Editor's Choice... And this time... " Into the Light ", David Coverdale 's third solo album, released on September 25, 2000. This album might have gone under the radar for some of you, so here we are to recommend listening to it. The story of this album begins after the release of the " Coverdale /Page " album in 1993. Coverdale began working on a new solo album, but as the record neared completion, EMI records insisted it be released under the "Whitesnake" name. Consequently, the album "Restless Heart" was released in 1997 under the moniker "David Coverdale & Whitesnake." Following a farewell tour, Coverdale officially disbanded "Whitesnake" to focus on his solo career, allowing him to explore different musical directions. Coverdale sought to return to his roots and distanced himself from the bombastic hard rock sound that had dominated most of his career. His previous solo ventures, "White Snake" (1977) and "Northwinds" (1978), were more blues-oriented, and with "Into the Light" — his first solo album in over two decades — Coverdale took the opportunity to explore a more stripped-down, introspective style. Indeed, "Into the Light" serves as a personal statement from a veteran musician reflecting on his journey, embracing a more bluesy, heartfelt sound. The album’s production was intimate, reflecting Coverdale 's conscious effort to step away from "Whitesnake’s" hard rock formula. Coverdale produced the album working with other producers like Michael McIntyre and guitarist Doug Bossi. He crafted a collection of songs that focused more on emotion and storytelling than arena-sized riffs. This laid-back approach allowed him to showcase the depth of his voice, which, though still powerful, conveys a sense of vulnerability not often seen in his "Whitesnake" days. After the short instrumental intro of " Into the Light ", “ River Song ” opens the album with a deep blues-rock feel, reminiscent of his early work with "Deep Purple". It was originally intended for a second album with Jimmy Page , but the project never materialized. The song dates back to the 1980s, with an early demo featured on the 35th-anniversary edition of " Slide It In ". Coverdale describes it as a tribute to Jimi Hendrix , and it features keyboardist Mike Finnigan, who played on Hendrix’s " Electric Ladyland ". Finnigan was initially brought in for this track but ended up contributing to several others on the album. the beginning of " She Give Me... " which comes right after sounds exactly like an outtake from the " Coverdale /Page " album, but then, on 1:18 min. the song change and for a few second we feel as if we are in a Bruce Springsteen show. " Don't You Cry " is one of the most beautiful and emotional songs on the album. that Coverdale  described as a tribute to songs like Jimmy Cliff's "Many Rivers to Cross", Percy Sledge's "When a Man Loves a Woman" and Bob Marley's "No Woman, No Cry", and we just agree with him. Ballads such as " Love is Blind " and " Wherever You May Go " stand out for their tenderness and sincerity. Here, Coverdale strips back his bombastic rock persona to deliver emotional depth, using his voice to convey heartache and yearning. This softer, more intimate vocal delivery is a departure from the towering ballads of "Whitesnake", adding an extra layer of personal touch. For fans who miss the harder edge, " Cry For Love " and " Don't Lie To Me " provide some of the hard rock associated with Coverdale’s past. These tracks maintain a rock foundation, but with a more restrained approach, offering grit without the excess of "Whitesnake’s" glam-metal era. " Too Many Tears " first appeared on "Whitesnake's" "Restless Heart". After hearing the original version, singer Chris Isaak suggested reworking the song in a Roy Orbison style. Being a big fan of Orbison, Coverdale loved the idea and decided to re-record the track with a new arrangement inspired by Isaak's suggestion. The making of "Into the Light" was clearly a personal process for Coverdale , representing his effort to distance himself from "Whitesnake’s" image and reassert himself as a versatile artist capable of expressing more than just hard rock anthems. His collaboration with Bossi allowed for guitar work that complemented this bluesier, laid-back style, while McIntyre’s production ensured that the album’s raw emotional tone was preserved without sacrificing quality. It is interesting to note, that several songs that were recorded during the sessions for the album, like " Yours for the Asking ", " With All of My Heart ", and " Let's Talk it Over ", were later released on "Whitesnake's" compilation album "Love Songs" from 2020. Additionally, the song " Flesh & Blood " was released as the title track from the " Flesh & Blood " album from 2019. In conclusion, "Into the Light" is a mature, reflective work that showcases David Coverdale 's desire to evolve as an artist. It’s not an album designed for fans seeking the bombast of "Whitesnake" hits, but for those who appreciate the more nuanced, bluesy side of Coverdale’s musicianship. The result is a heartfelt, introspective album that stands as a bold statement of artistic growth. For Listening: Youtube "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On September 25, 2020 Fish , known among other things from his membership in the neo-prog band "Marillion", released a double album called "Weltschmerz". This is the 11th studio album by Scottish singer Derek William Dick, who goes by the stage name Fish , and is also his first in 7 years. As of this writing, this album looks like the "swan song" of Fish , who has expressed several times in the past that he intends to retire from music. This time he probably really meant it with a double album, rich in music summarizing over 30 years of a solo career. The three clips released from the album nicely summarize the mix of styles that can be found in the album, progressive, folk, Celtic music and more. But more than that, looking at the song titles chosen by Fish to represent the album, it is very hard not to wonder if Fish chose these songs to spread hints about his planned retirement and the reasons for it. On March 13, 2020, Fish released the music video for the theme song " Weltschmerz " which its translation from German means "the pain of the world". This is a sharp commentary on the state of the world, as seen through Fish 's eyes. Later, Fish released the music video for the song " Garden of Remembrance " which talks about Alzheimer's disease. An emotional and melancholic song led by piano playing wrapped in Fish's soothing and caressing voice. About a week before the release of the album, the single and music video " This Party's Over " was released It sounds to us like a combination of Peter Gabriel with Celtic music, which Fish experimented with during his solo career, especially starting with the album "Internal Exile". "This party's over" sings Fish , and this time he probably really means it. The album also includes long and complex compositions such as " The Rose of Damascus " which is almost 16 minutes long and is divided into 6 sections that tell the story of a Syrian refugee. The song " Waverley Steps (End of the Line) " is no less complex and its length reaches almost 14 minutes, when its title again makes us wonder if this time it really is "End of the Line"... The list of songs: CD 1 (42:12) 1. Grace of God (8:19) 2. Man with a Stick (6:27) 3. Walking on Eggshells (7:18) 4. This Party's Over (4:22) 5. Rose of Damascus (15:45) CD 2 (42:18) 1. Garden of Remembrance (6:07) 2. C Song (The Trondheim Waltz) (4:41) 3. Little Man What Now? (10:54) 4. Waverley Steps (End of the Line) (13:45) 5. Weltschmerz (6:51) For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

September 25th is probably a special day for "Black Sabbath", because another album - "Technical Ecstasy" was released just that day in 1976. Two albums by the same band, the fourth and seventh, were released just 4 years apart, but the differences between them are simply abysmal. If we told you that on the album " Vol. 4 " the first cracks in harmony between the band members began to appear, then this time we are witnessing the great crisis point that marked the beginning of the end. Don't get us wrong, this is still "Black Sabbath" in all its glory. Geezer Butler 's bass is still shaking, Tony Iommi 's riffs are still inspiring and his solos are still chilling. Ozzy Osbourne 's voice still touches the sky and Bill Ward 's drumming is smart and accurate. Take for example the amazing song " You Won't Change Me ", the sweeping opening song " Back Street Kids " with the galloping bass a-la Steve Harris , or the amazing ending song " Dirty Women " and you will understand what we are talking about. But despite that, something in this album still did not work as in the previous albums and it is obvious that the band started its disintegration process here. The only one who devoted himself to the process of writing and creating this album, was Tony Iommi . He had to deal not only with the shaky connections with his friends, but also with the Punk genre that began to rise its head in the music world and especially in the UK, and also with the desire to produce more receptive radio-friendly music. Iommi was determined to reinvent himself and his fevered mind tried to concoct something a little different that would manage to cope with the musical trends prevailing at the time. He worked on the album mainly with guest keyboardist Gerald "Jezz" Woodroffe, whose keyboards and especially his synthesizer adorn a significant portion of the album's songs. Iommi and his friends' attempt to reinvent themselves, showed partial neglect of the heavy and gloomy metallic sound that was familiar from the band's previous and successful albums, in favor of experimenting with other styles like Progressive rock, Psychedelia, and even Pop. Do not believe? Listen to the song " It's Alright " written and sung for the first time by drummer Bill Ward and you will understand what we are talking about. At times you might even think it's an obscure outtake from a Paul McCartney album. The sweet melody wouldn't have embarrassed him, certainly not the classical guitar that accompanies the song. Rarely for those years, "Black Sabbath" even released a marketing clip for the song, which manages to open a window to how the band looked like in those years, see here: It seems that as part of the attempt to reinvent, "Black Sabbath" has lost itself along the way. Take for example a song like " Rock 'N' Roll Doctor ". It's definitely not a bad song, but it's no longer the same inspiring "Black Sabbath", but an attempt to sound like "Kiss." Another change that indicates the band's new experience, emerges from the content of the lyrics. If in the past we were accustomed to dark and gloomy issues of Satanism, wars, death, etc., then this time Geezer Butler recalibrated himself and dealt with issues such as sex, prostitution, violence, politics, etc. Even the album cover created by the British group of designers Hypnosis, indicates the change in writing and style, while presenting two robots that seemingly have sex on escalators - literally "technical ecstasy". Surprisingly, the album was a relative success in sales and even reached number 13 on the UK charts. Music critics, on the other hand, did not like the album despite the band's attempt to change and keep up with the sound and style to remain relevant. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On September 25, 1972, "Black Sabbath" released their fourth studio album, "Vol. 4". If there is one song on this album that clearly represents what we get here from "Black Sabbath", it is " Changes ". Both the title of the song and its style, express the fundamental change that has taken place here. "I'm Going Through Changes" sings Ozzy Osbourne to the sounds of the mellotron of a song composed by Tony Iommi on piano that was in the studio, and the "changes" in this album scream from everywhere! Let's start with the fact that this is the band's first album recorded outside of England. The band rented a mansion in Bel Air, Los Angeles, where the album was recorded. More of that, this is the first time the album has not been produced by Rodger Bain, who produced the band's first three albums. Tony Iommi took on the role of the man behind the console, and although band director Patrick Meehan also received credit for the production, he hardly contributed to it. Another change that can be found in this album has to do with the musical style. The band has experimented here with different genres some were not typical of the unique heavy metal style that the band has created on their previous albums. This change was not necessarily positive and it contributed to the imbalance in the level of the songs on the album and their style. The change was also reflected in the expansion of the range of musical instruments on which the band played and especially the use of the mellotron, an instrument that is mainly identified with the progressive rock genre. And if you will, the change was even reflected in the band's drug use preferences, which shifted from marijuana ("Sweet Leaf" from the previous album) to cocaine, on which the song " Snowblind " was written about. This album was recorded entirely under the "clouds" of "white powder", which was supplied to the studio regularly, hidden inside speaker boxes. The band even wanted the name of the album to be "Snowblind", but the record company objected to the idea. Anyone who listens to the song will even be able to hear Ozzy Osbourne at 0:40 whispering the explicit name, "Cocaine". And if that's not enough to understand how addicted the band was to the "white powder", during recordings of this album, then on the inside cover you can see the following sentence: "We wish to thank the great COKE-Cola Company of Los Angeles." But the most significant change that took place here, in our opinion, was the one between the band members and themselves. On this album, the first cracks in the harmony and unity that prevailed among the band members began to appear. It can be said that this album ended the friendship of the four guys from Birmingham, when the "factory" called "Black Sabbath" was established on its ruins. One of the moments that expresses the cracks in harmony between the band members, was while recording the song " Cornucopia ". Drummer Bill Ward struggled with the song and was unable to "deliver the goods" to the liking of the rest of the band. Exhaustion and drugs did not help Ward who hated the song and did not connect to its rhythms. This incident made Ward feel he was not good enough and that the rest of the band members were going to fire him. But despite these fundamental changes, the imbalance, and the lack of harmony, this album is still one of the best "Black Sabbath" albums. " Wheels of Confusion " which opens with Tony Iommi 's bluesy solo makes us wonder if it's really "Black Sabbath" until Geezer Butler 's bass storms in and "reboots" everything, " Tomorrow's Dream " with the percussion-saturated drumming that is the only single released from the album, " Supernaut " with The sweeping riff which is the band's favorite song as for Frank Zappa and John Bonham , the complex track " Under The Sun " that seals the album and whose dynamic and style will be adopted by bands like "Maiden" and "Metallica", and even the instrumental track " Laguna Sunrise " that opens the other side of Vinyl and composed by Tony Iommi as he watches the sunrise on the lagoon beach, all of these and more prove how awesome this album is. No wonder then, that this album was ranked by "Rolling Stone" magazine at number 14 on the list of the 100 greatest heavy metal albums of all time, and it also comes as no surprise to us that it was included in the book "1001 Albums You Must Hear Before You Die". For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

"Abbey Road", "The Beatles" twelfth album, was released on September 26, 1969. Here are 53 facts about the album. So take a deep breath and stay with us, because at least some of the facts will interest you: 1. This is the band's twelfth studio album in just 7 years (one of them a double album). 2. This is the band's first album not to be released in a mono version. 3. This is also the Beatles' first and last album recorded by an 8-channel tape/mixer which allowed them to experiment with more instruments, sounds, and effects. 4. To expand the band's range of sounds, the album uses the "Leslie" amplifier and the "Moog" synthesizer. The use of the Moog synthesizer was not only as a background effect, but also as the main instrument in the song " Because ". This is the first and last time "the Beatles" have used this instrument. 5. Yoko Ono is the one who brought Lennon the idea for the song " Because " after playing Beethoven's sonata "Moonlight". 6. The Moog synthesizer was introduced to the band by George Harrison who used it on his 1968 solo album "Electronic Sound". 7. Although released before " Let it Be " this is actually the last album the band has recorded, chronologically. 8. The recordings began on February 22, 1969, just three weeks after the end of the recordings of what would later become the " Let it Be " album. 9. The band members had to convince George Martin to produce the album. After the unpleasant experience while recording The White Album and the sessions that led to the album " Let it Be ", Martin no longer wanted to deal with the fabulous four. Paul McCartney was sent to persuade him and finally, Martin agreed but on one condition, that he would have complete control over all matters in the studio. 10. In the end the album was recorded in a very pleasant atmosphere, compared to the last two sessions, probably because the members realized that this is the last album they will do together. 11. One of the assistant recording technicians was Alan Parsons who will become a technician/producer and artist himself, who will work on Pink Floyd's "The Dark Side Of The Moon" album, among others. 12. Immediately after the album's release, John Lennon left the band. By September 1969 he had already formed the "Plastic Ono Band", mainly because the rest of the members were not interested in recording the song "Cold Turkey". 13. Although the band no longer existed, de facto, there was no official announcement about the breakup until April 1970, with Paul McCartney announcing that he was leaving the band. 14. The name of the album was supposed to be "Everest" and the idea was to photograph the album cover on Mount Everest. The band members were too lazy to make the trip to Everest so Paul McCartney suggested naming the album after the street where the EMI studios were located, and where the famous photo was also taken. 15. This is the band's first cover that does not include the band name or album name. 16. Photographer Iain Macmillan was given 10 minutes to complete the photo shoot, with police stopping traffic on the street. He took the famous picture of standing on a ladder placed at the intersection. 17. Immediately after the release of the album, the cover became another piece of fact in the puzzle of the conspiracy theory about the death of Paul McCartney . The fact that Paul is the only member of the band walking barefoot on the famous crosswalk testified, according to proponents of the theory, that Paul did die and was replaced by another. 18. Another statistic that contributed to the conspiracy theory is the fact that Paul is holding a cigarette in their right hand even though he is a lefty. 19. Paul mocked the conspiracy theory on the cover of the live album "Paul is Live", released as part of his solo career. 20. In 2010 the famous crosswalk received the status of an English Heritage . 21. The license plate of the Beetle vehicle (white Volkswagen) on the album cover, was stolen time and time again after the album was released. 22. The band "Oasis" paid homage to the album cover as part of the album "Be Here Now" from 1997. The license plate number of the Rolls Royce car inside the pool is the same as that of the black police car on the album cover of "Abbey Road". 23. The album opens up with the phrase "Shoot me" which John Lennon sang 4 times at the beginning of the song " Come Together ". John Lennon would be murdered 11 years later. 24. " Come Together " was the basis for a copyright claim by Chuck Berry's heirs claiming a resemblance to his song "You Can't Catch Me". 25. All four members plus George Martin unanimously agreed that the song "Something" written by George Harrison is the best on the album. 26. It was also the first song Harrison wrote for the Beatles, which was released as the first side of a single. 27. Frank Sinatra defined the song as the most beautiful love song written in the last 50 years. 28. The clip for the song includes all the Beatles members along with their wives. At the same time, the photos of each couple were taken separately, in light of the tension that prevailed between the band members. 29. It took Paul McCartney a whole week to record the vocals for the song " Oh! Darling ". He wanted them to sound "thin" and rough, so he would come to the studio every morning half an hour before the other friends to record the song. 30. Interestingly, John Lennon did not like at all the idea of the medley on the other side of the vinyl. McCartney and Martin wanted to collect pieces of songs and turn them into a medley but John Lennon did not like the concept. At first, it was thought that the whole second side would be a medley of Paul's songs, and the first side with Lennon's songs, but eventually John relented and agreed to the idea by donating the songs " Sun King ", " Mean Mr. Mustard " and " Polythene Pam " to the medley. 31. McCartney changed the original lyrics of " Golden Slumbers " after encountering a book with a 16th-century poem in his father's house. 32. " The End " is the only Beatles song to feature a solo by all of the band members. Ringo Starr did not initially want to play the solo, but eventually relented after realizing it was probably the band's last album and contributed a short 15-second solo. 33. This is also the last song the band recorded with the four band members together in the studio. 34. The song " Her Majesty " is the band's shortest song and is 0:23 seconds long. 35. The song found its place at the end of the album as an accidentally hidden track. The initial intention was to place it between the songs " Mean Mr. Mustard " and " Polythene Pam ", but Paul McCartney decided he did not like the song and asked to remove it from the medley. Recording technician John Kurlander who did not want to delete the song, stuck it at the end of the recording reel, after the song "The End". McCartney who listened to the final product liked the idea and what started as a mistake became a reality. 36. McCartney recorded this before the other Beatles arrived in the studio. 37. The same John Kurlander will become a recording technician known in part for his work on the soundtracks of "Lord of the Rings" films. 38. The band members hated Paul McCartney 's song " Maxwell's Silver Hammer ", and Lennon even left the studio for two weeks because of it. 39. Lennon was absent from the studio for another period during the recording of the album, following his injury in a car accident in Scotland. 40. The song " Octopus's Garden " sung by Ringo Starr , was influenced by a cruise in which a squid was served to him instead of a fish. The ship's captain told Ringo how the octopus uses his arms to build a garden. 41. The sound of bubbles in the song is a recording of Ringo Starr making bubbles with straw in a glass of milk. 42. " Here Comes the Su n" was written by George Harrison when he avoided a business meeting with the Beatles members, in which he did not want to be present. 43. The song was written on a sunny day when George Harrison was hosted in Eric Clapton's home garden. 44. " You Never Give Me Your Money " was written by Paul McCartney following the friction with Allen Klein, due to the difficulties the band members had at the time with Apple company. 45. The song " She Came In Through The Bathroom Window " was written by Paul McCartney following an incident in which an avid fan broke into his house through the window. 46. " Carry That Weight " includes singing by all four Beatles members and elements from the song "You Never Give Me Your Money". 47. ​​ Paul McCartney wrote the song about the burden and difficulties of holding the Beatles together. 48. During the sessions of the album, George Harrison recorded demos for songs that would later become his amazing solo album " All Things Must Pass ". 49. Another song Harrison recorded at the same time was " Old Brown Shoe " which came out under the band's name as a b-side to the song "The Ballad of John and Yoko". 50. Paul McCartney was also busy recording the song "Come and Get It", which he intended to include on the album, but later was given to the band "Badfinger" and became a hit. 51. The song was recorded during the medley recordings and McCartney played there on all the instruments in the song. 52. Immediately after the album's release, artist George Benson recorded an alternative version of it, called "The Other Side of Abbey Road". 53. Although this is a masterpiece the reviews did not really praise the album at the time of its release, especially the critic Ed Ward from "Rolling Stone" magazine who wrote that "the Beatles" were capable of more. Now you must listen to this masterpiece : Spotify , Apple Music Follow us on Facebook or Subscribe to our website "Face/Off" - Israel's Rock Blog & Podcast

The "Foo Fighters" album with the long name "Echoes, Silence, Patience & Grace" was released on September 25, 2007, which means we have a review for you... So let's start with a quote from Dave Grohl whose context you will discover at the end: "Welcome to the greatest fucking day of my whole entire life!" The Foos' sixth album was released in 2007 two years after the album "In Your Honor" which will have a very big impact on this album. After the release of the album "In Your Honor", the band went on a tour that combined two performances, day after day in the same location, one electric performance, and one acoustic performance. This is the first time that the band has added various instruments and other musicians to the quartet on stage and you can see this amazing combination in the digital copy of the show called "Skin & Bones". This addition opened up the horizons (and chakras) of the band members and gave them a musical experience they had not experienced before. Dave did not believe it was possible to combine so much and play so many instruments in the Foo's songs. Not to forget that this is also the band's fifth album, so the maturity is also reflected here and indeed you hear a clear influence of this line in the album. (Photo: Thomas Rabsch) The process of writing the album was very interesting, it may have started as every Foos album begins, with Dave sitting down with Taylor Hawkins to write the skeletons and demos for the songs on the album, but it is evolving in a beautiful and different direction. This time, too, Dave recruited producer Gil Norton, who produced one of the biggest albums with the band Her "The Colour And The Shape" . After he composed about 40 songs with Taylor he sat down with Gil and together they put the structure of the songs and cut out the unnecessary parts so that they were left with 20 songs. He brought these songs to the rest of the members and for two months the whole band together worked on the songs (including Pat Smear who came back from a long break and was included in the song "Let It Die"). Every day they worked on one song, from noon to evening. Change, experience, critique, and create together. Taylor claimed it was the first time Dave had faced criticism for the songs he wrote in real-time in front of everyone. Dave said that when they finished working on all the songs they were more cohesive and united than ever. Before touching the music we need to pay some attention to the lyrics. In one of the reviews on the album, Stephen Thomas Erlewine (AllMusic) claimed that Dave invests all his sense of humor in the band's music videos, in his collaborations with Queens of the Stone Age, or in the music videos he makes with Tenacious D and for his albums he leaves nothing, 100% serious !! In this album, the matter is much more prominent. Apart from the song "Cheer Up, Boys (Your Make Up Is Running)" written with humor, the rest are songs with serious lyrics, about love, life, and the like. Perhaps this can be attributed to the birth of his daughter Violet at that time. The transition from alcohol-laden nights and parties into the nights replaced by diapers and feeding, in any case, significant and heavier texts are felt here. In terms of the music itself, there is no very big change from the band's previous albums, no refreshing innovation or musical diversity. Perhaps the only thing you feel on this album in this respect is the melody, it feels like the band puts a lot of emphasis on melody and every song is played to it in a very structured and melodic way. Yes, we repeated the word melody, we know !! You will not find here sudden breaks, a change in rhythm, or a combination of different and strange rhythms. But what is there in this album and it is a very prominent feature... it is extremism. It moves you from side to side, once firmly and once gently, once throws you up and once gently lays you on the floor. If you took the album and split it in two, a bit like "In Your Honor" you would get on one side stadium songs like: "The Pretender" that opens the album (and a sheer delight to the drummers), the shaky "Erase / Replace", "Long Road to Ruin" with one of the most beautiful and funny clips, the excellent "Cheer Up, Boys (Your Make Up Is Running)" and a few more. On the other hand you would get tender ballads like: "Let It Die", "Come Alive", the masterful "Stranger Things Have Happened" with the metronome in the background, ballad of the "Beaconsfield Miners" inspired by two miners involved in the collapse of the mine in Tanzania in 2006 and the same he plays with Katherine "Kaki" King who is a virtuoso American guitarist who accompanies Dave with the fingerpicking technique and of course also "Statues" squeezing tears. This is what sets this album apart, it is simply a combination of the two popular Rock ends. Aggressiveness and madness in the face of ballads and softness. Therefore he adapts himself or you adapt yourself to him. At the 2008 Grammys, this album earned Foos 5 different nominations and won two of them, Best Rock Album and Best Hard Rock Performance. If we are not mistaken then in this event Dave said over the Grammy stage that they get the award because there are simply no other rock bands. This of course was directed against the organizers of the event and not against the bands. This album has a significant impact on our lives and how it has accompanied us for a long time therefore it is remembered by us very, very strongly. Its beauty is precisely in these extreme situations that take you from side to side and you choose the side that suits you according to your mood and what you are going through at that moment. So do not feel obligated to listen to the album from beginning to end, but click on Shuffle and let it surprise you !! Listen to: Spotify , Apple Music Just a moment... what about the quote ??? So... After the release of the album, in October 2007 the band went on a tour to promote the album. Following on from this tour, the Foos held one of the biggest performances in their history at Wembley Stadium on June 7, 2008. A performance that can also be found as a digital copy. They hosted Jimmy Page and John Paul Jones from Led Zeppelin and after they got off stage and before the encore performed, the excited Dave couldn't resist and just roared the sentence we quoted, "This is the biggest day of my life !!!" In 2020, the band fully uploaded the show to YouTube, so feel free to see it for yourself: "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

There's nothing more to say, you can't stop "Chainsaw from Texas". His creativity just doesn't stop. On September 24, 2021, he did it again, with the album "Marching In Time", the fifth with his band "Tremonti". After the ambitious concept album " A Dying Machine " Mark Tremonti decided to stop on the side of the road for a moment, take a breath, and "March In Time" with a return to a simpler and more traditional song structure. But don't get it wrong, even though it's not a complex album like the previous one, once again each of the tracks in "Marching In Time" is a story in itself, only this time it happens without any attempt to weave some kind of central "theme" or "narrative" that will connect them. "Marching In Time" continues Mark Tremonti 's powerful, aggressive and ruthless musical line. As we have said before, this band is where Mark brings out all the aggression he can not put out on "Alter Bridge". As in previous albums, the songs here too are built on strong and leading riffs that are combined with powerful and exemplary solos. In our opinion, In this album, Mark Tremonti took several steps forward in terms of writing ability, melody crafting, and softness, and this is also reflected in the lyrics. There are several songs on "Marching In Time" that are accompanied by softer, more caressing parts and there are also lyrics that talk about fatherhood, loneliness, and personal issues, more than any other "Tremonti's" album. But more than everything, Mark Tremonti simply surpasses himself on this album in terms of vocal abilities. That's it, you can't just define him as a "guitarist" anymore. Mark is also a "vocalist" and he is entitled to this title by merit and not by grace. We must note the new addition to the lineup, drummer Ryan Bennett. We know how hard it is to keep up with the pace and power of Mark and former drummer Garrett Whitlock did it heroically, but Ryan simply surpasses his leader. There are songs on the album that feel the drums more than Mark's guitars, something that has never happened and is considered inconceivable. Ryan's technique and power blend in wonderfully and sometimes even lead to Mark's riffs. Although it doesn't offer something really different, "Marching In Time" nevertheless manages to introduce some freshness and innovation to the wonderful formula of "Tremonti" and allows us to indulge in heavy riffs, powerful drums, and unleash merciless aggression. Tremonti's formula began to take shape in the album " Cauterize " and it merges modern thrash metal with melody. Mark Tremonti has perfected this formula from album to album, but it seems that this time he brings it to perfection. On the one hand, some elements serve as the "backbone" of the band's sound. Clean vocals, sweeping and emotional choruses, and heavy and aggressive riffs, influenced by thrash and speed metal, that make up the DNA of the band. But this time there is also something more. It's not clear how Mark Tremonti managed to do this, but each of the 12 songs on the album has that catchy "hook" that just grabs the listener and won't let go. We get all this beauty already in the opening track " A World Away ". A dark and heavy riff that gradually develops into fast and furious thrash with a sound that will remind you of "Metallica", but also of what "Tremonti" did in albums like " Cauterize " and " Dust ". Then comes the break to a slower rhythm that characterizes the verses and from there we return to the fast beat during the chorus, where the genius of Mark Tremonti is revealed, as he manages to dress the thrashy rhythm with the melody of a catchy pop song and he does all this without sounding kitsch, not even in the quiet transition section which starts at minute 2:42 and highlights his vocal abilities that only keep getting better and better from album to album. And the lyrics? What devastating and thought-provoking words Tremonti wrote: "I swear that I will leave today Another life, a world away I've never felt an ounce of love It's not my home, and it never was.." This musical beauty that combines brutal riffs with a sweet melody accompanies us throughout the album. In " Now and Forever " you don't even have to wait for the chorus to experience the melodic vocals that float over the sawing riff. There is nothing more to say about "If Not for You ", change the guitar effect a bit and give this song a softer production and it could become a hit on any mainstream chart. The catchy and sweeping melodies do not miss any of the songs on the album. Whether it's a ballad like " The Last One of Us " or a song that partly conveys a minimalist feeling like " Bleak ", whether it's songs with the band's "sound signature", like " Thrown Further " or " Let That Be Us " and whether it is pieced with a progressive flavor like the theme song " Marching in Time " which also closes the album. In conclusion, it can be said that "Marching In Time" makes use of many of the main elements that accompany "Tremonti"ת at least since the second album, but it also mixes some more innovative touches, especially in the tight production that provides this album with a feeling of freshness. This album undoubtedly shows the maturation process of Mark Tremonti as a writer, a performer, and a vocalist and although it will probably not be remembered as one of the biggest albums in the extensive career of the legendary guitarist, that began with "Creed", it is still a light, catchy and really fun album to listen to. Listen to the album on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

You think he's a clown but it just looks like it on the outside, Shawn Crahan from "Slipknot" was born on September 24, 1969, so we brought you some interesting facts... (Photo: Slipknot) 1. He formed the band "Slipknot" in 1995 together with bassist Paul Gray 2. He is the creative mind and media manager of the band 3. Among other things, he directs all the band's music videos, visuals and design productions 4. Beyond that he also hits beer cans and participates in background vocals 5. His number in the band is "6" 6. Beyond the band's music videos, he directed his first full-length film in 2016 called "Officer Downe", which is based on comics. He also directed "Motionless in White's" "A-M-E-R-I-C-A" and "Hollywood Undead" "We Are" music videos (Photo: Mick Hutson) 7. In his youth he was very fond of King Kong, he had a poster in his room even in his adult life. His mother, who used to go to "Slipknot" shows before they became a monster, would call her son "Sliver Back Gorilla" because of the way he would play the drums and rave on stage. On one of his birthdays, she even bought him a model of the gorilla made of crystal. 8. In "Slipknot's" first shows Shawn used to bring a cow's head to the stage 9. Shawn is the one who came up with the idea for the band's masks. The mask associated with him is the clown mask and the mask with which he has appeared since 1999 has been in his possession since he was 14. The mask has a very big and strong meaning that Shawn does not reveal. (Photo: Jay West) 10. The band's fans are known as "Maggots", Shawn is the one who gave them this nickname. He was inspired by a video he shot of a dear being eaten by insects. The way the insects ate the dear looked to him as a "mosh-pit". 11. He founded a record company called Big Orange Clown Records but it did not really take off and to this day he has represented only one band called "Gizmachi". (Photo: Victor Chavez) 12. In 2007 he formed another band called "Dirty Little Rabbits" and took on the role of drummer. The band released one album that year and two EPs two years later 13. In 2019 his 22-year-old daughter, Gabrielle, passed away due to an overdose of drugs 14. In 2020 his son Simon Crahan formed the band "Vended" together with Griffin Taylor, Corey Taylor 's son. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Sometimes a band doesn’t just follow up a debut—they evolve into something more profound, more terrifyingly precise, more human. On September 24 2021, Sleep Token issued "This Place Will Become Your Tomb" This Place Will Become Your Tomb is one of those moments. It's the sound of a once-anonymous entity stepping out from the shadows, not to show their face—but to bare their soul. Sleep Token had already made waves with their 2019 debut Sundowning, a slow-burning, conceptual offering that introduced the world to Vessel’s haunting voice and the band’s ritualistic presence. But in the two years that followed, their world changed—and so did they. Following the release of Sundowning, Sleep Token saw a surge in underground popularity, particularly within the UK alternative and progressive metal scenes. They signed to Spinefarm Records, giving their music broader international reach. But then came the global halt of 2020. The COVID-19 pandemic struck just as their momentum was building. Plans for touring and promotion were interrupted. Instead of sitting idle, the band released "The Room Below", a companion to "Sundowning" featuring stripped-down renditions, piano-driven pieces, and striking covers like Billie Eilish’s "When the Party's Over"  and Whitney Houston’s "I Wanna Dance with Somebody" . These releases not only kept fans emotionally engaged but also hinted at the more ambient, introspective directions the band would explore next. Photo: Sleep Token When Sleep Token returned to live performance at the 2021 Download Festival Pilot, it was clear they were emerging with a sharper vision. That same day, they released "Alkaline" , the first single from this album, and it became immediately apparent—this would not be just another step forward. It would be a rebirth. "This Place Will Become Your Tomb" was officially unveiled, and the descent began. Before we go to the album's songs we feel the need to share something—like a little disclaimer... So if we may take you for a moment into the future: we, too, had no idea this band even existed until the single "Chokehold" was released and exploded like a global epidemic. And like spectators at a Uri Geller show at his peak, we were hypnotized—frighteningly so. More singles followed, and then the full album dropped (which we’ll dedicate a separate review to), pushing us, as is our way, to investigate the band—only to discover, to our surprise, that they had been around for seven years before their big breakthrough. And from the very first listen, "This Place Will Become Your Tomb" electrified us. Something grabbed us and wouldn’t let go. Looking back, "Take Me Back to Eden" absolutely mesmerized us, but once the pendulum stopped swinging, we were no longer under its spell. Something in the deep and long drama of the songs, with tyring storytelling structures kept us from returning to them (after an intense initial listening phase, of course). But with this album, the electricity never left us. The side effects of that jolt brought us back to it again and again. There’s something about the songs—combining that same drama and structure (which became quite recognizable after getting to know the band) with a gripping, emotional dynamic—that made us fall in love with it so deeply. We found ourselves constantly returning to this album, emotionally moved by it, over and over again, despite the glow of the breakthrough record. Produced once again by George Lever at G1 Productions in Somerset, this album elevates everything "Sundowning" introduced: the contrasts are more intense, the textures richer, the storytelling deeper. From the first pulse of "Atlantic" , the listener is submerged. There’s a quiet tension in its atmosphere—a trembling calm before the storm—that sets the tone for everything to come. Sleep Token have always thrived on duality: soft and violent, sacred and broken. This record embraces that duality with more focus than ever before, and it will repeat itself in future albums. "Alkaline"  crashes through next like a wave of electric thunder. With its industrial undertones, thick distortion, and a groove that pulses like a rising tide, it’s a towering anthem of emotional dissonance. Yet beneath the aggression, there’s an unmistakable yearning. Vessel's voice floats above the chaos—detached, desperate, divine. "Hypnosis"  is an aptly named descent into repetition and entrancement. Synths weave in and out of a hypnotic riff while the drums pound with meditative consistency. There’s something unsettling and beautiful in its structure—like drowning slowly in your own thoughts. And then comes "Mine" , one of the album’s quietest yet most devastating moments. With a sparse, almost lo-fi beat and minimal instrumentation, Vessel’s falsetto becomes the focal point. His delivery is vulnerable, raw, and crushing. This isn’t a love song. It’s the sound of clinging to love when it's already gone. "Telomeres"  builds from near silence to cinematic explosion. Beginning with sparse piano notes and whispers, it crescendos into walls of shimmering guitars and thunderous drums. It’s not just a song—it’s a journey. Each dynamic shift feels like a breath being held, then released in grief or awe. And then there’s "Fall for Me" —perhaps the most divisive track on the album. Stripped of all percussion, built entirely on layered vocals and soft textures, it feels like a pause for reflection. Some called it a misstep. But in the context of the album’s emotional arc, it becomes a quiet funeral for everything left unsaid. Lyrically, the album explores emotional erosion, trauma, and devotion. But unlike "Sundowning", which often abstracted those themes in metaphor and repetition, "This Place Will Become Your Tomb" is more direct, more confronting. The lyrics don’t just paint a picture—they confront you with a mirror. Upon release, the album was met with widespread acclaim. Distorted Sound awarded it a perfect 10/10, calling it a masterpiece of emotional storytelling. Metal Hammer ranked it among the best albums of 2021, and it became Sleep Token’s first charting album in the UK, peaking at #39 on the UK Albums Chart. It also charted in Scotland and across Europe. More importantly, it struck a deep chord with listeners. Fans described it not just as an album, but as an experience—one that helped them grieve, heal, and feel understood. This album is not easy listening. It’s a heavy weight, wrapped in silk. It demands attention, asks questions you may not want to answer, and leaves you transformed. For some, it will feel like sanctuary. For others, like a reckoning. But for all, it leaves something behind. A mark. A presence. A place where your sorrow is seen. A place that understands your silence. A place that—perhaps—will become your tomb. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

The album "Blood Sugar Sex Magic", the fifth studio album of "Red Hot Chili Peppers" was released on September 24th, 1991. We grouped this amazing year under the "Class of 91'" series which is about the masterpiece albums released in the wonderful 1991. This time we will start the story from the end, just to connect the grunge world of "Nevermind" which was released on the very same day, with the funk-alternative-metal fusion of "Blood Sugar Sex Magic", with the addition of spicy seasoning... So after the release of the album and before the start of the tour to promote it, Anthony Kiedis asked the band manager to contact "The Smashing Pumpkins" and offer to join them on the tour. Kiedis really liked the style and sound of "The Pumpkins" and really wanted them to join the tour. A few days after the Smashings confirmed their participation in the tour, Jack Irons, who was previously the Chili's drummer, called Kiedis and requested that his current band "Pearl Jam" also join the tour, as an open act. Wait, wait, it's already starting to get spicy here... The tour started to pick up speed and the band's management started to book shows in much larger halls and even stadiums. At one point, the band's and tour manager decided that "Pearl Jam" was no longer big enough to open in such places and asked the band to find a replacement. Kidies who knew Dave Grohl asked that his band "Nirvana" will join the tour and he agreed, but here things started to get complicated. Billy Corgan from The Pumpkins used to date Kurt Cobain's wife Courtney Love and it did not end well, he strongly refused to share the stage with Cobain, which led to The Pumpkins being thrown out of this crazy tour while "Nirvana" and "Pearl Jam" kept on going with the Chilies. Why did we choose to start with this spicy story? To illustrate to you how crazy this period was, how much the year 1991 should be written in the books of history as the great year of Rock (alongside 1967), with much of everything that happened in the music world that year eventually concentrating on a period of less than a month in late '91. While its distilled extract is concentrated in a single day on September 24, 1991. Like Nirvana's "Nevermind", this album by RHCP is a founding album... John Frusciante's guitar sound, Funky Mixed in Metal, Flea and Chad Smith's crazy rhythm section, the rolling lyrics on the tongue of Anthony Kiedis, alongside the personal writing, and the production... and what a legendary Rick Rubin production !!! This is without a doubt the best album of the "Chilies". Just "Blood Sugar Sex Magic" and there is no other way to define it !!! This was RHCP's second album with the same members, after "Mother's Milk" was released in 1989. It was evident that as the four members spent time together the dynamics between them grew stronger, while the band's so unique sound with Frusciante began to crystallize. The Musical Direction On this album, the band chose to change the musical direction a bit and was opened up to new worlds. It was able to combine the heavier metal and funk sections, as well as more melodic, acoustic, and even quieter sections. The band did all this while diversifying the musical instruments that it had not dreamed of using in the past, such as the Amor organ, Melotron, and more. The band had enough material to record a double album, 25 songs of which 17 were selected, spanning more than 73 minutes. The length of the album and the large number of songs allowed the band to open up and diversify musically. On the one hand to give its old fans the music to which they were accustomed, and on the other hand to attract new audiences and fans with more catchy and melodic passages. In this way, the band managed to maintain the base of its fans and at the same time increase it and open up to new audiences, and thus lies, among other things, the huge success of the album. This contrast between the powerful and bouncy funk metal and the acoustic ballads and influences of classical rock, is what probably created the "big bang" here. The Lyrics The diversity in the musical material as described above also slides into the lyrics. Kiedis is busy as always with sex and this is evident in the funky singles "Give It Away" and "Suck My Kiss". However, on this album, he also connects to his more sensitive side and writes about failed relationships, songs like "Breaking The Girl" and "I Could Have Lied" and drug addictions in "Under the Bridge" and "My Lovely Man". Technique and sound So far we have mentioned what has changed on this album in terms of the musical line and lyrics, so let's talk a bit about sound and playing technique. Bassist Flea has decided that on this album, he wants more to flow with the song and be a part of it, not like before, prominent and outstanding from the rest of the members. The one who influenced his playing here, is none other than Kim Gordon from the band "Sonic Youth". Flea said he was inspired by Kim's playing style and decided to calm down a bit with the "slapping" on the strings. The motto that led him in the recordings this time was "Less is more". Frusciante's guitar playing on this album was very smart and intelligent. On the one hand, it led the song, and on the other hand, it left enough room for diversity in Kiedis' singing. On the one hand it was very dominant, and on the other hand it also left enough space for bass and drums freedom to improvise and evolve. Frusciante continued to issue heavy metal riffs here as well, but they were with much less, distortion, compared to the previous album. It's amazing to think that a very significant portion of the takes on the album, especially Frusciante's solos, were recorded "LIVE" without corrections and rerecording. Frusciante method in performing solos is maximum twice. First time to play to the band members and if they did not like it, to immediately record a different solo, so all the solos on the album were recorded on the first or second take, no more than that. (Photo: Gie Knaeps) The Production So we have a musical direction, there are lyrics, sound, and musical technique, and now we need someone to put it all together. Here comes the legendary producer Rick Rubin, who is conducting over all this great elements. Rubin was not the band's first choice. Kiedis said that at first he thought Rubin would not be able to contribute because he worked with bands like "Slayer" and "Danzing" which were perceived by them as bands with negative energies. It is very interesting that in 1987 Rubin was the one who refused to produce for the Chilies the album "The Uplift Mofo Party Plan", due to the drug problems of Kiedis and Hillel Slovak. But this time the energies probably worked out for the best, and not only did the band and Rubin finally agree to work with each other, but the band members also felt comfortable enough with Rubin to ask him for guidance where they felt less confident. This openness of the members gave Rubin enough confidence to correct and guide them as well as with space and freedom of action to do exactly what is necessary to lead them to perfection. Rubin's greatness on this album was that he managed to make the band sound different from the previous albums and all this without losing its identity. The Studio And what about space? This is the first album recorded on "The Mansion". The band sought to record the album in an unconventional setting, believing it would enhance their creative output. Rick Rubin proposed the studio he built in a large mansion built in 1918 and located in Los Angeles. It belonged to the famous illusionist Harry Houdini and is known for the spirits that haunt it. Many bands like "Slipknot", "Linkin Park", "Marilyn Manson", and more recorded albums in this "Mansion", but the "Chillis" were the first to do so. All the members of the band (except Chad Smith who felt uncomfortable with the ghost thing) moved into the mansion, ate, drank, and breathed music. Wrote, rehearsed and finally recorded. A lot of sound experts were involved in creating the unique sound of the first album recorded on the "Mansion". Tried to get the desired acoustics, the right resonance and the right and accurate sound with a lot of pessimism, but the result speaks for itself and finally the sound on this album came out amazing and wonderful. The Result Five successful singles were released from the album: The first was "Give It Away", what a rhythm, what a groove, and Flea's bass... if that's what he gets when he works in the "Less is more" technique, it's scary to think what else he can do. An excellent choice for the first single from the album, a bouncy song that left no listener sitting, after which no one was left indifferent. Kidies drew inspiration for this song from German singer Nina Hagen with whom he had an affair in 1983. One day he rummaged in her closet and came across a coat he really liked. Nina insisted he take it, explaining that giving things creates good energy. "The more you give, the more you receive, so why not give it your all?". This perception of Hagen stunned Kidies who grew up in a difficult environment, but he decided to adopt it. The lyrics of the song also refer to the actor River Phoenix who was a friend of Kidies and was present at the recording studio. Kiedis dedicated a whole verse from the song, the one that begins with the words "There's a river 'born to be a giver ...". The second single, "Under The Bridge", was written by Kiedis following feelings of loneliness and depression as a result of drug use. The bridge mentioned in the song is the one he would go to, to buy drugs. Similar to the song "Nothing Else Matters" from Metallica (The Black Album) Kiedis was initially apprehensive about showing it to band members because he thought it did not fit into its repertoire, but producer Rick Rubin urged him to do so and like Bob Rock in Metallica's case he was right. It became the band's biggest hit, although (and perhaps because) it was a ballad that completely did not characterize their sound and style. The third single "Suck My Kiss" is among the strongest and most powerful on the album. A psychic song in a bouncy and sweeping beater so it is no wonder that it is the band's most played song in shows. The sharp-eared among you will surely notice that in the second half of each chorus in the song there is a chord beat in which the whole band plays together, only that in the first chorus there are 3 beats in a row, in the second chorus 2 beats in a row and in the last only one beat. Listen in 1:20, 2:21, and 3:31 minutes to the song. The song is about a man who is so in love with his partner that he will do anything for her. He also tells her that she is so sexy that he can not resist "kissing her". Kidies tried to explain to Rolling Stone magazine (in our opinion without much success) that his sexual openness in the song is positive and not rude. The fourth single "Breaking The Girl" was written by Kiedis about Carmen Hawk, a model who he dated, and their breakup. The short instrumental section in the middle was improvised and each member of the band took something, spoons, pans, and hit it. Kiedis recorded the singing alone in the bedroom located on the second floor of the "Mansion." He likes to be alone while recording. Producer, technician, musician Brendan O'Brien plays here on a mellotron that adds so much to the song. The Chillis played this song only once during the 1991 tour to promote the album. Kiedis said they played the song at a Wisconsin concert but the performance was very poor, the song totally fell apart and the band members just ruined it altogether. Since that show, they have decided not to perform it anymore on tours. The band's fifth and final single from the album is "If You Have to Ask", which was not broadcast on radio stations because of one line: "funky motherf - kers will not be told to go". It's a completely funky song that characterizes the band's DNA, whose lyrics are intentionally meaningless so the chorus repeats the line: "If you have to ask, you'll never know". For those wondering, the applause at the end of the song is for John Frusciante who nailed the guitar solo in one take! The five singles released are "the tip of the iceberg", as this perfect album contains other amazing songs that were not released as singles, including: The song "I Could Have Lied" that was written about the short relationship Kiedis had with the famous singer Sinéad O'Connor. Kiedis said he fell badly in love with Sinéad who did not really dedicate herself to him and maintained a certain distance. After several months of relationship she broke up with him by message on the answering machine. Throughout that night Kiedis and John wrote the song. The song "My Lovely Man" was written by guitarist Hillel Slovak and includes lyrics that simply scratch the soul. Kiedis noted that the song expresses his love for Hillel and the hope that he will meet him when he himself dies. He claimed that every time he sang the song he felt praised with it. The theme song "Blood Sugar Sex Magic" which is one of the heaviest and slowest on the album. The lyrics describe sex in a variety of vibrant, explicit, or metaphorical ways that Kiedis wrote about his girlfriend at the time. The long section on the album "Sir Psycho Sexy" crosses the 8 minute line. One of the different and special songs of the band. The song is divided into two parts, the first includes lyrics alongside a guitar accompaniment with a wow-wow effect that is hardly used on the album. The second is a calm and instrumental silence on the psychedelic frontier. And there are also "The Power of Equality", "Mellowship Slinky in B Major", "Apache Rose Peacock", "Naked in the Rain" and more and more and more. Epilogue We end with a closing circle linking the two albums "Nevermind" and "Blood Sugar Sex Magic" released that day. As much as the musical styles between the two albums sound different, there is no doubt that the two acted in a wonderfully synchronized "forceps movement", gripping the beating heart of the music industry and diverting it from the center to the margins. Both of these albums helped turn the "alternative", the different and the extreme into the "mainstream". The big breakthrough of these two albums and their huge impact, brought the fringe music to the masses and created a huge revolution in the music market and listening habits. Needless to say, "Blood Sugar Sex Magic" is also on Rolling Stone magazine's top 500 albums list, as well as in other rating lists. So if you have an hour and 20 minutes available, click on one of the links: Spotify, Apple Music. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"Nevermind", the second studio album of "Nirvana" is celebrating 30 years today !! And you are invited for another review in the "Class of 91'". series, on the masterpiece albums released in that wonderful year. Many have written and spoken about this album, the revolution it created, the meteoric success it achieved, its tremendous impact, and the alternative tsunami brought with it... an album that tossed Michael Jackson's "Dangerous" from the first place, an album that sold over 30 million copies and during the peak period sold more than 300,000 copies a week. An album that pushed the "Restart" button and rebooted the music world as it was known until the day it was released. An album that pushed the alternative into the heart of the mainstream. An album that unveiled an entire city and placed a monstrous "Xenon" spotlight on it leading to the discovery of other great bands like "Soundgarden", "Alice In Chains" and "Pearl Jam", but not only! Because it also paved the way for bands that operated outside of Seattle, such as "The Smashing Pumpkins" and later "Stone Temple Pilots", as its formidable waves of success resonated outside the United States as well and revolutionized the music world. It's hard to review an album that has been talked about and written about so much, and yet let's open with a small story ... In April 1990, less than a year after the release of their debut album "Bleach", "Nirvana" begins work on their next album. Even then it was clear to them that it was going to be a different album. It will transcend the boundaries of hardcore and punk and include more melodic material. Kurt Cobain saw in front of his eyes a combination of heavy "Power Cords" and distorted guitars mixed with tickling melodies. A kind of combination of the influences on him at that time. Mostly "R.E.M.", "Pixies" and "Melvins". The band members decided to work on their next album with producer Butch Vig, as they really liked the heavy sound he gave to the band "Killdozer" (an American hard rock band from the 80s). They traveled to Wisconsin and began working with him on the new album. They managed to record 8 songs in 5 days until everything went wrong (but for the better). Kurt Cobain's vocal cords started to show fatigue and as soon as they recovered (which took several days), they embarked on an intense 24-day tour in 39 days. After touring, they said goodbye to drummer Chad Channing and decided to use the demos they recorded to find a new record label. Cobain believed that the little record company "Sub Pop" was not right for them and that they needed a bigger company to distribute their music. It was no small matter. As you may recall, "Sub Pop" is the label that was the catalyst attached to the heart of the Grunge scene in Seattle at the time. It was perhaps a smart and quite predictable move for a band that was part of an evolving genre and culture (although no one expected the tsunami that came later), but at the same time, it also makes us wonder what exactly went through Kurt Cobain's mind, as he is known to be very disgusted by success and What it brings with it, so why look for a bigger record company? (Photo: Nevermind booklet) "Nirvana", which was courted by quite a few record companies at the time, eventually signed with "DGC" (owned by Geffen). The recommendation came from an old friend - Kim Gordon, bassist of "Sonic Youth". After signing the contract the band members were determined to start recording, but also feared the pressure and involvement of the big and new record company. The first move taken by "Nirvana" was to reject all of the record company's candidates for the position of producer. They asked to return to work with Butch Vig. Equipped with previous recordings, they went into the mythical studio "Sound City" and started working on the album "Sheep" (yes, yes we did not get confused it was the initially chosen name). Krist Novoselic, Dave Grohl, and Kurt Cobain worked hard on the album, with lots of rehearsals before the recordings, lots of recordings of the vocals, and even last-minute writing. After completing the recordings, the members moved on to the mixing stage (where all the elements are combined: musical instruments, effects, editing, and more). Already in the first stage, they were not satisfied and decided to bring someone else to perform the mix. They received a long and respectable list of candidates from the record company, but for fear of turning the album into something too polished and influenced by the sound of other bands, they simply took the last name on the list, Andy Wallace, who produced "Slayer" albums. Andy did what he knows to do best and with all sorts of special effects and filters, he completed the craft. Butch Vig and Andy Wallace testified that at first, the band members were very happy with the mixes. However, after the album's release, the band members expressed disgust at the processed sound, with Cobain quoted, in a far-reaching statement, saying that when he listen to the album he really feels embarrassed that it is closer to a "Mötley Crüe" album than to the Punk album. (Photo: Kirk Weddle) No matter at what stage in your life you first listened to this album, there is no way you have remained indifferent. It turned you over, kicked you, scratched you off the floor, and played with your guts. This album is full of contrasts and that is what makes it so successful and special. The sound is innovative with elements of retro, the structure of the songs is simple, but also very dynamic and travels between quiet and noisy, the lyrics are sharp and direct, but at the same time vague and fragile and Cobain's voice ranges from clean and smooth to rough and tormented. The album released four successful singles that burned the charts and aired periodically and non-stop on MTV: The opening song of the album "Smells Like Teen Spirit" redefined the world of music and became the anthem of an entire generation, which would later be called Generation X, all in just four chords. The song was written by Kurt Cobain in one moment of anger, after his girlfriend Tobi Vail, from the band "Bikini Kill" dumped him. The title of the song came from graffiti spray-painted by Kathleen Hanna - singer of the band "Bikini Kill", on the wall of Cobain's apartment. She intended to point out the fact that Kurt was “marked now” with the fragrance of his girlfriend's favorite deodorant. The four chords that Kurt chose to wrap the lyrics of "Smells Like Teen Spirit" with, were not innovative, on the contrary, they were recycled chords used in countless rock songs. Cobain noted that he was trying to write a song that sounded like the "Pixies". Even with the rhythm and general feel of the immortal riff, Cobain tried to sound like "More Than A Feeling" by "Boston", which according to his own words was simply cliché. The song did not even have a bridge. But the combination of simplicity, with the roughness and catchy melody, created the "big bang" that changed the face of music forever. To accompany the song, the band filmed a clip whose idea is based on punk rock kids wreaking havoc in high school, a symbol of everything Cobain has despised since his high school days in Aberdeen. Constant broadcasts of the clip on MTV and repeated playbacks on various radio stations will launch "Nirvana," screaming and kicking, straight to the top of the Billboard 200 and into the heart of the mainstream. But it did not end there, this song would put an entire city on the world map, as from that day Seattle became synonymous with the Grunge revolution that took place there. Although this song made the band immortal overnight, most of all it was the trigger for a much bigger revolution than a musical one, a cultural revolution of the X generation. Needless to say, "Smells Like Teen Spirit" was ranked No. 9 on Rolling Stone magazine's "500 Greatest Songs of All Time" list, it was on the list of the 500 Greatest Songs That Shaped Rock by "Roll Rock 'n' Roll Hall of Fame" and was also inducted into the Grammy Hall of Fame in 2017. In 2000, the song entered the Guinness Book of Records as the most played song on MTV Europe. The second track from the album "In Bloom" was released as the fourth and final single and was among the eight songs recorded during a five-day meeting with Butch Vig, in April 1990. The original recording included a passage section (bridge) removed by Butch Vig, using a shaving blade on the master's reel. The original plan to release the song as a single was abandoned after drummer Chad Channing left the band. Instead, the band decided to use the song as a demo tape, which was distributed among the music industry to create interest among major record companies. The song was eventually re-recorded at "Sound City" Studios in May 1991. It was one of the first songs to be worked on during the re-recordings, due to Butch Vig's previous acquaintance with it. Like the other songs recorded in April 1990, the arrangement for this song remained almost unchanged, with Dave Grohl's performance remaining very close to the original. It is interesting to note, that Kurt Cobain opposed any kind of effect in the recording of the album, and when Butch Vig tried to get him to double the singing he of course vehemently refused. To get the double layers on the singing channel Butch was forced to deceive Cobain. He made him think that certain parts of the song were not recorded properly and should be done again. He later proved to him that John Lennon had also done so on the Beatles' albums, until finally Cobain relented and agreed to "thicken" his singing roles, in almost every song on the album. But Vig was not content with that, he decided to make drummer Dave Grohl also sing high harmonies, and double them as with Cobain. At first, Grohl had a hard time getting the high notes, but in the end, he managed to sing exactly how Vig asked him to. The third track "Come As You Are" was released as the second single from the album. The all-too-famous riff of the song is taken from the 1984 song "Eighties" by "Killing Joke", just plays a little slower. The members of "Killing Joke" thought of suing "Nirvana" for the "loan", but after the death of Kurt Cobain decided to give up. It should be noted that Kurt Cobain was well aware of the "loan". After the release of the album, the band and the management company debated whether to release "Come as You Are" or "In Bloom" as the second single from the album and Kurt preferred "In Bloom" due to his fears about the resemblance to the "Killing Joke" song. Cobain agreed after the management company convinced him that it was a better decision because of the commercial potential. Producer Butch Vig said it's his favorite track from the album and that Cobain uses here the same effect he used in the song "Smells Like Teen Spirit", one that produces the psychedelic trippy sound that sounds like water. The song "Lithium" was released as the third single from the album. It too was recorded in the first sessions of April 1990 and was one of the reasons why they were discontinued following the loss of Kurt Cobain's voice. It can be said that historically, this song was the trigger for everything that came after. This is the song that created the friction that will eventually lead to the departure of drummer Chad Channing. Cobain was not happy with Channing's drumming in this song and demanded that he performs the drumming he had invented for the song. The tedious work with Channing and the re-recordings left their mark on Kurt Cobain's voice, forcing the band to stop recording. The butterfly effect left starting with the recording of this song continued with the dismissal of Channing and the recruitment of Dave Grohl and later the signing with "DGC" and re-recording of the album thanks to which "Nevermind" sounded as it is. Speaking of "Lithium", then the hidden track at the end of the album "Endless, Nameless", which begins at 13:51, was accidentally recorded due to frustration on the part of Kurt Cobain who failed to perform the guitar parts of the song "Lithium" properly. Butch Vig who did not stop the recording at the end of the song, decided to save it and the album technician Howie Weinberg accidentally added it at the end of the album. But this album is definitely not just the four singles released from it. It has the amazing "Breed" that was originally called "Immodium" - named after the diarrhea drug of Tad Doyle, lead singer of the band "TAD" from Seattle, with whom the band went on tour in 1989, that is when they began to develop the song. There's also the acoustic "Polly" which is the only song where Dave Grohl gets no credit, but former drummer Chad Channing. There are simply no drums in this song but Chad Channing got credit for the one-time cymbals sound. Here you will find nervous and fast-paced punk rock such as "Territorial Pissings" which was written during the mixing stage, with the intro of bassist Krist Novoselic singing an excerpt from the song "Get Together" by "Youngbloods" from 1967. You will also find "Drain You" first recorded during a visit by Dave Grohl and Kurt Cobain at Dale Crover drummer The Melvins's house. Butch Vig indicates that this song has the most guitar layers on the album. The strange sounds during the transition segment beginning at 1:35 of the song are performed by Cobain with a variety of toys, including the use of a rubber duck that would later appear on the back cover of the 1992 "Incesticide" collection. This song also mentions "Smells Like Teen Spirit" with the phrase: "I still smell here on you". The title of the song came from the bass intro at the beginning of the song. The band members thought it was something cheesy lounge bands would play. Kurt admitted the song was written about his ex-girlfriend Tobi Vail. The line "I'll arrest myself, I'll wear a shield" refers to Cobain's tattoo on his shoulder with a kind of shield and the letter K painted on it. The fast-paced and edgy "Stay Away" track that warns us to stay away was originally called "Pay To Play" and ends with the controversial phrase "God is gay" that Cobain spray-painted on a high school classmate's car. "On a Plain" which is nothing less than a song about "songwriting". Cobain finished writing his lyrics right next to the recording so he includes the phrase "What the hell am I trying to say?" And what do you know, the song even ends with Cobain's A-Capella. And there's the mesmerizing "Something in the Way" that was originally electric, with the shaky, creepy cello. You can listen to the electric version in Cobain's 2015 "Montage of Heck: The Home Recordings collection". Kurt wrote the song about his life. He is talking about living under a bridge, which he claims happened when he was kicked out of the house and forced to live under a nearby bridge. Before concluding we will briefly refer to the album cover. The idea was inspired by Cobain's obsession with pregnancy and childbirth (In Utero). Cobain came up with the idea after watching a movie about underwater births, he wanted the album cover to show a picture of real underwater birth, but the record company objected and agreed on a picture of an underwater baby. By the way, the record company tried to censor the penis of the newborn but Cobain insisted and did not agree. The only compromise Cobain agreed to, was to cover the penis with a sticker that read, "If you're offended by this, you must be a pedophile closet." The name of the baby on the album cover is Spencer Elden, who was three months old at the time. The fishing rod and one dollar bill were added to the image afterward. Thirty years after the album's release, Spencer Elden has filed a lawsuit against the band, the photographer, and anyone who co-created the cover for pornography and child exploitation, for not censoring his penis. He demanded 150,000$ from each person sued in this case. This lawsuit was rejected but Spencer went on and filed two more lawsuits until 2022 all the lawsuits were rejected and the case was closed. (Photo: nirvana.fandom) The back cover of the album consists of a collage of DANTES INFERNO PAINTINGS created by Cobain, the monkey Chim Chim and a blurry and hidden picture of the band "KISS", a band that Cobain admired when he was a teenager. The album "Nevermind" was a huge commercial success. It has sold more than 30 million copies worldwide, making it one of the best-selling albums of all time. In January 1992 it reached number one on the US Billboard 200 and at the same time in 7 other countries. Beyond commercial success, this is one of the most esteemed albums in the history of music and is found in almost every self-respecting rating list. In 2004, the US Library of Congress added the album to the prestigious National Recording Registry, which incorporates a collection of the most culturally and historically influential recordings in America. Now leave everything else and press play: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 24, 1975, "Rush" released their third album, "Caress Of Steel". This is the album that almost led to the ending of the band's short career. The album failed commercially and the audience showed a lack of interest in the band, which found itself humiliated when it performed in front of half-empty halls. The band members even joked among themselves that Neil Peart was going to go back to marketing agricultural equipment and Alex Lifeson would go back to being a painter. This album continues the musical change that began with the previous album, which included the band's transition from the heavy rock with blues influences, to heavy progressive rock. The buds of the change in the musical direction were already seen on the previous album, " Fly By Night ", which was released about six months earlier. The album featured a four-part mini-piece called "By-Tor & the Snow Dog" and lasted 8:37 minutes, which proved the progressive influences on the band. Geddy, Alex, and Neil wanted to continue with this musical experience that began with the song " By-Tor & the Snow Dog ". They further developed the long concept works and included in this ambitious album, not one but two long epics. The first is "The Necromancer" - a three-part work that spread over half of the first side of the album, and the second - " The Fountain of Lamneth " Six parts song spread across the whole second side of the album. These two long pieces were "a little too much" for the audience, who knew "Rush" as a hard rock band and was not yet ready for the radical change in its style. The same audience that was not open enough to new musical directions, eventually "voted" in records stores and caused the album's commercial failure, a failure that ultimately also threatened the band's future. At the same time, this is a very important album in the development of the band, since without "Caress Of Steel" the band would not have produced masterpieces like " 2112 " and " Hemispheres ". "Caress Of Steel" was the band's experimental journey that "Rush" had to go through to develop their next album. The album cover was designed by Hugh Syme, who will become the band's permanent cover designer. The idea was that the album cover would be in a silver color that would match the name of the album (Steel). However, a typo caused the cover to come out gold, a mistake that was not corrected in the later editions either. The album opens with " Bastille Day " and Alex Lifeson 's edgy riffs intermittently cut by Lee-Peart's rhythm section, which is synchronized with the atomic clock's fantastic accuracy. It is one of the band's aggressive songs from the classic hard rock era of the 70s, which was also a big hit in their live shows at the time. The song tells of the day when the French mob stormed the Bastille, a move that started the French Revolution. It is interesting to note that this song also influenced the members of "Dream Theater" in choosing the band's first name (Majesty), as Mike Portnoy , who is known as a big fan of "Rush" thought the ending of the song was simply "Majestic". The lead riff in the second song " I Think I'm Going Bald " is reminiscent of the riff of the song "In the Mood" from the band's first album. The song was written for Canadian musician Kim Mitchell who was "Max Webster"'s guitarist and singer. As it is well known, members of "Max Webster" and "Rush" were friends, and Geddy, Alex, and Neil were even featured on one of "Max Webster"'s songs " Battle Scar ", a collaboration that triggered the writing of the song "Tom Sawyer". This song features one of the phrases that best characterizes the band, which has continued to evolve and mature musically over the years, but has always done so in its own way. And so the sentence says: "But even when I am gray, I'll still be gray my way". It should be noted that there is another version according to which this song was written as a tribute to the song "Goin' Blind" by the band "Kiss". Support for this version can be found in the book: "Contents Under Pressure: 30 Years of Rush at Home & Away". The third track " Lakeside Park " is a nostalgic song about "Lakeside Park" located in the city of St. Louis. Catharines in Ontario, the area where drummer Neil Peart grew up and worked during the summer vacations. A catchy and fun song about summer, friends, and the pleasures of life, which demonstrates the amazing ability of this band to create a perfect picture of time and place, even if the listener has never visited it. The date of May 24 mentioned in the song is Queen Victoria's Day - which is considered a Canadian holiday. From here we move on to the piece that ends the first side of the album - " The Necromancer ". A three-part work that lasts about 12 minutes. Similar to the song " Rivendell " from the previous album, this piece is also influenced by the fantasy books of J. R. R. Tolkien - "Lord of the Rings" and "The Hobbit". The "Necromancer" is a character of a magician - the sorcerer from "The Hobbit", who also appears in "the Lord of the Rings" books as the character of Sauron. However, "Sauron" in Rush's work is an evil figure who takes over people's minds and souls and empties them of all aspiration and desire. The first part of the work - " Into the Darkness " is a slow and mesmerizing part designed to put us in the atmosphere of the story. Geddy Lee 's soothing singing blends in with Lifeson's howling solos slowly rising and piercing the silence of the forest. The three hikers mentioned in the lyrics are actually members of "Rush" who came from the Willowdale neighborhood of Toronto or as mentioned in the song itself: "Three travelers, men of Willow Dale". The three hikers enter "The Necromancer" lands during the second part " Under the Shadow ". He leads them to the cellars of his castle to carry out his plot. The third and final part " Return of the Prince " describes the hero's entry from the previous album " By-Tor and the Snow Dog ", which destroys the sorcerer in a heroic battle, while Alex Lifeson 's guitar solo at the end of the song illustrates the great victory. The entire second side of the vinyl is dedicated to the six-piece work " The Fountain of Lamneth " which is about 20 minutes long. The work chronologically describes an entire life journey of a person who has devoted his entire life to finding "The Fountain of Lamneth", thinking that this is how he will find eternal life. It is a very complex and dynamic piece that proves the young band's desire to experiment and develop musically. Alex Lifeson noted that in this song he even aspired to reach the guitar sound and playing style of guitarist Steve Hackett from "Genesis", especially in the segment "No One at the Bridge". This sincere statement by Alex Lifeson explains why the band chose to go in the ambitious musical direction, as they did on this album. The band members were torn between their love for progressive bands like "Yes" and "Genesis" and their love for the hard rock and blues of "Led Zeppelin", "Cream" and "Blue Cheer" and the reflection of these love is well illustrated on this album. This contrast between the musical styles is probably also the weak point of the album. There is no uniform musical line here, there is experience and dispersal between different styles which made it very difficult for the audience to identify with. It was not complex enough for progressive lovers and not heavy enough for hard rock fans, so it failed commercially. Following the grim failure of this album, "Rush" band members saw the end before their eyes, but in fact, it only marked the beginning. The band received one last chance from the record company, to release a commercial record and the band members take full advantage of it with the epic " 2112 ". So it turned out that after its biggest low point, "Rush" was simply reborn, with a masterpiece that gave them tremendous success and complete creative freedom.! So let's listen to this work that only gets better over the years, because today no one makes such albums. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website