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

On October 2, 1970, "Pink Floyd" released their fifth studio album "Atom Heart Mother". At the center of the album is a six-part symphonic-psychedelic piece that combines blues, classical music and psychedelic noises. This work extends along the entire first side of the record. A piece that may be controversial, but its importance in the band's musical development was significant. Why is it controversial? Unlike the following works that the band will release during the 70s, there is no full consensus about this excellent piece among the band's fans. There is no consensus about it even among the band members themselves, who denied it, stopped performing it in live shows and called it "a load of rubbish" (quote by David Gilmour ). And what about its importance in the development of the band? It is right on the border between the band's psychedelic period and the more progressive era. Apparently, without "Atom Heart Mother" the band would not have dared to experiment with complex works like " Echoes ", which came after. The band began working on the album in the early 1970s, after finishing the songs for the soundtrack of the movie "Zabriskie Point". The idea for "Atom Heart Mother" came from the record company, which pushed the band to combine a symphonic piece with the band's melodies. The model that was in front of the eyes of the record company was that of the "Moody Blues" with "Days of Future Passed", "Deep Purple" with " Concerto for Group and Orchestra " and more. The piece began with guitar line by David Gilmour on guitar, a motif reminiscent of Western music, which evolved into the basic piece. The band members then handed over the "skeleton" of the work to Scottish composer Ron Geesin. Geesin composed and wrote the roles for the symphonic instruments: the brass instrument, the choir and the cello parts. Geesin then combined the instruments on the "skeleton" of the piece and processed the final product, while all this time the band was on tour in the United States. Geesin came to the project through Nick Mason and Roger Waters who were his friends, when Geesin also collaborated with Waters on the album "Music from the Body", which was also released in 1970. He undoubtedly did an amazing job here, turning the basic musical composition that the band gave him, into a full work of music, exemplary and eternal. The name of the piece was given by chance, after Geesin suggested that the band review a copy of a London newspaper and look for inspiration. Waters saw an article about a pregnant woman with a nuclear pacemaker and the rest is history... The album cover also corresponds in one way or another with the name of the musical and the album. On the cover is a cow standing in a meadow, as a hint of the theme of motherhood and nature. The album cover did not include any inscription of the band and / or album name , apparently in order to emphasize the power of nature. As mentioned, the musical piece on the first side of the album is divided into six parts: The first section, " Father's Shout ", includes the main motif: the theme tune of the piece, which is played mainly by the brass orchestra, includes trumpet, trombone, toba and more. This melody combines the musical parts played by the band itself. Next comes " Breast Milky " starting at 2:51 minutes and introduce us to a secondary theme tune that is mainly played by the cello accompanied by the band. The third part, " Mother Fore ", is a church section that begins at 5:23 and is mainly led by Richard Wright 's keyboards and a choir with 20 male and female singers. The fourth part, " Funky Dung ", is a bluesy track that starts at 10:10 and includes a guitar solo of David Gilmour , which in a sense is reminiscent of excerpts from the piece "Echoes". Later in the section we are once again introduced to the chorus that connects us to the central motif and the theme melody of the piece. The fifth part, " Mind Your Throats Please ", begins at 15:27. This is an avant-garde-psychedelic segment that abounds with strange sounds and repetitive recordings of excerpts from previous sections. The segment ends at 19:09 with the phrase "Silence In The Studio" said by the recording technician, aka Alan Parsons . The concluding section, " Reemergence ", is a kind of repetition and summary of the passages from the previous chapters. And now you are invited to watch this masterpiece played by " Echoes - Pink Floyd Tribute Show Israel ": On the other side of the record, we can find a collection of songs, written and composed by the band members separately, that has nothing to do with the musical piece on the first side of the album. The song " If " was written, composed and sung by Roger Waters. This is a soft and moving folk song that is not so typical of Waters. Some argue that the song was written about Waters' feelings of guilt following the dismissal of Syd Barrett from the band. The track " Summer '68 " was written by Richard Wright , who also sang it. This is a melodic, dynamic and charming piece with touches of progressive rock, in which Wright refers to his experience with a fan during the band's tour in the United States. The piece " Fat Old Sun ", written and performed by David Gilmour , is a folk song in a pastoral atmosphere. Some have argued that it is reminiscent of the Kinks' 1967 song "Lazy Old Sun." Gilmour, by the way, did not deny it. This is a magical and mesmerizing song that Gilmour performs quite a bit in his solo career. Gilmour also plays bass and drums here. The album ends with the track " Alan's Psychedelic Breakfast ". The piece was conceived by Nick Mason and it is indeed a psychedelic piece in three parts that stretches over about 13 minutes. In our humble opinion, this passage is a kind of "filler". To sum up: despite the fact that this album is sometimes perceived as controversial, we really like it and hold the opinion that it is one of the most beautiful and important albums in the rich repertoire of "Pink Floyd". For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On October 2, 2000 "Radiohead" released their 4th album "Kid A". The album marked a bold and daring departure from the traditional rock sound that made "Radiohead" global superstars with " Ok Computer ". Released in 2000, this album divided both critics and fans at the time, but it has since become a cornerstone in modern music, often regarded as one of the most influential albums of the 21st century. From the outset, it's clear that "Kid A" is a different beast. The album opens with “ Everything in Its Right Place ,” an eerie electronic track driven by Thom Yorke 's processed vocals and sparse synthesizer melodies. The conventional guitar-driven sound that dominated their earlier work is largely absent, replaced by ambient textures, glitchy electronic beats, and a sense of dissonance. The title track, “ Kid A ,” follows in a similar experimental vein, with warped vocals buried beneath electronic rhythms, creating a distant, almost alien atmosphere. A s the album progresses, it's clear that "Radiohead" is drawing influence from a wide array of genres—Krautrock, ambient music, jazz, and even classical. Tracks like the monotonic " The National Anthem " with its chaotic brass arrangements, and " Idioteque ," (which samples "Mild und Leise" by Paul Lansky) driven by jittery, apocalyptic beats, showcase a band willing to explore sonic territory beyond mainstream expectations. Despite its heavy reliance on electronics, "Kid A" deliver songs like " How to Disappear Completely " which is an acoustic ballad with orchestral strings and guitar effects, rapped with elements of ambient music. One of the things that keeps this album as a unified piece is its emotional core. Although singer, Thom Yorke, wrote impersonal and abstract lyrics, cutting up phrases and assembling them at random, Yorke’s plaintive, vulnerable vocals, capturing a profound sense of isolation and introspection. His singing across the album often delivers vibes of alienation, societal disintegration, and personal dislocation, reflecting a darker mood that complements the experimental soundscapes. One of the album’s strengths is its sequencing. It ebbs and flows between cold, dystopian sounds and moments of fragile beauty. For example, the instrumental “ Treefingers ” acts as a serene, ambient pause before plunging into the frenetic energy of “ Optimistic ,” one of the few tracks on "Kid A" that features guitars in a somewhat traditional rock form. At the time of its release, "Kid A" baffled many listeners expecting a continuation of " Ok Computer ’s" alt-rock sound, but the band’s willingness to reinvent themselves has solidified their status as forward-thinking musicians. Over time, the album's influence has only grown, particularly in the realm of electronic and experimental music, and many now consider it "Radiohead’s" defining masterpiece. It is not for nothing that the album entered the "Rolling Stone magazine's" list of the "500 greatest albums of all times" and many other respectable ranking lists. "Kid A" is not an album that seeks to please everyone, and its unconventional nature means it can be a difficult listen at first. However, its enigmatic quality and complex soundscapes reward repeated listens. For those willing to dive into its depths, "Kid A" offers a haunting, thought-provoking journey that challenges traditional rock norms and sets "Radiohead" apart as true pioneers in modern music. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On October 1, 1990, "No Prayer for the Dying", Iron Maiden's 8th studio album, was released. This is the band's first album in the 90s and also the first to begin the process of disintegration of the band's classic line-up, from all the masterful albums of the 80s. Guitarist Adrian Smith left the band during the album's pre-production phase, due to professional disagreements related to the band's musical style. Adrian was interested in continuing with the musical line featured on the previous album " Seventh Son of a Seventh Son ". Realizing that this was not the case he simply left the band, not before writing with Bruce Dickinson one song - " Hooks in You ". Smith was replaced by guitarist Janick Gers who worked with Dickinson on his solo album " Tattooed Millionaire " which was released earlier that year and also collaborated with other artists such as Ian Gillan and Fish from "Marillion". Indeed, the musical line in this album is fundamentally different from the previous ones, especially compared to " Seventh Son of a Seventh Son ". Let's start with the fact that there is not a single song on this album that crosses the 6-minute line, with the vast majority of the songs being under 5 minutes. In addition, the band completely abandoned the keyboards and synthesizers and focused on the deep-rooted and direct Metal that characterized their first albums. Even Dickinson's voice on this album has gone from bombastic and operatic to thin and rough. The album was recorded with the help of Rolling Stone's mobile studio in a barn near Steve Harris' home in Essex England. What started as an energetic process in a pleasant atmosphere did not continue like this, at least for Bruce Dickinson who later noted that it was a bad decision to record in the barn. The band chose the super producer Martin Birch who worked with them on previous albums and was responsible for quite a few masterpieces of the band. Beyond the fact that the album included short songs of root metal style, the lyrics were also different from the previous albums, while moving away from writing on historical issues and focusing on political issues, religious exploitation (" Holy Smoke "), society (" Public Enema Number One "), nuclear holocaust ( " Fates Warning "), Naval Battles (" Run Silent Run Deep "). It is interesting to note that the song " Tailgunner " is a kind of sequel to " Aces High ", from the album " Powerslave ". The lyrics of the latter tell about a British Royal Air Force pilot who fought during the battle of Britain against the German Air Force. The song "Tailgunner" describes the battle from a different point of view of the gunner sitting in the back of the plane. The album includes the song " Bring Your Daughter ... to the Slaughte r" which is also the only single released from it. The song was written and recorded by Bruce Dickinson for the soundtrack to the horror film "Nightmare on Elm Street 5: The Dream Boy," but Steve Harris thought it was good so the band recorded it again and included it on the album. Although the song was boycotted by the BBC due to its title and content, it reached number one on the UK charts. The song that is perhaps closest in musical style to Maiden's previous albums is the epic track that seals it - "Mother Russia" which talks about the democratization of the Soviet Union. This album will always be remembered as an album that started "Iron Maiden"'s decline, a process that continued with the departure of Bruce Dickinson in 1993 and will only intensify during the 1990s in a way that undermines the band's relevance. Although in the various charts of the band's albums, this album is always in the last places, it is still an excellent heavy metal album that is worth listening to. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On October 1, 1984 "U2" released their 4th album "The Unforgettable Fire". The album marked a significant evolution in "U2’s" sound, showcasing a more atmospheric and experimental approach compared to their previous work. The band wanted to pursue a new musical direction following the harder-hitting rock of their previous album, " War ". Collaborating with producers Brian Eno and Daniel Lanois, the band moved away from the raw, anthemic rock that defined " War " and embraced more textured, ambient elements that gave the album a dreamlike, cinematic quality. "The Unforgettable Fire" marked "U2's" biggest musical shift, featuring a richer, more orchestral sound and their first album with a cohesive feel. Under Daniel Lanois' guidance, Larry Mullen Jr.'s drumming became looser and more refined, while Adam Clayton's bass playing flowed more smoothly, giving the rhythm section a more fluid presence. The album’s opener, " A Sort of Homecoming ," highlights "U2's" shift in sound, replacing the militaristic drumming of " War " with more refined rhythms and featuring less prominent bass guitar in the mix. The song immediately sets the tone for the record’s more expansive sonic palette. The Edge ’s guitar work is less about sharp riffs and more about creating a swirling, echo-laden backdrop, while Bono ’s vocals take on a more introspective, reflective quality. It's interesting to note, that a live version of the track is found on 1985's four-track EP, "Wide Awake in America", which we think is even better than the album version. The title track, “ The Unforgettable Fire ,” encapsulates the album's essence: it’s both haunting and hopeful, with lyrics inspired by the devastation of Hiroshima and the desire for peace. The track builds in intensity, riding on Adam Clayton’s melodic bassline and Larry Mullen Jr.’s driving percussion, as the band explores the balance between despair and redemption with ambient and orchestral sounds. The song originated from a short piano composition by The Edge during a demo session with Jimmy Destri of "Blondie". Although written without a specific purpose, The Edge saw it as a potential film soundtrack piece. Perhaps the album's most iconic song is “ Pride (In the Name of Love) ,” a tribute to Martin Luther King Jr. The song’s soaring melody and passionate vocal performance make it one of "U2’s" most enduring anthems, blending the band's political consciousness with their newfound atmospheric sound. The Edge ’s signature guitar work, which blends chiming, echo-laden riffs with a driving rhythm is amplified by Bono ’s powerful vocals. The melody and the chords were improvised in November 1983 during a soundcheck the band made before a show in Hawaii. Other tracks like “ Bad ” which was written about heroin addiction, showcase the band’s ability to channel raw emotion into an expansive, meditative song structure. With its minimalistic beginnings, " Bad " slowly crescendos into an emotional high, making it a staple of "U2's" live performances. Here too, a live version of the song appears on "U2's" 1985 EP "Wide Awake in America", when this rendition became even more popular on radio stations. "U2's" performance of the song during Live Aid 1985 became one of the show's most memorable moments when Bono jumped off stage to hug and dance with a fan during a 12-minute rendition of the song. Though the extended performance caused them to drop one song from their setlist, it marked a breakthrough moment for the band. Eno’s influence is particularly felt on tracks like “ MLK ,” a sparse and ethereal lullaby akso dedicated to Martin Luther King Jr., “ Elvis Presley and America ,” which blends stream-of-consciousness lyrics with a hypnotic, freeform arrangement and of course the ambient instrumental " 4th of July " which came about almost entirely through a moment of inspiration from Eno, when at the end of a studio session, Eno pushed the record button when he heard Clayton improvising a simple bass figure. These songs, though more abstract, contribute to the album’s overall mood of searching and introspection. True, "The Unforgettable Fire" may not have the consolidation and uniformity that "U2" was able to bring with " War ", but its depth and ambition set the stage for the band’s later achievements. The album was a bold step forward, cementing "U2" as artists willing to take risks, and laying the groundwork for their masterpiece " The Joshua Tree ". In essence, "The Unforgettable Fire" is an album that shows "U2’s" growth as musicians and songwriters. Its atmospheric soundscapes, politically charged lyrics, and willingness to experiment made it a pivotal moment in their career, setting them on the path to becoming one of the most influential bands of their generation. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On October 1, 1979, "Whitesnake" released their second studio album "Lovehunter". It can be said that the band started its way back in 1977 when David Coverdale released his first solo album "White Snake" and collaborated with guitarist Micky Moody who would also become one of the pillars of the band's emerging band. A year later in 1978, Coverdale released his second solo album "Northwinds" with Micky Moody continuing to serve as his songwriting partner and as an integral part of the band. It is interesting to note that this album also featured former "Deep Purple" bassist Roger Glover as a producer and even played synthesizer and cowbell. Also, Ronnie James Dio and his wife Wendy contributed vocals to one of the songs on the album. After recording his second solo album, Coverdale begins to form a band to accompany him on the tour to promote the album. He joins his second and third pillars, guitarist Bernie Marsden and bassist Neil Murray , and "Whitesnake's" initial lineup began to crystallize. It should be noted that the move of adding a second guitarist was a certain change from the traditional hard rock lineups, most of which usually included one guitarist. This lineup is slowly becoming permanent, when in the same year (1978) Coverdale is already releasing the first EP with the band formed - "Snakebite". This EP is already coming out under the name "David Coverdale's Whitesnake" while borrowing from the name of Coverdale's first solo album. 1978 was a busy year for Coverdale and he also released the band's first album "Whitesnake", which was called "Trouble". On this album, the band was joined by the immortal keyboardist Jon Lord , who completes this almost perfect lineup into a simply dreamy one. Why only "almost"? Because on the next album the band will be joined by drummer Ian Paice - another old friend from the MKIII lineup of "Deep Purple", then the band's lineup would be just "perfect". In the second album for the band, collaborated with super-producer Martin Birch . The cohesive lineup is already proving to the audience and the record companies that it is not a passing project but a Solid band that is going to be part of the musical landscape of the hard rock and blues-rock scene. The opening song " Long Way from Home " was written by Coverdale and was also the only one released as a single from it and was a relative success. It is interesting that although in the chorus of the song Coverdale sang the word "Long" twice - "Long, Long Way from Home", the title of the song includes only one "Long", probably to avoid confusion with a song of the same name by the band "Foreigner" from 1977. It is interesting to note that the song also had a marketing clip in which drummer Ian Paice can also be seen, who joined the band after the recording of the album and before the filming of the clip. One of the iconic songs on the album is without a doubt " Walking in the Shadow of the Blues ". it is not clear why the band chose not to release it as a single. The song was written by Coverdale and Bernie Marsden and can be found in the band's setlists to this day. These songs, as well as the theme song, are a perfect example of the unique sound of "Whitesnake", which combines hard rock and blues, a sound in which the band will continue with minor changes until the great metamorphosis of 1987. This album shows us the high abilities of all members, including Micky Moody with his so unique slide guitar sound, Bernie Marsden in the bluesy solos, and even singing along with Coverdale in the song " Outlaw ", and Jon Lord in the piano ballad " We Wish You Well ". At this point, it was already clear that this band could not be ignored. And it is impossible to end the review without a few words about the special album cover that caused a great deal of controversy and criticism, especially among women's organizations. The designer was the artist Chris Achilleos, who immediately stopped designing covers until 2003. On the cover is a naked girl riding a snake. A similar idea exists on keyboardist Jon Lord 's second solo album from 1975 - "Sarabande". Lord was known to be part of the band "Whitesnake" and we wonder if he is the one who gave the idea to Chris Achilleos. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

"KK’S Priest" released their debut album "Sermons Of The Sinner" on October 1, 2021. Exactly a decade since guitarist K.K. Downing left his mother band "Judas Priest". For over ten years we have not received any new music from this all-too-talented guitarist, whose playing is deeply engraved in the history of metal. It was not perceived but the last full studio album he had a partner in was "Nostradamus" by "Judas Priest", which was released in 2008. It's not a trivial matter, it's like forever in the music world, where musical trends and preferences change all the time. This certainly should have an effect this new effort from Downing, but we must admit that in this case, it does not in any way detract from the result. For us, K.K. He is a magician in the form of "Dr. Strange" who managed to stop time. He did not age even in the day, not in appearance, not in the precise playing nor in the amazing creative ability. Downing formed "KK'S Priest" in 2018 and recruited two old friends, drummer Les Binks and singer Tim "Ripper" Owens, both former members of "Judas Priest". This move has already indicated his intentions and the name of the band chosen - "KK’S Priest" only strengthened the hypothesis. He's not going to sound different from the mother band, quite the opposite! For him, time stopped somewhere in 2008 and Dr. Strange's "Time Stone" allows him to continue exactly from the same point with the same musical style, the same performance, and the same sound, as if 13 years had not passed. It was not easy at first, even his former bandmates tried to slow him down, when he received a warning letter from the band's management about the use of the name "Priest". But Downing did not intend to give up. He explained that he has always been a "Priest", since 1968 he has been a part of the sound and development of the "Priests" style, from the blues, through hard rock and metal. He added that he does not intend to change and that it is inconceivable that new musicians who have recently joined the band will be able to play material he has written and created, but he will not be able to use the name "Priest" especially as it is a combination of his full name and the name in dispute. The convincing explanation of course caused the band's management to back down from its demands and it's good! Then there will be those who will say that "KK'S Priest" sounds like a cover band of the real thing - "Judas Priest". We think otherwise. This album is excellent in its own right, it does not try to sound like an imitation and it cannot be considered an imitation because it is the source itself. There are three members of "Judas Priest" here (although the injury of drummer Les Binks forced a replacement recruitment until his recovery), led by someone who was a full partner in creating the band's sound across 16 albums, so Downing has all the legitimacy to continue doing exactly what he did for over four decades, And he does it best !!! True, it's not a perfect album, but it's a good album that includes quite a few gems, including the excellent " Hellfire Thunderbolt " released in May 2021, and absolutely does not fall short of the materials the mother band has been producing in recent years, not in great guitar work of Downing Am and A.J. Mills (from the band "Hostile"), not in the beating bass of Tony Newton ("Voodoo Six"), not in the thunderous drumming of Sean Elg (who replaced Les Binks here) and certainly not in the amazing singing of Tim "Ripper" Owens who does not fall here from his idol Rob Halford . Other interesting songs are the fast-paced theme song " Sermons of the Sinne r" with Newton-Elg's crazy rhythm section, the slow and the melodic " Metal Through and Through ", " Sacerdote y Diablo " with the "Black Sabbath" atmosphere, " Raise Your Fists " and " Brothers of the Road " which combines the classic "Priest" and "Maiden", " Hail for the Priest " which Owens' singing in the intro reminded us of Ronnie James Dio and of course the 9-minute epic ending " Return of the Sentinel ". Tracklist: Incarnation Hellfire Thunderbolt Sermons of the Sinner Sacerdote y Diablo Raise Your Fists Brothers of the Road Metal Through and Through Wild and Free Hail for the Priest Return of the Sentinel For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On October 1, 1987, the madness began…… In 1987 "Soundgarden" releases its first EP and we are first introduced to the wonderful quartet led by Chris Cornell . The album was produced by Jack Endino who also produced some of "Nirvana" and "Mudhoney" albums. This EP brings us together with a band that is still trying and experimenting, a band that is looking for the musical direction that will define it, but also a band that is starting to shape the initial sound of grunge. We hear this sound already in the opening song "Hunted Down" . It is this dirty and raw guitar sound that will accompany the band and more like it in the period when the first buds of what will later be called grunge began to sprout. (Photo: Sub-Pop) Here we must note that this guitar sound also reminds us of another band thousands of miles away from Seattle and whose roots are rooted in a completely different musical style. This band is called "Joy Division" and for some reason, the sound of Kim Thayil's guitar is very reminiscent of certain parts of that band. In the song "Nothing to Say" Kim adjusts his guitar to a tone lower so that it sounds much heavier and darker. Thayil will use this trick further down the road and it will also be the band's familiar sound. Thayil learned this trick from guitarist Buzz Osborne of the "Melvins" who explained to him how "Black Sabbath" and Tony Iommi got to their heavy sound. The song "Tears to Forget" was written by the band back in 1985 and appeared on a compilation album by Seattle bands called "Deep Six" and was released under the famous Sub Pop label, only there the song was recorded by drummer Scott Sundquist while the EP was re-recorded by drummer Matt Cameron . The song "Hand of God" includes recordings of a Christian preacher from the 1950s. Producer Jack Endino found the recordings in old tapes he bought at the flea market. Cornell liked the idea of recording the song on top of the preacher's voice. The only single released from this EP was "Hunted Down" . This song also appeared on the Seattle KCMU radio collection's "Bands That Will Make Money". This recording will eventually be rolled out to A&M Records, which will also sign the band on a recording contract. And the rest is history... Three years later, in May 1990, this EP was merged with the second EP released by the band and was called " Fopp " in a special release called "Screaming Life / Fopp". Listen to the combined EP "Screaming Life / Fopp" on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Today we will tell you about the singer, guitarist, and creator Marc Bolan: (Photo: Rockandrollgarage.com) 1. He was born in London, England, on September 30, 1947. His name at birth was Mark Feld. Mark's father was a Jew of Russian-Polish descent and his mother was English. 2. His first musical influences were in the rock and roll style with artists like Chuck Berry, Gene Vincent, and Eddie Cochran. 3. He got his first guitar at the age of 9 and has not left it since. He used to play during school breaks for his fellow students. 4. At age 15, he was expelled from school for misconduct. 5. Following this, he joined a modeling agency and modeled men’s suits in fashion catalogs and on advertising posters. 6. He began his musical career at the age of 17 when he recorded a song called "All at Once" which is similar in style to Cliff Richard the artist he admired. 7. He was later influenced by Bob Dylan and played folk music. To adapt his appearance to music, he changed his name to Toby Tyler. 8. In 1965 he was signed by the record company "Decca Records" and by this time he had already adopted the stage name, Marc Bolan. 9. The first single he released under the new stage name was "The Wizard" played by, among others, Jimmy Page as a session player. 10. In 1967 he joined the band "John's Children". One of the songs he wrote for a band called "Desdemona" was banned from being broadcast on the BBC due to the inclusion of the line "lift up your skirt and fly". 11. After the band disbanded, Bolan formed "Tyrannosaurus Rex" in 1967. The band's first album with the long name: "My People Were Fair and Had Sky in Their Hair... But Now They're Content to Wear Stars on Their Brows" Released in 1968. 12. The band whose style is folk-psychedelic and acoustic rock continued in this band and released three more albums until 1970 when they also performed at the first "Glastonbury" festival. 13. In 1970 came the upheaval. The band's name was shortened to "T. Rex" and Bolan and his band became "electric" as he adopted the Gibson guitar Les Paul who even appeared on the cover of the band's fifth album "T. Rex" released in 1970. 14. With the help of producer Tony Visconti, the band recorded their first big hit "Ride a White Swan" which was released in October 1970. The song is considered groundbreaking, and one of the first glam rock style tracks. 15. Bolan was influenced at the time by David Bowie . He performed on stage in flashy makeup and costumes that added to his musical style and persona. 16. Bolan was Bowie's friend, they both had the same director and both were produced at the time by the legendary Tony Visconti. 17. In 1970 Bolan was even featured on guitar playing David Bowie 's song "The Prettiest Star", which will later be released on the album "Aladdin Sane". 18. Bolan's stylistic change was completed with the band's sixth album "Electric Warrior" released in 1971. The album was a huge success and also critically acclaimed and became the best-selling album in England in 1971. Needless to say, the album was included in the list of the 500 greatest albums of all time. 19. At this point Bolan is already branded as an extroverted and ostentatious rock star with a charismatic appearance that cannot be ignored. This is accompanied by the colorful performances of Boulogne and a hit of TV appearances, one of the iconic ones even alongside Elton John . 20. In 1972, Bolan continued to release other hits that reached the top of the charts, including "Telegram Sam" and "Metal Guru". " Children of the Revolution " was also released which was the first to break the incredible streak of four consecutive singles that topped the charts in England, when it reached "only" second place. 21. Bolan and "T. Rex" were the great things in England in those years. Their sales at the time skyrocketed to 6% of total record sales in the UK, with an average sales of 100,000 albums daily. 22. In the same year, the documentary "Born to Boogie" directed by Ringo Starr was also released, which documented a live performance of "T. Rex" at Wembley as well as recordings at the Apple studio, which featured Ringo Starr and Elton John . 23. In 1973 Bolan joined his friend Jeff Lynne when he was a guest on two songs from the "Electric Light Orchestra's" album "On the Third Day". 24. That same year Bolan continued to rave about hits such as "20th Century Boy" and "The Groover," but these failed to reach number one on the charts. 25. The band's eighth album "Tanx", already included a change of style towards funk, soul, and gospel. 26. On the album "Zinc Alloy And The Hidden Riders of Tomorrow" from 1974, Bolan enriched the band's sound through the addition of other musicians, including the keyboardist and backing singer Gloria Jones. 27. At that time he separated from his wife and lived with backing singer and keyboardist Gloria Jones, who in 1975 gave birth to his son Rolan Bolan. (Photo: Terry O'Neill) 28. Bolan and his band will continue to release albums until 1977 when the band's 12th album "Dandy in the Underworld" was released. 29. Several months after the album's release, on September 16, 1977, about two weeks before his 30th birthday, Mark Bolan was killed in a car accident. Bolan and his girlfriend Gloria Jones are back from a party. During the ride, Gloria lost control of the vehicle, which collided with a pillar and then a tree. Bolan died on the spot and Jones broke her arm. 30. Here it is worth noting that Bolan had fears of premature death. This is also the reason why he did not drive the vehicle at the time of the accident, as he did not hold a driver’s license. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On September 30, 1978, Gary Moore released his first solo album "Back on the Streets". Well, to be precise it is Gary Moore 's "Back on the Streets" is widely regarded as his true debut solo album, setting itself apart from 1973’s "Grinding Stone", which was credited to the "Gary Moore Band". The album marks the beginning of Gary Moore 's journey as a solo artist after years of collaborating with bands like "Thin Lizzy" and "Colosseum II". The album blends rock, blues, and jazz fusion, showcasing Moore's technical brilliance as a guitarist and his ability to mix genres with ease. It includes contributions from "Thin Lizzy" members Phil Lynott and Brian Downey, making it a unique combination of Moore’s solo work and "Thin Lizzy’s" influence, but only in few songs, since this album does not have a uniform musical line. The album kicks off with the title track, " Back on the Streets ," an energetic hard rock piece that immediately puts Moore’s fiery guitar work at the forefront reminiscent his days in "Thin Lizzy". It's packed with catchy riffs and solos, showing Moore’s prowess while maintaining a melodic, accessible sound. Moore also plays bass on this track, Simon Phillips plays drums and Don Airey on keyboards. The second track " Don't Believe a Word ," is a reworked version of the "Thin Lizzy song" (which originally appeared on the 1976 " Johnny the Fox " album). Unlike the original’s fast-paced rock arrangement, Moore's version has a slower, more blues-driven feel. This allows his guitar work to breathe and adds a layer of emotional depth that distinguishes it from the "Thin Lizzy" rendition. Lynott plays bass and takes lead vocals, while Brian Downey plays drums thus reuniting the short-lived 1974 "Thin Lizzy" line-up which had recorded "Still in Love with You", "Sitamoia" and the single "Little Darling". " Fanatical Fascists " brings a punk-inspired energy to the album, showing Moore's heavier rock side, while in the instrumental " Flight of the Snow Moose ," Moore returns to his jazz fusion roots, offering a complex, intricate arrangement that blends rock and progressive influences. It’s a testament to his background in "Colosseum II" and his talent for crafting sophisticated, technically demanding compositions. The second side of the vinyl opens up with " Hurricane " which as its name hints is a Jazzy fast-paced instrumental showcasing Moore's virtuosi guitar playing. " Song for Donna " introduces a softer, more introspective tone. These shifts in style keep the album fresh and highlight Moore’s versatility as both a guitarist and a songwriter. " What Would You Rather Bee or a Wasp " is another instrumental which blends Jazz and Hard rock and prepare us to the highlight of the album, the closing track and soulful ballad " Parisienne Walkways ", which became one of Moore’s most iconic songs. This track was co-written with Phil Lynott , and features Lynott on vocals, and Gary Moore on backing vocals, mandolin, accordion. The slow, emotional guitar lines paired with Lynott’s voice create an atmospheric, haunting melody that continues to resonate with fans. Moore's ability to sustain notes and craft evocative solos is perfectly on display here, making it a lasting gem in his catalog. The melody of "Parisienne Walkways" is based on the jazz standard "Blue Bossa" by Kenny Dorham. The expanded edition of the album features the bonus tracks " Track Nine ", which is another great instrumental, and " Spanish Guitar " in three versions, one of which features vocals by Phil Lynott. "Back on the Streets" stands out not only for Moore’s virtuosic guitar playing but also for its diversity. It balances hard-hitting rock tracks, tender ballads, and experimental jazz instrumentals, all while highlighting Moore’s melodic sensibility and technical skill, while the contributions from Lynott and Downey elevate the overall sound, giving it a collaborative feel. It is a defining album in Gary Moore ’s career, laying the foundation for his future work and showcasing his talents as a guitarist and songwriter. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

We opened this crazy day with the album "Dirt" by "Alice in Chains", but it is only natural that we end it in a crazy circle with the union album "Black Gives Way to Blue", the band's fourth album released on the same day, September 29, 2009, by a wide margin of 17 years from the album "Dirt". The story of this album actually begins even before the death of Layne Staley , in 2000, when Jerry Cantrell met William DuVall in Los Angeles through a mutual friend. Friendships were formed between the two, with Cantrell occasionally joining as a guest artist in Duvall's band "Comes with the Fall" performances, while Duvall and his band warmed up Cantrell in his solo performances to promote his album "Degradation Trip" in 2001 and 2002. In some cases, Duvall and his band also served as Cantrell's backing band, with William singing Layne's roles in "Alice in Chains" songs. In February 2005, Alice's three friends returned to perform together for the first time, after almost 10 years. This was during a fundraising event for the tsunami victims. The three continued their momentum and went on tour with many varied guest singers, in order to celebrate their love of music, honor the memory of Layne Staley and remember the good old days. In March 2006 Duvall joined the band on stage to perform the song " Rooster ", the performance was perfect and paved the road to official membership in the band, with Alice continuing a short tour in America. These reunion shows gave the band an appetite to write and record new music, but at first, they thought it would not be appropriate to do so under Alice's name, but over time as they performed together and spent time together it already felt more right to them. (Photo: Johnny Buzzerio) In October 2008, the band entered "Foo Fighters" "Studio 606" in California to record the album. The band did not have a record company to accompany them at the time, so Jerry and Sean Kinney funded the recordings out of their own pockets. During the recordings, Layne Staley 's mother visited the studio and gave the band her blessing. By then it was already clear to all the members that this project was going to bear the name of "Alice in Chains" and not any other. Mystically the recording of the album ended on March 18, 2009, Jerry's birthday which is also the birthday of William Duvall's son. The album was finally released on September 29, 2009, exactly on the same day that the masterpiece album " Dirt " was released, which is perhaps the most amazing piece signed by Staley, and should thus be seen as a kind of homage of the band to one of the greatest singers of our generation. Cantrell also wrote the title song " Black Gives Way to Blue " as a tribute to Staley, in which Elton John plays the piano. Before writing the song, Jerry said that he suffered from a mysterious disease of migraines and exhaustion when the doctors were unable to detect the disease. Jerry believes that it is a psychological illness caused to him as a result of the great pain he experienced in the face of Layne's departure. Four singles were released from the album. The first single, "The Looking and View" , heavy and dark, which talks about the difficulties of getting out of difficult moods, was released on June 30, 2009, even before the album was released. It is one of the heaviest tracks on the album, that explores darker emotional terrain, with grinding guitar riffs and intense vocals. Clocking in at over seven minutes, it’s a slow, deliberate journey into themes of self-reflection, alienation, and inner turmoil. The dense layering of guitars, bass, and drums amplifies the song’s oppressive atmosphere, making it one of the most intense experiences on the album. About a month before the album's release, the second single "Check My Brain" was released, which tells of Cantrell's move from Seattle to Los Angeles in 2003, a move that was difficult for him as a Seattle native who lived there most of his life. his track stands out with its sludgy, grunge-infused riff and a catchy hook. Cantrell’s guitar work is sharp and precise, with a memorable riff that elevates the track to one of the album's highlights. The revamped Alice also introduced its acoustic side with the third single “Your Decision” which also addresses the pain Jerry experienced after Staley’s death, dealing with it and the decision not to sink into it and choose life. It's an acoustic-driven ballad, with Cantrell’s soft vocals paired with the acoustic guitar creating a somber mood, and with lyrics like "Time to change has come and gone" evoking deep sadness and resignation. It’s a track that showcases the band’s ability to balance heaviness with vulnerability. This song "Lesson Learned"   combines strong riffs with a catchy chorus, bringing a more accessible sound compared to the heavier tracks. The lyrics focus on personal growth and the lessons that come with pain and hardship. The band balances grit with melody here, creating a memorable track that stands out for its balance of aggression and melody. The amazing video clip for this fourth single consisted of 6,000 still images, watch it here: But this album is definitely not just the four singles released from it. There's the opening track with the simply amazing sound " All Secrets Known ", a somber track that sets the emotional tone for the album and is in our opinion one of the band's best songs. The mesmerizing riffs and slow tempo create a feeling of farewell to the past and cautious optimism about the future. Cantrell and Duvall's vocal harmonies provide a sense of continuity to their previous albums. " Last of My Kind " the only song on the album where William DuVall sings without Cantrell's harmonies. Duvall wrote the lyrics and the melody of one of the songs that leans on the heavier and more metallic side of "Alice in Chains". The acoustic track " When the Sun Rose Again " which feels meditative with the caressing vocal harmonies. The subtle arrangement showcases the band's versatility, seamlessly combining elements of folk and rock here. " Acid Bubble " here, which echoes the band's dark, grunge roots, slowly building up the tension with wicked guitar riffs and a dissonant melody. " Take Her Out " which brings a more rockish sound to the album, but still maintains the basic melancholy that runs throughout the album, and of course " Private Hell " which Cantrell denied was written about Lane Staley. The album cover includes an illustration of a heart symbolizing the band's heartbreak over Staley's death. The entire album is also dedicated to his memory as it appears on the inside cover. This album was nominated for two Grammy Awards and won the Album of the Year award from Revolver and Metal Storm magazines, and rightly so. But most of all, he has proven that the revamped lineup has a lot more to give and that it definitely deserves to continue to carry Layne Staley’s torch with pride. True, this is no longer the same Alice, but it certainly honors the memory of Layne, who continues to live through it, and convincing proof of what we saw with our own eyes during the band's performances in Israel in 2019. Listen to the album on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Singer and writer Brett Anderson is celebrating his birthday today, so let's tell you 20 interesting facts about him: (Photo: Roberto Ricciuti) 1. He was born Brett Lewis Anderson in the town of Lindfield near Sussex in the south east of England, on 29 September 1967. 2. In his youth he grew up on classical music he heard at home mostly from his father whom he described as an obsessive classical music fan. 3. As a teenager he played guitar in various garage bands, including "The Pigs and Geoff" in which he also played with his childhood friend Mat Osman, who would become the bassist of "Suede". 4. After high school, Brett began studying architecture at University College London, where he met Justine Frischmann who became his girlfriend. 5. In the late 1980s he formed "Suede" with the bassist Mat Osman and his Jewish guitarist girlfriend Justine Frischmann. 6. In the beginning they did not have a drummer and they played, with the help of a drum machine, cover versions of songs by artists such as: "Roxy Music", "The Smiths", David Bowie and "The Cure". 7. At one point Justin and Brett realized that they were not good enough to be lead guitarists. At that point guitarist Bernard Butler was recruited and later also former "Smiths" drummer Mike Joyce was recruited. 8. In 1991 drummer Simon Gilbert replaced Mike Joyce and became a regular member of the band. It was during this time that Justine began flirting with Damon Albarn from "Blur". She stopped coming to rehearsals and finally left the band, in October 1991, and went to form the band "Elastica". 9. Justine's leaving the band brought with it a change in the band's musical style and also a change in the writing dynamics, as the collaboration between Brett and Bernard Butler began to crystallize as the band's lead writers. Brett said that if Justine had not been fired from the band they probably would not have changed their style and probably would not get anywhere either. (Photo: Kevin Cummins) 10. In 1992, the band signed a contract to release two singles with the independent label "Nude Records". After the release of the singles, many major record companies were interested in "Suede", including "Island Records". It turned out that even before the release of the band's first album they had already been crowned as "the next hot thing" and even received the front page of the Melody Maker newspaper with the accompanying title: "Suede: The Best New Band in Britain". 11. It was during this period that Brett's sexual preferences preoccupied the media in the UK. The androgynous style and dress as well as his statement that he is bisexual who has not yet experienced homosexual relationships, have given the band a lot of media attention. The media buzz was fueled when the debut album "Suede" was released and the controversial cover was revealed in which the gender of the two kissing characters was not clear. 12. The debut album " Suede " was released in March 1993 and returned the spot to the British music industry as a worthy rival to the grunge revolution that took place on the other side of the ocean. Before "Oasis" and "Bush" and before the breakthrough of "Blur" and "Radiohead", it was "Suede" who kept the British fire burning. They were an alternative to American dominance in the music market in those days. The band's debut album soon became the UK's fastest-selling debut album in about a decade. 13. During the recording of the band's second album - "Dog Man Star" released in 1994, disagreements began to arise between Brett and Bernard Butler. What fueled the friction between them was an interview given by Butler in which he noted that Anderson is very slow in writing and that he is not a musician at heart. Butler and Brett have not met since then at the studio, when Butler records the guitar parts in the mornings and Brett arrives in the evenings to record the vocals. The climax of the friction was in an ultimatum issued by Butler for the dismissal of the producer. Rumor has it that one day Butler arrived at the studio and found that he was not allowed in and that his guitars were outside. He eventually left the band. 14. Butler's departure sparked rumors as to whether the band would be able to proceed at all in the absence of one of its essential writers. But in 1996 Brett proved that he was quite capable of writing even without Bernard Butler and released with the band their third album " Coming Up ", with which the band broke into a worldwide consciousness. It is also the band's most successful album to date, from which five successful singles have been released. 15. Brett and his friends will ride the wave of success of " Coming Up " and release two more albums before disbanding in 2003. After Suede disbanded Anderson surprisingly teamed up with Bernard Butler. The two formed the band "The Tears" in 2004 and in 2005 released the album "Here Come the Tears", which included the singles "Refugees" and "Lovers". 16. In 2007 Anderson started his solo career with the excellent album named "Brett Anderson". The album included the song "Color of the Night", in which he mentioned the city of "Tel Aviv" as the place his lover dreams of. Or in his own words: "My love she dreams of Tel Aviv". Brett expressed his fondness for "a city without a break" and for Israel. 17. Brett has performed in Israel with "Suede" no less than 7 times, the last of which was in June 2023. In addition, Brett arrived in Israel as part of his solo career accompanied by Matt Osman, for an excellent show held at Zappa Tel Aviv. 18. More about the Israeli connection, in 2008 Anderson collaborated with Aviv Geffen on several performances that took place in the UK and Israel. 19. And if that is not enough to understand how much Anderson is connected to Israel, we note that in 2012 Anderson was a guest on a "Blackfield" album, which is known to be a project of Aviv Geffen and Steven Wilson, and in 2019 he was a guest hosted by Aviv Geffen at the Amphitheater in Rishon Lezion. 20. Anderson has released to date 10 studio albums along with "Suede", one album with "The Tears", and another 4 studio albums as part of his solo career. Follow us on Facebook or Subscribe to our website "Face/Off" - Israel's Rock Blog & Podcast