On September 21, 1993, "In Utero", "Nirvana's" third and final studio album was released. Here are some interesting facts about "In Utero": 1. The album was supposed to be called "I Hate Myself and Want to Die", which refers to a sentence Kurt Cobain said in 1992. Kurt thought it would be fun to call the album that way. 2. Bassist Krist Novoselic asked Kurt Cobain to think of another name. He feared lawsuits such as "Judas Priest" and Ozzy Osbourne following the suicide cases allegedly caused due to negative messages in the lyrics of the two artists. 3. Another name that came up was "Verse, Chorus, Verse", but in the end, everyone agreed on "In Utero" taken from a song by Courtney Love . 4. "Nirvana" wanted to stay as far away as possible from " Nevermind " and sound as primal and immature as possible. 5. Kurt Cobain enlisted producer Steve Albini to help "Nirvana" sound like the "Pixies". Cobain admired the "Pixies" and stated that he was also very much influenced by them, so he chose Albini who had worked with them in the past. 6. Albini was initially not keen on working with "Nirvana". He was eventually persuaded but one of his terms was to receive a global sum of $ 100,000 for his work. no more! He also refused to accept royalties from the sales as is customary, because it is unfair to continue and "milk" the band for work he has already done. 7. Albini used to make practical jokes about Eddie Vedder during the recordings. He would call him and introduce himself as Tony Visconti producer of David Bowie and tell him he would be very happy to work with him if he left "Pearl Jam". 8. Albini's production result was as immature, rough, and dirty as Cobain had hoped it would be. However, the record company did not like the result which led to the re-production of some of the songs, this time by producer Scott Litt who worked with "R.E.M." And was asked to give the songs a more accessible sound. The only re-produced songs were: " Heart-Shaped Box ", " All Apologies " and " Pennyroyal Tea " which were also the only singles released from the album 9. Apparently the sound in the recordings was so bad that the band included in the album's internal booklet instructions on how to adjust the high and low sounds in the stereo system to get an optimal result. Speaking of the inside booklet, the band thanked Quentin Tarantino in the acknowledgments list. This adds to the rumors that Quentin wanted Kurt and Kourtney to play the role of drug dealers in the "Pulp Fiction" movie that came out that year. The three members of "Nirvana" celebrated the end of the recordings by burning their pants. 12. The entire album was recorded in 14 days. Less than the time it took for the band to record " Nevermind ". 13. "Nirvana" recorded a total of 18 songs for the album, including " I Hate Myself And Want To Die " and " Marigold ". In the end, only 12 entered the album. 14. The song " Marigold " was written by Dave Grohl . He was released as a b-side for the song " Heart-Shaped Box " and later also appeared on the acoustic live album of "Foo Fighters" " Skin And Bones ". 15. Unusually, all three members of the band received credit for the song "Scentless Apprentice". This is unlike most of Nirvana's songs for which Kurt Cobain received credit alone. 16. Dave Grohl wrote the guitar and drum roles for the song. 17. The song " Scentless Apprentice " was also recorded in one take. 18. Cobain wrote the song " Heart-Shaped Box " in a closet. Courtney Love says she heard him play the guitar and asked him to write her a riff. Cobain wrote it in five minutes and Courtney Love loved it very much and asked Cobain if she could take it for her album. Cobain answered her FUCK YOU !. 19. Cobain claimed the song was influenced by documentaries about children with cancer. In a biography he wrote about Cobain, Michael Azerrad claimed it was not true and the song was written about Love. Courtney Love herself tweeted in 2012 that the song is about her vagina, the tweet was deleted immediately afterward. 20. The original name of the song was "Heart-Shaped Coffin", Cobain wrote the lyrics to the song "I am buried in a heart-shaped coffin for weeks" but again this time pressure was exerted on Cobain to change the lyrics. 21. Courtney Love gave Cobain a heart-shaped box in 1990 and filled it with things that Cobain loved. He kept the box as a symbol of their love. 22. The commercial chains "Wal-Mart" and "Kmart" refused to sell the album in their branches because of the song " Rape Me " and the photos on the back cover of the album. Cobain compromised and changed the name of the song on the back cover to "Waif Me" and moderate the pictures that appeared on it. 23. The original photo collage on the back cover was created by Cobain himself on the floor of his house. 24. The song " Rape Me " also caused a scandal at the 1992 MTV Video Music Awards when the network threatened the band that if they played the song they would immediately interrupt the live broadcast and move to commercials. Eventually, Cobain was persuaded not to play the song and played only i's intro from which he switched to the song " Lithium ". 25. Cobain wrote the song against rape and disrespect for women, but the media misinterpreted it. 26. Cobain wrote the song " Pennyroyal Tea " back in 1990, but he did not think it was good enough for the album " Nevermind ". 27. The word "Pennyroyal" in the title of the song refers to a plant that is claimed to cause miscarriage. 28. The song was slated to be the third single from the album but was eventually canceled due to the suicide of Kurt Cobain . For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On September 21, 1990, "The Razors Edge", "AC/DC's" 12th studio album, was released. Here are 10 interesting facts about the album: 1. After a period in which "AC/DC" failed to produce successful albums, this album returned the band to its relevance and the popularity it gained during the 70s and early 80s. 2. 3 singles were released from the album: " Thunderstruck ", " Moneytalks ", and " Are You Ready ", all of them managed to reach worthy places on the American Billboard charts. In addition, the album includes several unforgettable songs such as: " Fire Your Guns ", " Mistress for Christmas " and of course the theme song - " The Razors Edge ". 3. The album itself reached 2nd place on the American charts and 4th place in the UK. 4. The album sold about 8 million copies worldwide, of which 5 million were in the US alone. It is still ranked fourth in terms of sales figures among "AC/DC" albums, after " Back In Black ", " Highway To Hell " and "Dirty Deeds Done Dirt Cheap". 5. Before the recordings, drummer Simon Wright left the band and went to work on the album "Lock Up the Wolves" by "Dio". He was replaced by Chris Slade, known among others for his membership in the bands "The Firm" and "Manfred Mann's Earth Band". 6. Singer Brian Johnson hardly contributed to the album because he was busy with divorce proceedings at the time. Although in the past Brian wrote the lyrics for the most part, while brothers Angus Young and Malcolm Young wrote the music, on this album the Young brothers wrote both lyrics and music. 7. The album's producer was Bruce Fairbairn who produced, among others, the album " Slippery When Wet " by "Bon Jovi" and the albums "Permanent Vacation" and "Pump" by "Aerosmith". 8. The song " Thunderstruck " started as an improvisation by Angus Young while practicing his guitar playing. He played the improvisation to Malcolm Young who was immediately enthusiastic and gave the song its great rhythm. Angus said that the idea for the song came from a thunderstorm he experienced during a flight. 9. To promote the song " Moneytalks ", the band released dollar bills bearing the image of Angus Young instead of that of George Washington. This is the band's single that reached the highest place on the American Billboard 100 chart. 10. The album's title and the song " The Razors Edge " came from a saying of farmers in England, who used to call the moment when a sunny day with blue skies turns into a storm with black clouds "The Razors Edge". For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On September 20, 2010 "Black Country Communion" released their self-titled debut album. "Black Country Communion" is a supergroup born from the collaboration of four rock heavyweights: Glenn Hughes (vocals, bass), Joe Bonamassa (guitar), Jason Bonham (drums), and Derek Sherinian (keyboards). The band was formed after a jam session between Hughes and Bonamassa sparked the idea of creating a supergroup. Their mutual friend and producer, Kevin Shirley (known for his work with "Led Zeppelin" "Iron Maiden" and "Aerosmith"), helped bring the project to life, recruiting Bonham and Sherinian to round out the lineup. The band’s name, "Black Country Communion," pays homage to Hughes and Bonham's English roots in the Black Country, a region historically known for its heavy industrial production, mirroring the gritty, raw sound the band sought to deliver. The result is an album that blends the best of classic hard rock with modern blues-rock influences. From the opening track, "Black Country," the band sets the tone with a fast-driving riff that screams ‘70s rock. Hughes’ vocals immediately take center stage, blending soulful melodies with a hard rock edge. Lyrically, the song nods to the band members’ roots, particularly Hughes and Bonham, evoking a sense of pride in their shared heritage. “One Last Soul” is one of the album’s standout tracks, driven by a catchy, anthemic chorus and Bonamassa’s soaring guitar work. It’s a more radio-friendly track that captures the essence of rock and roll while allowing Hughes’ versatile vocal range to shine. The song quickly became a fan favorite, with its infectious melody and blues-infused rock energy. The slow-burning epic “Song of Yesterday” takes a more introspective approach, featuring some of Bonamassa’s finest guitar work on the album. Clocking in at over eight minutes, it’s a journey through bluesy solos, haunting vocals, and rich instrumentation. Hughes’ emotional delivery and Sherinian’s atmospheric keyboards create a sense of depth and melancholy that contrasts with the heavier, more aggressive tracks. On "The Great Divide," "Black Country Communion" takes a more measured, atmospheric approach. The song unfolds with a slow, deliberate pace, featuring a haunting, guitar playing from Joe Bonamassa that builds tension. Jason Bonham's drumming is steady and powerful, giving the track a sense of weight and gravity. Glenn Hughes' vocals are soulful and emotional, perfectly complementing the song’s reflective lyrics about division and personal struggle. Hughes explained that his return to the forefront of rock is captured in the song. He described it as the most spiritual track on the album. "Sista Jane" channels more of that classic rock swagger, with a riff that could easily have been plucked from the pages of a "AC/DC" record. Hughes and Bonamassa trade vocals, adding a dynamic, conversational feel to the track. Sherinian's organ fills provide a vintage rock touch, giving the song a fuller, richer texture. The reworking of “Medusa,” originally a "Trapeze" track, is another standout moment. Hughes revisits his past with a fresh perspective, infusing the song with a heavier, more modern sound. The new arrangement captures the raw emotion of the original while allowing the band’s signature blend of classic and modern rock to shine through. The album closes with the sprawling, 11-minute "Too Late for the Sun," a track that allows each member to showcase their individual skills. Bonamassa delivers some of his beautiful guitar work here, weaving in and out of Hughes’ vocals and Bonham’s powerful drumming. It’s an epic, jam-heavy track that feels like a celebration of the band’s chemistry, capturing the spontaneity and energy that define "Black Country Communion’s" sound. "Black Country Communion’s" debut album is a powerful fusion of blues, rock, and hard-hitting grooves, carried by stellar musicianship and dynamic songwriting. Each track offers something unique, from the anthemic "One Last Soul" to the epic "Too Late for the Sun," and the chemistry between the band members is undeniable. The production by Kevin Shirley captures the raw energy of the band, making it feel as if the listener is in the room with them. For fans of classic rock with a modern edge, this album is a must-listen, and it marks the beginning of what would become a beloved rock supergroup. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Just yesterday we celebrated with "New Jersey" and today we are already celebrating "Have a Nice Day", the ninth album of "Bon Jovi" Released on September 20, 2005. The album was written and recorded with Richie Sambora and Jon Bon Jovi as the main writers, with producer John Shanks working contributing to the writing process. Work on the album began in 2004 alongside the work on the "100,000,000 Bon Jovi Fans Can't Be Wrong" compilation box. In the first part, Richie Sambora and Jon Bon Jovi recorded almost the entire album with Richie recording the guitar work, John the vocals and the drums are recorded electronically, without the bass. In the second part, all the other members of the band joined in and recorded their parts according to what Richie and John had guided them. After a short break, they all reunited in 2005 and recorded a number of additional songs and even changed some of the songs recorded in 2004. Many argue that in this album Jon Bon Jovi stepped out of his comfort zone in terms of lyrics and incorporated heavier and more substantive themes like politics, social responsibility, and more. This is not something ordinary for John but the combination of the different and "new" lyrics with the guitars and harmony so identified with the band create a very beautiful, a bit rough, and totally enjoyable record. And here are some interesting facts about the album: 1. The theme song "Have a Nice Day" was written by John and Richie along with producer John Shanks. It was the first single released from the album and was written following the 2004 US presidential campaign that George W. Bush won, even though John supported his opponent John Kerry's campaign. 2. The second single, "Who Says You Can't Go Home," was written about the roots of the band, the state of New Jersey. It even became a kind of national anthem of the state. Jon noted that the song is a kind of thank you letter to the band's fans who have been with them in fire and water for 25 years. 3. There are two versions of the song on the album. The second that seals the album is a country version featuring Jennifer Nettles from the band "Sugarland". 4. Bon Jovi told that when writing the song "Welcome to Wherever You Are", the third single released from the album, he thought it was going to be a song that would symbolize global unity. 5. The album sold 202,000 units in the first week of its release in the US and became the first Bon Jovi album to sell such an amount in one week. 6. The album was ready for release as early as December 2004 and the initial intention was to release it for Christmas that year, but then the band decided to record 4 new songs that were added to the album which led to a postponement of its release date. Listen to the album on : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

This is an album whose title says it all !! "Love is more important than fortune"!! An album that is a statement of intent!! An album that is all about courage and going with your heart. "Love Over Gold" - Dire Straits' fourth studio album was released on September 20, 1982. There are five songs on this album. Five tracks, the shortest of which is just under 6 minutes. An album in which the epic opening track spans over 14 minutes and the leading single from it is a short story that spans about 7 minutes. The days are the early eighties, a decade whose name says it all and can be a stand-alone musical genre, a decade in which "kitsch" and pop were not considered dirty words. A decade that even managed to force huge veteran artists to change and align with the musical style and the colorful appearance. But exactly then and there, Mark Knopfler chooses to go with his heart and prefers "love for money". In a suicide move (there is no other way to describe it) he releases an album with epic, complex, and long songs with influences of progressive rock. To understand how bold and dangerous Mark Knopfler 's and "Dire Straits" move was, it is enough to mention that at these times, bands like "Genesis" and "Yes" for example did the exact opposite to survive. Under these circumstances, the gamble taken by Knopfler to create a five-track album that opened with a 14-minute epic song was a very dangerous one, which could even threaten the very existence of the band. So the choice of the album title "Love Over Gold" suddenly takes on a strong meaning and kind of A brave statement that resonates even today 40 years later. But as we shall see immediately, the boldness of Mark Knopfler and "Dire Straits" with the release of this album, turned out to be a successful gamble, which proved that one should always listen to his heart. "Dire Straits" arrives on this album with a change in lineup. Knopfler, bassist John Illsley, and drummer Pick Withers, are joined by guitarist Hal Lindes, who replaced Mark Knopfler 's brother David Knopfler who retired during the previous album's recordings, and keyboardist Alan Clark. From the first notes of the album, one can distinguish the huge change made by "Dire Straits", from the basic rock that characterized its previous three albums. The "keyboards carpet" welcomes us to the epic work " Telegraph Road ", which develops gradually and so magically, with a combination of electric and acoustics, pianos, and keyboards that ends with Mark Knopfler 's amazing solo which unfolds over the last five minutes of the song and is pushed forward with the galloping drumming of Withers. Knopfler was inspired to write the song during the band's second tour of America, as he sat in the front of the bus that raced on Telegraph Road, a 70-mile north-south road in Michigan. At the time, Knopfler read the novel "The Growth Of the Soil", by Norwegian author and Nobel prize winner in laureate - Knut Hamsun. He noted that the book simply connected to the road along the way. The song talks about America's progress and development and its negative impact on one person's dream, especially the unemployment it brings with it. We must note that the style in certain parts of the song, the vocals, the combination of the piano and the guitar, and the general idea behind the song reminded us of Bruce Springsteen. The album continues with the first successful single " Private Investigations ", which in our humble opinion is a kind of musical piece that is divided into two parts. The first, includes the singing part, and the second is the instrumental section. The mesmerizing intro to the first segment, puts us in the dark and mysterious atmosphere that accompanies us into the life story of a private, hard-working detective who is fed up with his work. Knopfler's vocal presentation is simply ingenious and stimulates the imagination that sails into the world of the detective. A combination of monotonous recitation and whispering that forces the listener to focus on the story and dedicate themselves to the song, with soft and melodic playing in the background that perfectly combines piano playing and classical guitar. And what a contrast the second section brings with the beating bass of John Illsley, who since the performances in Israel in 1985, we can not listen to it without imagining the stage lights turning on and off in full sync with his bass rhythm. The combination of classical and electric guitar here is among the most beautiful that exists in Rock, when the electric riff at 4:48 of the song sends us a chill that spreads throughout the body, even though almost 40 years have passed since we first heard it. The other side of the vinyl opens up with the shortest song on the album (5:50) and the second and final single released from it - " Industrial Disease ". The song reached number nine on the American Billboard. This is a kind of protest song about the crisis in British industry in the 1980s, unemployment, and the economic downturn. A catchy and bouncy song that without a doubt its style and spirit lines up with the song "Walk Of Life" which the band will release 3 years later on the masterpiece album " Brothers in Arms . The album continues with the theme song and charming ballad " Love Over Gold " led by Alan Clark's classic and slightly jazzy piano. This song can be seen as the second part in a trilogy, written by Knopfler following the breakup from his girlfriend Holly Vincent, who dumped him over a phone call in the middle of the band's tour in America. In the first part of the trilogy - " Romeo and Juliet " the woman leaves the man, but he still has the hope to return to her, even though she is no longer interested in him. In the song " Love Over Gold, " the man loses hope of returning to his loved one and realizes that she used him to advance herself and her career. The third part is the last song on the album - " It Never Rains " it is probably one of the songs with the most blunt and direct lyrics of Knopfler, who closes a circle with his girlfriend, after discovering how fate has avenged her since she left him. The following words from the song perhaps best illustrate things: "And your new Romeo was just a gigolo when he let you down" It is interesting to note that during the sessions for the album several additional songs were recorded: " Private Dancer " which was recorded in full but eventually Knopfler considered a woman would suit it better so he passed it on to Tina Turner who built an entire comeback album on it, "The Way It Always Starts" which found it's way to the soundtrack of the movie "Local Hero" and "Badges, Posters, Stickers and T-Shirts" which eventually entered the EP "ExtendedancEPlay" which included four songs and was released in 1983. Despite the band's dangerous gamble, the album was a huge success with its release, reaching number one on the charts in many countries around the world, including Australia, Austria, Italy, New Zealand, Norway, and the UK. Those who are not really familiar with "Dire Straits" tend to skip this album, as it does not contain "hits" like the other albums. At the same time, in our humble opinion, this is the band's best album illustrating its versatility and incredible creative ability. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Editor's Choice... On September 19, 1981, "Triumph" released its fifth studio album (the fourth international) "Allied Forces". It's one of the band's greatest albums and the one that exposed it to a larger audience with hits like " Magic Power " and " Fight the Good Fight ", so for those of you who don't know the band is definitely a good place to start. After the relative failure of their previous album "Progressions of Power" from 1980, Canadian power trio members Rik Emmett (guitar/vocals), Mike Levine (bass/keyboards), and Gil Moore (drums/vocals) decide to take matters into their own hands. Unlike the previous album which was hastily recorded under pressure from the record company to finish it as soon as possible, the band is entering its private recording studio "Metalworks Studios", for the first time, and is working on new material. The band members noted that knowing they were doing it for the first time in their private studio with unlimited creative freedom, maintained a relaxed atmosphere that served as a fertile ground for writing some of the most beautiful songs they have ever created. All the songs except the two instrumental pieces were written with the full collaboration of all three members, when in this case also there is a fairly balanced vocal sharing, between the two lead singers the drummer Gil Moore and guitarist Rik Emmett . We have already talked and written about it quite a bit, but one of the great advantages of this band is the fact that it has two excellent singers, who just complement each other. In this way, every one of them brings the right tone and style of voice to the specific song and thereby creates an amazing diversity that blends so beautifully with the music. We do not really know how to explain it exactly, but as if it is a contrast between two ends that still manage to complement each other. This contrast can already be felt in the two opening songs of the album. On the one hand " Fool for Your Love " with the catchy and rough riff sung in the powerful voice of drummer Gil Moore and on the other hand the first hit of the band " Magic Power " which is sung by guitarist Rik Emmett in his soft and caressing voice. The band members will say that this song changed the balance of power in the band's fan base, when overnight they turned from a band that 90% of its fans are men, to a band whose performances include 40% women. But the contrast does not mean that necessarily all the softer songs are led by Rik Emmett while the more "rough" songs are sung by Gil Moore. Take the rock and roll " Hot Time (In This City Tonight) " for example, which Emmett sings and compare it to " Ordinary Man " which opens with an A-chapel by Moore and Emmett and becomes a quiet duet of the two. As we mentioned this album includes some of the band's great songs, including the fast-paced theme song " Allied Forces " sung by Gil Moore and of course, the masterpiece " Fight the Good Fight " - a complex and formidable piece with progressive influences, with beautiful keyboard work by bassist Mike Levine, who produced the album, on his Hammond B3. This is a track that you must not, you simply must not miss !!! In the best tradition, this album also includes a short instrumental guitar section " Petite Etude " played by Rik Emmett who is in our opinion one of the great guitarists who are not appreciated enough, and not rightly so. And now you have to listen: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On September 19, 1985 "Accept" recorded their first live EP "Kaizoku-Ban", released later that year. Though it's an official live EP, the title "Kaizoku-Ban" translated from Japanese is "Pirate Edition" or "Bootleg". This album captures the raw power of "Accept" at the height of their career. A compact live album, recorded in Nagoya, during their " Metal Heart " tour in Japan. It presents six tracks that showcase the band’s fierce energy and powerful stage presence during the mid-'80s. Though brief, with a runtime of under 30 minutes, this release offers a tantalizing glimpse into the German heavy metal band’s commanding live performances. The EP opens with " Metal Heart ," a cornerstone of "Accept’s" catalog and the title track of their 1985 album. This song is a perfect opener. The band immediately sets a high-octane tone. Udo Dirkschneider 's raspy, unmistakable vocals pierce through the crowd noise, with Wolf Hoffmann’s neo-classical guitar solo inspired by Beethoven’s Für Elise and a guitar work that delivers sharp, melodic riffs with precision. The mix captures the immediacy of a live show, with Peter Baltes’ bass thundering alongside Stefan Kaufmann's pounding drums. The live version retains all the studio track’s drama and intensity, but with an added edge that only a live setting can provide. " Screaming for a Love-Bite " follows, offering a catchy melody and infectious hooks. The band’s performance here is tight, as the interplay between Hoffmann’s guitar and Peter Baltes’ bass keeps the song driving forward. The chorus, a classic Accept sing-along, sounds even bigger in the live environment, giving the crowd something to latch onto. " Up to the Limit " takes things into more aggressive territory, showcasing the band’s speed and precision. This track, with its galloping rhythm and scorching guitar work, thrives in the live setting. Stefan Kaufmann’s drumming provides a relentless pace that pushes the song along, while Hoffmann delivers another scorching solo. The EP also features two cuts from their 1983 album " Balls to the Wall ", starting with " Head Over Heels ." A fan favorite, this track comes to life with Dirkschneider’s gritty vocal delivery and Hoffmann’s signature riffing. The live version captures the song’s raw energy, with the band feeding off the crowd’s excitement. " Love Child ," also from " Balls to the Wall ", is another highlight, driven by its mid-tempo groove and powerful vocals. The band’s chemistry is on full display here, as they navigate the song’s dynamic shifts with ease, giving it extra punch in this live rendition. The EP closes with " Living for Tonite ," a rhythmic anthem that showcases the band’s energetic, no-frills approach to live performance. The song’s upbeat tempo and catchy chorus make it a fitting closer, leaving the audience on a high note. This track is a testament to "Accept’s" ability to write simple, effective metal songs that translate perfectly to the stage. For those of you who bought the cassette of this album in real time (yes we are old...), you might remember that it featured all six songs on both sides, Because of the duration of the six songs. "Kaizoku-Ban" is not meant to be a definitive live album, but it serves as a concise and powerful showcase of "Accept’s" live prowess during a peak period in their career. While it doesn’t feature their full catalog, it remains a strong snapshot of "Accept" at their aggressive best, capturing the spirit of the "Metal Heart" era. For Listening: Youtube "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Today we will tell you about Lee Kerslake - a special drummer with great emotional playing technique who is also a songwriter with supreme grace and a singer. (Photo: Gijsbert Hanekroot) He was born on 16 April 1946 in "Winton, Bournemouth," Hampshire now known as "Dorset" in England. His full name is Lee Gary Kerslake. He started playing drums at the age of 11 and began his musical career at the age of 21 with the band "The Gods" where he also met keyboardist Ken Hensley . Together with "The Gods", he released three studio albums, the first "Genesis" from 1968 and the last "Orgasm", which was released under the name "Head Machine". It is interesting to mention that "The Gods" included other great musicians such as: Mick Taylor and Greg Lake . In 1969 Kerslake and Ken Hensley formed "Toe Fat" and released their debut album "Toe Fat" in 1970. Kerslake later leaves and joins "The National Head Band", which was formed in 1969 on the ashes of "The Business". The band included keyboardist Jan Schelhaas who would later play with bands such as "Thin Lizzy", "Caravan" and "Camel". They released their only progressive album "Albert 1" in 1971. In 1972 Kerslake would join "Uriah Heep", which included his friend Ken Hensley . (Photo: nostalgiacentral.com) "Uriah Heep's" first album in which Kerslake was a part, was their fourth- "Demons and Wizards", from 1972. Already on this album, Kerslake began to showcase his writing abilities, co-writing three of the album's songs. Kerslake will be part of the band until the 12th album "Fallen Angel" from 1978, but he will return to the band already on the 14th album "Abominog" from 1982 and will continue to release albums with it until 1998 when the 20th album "Sonic Origami", was released. In 1980, Kerslake joined Ozzy Osbourne 's first band in his solo career and became one of the lead writers, most notably on his second album " Diary of a Madman ". Although he was the last to join the band after most of the songs for the album " Blizzard Of Ozz " had already been written, he managed to participate in writing the song " No Bone Movies ", which was the last written in the sessions for the album. The original intention was to release the song as a b-side, but in the end, it was decided to put it on the album to give Lee Kerslake credit for writing at least one song from the album. (Photo: Fin Costello) Kerslake left Ozzy Osbourne 's band in early 1981, to take care of his ailing mother. Before that, he co-wrote with Randy Rhoads and bassist Bob Daisley all the songs on the album " Diary of a Madman ". Despite that, those who received the credit for the album cover. Those were given to drummer Tommy Aldridge and bassist Rudy Sarzo, whose photos even adorned the inside cover after replacing Daisley and Kerslake, immediately after the recordings ended. In 1986, Bob Daisley and Lee Kerslake sued Ozzy Osbourne for non-payment of royalties for their part in writing the songs. In response, Ozzy Osbourne re-recorded the bass and drum roles on these albums, along with drummer Mike Bordin from "Faith No More" and bassist Robert Trujillo . Justice was eventually done when the bass and drum roles of Daisley and Kerslake were returned to the album in the 30th-anniversary release. In 2003, Kerslake joined "Living Loud" Supergroup, a hard rock project featuring bassist Bob Daisley, guitarist Steve Morse , and singer Jimmy Barnes. Keyboardist Don Airey collaborated with them. In 2004 the band released their debut album "Living Loud". Later, two live albums will be released and in 2007 an EP called "In The Name Of God". In the years that followed, Kerslake performed with his band called the "Lee Kerslake Band" and joined former "Uriah Heep" members Ken Hensley and Paul Newton in the "Uriah Heep Legends" lineup. In early 2007 it was reported on the "Uriah Heep" website that Kerslake left the band due to health issues. In 2015, Kerslake began recording his first solo album "Eleventeen". The album was released five months after his death in 2021. In 2018, Kerslake announced that he had cancer. In 2018 Kerslake began filming a documentary about his life starring among others: Ian Paice , Joe Elliott , Mick Box, Nicko McBrain , Paul Stanley , and Gene Simmons . No release date has yet been announced, watch the fascinating trailer here : On September 19, 2020, Kerslake passed away after a battle with cancer and is only 73 years old. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

"Bon Jovi's" second "hit album" and their fourth "New Jersey" was released on September 19, 1988. So here are some interesting facts about it: 1. The album was recorded in just 4 weeks, after the end of the tour of the album " Slippery When Wet " which lasted 16 months. Richie Sambora and Jon Bon Jovi could not wait and were determined to record a new album that would prove they are capable of producing another uncompromising "hit album". 2. The title of the album while the working process was "Sons of Beaches", another name that was considered was "68 And I Owe You One", but these names were abandoned because the band feared public opinion, and in the end, the name chosen was the name of their country of birth. 3. They had a lot of materials and ideas and together they created 17 demos for the new album, but then the anxiety started to seep in and John panicked that he would not be able to replicate the success of the previous album. Jon Bon Jovi and Richie felt "they don't have it", in any of the 17 songs recorded. 4. John claimed in one of his interviews that it was not the money that motivated them to produce another strong album of hits, but the desire to experience, again, the same insane success they had experienced on the previous album. 5. However, Richie claimed that they did not want to repeat themselves, but rather try to produce hits with some diversity of musical style. The diversity can be found in the long and epic intro to the song " Lay Your Hands On Me ", using the harmonica in the song " Homebound Train ", in the flamenco intro in the song " Wild Is the Wind " and more. (Photo: Bon Jovi Facebook Page) 6. With the addition of the "lyricists" Desmond Child, Diane Warren, Holy Knight, Jon and Richie managed to create no less than 34 songs and it was, of course, clear that they would go on a double album. 7. This is where the record company came in and refused to release a double album, not because of the quality or chances of success of the songs, but because they believed that the price of a double album would be too expensive and stumble sales. 8. So we have 34 songs, we have Bruce Fairbairn who produced the previous album and we also have a technician named Bob Rock who understands a thing or two in mainstream music, now it remains only to choose from the "pile" of songs the most successful ones. 9. So how do you choose songs ??? As on the previous album, the band is aided by its fans and producer Bruce invites his children's babysitter with all her friends to listen to the songs and rank them. 10. Out of 34 songs, 12 were chosen to create a crazy album of hits which only further strengthened the band's success. 11. Among the songs that were left off the album was " Diamond Ring " in its electric version, a song that ended up in an acoustic version with a bridge added to it, in the album " These Days ", as well as the song " Rosie " that ended up on Richie 's solo album " Stranger in This Town ". 12. Also on this album, the one who wrote all the bass guitar roles and played them was Hugh McDonald, but the one who got credit for that on the album cover was Alec John Such. 13. The song "Lay Your Hands on Me" (which is the fourth single) that opens the album is a statement of intent by "Bon Jovi" which officially announces that it is one of the most successful stadium bands in its generation !! Interestingly, this song won a full cover version by non-other than country star Dolly Parton. 14. The first single " Bad Medicine " was the perfect opening for the release of the band's fourth album, an anthem, rhythmic and a fun one to sing. The song that jumped straight to number one on the charts was the third hit written by Jon Bon Jovi and Richie Sambora along with Desmond Child. The previous two were " You Give Love A Bad Name " and " Livin 'On A Prayer ". 15. The second single from the album " Born to Be My Baby " is a direct sequel to the song " Livin 'on a Prayer " from the previous album when it also deals with a young couple and their difficulties in daily life. Like " Livin 'on a Prayer ", This song to was written with the help of Desmond Child. 16. The third single “ I’ll Be There For You ” and the fifth “ Livin In Sin ”, are two ballads that Richie Sambora has taken in a more bluesy direction. Some have compared the melody in the song "I'll Be There For You" to "the Beatles'" song " Don't Let Me Down " and this song was sometimes sung in performances by Richie Sambora . 17. Results you ask... sales you wonder... So the album went straight to 8th place on the charts and a week later took first place, where it stayed for 4 weeks in a row. It has sold 7 million copies in the US alone and 5 million in the rest of the world. 18. It's the only hard rock album in the world to put 5 singles in the top ten on the Billboard 100 chart. 19. This is also the band's first album to reach number one in the UK. 20. It is also the first album of an American band released in the USSR, it was released by a local record company called "Melodiya". 21. After the release of the album, the band went on a worldwide tour that included no less than 237 shows spanning over two years, one of which was historic, held at the Moscow Music Peace Festival. 22. The album was recorded at the "Little Mountain Studio" studios in Vancouver, where other masterpieces were recorded such as: "Metallica's" " Black Album " , "Dr. Feelgood" by "Motley Crue", and "Get A Grip" by "Aerosmith". And now listen and sing along : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On September 19, 1970, Neil Young 's third album, "After the Gold Rush", was released. We start the review of this exemplary album right at the point where we finished the review of his previous album " Everybody Knows This Is Nowhere " (click on the link and read). About a month after the release of " Everybody Knows This Is Nowhere ", Young joins Crosby, Stills and Nash and the quartet start working on the album "Déjà Vu", when two months later the band performs at the legendary Woodstock Festival. After the release of " Déjà Vu " and the tour designed to promote it, "Crosby, Stills, Nash & Young" split to record solo albums. David Crosby starts working on material for the album " If I Could Only Remember My Name ", Graham Nash collects material for his album "Songs for Beginners" and Stephen Stills enters the studio to record his first solo album "Stephen Stills". Like his three friends, Neil Young is also starting work on his third solo album. While writing the material for the album Young is looking for the perfect balance between the roughness and immaturity that "Crazy Horse" brought to his previous album, and the soft and harmonious sound of "Crosby, Stills & Nash". However, the end result was slightly different from what Young had planned. Young injured his back while trying to lift a heavy wooden board, in a way that made it very difficult for him to stand and play the electric guitar. Under these circumstances, Young abandoned the dirty and rough direction of the electric guitar and focused mostly on acoustic playing. This limitation of Young's, intentionally or not, created an amazing combination of country, folk, rock and gave birth to a masterpiece that was mostly acoustic, partly electric, which undoubtedly greatly influenced the singer/songwriter of the early seventies, such as James Taylor, Carole King, Joni Mitchell and more. Most of the album was recorded in the basement of Young's home in California. To help him find the balance between "Crazy Horse" and "Crosby, Stills & Nash", Young recruits "Crosby, Stills & Nash" bassist Greg Reeves and Ralph Molina, Danny Whitten and Billy Talbot from "Crazy Horse". It will also be Danny Whitten's latest album with Young, on which Young wrote the song "The Needle And The Damage Done" from " Harvest ", after he died of a heroin overdose. (Photo: Joel Bernstein) The album opens up with " Tell Me Why " a song that was first performed on "Crosby, Stills, Nash & Young" shows during their tour that accompanied the album " Déjà Vu ". The acoustic guitar and vocal harmonies produce all together an amazing classic song from Young. Although it is a simple and perfect song, Young stopped playing it live at some point, claiming that it was difficult for him to sing words with a shallow meaning. Young meant the words: "Is it hard to make arrangements with yourself? When you're old enough to replay but young enough to sell" Immediately after comes the theme song " After the Gold Rush " which got its name from a screenplay by Dean Stockwell-Herb Berman that Young asked to write the music for. Eventually, the idea for the film did not materialize and Young was left with the title for the song and album. This is a beautiful piano ballad by Young. This song has received cover versions of some interesting artists including Thom York from "Radiohead", "Flaming Lips," and "Dave Matthews Band". The third track " Only Love Can Break Your Heart " is a charming country ballad with pop-waltz elements, ostensibly written in honor of Graham Nash after he broke up with Joni Mitchell. This is Neil Young 's first big hit and the first single released from the album. This song was also played in "Crosby, Stills, Nash & Young" performances during the tour that supported the "Déjà Vu" album. " Southern Man " is an electric and "electrifying" track that is all about "Crazy Horse". Neil Young plays electric guitar and Nils Lofgren who was then only 18, on the piano. It's Young's protest song against the black racism in the southern United States. This song and the song "Alabama" included on Young's 1972 album "Harvest", angered members of the band "Lynyrd Skynyrd", who adored Young and was hurt by them. In response, they wrote their big hit "Sweet Home Alabama" with the following words: "Well, I heard Mister Young sing about her Well, I heard ol' Neil put her down Well, I hope Neil Young will remember A Southern man don't need him around anyhow" Neil Young responded to the song in an interview from 1976 and said he was proud that his name was mentioned in the Skynyrd's song. He also used to play the song in his live performances. (Photo: Dick Barnatt) The track that closes the first side of the vinyl " Till the Morning Comes " is a short 1:17 minute segment that includes only two lines. It is a cheerful French-scented country song, based on piano and featuring a short trumpet solo and choral-style background vocals that also includes Stephen Stills contributing his voice. The other side of the album opens with " Oh Lonesome Me " the only cover version of Don Gibson's 1957 song. It is a simple country song that gained a foothold many years after it was written, if only because of the many cover versions of artists who performed it. " Don't Let It Bring You Down " is a slow song with an amazing melody and melancholic atmosphere that also matches the lyrics. The song also appears in an extended version on the excellent "Crosby, Stills, Nash and Young" live album "4 Way Street". At the beginning of the song in this live version Young addresses the audience and says, "Here is a new song. It's guaranteed to bring you right down". This song has received cover versions of many good artists, including Sting, Annie Lennox, "Guns N 'Roses" and even Chris Cornell , that performed the song during the " Songbook " tour. The third track on the second side " Birds " is a slow and minimalist ballad that includes only a piano and the vocals of Neil Young . The song that features beautiful vocal harmonies in the chorus speaks of the loss of love, while Young turns in the song to his loved one whom he is about to leave. It is a track with a special structure, if only because of the fact that the chorus in it has 6 lines. (Photo: Joel Bernstein) The next track " When You Dance I Can Really Love " is Young's second single from the album and one of the audience's favorite songs on live gigs. It is played by members of "Crazy Horse" along with Jack Nitzsche who previously played with "the Rolling Stones", on the piano. Nitzsche adds memorable piano touches to the song that add a bit of a light and fresh spirit to this rough and heavy song. " I Believe in You " is another country ballad featuring complex harmonies, which was released as the third single from the album. It was one of Young's first songs recorded for the album back in 1969, during a session with "Crazy Horse" before Neil Young 's injury. Similar to the first side of the album, the second side also ends with a short song lasting only 1:33 minutes. " Cripple Creek Ferry " is a classic and beautiful country rock song that has a lot of potential and that we think ends too quickly. With the release of the album, it received mostly mixed reviews from critics, but these reviews changed from end to end over the years, when in the mid-70s the Rolling Stone magazine referred to the album as a masterpiece. Today it can already be clearly said that this is one of the greatest albums in Neil Young 's glorious catalog. 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On September 19, 1986 "Megadeth" released their second album "Peace Sells ... But Who's Buying?" It's the band's breakthrough album which has established it at the forefront of the Thrash Metal genre, along with bands like "Metallica" and "Slayer". Moreover, this album has given the band international recognition both in the Metal scene and among music critics. It is considered a "classic" in the Metal genre and among the albums responsible for the change and development of the Thrash and Speed Metal genres. And if all this is not enough to understand that this is a masterpiece, we will note that "Peace Sells ... but Who's Buying?" is also included in the prestigious list of "1001 Albums You Must Hear Before You Die" and the list of the 500 greatest metal albums of all time. However, at first, not everything was perfect as this album. Dave Mustaine and David Ellefson noted that recording the album was very difficult for them. Both were homeless at the time. Drummer Gar Samuelson and guitarist Chris Poland were late for the recordings or did not appear at all due to a severe heroin addiction, which made it very difficult for the band to finish the recordings. Despite all the difficulties and against all odds the band managed to finally finish the recordings and mixes for the album, just to start the whole production and mixing process back from scratch. Initially, the copyright on the album belonged to "Combat Records", which gave the band $ 25,000 to complete the recordings. The band worked with producer Randy Burns to record all the material and performed the initial mix. Later, "Capitol Records" bought the rights for the album and brought producer Paul Lani to redo all the mixes. By the way, you can find special editions of the album that include the songs with the mixes of Randy Burns as a bonus. (Photo: Yell! Magazine) For the first time, the album cover features Vic Rattlehead - the band's "mascot", in all its glory. As you all may know, the band members wanted to include the skull painting of Rattlehead already on the first album, but "Combat Records" lost the "Rattlehead" chart that Dave Mustaine drew and replaced it with a plastic skull photograph. In this case, "Rattlehead" stands in front of the ruins of the UN building in the US, after a nuclear bomb, holding a "for sale" sign. This is a protest against the idea that no one would have bought "Peace" if it had been put up for sale. The criticism from the album cover also seeps into the lyrics, something that will increase with "Megadeth" in future albums. Mustaine and Ellefson addressed this in an interview before the album's release, in December 1985 and stated that they are interested in changing public opinion about metal and therefore the songs on the album are aimed at raising social awareness on various issues. By the way, in the same interview, Mustaine and Ellefson stated that they had finished recording two songs for the album and that they were even faster than the song "Rattlehead" from the first album - " Killing Is My Business... and Business Is Good! " The album opens with the galloping bass and drums of the Ellefson-Samuelson rhythm section with " Wake Up Dead ". After a few basic riffs and even before half a minute has passed, we are already diving into the solo dialogue between Dave Mustaine and Chris Poland, and get acquainted with the all-too-unique sound of "Megadeth" that will accompany it during the classic Thrash period and become its hallmark. The lyrics tell of a man who cheats on his wife (or girlfriend) and sneaks into his house at night secretly knowing that if his wife finds out about the affair she will kill him. Dave Mustaine noted that he wrote the song about himself and that it was a true story about a girlfriend he dated, only because he was homeless and had nowhere to live. Dave said he was in love with someone else at the time and was afraid his girlfriend would find out. He cut ties with her after believing she would actually kill him if she found out about the affair. The lyrics of the song " The Conjuring " were influenced by black magic which Dave Mustaine believed in at the time and described as a satanic ceremony. Since 2001, the band has stopped playing the song, as well as all songs about Satanism and black magic, such as " Good Mourning/Black Friday ", all due to a change in Dave's beliefs and his close encounter with Christianity. It is interesting to note, that in the year 2020 Dave started including these songs in the band setlists. The theme song, " Peace Sells ... But Who's Buying? " Is one of the songs responsible for the band's breakthrough. The clip for the song was played countless times on MTV and brought the band strong recognition in the metal scene. David Ellefson's famous bass line at the opening of the track served as the opening for MTV NEWS in the late 1980s. David Ellefson said that unfortunately, the band did not receive royalties because as soon as MTV knew they had to pay them, they simply changed the opening signal. The album takes off from there in "Megadeth's" thrash attack with " Devils Island " based on the novel "Pappilon" which tells the story of a man sentenced to death awaiting his execution "In the Devil's Island". Then comes the two connected songs " Good Mourning / Black Friday " which opens with the quiet and melodic instrumental section " Good Mourning " and continues with " Black Friday " which tells the story of a serial killer, while increasing the tempo and playing speed, up to the psychic end that for some reason reminds us of "Metal Militia" by the big sister "Metallica". With " Bad Omen " we slow down a bit, but do not get used to it because you are going to get on the fast train again with bursting riffs, rolling drums, and fast-like-lightning solos. " I Ain't Superstitious " is a cover version of Willie Dixon's famous song first, recorded by Howlin' Wolf back in 1961. Of course "Megadeth" takes the song to the Thrash side, but the original blues remains at the base of it. The final song " My Last Words ", which refers to the game of Russian roulette is one of the most beautiful songs on the album, which includes an amazing bass work by Ellefson and a perfect collaboration between the guitar duo Mustaine - Poland. There is no doubt! This is one of the best albums of "Megadeth". It has no weak moments except perhaps the cover version of Willy Dixon and its short length (only 36 minutes). It's a masterpiece, which includes all the basic elements of the genre that any metalhead can ask for. Fast and heavy riffs, solos that penetrate your ears, excellent writing, and perfect playing level. All of these and more put this album in the front row of Thrash albums as a must-have album for any listener who wants to get into this wonderful genre. This album will be the last in the band's original lineup, from now on the band will become a sort of Dave Mustaine solo project, around which the band's lineup will change over the years. For Listening : Spotify , Apple M usic "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On September 18, 1981 "Genesis" released their 11th studio album "Abacab". The album marks a pivotal moment in "Genesis's "career as they transitioned from their progressive rock roots toward a more streamlined, accessible pop-rock sound. This album was a bold departure, dividing fans, but it allowed the band to tap into new audiences and shape their identity in the 1980s. The change of sound and style in "Abacab" was so extreme that you could barely hear the progressive brilliance of "Genesis" through the synthesizers, drum machines and brass section, as if it was a different band. It was the beginning of the 80's, long and complicated progressive tracks where archaic  and "Genesis" had to adapt in order to survive, so the transition that started in " Duke ", just a year earlierת had to be completed. With Phil Collins ’s growing influence following the success of his solo debut "Face Value", "Genesis" embraced a new, collaborative atmosphere during the recording of "Abacab". This openness allowed for more fluid musical experimentation, leading to simpler, catchier songs. The title track “ Abacab ” perfectly encapsulates this shift, with its minimalistic, rhythmic structure, sharp, modern production and 80's synth sound. The song title reflects its structural simplicity, derived from the song’s arrangement of sections: A (verse), B (chorus), and C (bridge), even though Mike Rutherford said that the final version of the track is more like "Accaabbaac". The song developed from a group jam session that had them playing along to a looped electronic drum track . “ No Reply at All ” stands out as a another example of this new direction. It sound more of a Phil Collins solo song than a "Genesis" song. Collins brought in "Phenix Horns" which is "Earth, Wind & Fire’s" horn section, an idea carried over from "Face Value". Initially met with hesitation by Tony Banks who wanted to emulate the brass keyboard sound that was used on some parts on " Duke ", the "Phenix Horns" gave the song a funky, infectious groove, signaling a departure from "Genesis’s" dense, chord-heavy past. Collins admitted that he feared backlash for this bold move but was ultimately satisfied with the result. The new minimal approach continues through most of the album. In " Keep It Dark ” which tells the story of a man who gets abducted to a surreal and peaceful alien planet , the band takes two bars of a drum pattern previously recorded and plays the song on top of it. “ Man on the Corner ”, driven by Collins’s strong vocal melodies and atmospheric arrangements, explores urban loneliness, is backed by a simple Roland TR-808 drum machine and minimalist synths that emphasize the song’s emotional weight. Despite the new direction, "Genesis" didn’t completely abandon their progressive roots. “ Dodo/Lurker ” and “ Me and Sarah Jane ” offer glimpses of the band's earlier complexity, featuring dynamic shifts, layered arrangements, and darker lyrical themes. These songs maintain some of the intricate songwriting that "Genesis" was known for, but they are more concise and focused than the sprawling epics of their 1970s catalog. The band's change in direction was emphasized by the departure of longtime producer David Hentschel, who had worked with Genesis since 1975. He was replaced by Hugh Padgham, who had previously collaborated with Phil Collins on "Face Value" and on Peter Gabriel 's third album. His influence, particularly in capturing Collins's live drum sound, added a new dimension to the record. The band’s use of drum machines in the songwriting process gave Collins more freedom to improvise vocals, resulting in a looser, more experimental feel. This was a departure from their earlier practice of over-rehearsing songs before recording. The timing of "Abacab’s" release, shortly after the emergence of MTV, played a crucial role in the album’s success in America. The music videos for “ Abacab ” and “ No Reply at All ” helped Genesis reach a wider audience, and the band gained new fans who were drawn to their polished, radio-friendly sound. it is interesting to note that the "Abacab" sessions resolted in more songs that were left off the album. " Paperlate ", " You Might Recall ", and " Me and Virgil ", were included on the third live album "Three Sides Live", released in 1982, While " Naminanu " and " Submarine ", originally part of a four-song suite with " Dodo"/"Lurker ", were released as B-sides on the album's singles. The Critical reception of "Abacab" was mixed. While some praised the band’s evolution, others were less enthusiastic. Rolling Stone highlighted the irony of Collins’s solo success influencing "Genesis’s" sound, while NME dismissed the album as “beautifully produced but nothing worth talking about.” Despite the divided opinions, "Abacab" showed that "Genesis" still had plenty of creative life left in them. Ultimately, "Abacab" marked a bold reinvention for "Genesis". The band’s willingness to embrace simpler, more commercial sounds may have alienated some of their earlier fans, but it also allowed them to thrive in the 1980s. The album remains a pivotal moment in their evolution, bridging the gap between their progressive past and their future as pop-rock icons. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website