side " After the Ordeal " is a classic instrumental track that is all about Steve Hackett . The name of the track ("After the Ordeal") refers to the previous epic song that told of the battle in the "Epping" forest. This is the first track of "Genesis" in which Hackett plays the classical guitar with nylon strings. Tony Banks and Peter Gabriel objected to the inclusion of the piece, which also extended the album beyond the limits for vinyl records at the time, but Hackett insisted and in the end, the piece remained. Immediately afterward we come to one of the beautiful works on the album " The Cinema Show ", which as mentioned was originally supposed to be part of a longer piece, along with the opening track. This is another amazing epic track that is divided into two parts. It begins as a romantic and modern "Romeo and Juliet" story led by Mike Rutherford 's 12-string guitar and features vocal harmonies between Gabriel and Collins, and a flute and oboe solo. The second section begins in the middle of Tony Banks ' long and amazing keyboard solo, with this improvisation leading us to close the circle with the minor motif we were familiar with in the opening section of the album. The words written by Banks and Rutherford are inspired by T. S. Eliot's poem "The Waste Land". This time the criticism deals with the relationship between him and her and the distance between men who are likened to water and women who are likened to earth. The album ends with the short " Aisle of Plenty ", which as mentioned, is a kind of magical and gloomy reprise of the opening track "Dancing with the Moonlit Knight". It ends the story pessimistically with the sounds of Tony Banks ' amazing melody and the mournful voice of Peter Gabriel reading a random supermarket food list and their prices, closing a circle with the protest against capitalism and the excessive consumer culture that has spread in the UK. We will conclude by saying that the album "Selling England By The Pound" is one of the albums that define the classic "prog rock" and is without a doubt one of the most important and influential in the genre. It is innovative, it is original and it has set new and high standards, both in terms of the quality of the writing and in terms of the level of playing. The classic composition of "Genesis" is here at its best, with a shared creative power that proves how great the whole is from the sum of its parts. While this is the band's highlight, the 'Genesis" brand has proven time and time again that it is capable of reinventing itself and being at the center of the musical map for almost 20 years, even after the departure of Peter Gabriel and later Steve Hackett . For listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

The "Red Rocker" Sammy Hagar celebrates his birthday today and this is a good opportunity to tell you some facts about him: (Photo: Matt Becker) 1. He was born on October 13, 1947, in Salinas, California. His full name is Samuel Roy Hagar. 2. His father - Bobby Hagar was an alcoholic boxer who used to spend his wages on alcohol and abuse his wife and children. 3. When he was 10 years old he left home together with his mother, 2 sisters, and brother and since then he started working odd jobs to help support the family. 4. He taught himself to play the guitar he bought for $40 from a Sears catalog. 5. He founded his first band - "The Fabulous Castilles" when he was only 14 years old. 6. One of his defining moments was in 1965, when he was 17 years old and snuck into a "Rolling Stones" concert. 7. In 1967, Sammy released his first single which included the songs "Reach Out to Find Me" and "Read My Thoughts". He released it as part of the duo Samson & Hagar. 8. Until 1973 Sammy would replace several bands "Big Bang", "Skinny", "Dustcloud", "Cotton Jimmy", "Manhole" and "the Justice Brothers", which was the house band of a bar called "The Nightclub" in San Bernardino. 9. In 1973 he joined "Montrose" - Ronnie Montrose's band, as lead singer. 10. Their debut eponymous album, included among others the single "Bad Motor Scooter", which Hagar wrote solely. 11. Hagar will leave the band in 1975, after the release of the second album "Paper Money" (1974), some say due to tensions created by his wild guitar playing style. 12. In 1976 he released his first solo album "Nine on a Ten Scale", in which his "Montrose" bandmate, bassist Bill Church, participated, among others. 13. The opening song of his second album from 1977, named "Sammy Hagar", is called "Red". The song that became a hit, along with the red album cover, the red car that appears on it, Sammy's red guitar, and red pants, led to his nickname the "Red Rocker". 14. During his solo career, Hagar also wrote songs that became hits for other artists, most notably Rick Springfield's hit, "I've Done Everything for You." Singer Bette Midler also recorded two of Hagar's songs, "Keep on Rockin" and "Red". 15. In 1982 Hagar released his sixth album "Standing Hampton" which was his most successful up to that point and included five singles that entered the charts, including the hit "Heavy Metal" which was also used as the theme song from the film of the same name and was also included in the film's soundtrack. 16. His 1984 eighth album "VOA" included his biggest hit of his solo career "I Can't Drive 55". The song was so successful that it was included in the setlists of "Van Halen" concerts after Hagar joined the band. 17. In the same year, Hagar founded the supergroup "HSAS" in which guitarist Neal Schon , bassist Kenny Aaronson and drummer Michael Shrieve (known among others from the band "Santana"), were members. They released the album "Through the Fire" in 1984. 18. In 1985, after "Van Halen" parted ways with David Lee Roth , Eddie Van Halen was referred to Sammy Hagar as the one to replace Lee Roth. The one who referred Eddie to Sammy was the mechanic who worked on his Lamborghini. 19. It is interesting to note, that Eddie Van Halen was a fan of "Montrose" and that the producer of "Montrose" and Hagar was Ted Templeman who also produced "Van Halen". 20. Hagar's first album with "Van Halen" - " 5150 " was released in 1986. The album jumped straight to first place on the American Billboard 200, overtaking the band's previous album " MCMLXXXIV (1984) " which only came in second place. 21. The album included, among others, the hit " Love Walks In " which, completely contrary to everything you thought, was written about "aliens". 22. Believe it or not, but Sammy Hagar is a big believer in the alien theory, and in his interview with Guitar magazine he stated that he strongly believes he saw and felt them, he claims they contacted him in three or four different times and downloaded information from his brain. 23. Since then, Sammy has released three more successful albums with Van Halen: " OU812 " from 1988, " For Unlawful Carnal Knowledge " from 1991, and "Balance" from 1995. 24. The album " OU812 " includes the song " Cabo Wabo " whose melody, Sammy borrowed from the song "Make It Last", which he composed for his previous band "Montrose". 25. Later on, Sammy will also name his bar in Mexico as well as his tequila line "Cabo Wabo". 26. This is a handmade tequila that until 2006 was the second best-selling premium tequila in the United States. 27. In 2007 Hagar sold 80% of his rights in "Cabo Wabo" to "Gruppo Campari" for 80 million dollars. In doing so, he made more money in one day than in his entire music career. 28. Three years later, Hagar sold the remaining 20% ​​for an additional 11 million dollars. 29. At the same time as his membership in "Van Halen", Hagar continued his solo career and published in 1987 his ninth solo album "I Never Said Goodbye". The album included his first number-one hit on the Billboard charts " Give to Live ". 27. Internal disputes eventually led to Hagar's departure from "Van Halen" in June 1996. There are several versions as to the reason that led to his departure, among them the fact that Eddie demanded that he will come to California to record while he was staying with his wife in Hawaii and awaiting their planned birth there. Another version refers to the fact that Eddie recorded two new songs with David Lee Roth , for the compilation album "Best Of – Volume I". 28. Already in 1997 Hagar published his 10th solo album "Marching to Mars". 29. In 1998 Hagar participated in an episode of Don Johnson's "Nash Bridges" series. He played bartender. 30. In 1999 Hagar released his 11th solo album "Red Voodoo" which for the first time included his backing band "the Waboritas", which included guitarist Vic Johnson. 31. In 2000 Hagar released his 12th solo album - "Ten 13", whose title is actually his date of birth. 32. At the same time as his solo career, Hagar founded the supergroup "Los Tres Gusanos" together with drummer David Lauser, and bassist Michael Anthony his bandmate from "Van Halen". 33. This was not the last supergroup in which Sammy would be involved. In 2002, he joined "Planet Us" with guitarist Neal Schon , bassist Michael Anthony, and drummer Deen Castronovo. Later Joe Satriani will also join the band. 34. The band only recorded two songs and toured briefly before disbanding, when Hagar and Anthony returned to their mother band "Van Halen" for a 2002 reunion. 35. In 2005 Sammy returned to work with his backing band "The Waboritas" and this time also included Michael Anthony. The tour also included a segment of him and Anthony in a band called "The Other Half" with a reference to Hagar and Anthony being half of "Van Halen". 36. In 2008, Hagar formed the supergroup " Chickenfoot " with Michael Anthony, Joe Satriani , and "Red Hot Chili Peppers" drummer Chad Smith . 37. The supergroup's debut album " Chickenfoot " was released in June 2009 and reached number 4 on the Billboard chart. After a short tour, the second album, "Chickenfoot III" was released, in 2011. 38. In 2014 Hagar formed another supergroup called "The Circle", with bassist Michael Anthony, guitarist Vic Johnson, and drummer Jason Bonham . 39. Sammy will release three albums with the band - "Space Between" in 2019, " Lockdown 2020 " in 2021, and "Crazy Times" in 2022. 40. In 2022 "Megadeth" recorded a cover version of the song "This Planet's on Fire (Burn in Hell)" taken from his fourth album "Street Machine" from 1979. Hagar will participate in the recording on vocals and this cover will be included in the expanded version of Megadeth's 16th album " The Sick, the Dying... and the Dead!". 41. It is interesting to note, that musicians Brad Delp , Barry Goudreau, and Sib Hashian from "Boston" will participate in the recording of the song "Falling in Love" taken from the same album - "Street Machine". 42. Sammy considers himself a gourmet chef, and claims to have cooked for famous chefs such as Emeril Lagasse and Mario Batali. 43. Hagar also published two books. His autobiography, "Red: My Uncensored Life in Rock" and a cookbook called "Are We Having Any Fun Yet - The Cooking & Partying Handbook". 44. In 2007 he entered the "Rock and Roll Hall of Fame" together with "Van Halen". 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On October 12, 1989, Yngwie Malmsteen released the album "Trial by Fire: Live in Leningrad". Recorded during several shows in St. Petersburg (formerly Leningrad) in February 1989, the album summarizes Yngwie Malmsteen 's peak era, which includes his first four solo albums, released between 1984-1988. The virtuoso guitarist comes to this tour at his peak, after the release of the most successful album of his career "Odyssey". The lineup accompanying him on this tour is also one of the favorites, including singer Joe Lynn Turner and the brothers Jens Johansson (keyboards) and Anders Johansson (drums). It is unbelievable that less than two years earlier, Yngwie Malmsteen was at a personal and creative low, with his future uncertain. In 1987 his mother passed away after a battle with cancer. In addition, he was involved in a very serious car accident. He became unconscious and when he woke up from his coma about a week later, he discovered that he had nerve damage in his right hand, putting a big question mark on his ability to play again. Whoever listens to or watches (the concert was also released on video) Yngwie Malmsteen 's performance in this concert, will simply not believe that not long before Yngwie was swinging between life and death with serious damage to his right hand. This adds to Yngwie's tremendous achievement in this album, making him one of the greatest neoclassical "shredders" of all time. In this performance, Yngwie manages to reach a phenomenal level of playing and precision. For moments you don't even believe that you are actually not listening to a studio version but a live version of a certain song. Moreover, there are quite a few sections during the performance in which Yngwie surpasses even the studio versions with energetic and passionate performances. It's not new that Malmsteen is the type of guitarist who just blossoms on stage, but what's amazing is that the "electricity in the air" manages to pass well when listening to the album, even without the need to watch the video version. We don't know why, but it seems that you can feel Malmsteen burning up the stage, just by listening to his playing style and the audience's reactions. Those who are familiar with the first four studio albums of Yngwie, know that there are quite a few guitar channels and guitar layers. Malmsteen manages to fill this void with the help of the harmonies played by keyboardist Jens Johansson, as can be clearly heard at minute 2:20 of the instrumental track " Black Star ", taken from the debut album "Rising Force". You know that part at concerts when the band presents a remake of a certain song and you really expect to hear something that will be the closest to the studio version? So in this album, Malmsteen manages to keep the DNA of the studio versions, while still keeping a lot of room for improvisation. This can be heard, among other things, during the solo of the song " You Don't Remember, I'll Never Forget ". Yngwie manages to combine the melody of the song "L'amour est bleu", which was performed for the first time at the Eurovision Song Contest in 1967 by the singer Vicky Landrus who represented Luxembourg, and also a section from the solo of his spiritual father Ritchie Blackmore , in the song "Strange Kind Of Woman", as played in the "Made In Japan" concert version. This also happens in the intro to the instrumental track " Far Beyond the Sun " to which Yngwie plays "Adagio" by the Italian composer Tomaso Albinoni, as well as in the intro of the great song " Dreaming (Tell Me) ", where Yngwie manages to incorporate a section of Bach's "Fugue in G Minor". This addition is apparently so loved by Malmsteen that he chose to record it on his 15th studio album "Unleash the Fury", where it will be called "Fuguetta". We hold the opinion that Yngwie Malmsteen should focus on playing the guitar. We're not so fond of the fact that lately he's been taking on the role of the lead singer in the band, both on studio albums and live shows. However, we have to admit that his singing skills on this album aren't bad. There are quite a few parts where he accompanies Joe Lynn Turner , but for moments he also takes the lead such as the screams in the opening song " Liar " or in the performance of the song " Spanish Castle Magic " by Jimi Hendrix which closes the album. And if we've already mentioned Joe Lynn Turner , then we have to mention his amazing abilities and the fact that he fits very nicely into the shoes of Mark Boals, performing three songs from the album "Trilogy" (four if you count "Fury" which is only included in the video version). It's not always easy to perform another singer's songs and Lynn Turner knows this perhaps better than anyone else. As you certainly remember, his attempt to step into Ian Gillan 's shoes on the concert tour designed to promote the album " Slaves and Masters " by "Deep Purple" did not go well. However, even though Turner has a lower natural vocal range than Mark Boals, he handles the screams much better than him and sometimes even seems to be able to perform his songs better than the original. We do not need to mention the songs from "Odyssey". Joe Lynn Turner is in his home territory singing them. These are songs that he co-wrote and they fit him like a glove, so his confidence allows him to let loose a little and introduce a little more roughness and power compared to the studio versions. In our humble opinion, the live album "Trial by Fire: Live in Leningrad" marks a turning point in Yngwie Malmsteen 's career. It's not like he wouldn't release excellent studio albums after that. It's also not that he will lose his amazing level of performance, as you know he will still record the crazy "Concerto Suite for Electric Guitar and Orchestra in E flat minor". But in our opinion, when the cohesive and tight lineup that accompanied Yngwie Malmsteen left the stage after the tour ended, it was never the same again. The classic lineup of "Rising Force" with Malmsteen and the Johansson brothers dissolved later that year, when Anders and Jens left it. Jens joined Ronnie James Dio , Anders would join "Blue Murder" and Joe Lynn Turner would join "Deep Purple" for the recording of the " Slaves and Masters " album, leaving Yngwie to search for an entirely new line-up to accompany him. So that was it. Something got lost there along the way. After the disintegration of "Rising Force", the revolving door of musicians around the maestro, talented as they may be, failed to fill the void left. This time we decided to attach a link for the full performance so that you can also witness the miracle with your own eyes: And if you still prefer to listen, you can do so here: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On October 11, 2005, the live album "Live In Cuba", by the band "Audioslave" , was released. The album documents the band's performance which took place on May 6th of that year in front of an audience of 70,000 spectators at the José Martí Anti-Imperialist Platform in Havana, Cuba. This show has greater historical significance than the musical imprint it left, as it is the first performance by an American "Rock" band on Cuban soil. The emphasis is on "Band" and "Rock" as back in 1979 Billy Joel and Stephen Stills performed in Cuba as part of the "Havana Jam" music festival, which lasted three days, and in 1981 the band "Fabulous Titans", which came from the reggae field, performed in Cuba. It is interesting to note that about two months after the show took place, on July 20, 2005, the United States renewed the diplomatic relations with Cuba and re-staffed the embassy building overlooking the José Martí Anti-Imperialist compound where the show was held and closed from 1977 to 2005. Simultaneously with the release of the album, the band released a DVD documenting the historic event and including a very interesting documentary filmed during the visit. (Photo: Alejandro Ernesto) At the beginning of the documentary, guitarist Tom Morello addresses the citizens of Cuba and invites them to a free performance and he promises two promises: 1. This is going to be the longest performance that "Audioslave" has ever made. 2. It will also be the best show the band has ever played. At least the first half of Morello's promise was fulfilled without a doubt. The band played a set of over two hours that includes 17 songs mainly from the band's first two albums, a relatively long set considering the fact that the band's second album "Out of Exile" was released only a few weeks after the show. In addition, the show includes songs by the mother bands "Soundgarden" and "Rage Against The Machine", which the band previously refused to play as a supergroup, as it thought it would damage "Audioslave's" identity as a band, but in honor of the historic event, the band went out of its way. As you probably already understand, despite the blind admiration we have for "Audioslave" and Chris Cornell , and even though it's an amazing band, there is no musical innovation on this album and it is certainly not one of the best performances by this great supergroup. We say these things with a heavy heart but the mediocre result of this performance is mainly attributed to the performance of Chris Cornell , who in most of the songs does not sound his best. Maybe it's the excitement of the historic event, maybe it was the equipment glitches that accompanied the show from the beginning (the show started with a glitch on Brad Wilk 's monitor that delayed the show for long minutes), or maybe it was just not his day. No matter how you look at it and even though we write things down with trembling fingers, Chris was the weak link in this show when all the other members definitely sounded great. At the same time, it is still an important historical record of the single appearance of one of the great ensembles and probably also the great supergroup of the 21st century. And this time here are some videos of the historic show: "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

A Sneak Peek... On October 13, 2008, the fourth album "The Way of All Flesh" by the French and special metal band "Gojira" was released. Singer and band leader Joe Duplantier was 30 when they worked on the album, he is the main creator and also the producer of the album. He is also the one who designed the album cover ... He said that the album talks about everything we experience until we die. Until that time, death was not something he thought about and before creating the album he started thinking and talking about this topic called death. He reflected on this on the album. In honor of the album's birthday in 2020, the band released a video clip for the song "All The Tears" from the album. Hold tight before you press play... If you want to dive into the concept of "death" and fall apart on the album, click on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On 6 September 1974, "Judas Priest" released their debut album “Rocka Rolla” was released. The roots of “Judas Priest” reach back to Birmingham in 1969, when singer Al Atkins and bassist Ian Hill formed an early version of the band. By 1973, the lineup solidified with guitarist K.K. Downing, drummer John Hinch, and the arrival of Rob Halford on vocals. Soon after, Glenn Tipton joined from the band “The Flying Hat Band”, bringing a more progressive writing style and the twin-guitar element that would define their sound. Several songs on “Rocka Rolla” still bore the fingerprints of Atkins, who had been the band’s previous frontman, showing the transitional nature of this record. Recording sessions took place in June and July 1974 at "Island", "Trident", and "Olympic" Studios in London. The album was produced by Rodger Bain, who had already established his name producing the first three “Black Sabbath” albums and the first two from “Budgie”. Bain’s influence was enormous: he rejected many of Tipton’s compositions, allowing his contributions only on the title track “ Rocka Rolla ” and “Run of the Mill” . Songs like “Tyrant” , “Epitaph” , and “The Ripper”  were all dismissed as “not commercial enough,” as was the early stage favorite “Whiskey Woman” . That track, reshaped with Tipton’s input, eventually became “Victim of Changes” , one of the crown jewels of their follow-up “ Sad Wings of Destiny ”. This makes “Rocka Rolla” unique as both an introduction and a document of what could have been, sculpted heavily by the producer’s hand. Musically, the record is rooted in blues-rock with progressive overtones. The title track “Rocka Rolla”  is a catchy, riff-driven cut that hints at the dual-guitar firepower still to come, with Halford playing the harmonica. “Run of the Mill”  is an ambitious eight-minute ballad that allowed Halford’s voice to soar into operatic heights, an early showcase of the vocal power that would redefine heavy metal singing. Tipton shows his rare synthesizer playing that will be missing from the band's subsequent albums. “Never Satisfied”  stands out with a darker, heavier edge and would remain in their live setlists decades later. The album closes with “Caviar and Meths” , an atmospheric instrumental fragment of what was originally a 14-minute piece cut down drastically by Bain. Other songs, like “One for the Road”  and the multi-part " Winter " suite, reveal a band experimenting restlessly with style, not yet locked into the metallic precision they would soon pioneer. Upon its release, “Rocka Rolla” was a commercial failure, selling only a few thousand copies and leaving the band financially stranded. The raw production, recorded live in the studio without overdubs, left the sound thin compared to their vision. Yet within its grooves lie the seeds of greatness, suppressed but not extinguished. Legacy would eventually be kinder. Though overshadowed by later triumphs, this is the only album to feature drummer John Hinch, and it captures the moment when Halford and Tipton first entered the fold. In 2024, for its 50th anniversary, the band reclaimed the rights and commissioned a full remix by longtime producer Tom Allom, finally giving the record the sonic weight it always deserved. Rocka Rolla” is rough and uneven, but essential as a historical artifact. It shows “Judas Priest” standing at the crossroads between their bluesy origins and the groundbreaking heavy metal sound they were about to unleash on “ Sad Wings of Destiny ”. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On October 11, 1985, "Rush" released "Power Windows", their 11th studio album. This album continues the change in the musical line of the band, which began with the 1982 album " Signals " and continued with the 1984 album " Grace Under Pressure ", further deepening Rush's entry into the digital age of the 1980s. If you thought the use of synthesizers on " Grace Under Pressure " was excessive, then "Power Windows" took it even a step further, and beyond the use of synthesizers and electronic drums, which was part of the previous album, the band first introduced samplers, strings and even a choir, To expand the range of instruments and sounds used. Drummer Neil Peart said that this album was different from all its predecessors, partly because the band decided not to limit itself, in terms of the use of musical instruments and effects. Neil explained that while on previous albums the band thought during writing about the ability to play the songs live, this time they decided to go wild at the writing stage, leaving the concern for how the songs will be performed live without the help of guest musicians, for a later stage. Indeed the sound on this album was different and richer than all its predecessors. Layer upon layer of musical instruments and effects created a "wall of sound" if we use the expression and ideas of renowned producer Phil Spector. To fulfill its vision, the band is assisted (for the first time) by several outside musicians who helped to build the "wall of sound" that exists on this album. Andy Richards plays keyboards alongside Geddy Lee and is in charge of the synthesizer programming, Jim Burgess is also in charge of programming, Anne Dudley is the conductor of the string ensemble and Andrew Jackman is the conductor and arranger of the choir. The result really does not sound like anything else the band has done up to that point. A combination of instruments and effects that blend into each other and create a fluid stream of cascading sounds that make up the album's so unique sound. The clean and clear production of Peter Collins is without a doubt one of the best of the band's albums, and unlike the previous album, the balance between keyboards and guitars, in this case, is simply amazing and gives Alex Lifeson much more room to experiment and develop. The album opens powerfully with " The Big Money ", featuring Geddy Lee 's trumpet-like synthesizers, Neil Peart 's electronic drums storm, and Alex Lifeson 's experimental guitar layers, which very quickly leave the song's lead to Geddy Lee 's frantic slapping technic. It is interesting to note that a sample of Neil Peart 's voice is heard in this song and is triggered through his drum set. The name of the song is taken from the third book in the USA trilogy by writer John Dos Passos bearing the same name. Neil Peart who is a fan of Passos was influenced by him writing another song of the band - "The Camera Eye" from the album " Moving Pictures ". The lyrics to "The Big Money" speak of the power of "the big money" and trade in the modern economy, especially in the 1980s. HIt is interesting to note that the connecting thread between most of the songs on the album is the word "Power" and in this case, as mentioned, the power of money. We slow down a bit with " Grand Designs " which opens with a synthesizer effect and continues with Alex Lifeson 's "Power Cords" and Neil Peart 's minimalist and smart drumming. The use of synthesizers is really what drives this song. This is really a Geddy Lee track. His synthesizer playing, bass playing, and excellent voice are the leading force in this track, and at the same time, Lifeson gives a great and emotional guitar solo here. This song also has a "power" motif that can be found in the words: "So much poison in power…" The third track is one of the most beautiful and special songs on the album - " Manhattan Project ". The song is about the "Manhattan Project" which was the code name for the development and production of the first nuclear bomb during World War II. Neil Peart wrote the lyrics after reading literature on the subject. He, Geddy , and Alex managed to create a short musical story on the subject. The song opens with the military drumming of Neil Peart and the arpeggio chord of Alex Lifeson as the playing during the verses is very minimalist and allows Geddy Lee to tell the story of the act. In this song, you can hear the beautiful work of the string ensemble which numbered 30 members and took the lead in a melodic and beautiful solo (3:20 minute). The bass section of this song is played by Andy Richards using a Roland JP-8 synthesizer and to recreate that sound in the show, it was necessary to sample this sound to a Geddy Lee 's keyboard. The song ends with the bombing of the "Enola Gay" plane in Hiroshima and the very strong statement that the invention of the doomsday weapon changed the course of history forever, and the connection to the "power" that connects the album's songs is clear. "The pilot of "Enola Gay", flying out of the shockwave on that August day. All the powers that be, and the course of history. Would be changed forevermore..." The first side of the album ends with the excellent " Marathon ", which ostensibly talks about a person who faces the difficulties of running a marathon as a metaphor for life and that they are full of difficulties and obstacles that require endurance and dedication to pass them. The song features fantastic music from the three members, especially Geddy Lee 's baseline during the verses. In this song, you can hear the 25-member choir, accompanying the instruments and enriching the sound (especially from the fifth minute of the song). Also, the guitar-bass-drums section starting at about 2:50 is completely reminiscent of Rush's good old sound that pops out from under the rich production and sound layers. The other side of the album opens with " Territories " which once again expresses the use of force, this time for the conquest of more and more land. Neil Peart did an excellent job writing and conveying the message against wars and conquest of lands with a slight wink to China and its policy regarding the territories around Hong Kong. Geddy Lee 's bass work and Alex Lifeson 's guitar in the transition section starting at 4:00 are just amazing and the words there just cut like a knife through the leaders' hearts: "They shoot without shame In the name of a piece of dirt For a change of accent Or the color of your shirt" And when Alex Lifeson comes out of the transition section starting at 5:20 his playing and his guitar sound are simply reminiscent of those of The Edge from "U2". It is interesting to note that Peart plays this song without the snare drum and that the song includes a sample of Geddy Lee saying the words "Round and round". The song " Middletown Dreams " is a relatively quiet song written following Neil Peart 's visit to several American towns during the previous album's tour. Neil used to spend his days between shows riding a bike through towns that the band visited along the way. He said that when you pass a town by bike you see much more than by car. He examined the people and tried to imagine what they think about, what they went through in the past, and what they dream of in the future and hence the idea for the song. Musically the song includes one of Alex Lifeson 's beautiful solos on the album and on the other hand the most "poppy" synthesizers of all the songs in it, starting at 2:00. The song " Emotion Detector " was born out of the band's intention to create a ballad. It didn't really work because the lyrics Neil wrote with the intention of fitting a ballad, fitted in nicely with a relatively rhythmic musical piece that Geddy and Alex had already written. The song may have opened up slowly with a synthesizer sound that was imported from the Far East, but later the rhythm rises to the sounds of Neil Peart 's electronic notes and Alex Lifeson 's arpeggio. The song that seals the album " Mystic Rhythms " was crowned by Geddy Lee as the most "synthetic" song on the album. All the instruments in its sound "synthesized" like Alex Lifeson 's acoustic guitar painted with a synthesizer effect, but there are great rhythms, beautiful melodies, and clever lyrics in this song. In conclusion, on this album "Rush" is definitely taking a big step into the new wave and increasing the use of synthesizers and electronic equipment, while fundamentally changing the band's sound. This is an album that veteran Rush fans had a very hard time digesting at first, but it is definitely an excellent album that includes some of the special moments of this so-diverse band, an album we always enjoy going back to. More than 30 years later it can be said that this album has much more than what was seen at first. Even the band, which almost completely ignored it in their setlists during the 90s and 2000s, learned to appreciate it more over the years and gave it the respect it deserves by right and not by grace, when during a tour that accompanied the album " Clockwork Angels ", four of the album's eight tracks starred in the setlists: " Middletown Dreams ", " Grand Designs ", " The Big Money " and " Manhattan Project ". This tour, which also included a string ensemble that accompanied "Rush" on stage for the first time, was recorded on the double live album " Clockwork Angels Tour " and we recommend you to hear the very special live versions of these songs from it. For listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On October 11, 1990, Dave Grohl made his first appearance as the drummer of "Nirvana". (Photo: Thelegendsofmusic Instegram) The performance took place at the "North Shore Surf" club in the city of Olympia (located south of Seattle), in the state of Washington, USA. In the three years of the band's existence, until the fall of 1990, "Nirvana" changed no less than five different drummers, until it came to rest with Dave Grohl . The first meeting of Kurt Cobain and Krist Novoselic with Dave Grohl was at a "Scream" concert held in San Francisco. Grohl, who was the drummer for "Scream", greatly impressed the two, and when his band broke up shortly after, Kurt and Krist invited Dave to jam with them. The "click" was of course immediate and after several weeks of rehearsals, Grohl held his first "baptism of fire" with "Nirvana". It was on 11/10/1990 at the "North Shore Surf Club", south of Seattle. For those interested in watching this historic moment, see the video taken at that concert below, in which the band plays four pieces, three of them from their first album: " Love Buzz " which is the cover version for the Dutch psychedelic band "Shocking Blue", " Scoff " and " Sliver ". The fourth song is another cover version this time of a song by "Devo" called " Turn Around ", which was released two years later as part of the "Hormoaning" EP. Dave Grohl later said that Kurt and Krist also chose him because of the fact that he could sing. Less than a year after this historic event, "Nirvana" will completely change the face of the music world when they release the masterful album " Nevermind ". "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website