Here are some interesting facts about the Scottish musician Neil Murray, best known as the former bassist of "Whitesnake", "Black Sabbath", Gary Moore and many more: (Photo: Richard Ecclestone) = He was born on 27 August, 1950 in Edinburgh, Scotland. His full name is Philip Neil Murray. = His first musical instrument was drums, but in 1967 he switches from drums to bass and forms his first band, "Slap Happy and the Dum-Dums". = Murray was heavily influenced by Jeff Beck , Eric Clapton and Jack Bruce, and later by "Motown" legend James Jamerson and Tim Bogert of "Vanilla Fudge", "Cactus" and "Beck, Bogert & Appice". = In 1971 Murray joins the progressive rock band "Hanson" and records "Now Hear This". = In 1973 he briefly played with the jazz-fusion band "Gilgamesh". = In the years 1974-1975 Murray toured with " Cozy Powell 's Hammer" alongside Don Airey and Bernie Marsden . = In 1976 he joined "Colosseum II" where he met Gary  Moore , they recorded the album "Strange New Flesh". = In 1977 Neil teamed up again with ex-"Gilgamesh" keyboardist Alan Gowen in "National Health". They recorded a self-titled album the same year. = In 1978 Murray worked with Bill Bruford, playing on the rehearsals for Bruford's "Feels Good to Me" debut solo album, standing in for Jeff Berlin. The album cover read 'Thanks to Neil Murray: A bass player when I needed one'. = The same year Murray joins "Whitesnake", and recorded "Snakebite" and "Trouble". He becomes a key member of the band during their rise to fame. = Murrey continued to record and perform with "Whitesnake" on great albums like: " Lovehunter " (1979), " Ready  An' Willing " (1980), " Live ... in the Heart of the City " (1980), " Come  an' Get  It " (1981), "Saints & Sinners" (1982). = In 1982 Neil left "Whitesnake" with Ian Paice , the two join Gary  Moore . They recorded the album "Corridors of Power" released that year. = Murray and Paice will continue to record "Victims of the Future" (1983) and "Rockin' Every Night – Live in Japan" (1983) with Gary  Moore . = After his departure from "Whitesnake", Murray also briefly formed "Badlands" (not the American band featuring Jake E . Lee ) with "Uriah Heep's" John Sloman on vocals and future "Thin Lizzy's" John Sykes on guitars. The band only produced demos. = In the years 1979–1982 Murray participating in a number of solo albums of Bernie Marsden , Graham Bonnet, Cozy Powell , "Forcefield" Jon Lord and more. = In 1983 Murray rejoins "Whitesnake" to record the US version of " Slide It In ". = In 1985 Murray was part of the "Phenomena" project contributing to their debut eponymous album released the same year. He will also contribute to their second album "Dream Runner' releases in 1987. = The same year he was part of the "Gogmagog" supergroup, featuring former "Iron Maiden" singer Paul Di'Anno, future "Iron Maiden" guitarist Janick Gers (ex- Ian Gillan ), ex-"Def Leppard" guitarist Pete Willis and another ex-"Iron Maiden" member Clive Burr on drums. The band released an EP "I Will Be There". = In 1987 Neil left "Whitesnake" after the band shifts to a more Americanized sound. = The same year he joined Japanese band "Vow Wow" and records four albums with them starting with "V" released in 1987. = In 1989 Murray joined "Black Sabbath", recording their 17th album " Tyr " released in 1990. = In 1992 he joined " Brian May 's band", touring and recording "Back to the Light" released the same year. = In 1994 Neil rejoinrd "Black Sabbath", recording " Forbidden " and touring in support of it. = In 1997-1998 Murray played with " Peter Green 's Splinter Group", recording "Peter Green Splinter Group" and "The Robert Johnson Songbook". = In 1998 Neil was featured in Brian May 's "Another World" album. = He forms "The Company of Snakes" in 1999, with Bernie Marsden and Micky Moody, focusing on classic "Whitesnake" material. = He released two albums with with "the Company of Snakes" - "Here They Go Again" in 2001 and "Burst the Bubble" in 2002. = In 2002 Neil joins the house band for the "Queen" musical "We Will Rock You" in London. = In 2005 Murray Joins "M3 Classic Whitesnake", reuniting with former "Whitesnake" members. = In 2008 he plays on "Michael Schenker Group's" album "In the Midst of Beauty". = In 2013 Murray joins "Snakecharmer", a band featuring former "Whitesnake" members, releasing their debut album "Snakecharmer". = In 2017 He Recorded "Second Skin" with "Snakecharmer". "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

"Audioslave's" third and final album was released on September 4th, 2006, so let's talk about some "Revelations" !! We open with a quote from Tom Morello about how he describes the album: "Earth, Wind and Fire meets Led Zeppelin" Musically this album is a little different from the band's two previous albums. If we've heard so far "Rage Against the Machine" / "Soundgarden", now we hear "Audioslave". It feels like this album was “one step forward” in the development of the band that is already crystallizing as something whole and starting to experiment together in musical directions. If in previous albums they were very reminiscent of the style of "RATM" they are already starting to take on a different hue and create a special and unique identity that characterizes them. If we talk about the fact that on the second album, they started to form a band in everything related to managed conduct, being, and working together, here it is already reflected in the musical nature. Photo: Interscope Tom and Chris Cornell said they brought more soul and emotion to this album with a lot of soul and funk touches that are felt very nicely in the songs " One and the Same ", " Jewel Of The Summertime ", " Somedays " and " Original Fire ". Beyond the structure of the songs that seem to go from rough riffs to more rhythmic/pleasant rhythms, Chris' lyrics also talk more about life, love, and even political positions, unlike the previous albums which touched more on gloomier and more painful issues. Tom testified that on this album Chris did not smoke, drink, or use drugs so it could also be what contributed to the change... They produced this album for the first time with producer Brendan O'Brien and not with Rick Rubin with whom they produced the previous two albums. But do not worry, you will also find here songs (and parts of the songs) with the attacking power of the "raging trio", the hard rock that gives in the head like " Shape Of Things To Come ", " Revelations ", " Sound Of A Gun " and " Wide Awake ". It is impossible to ignore the timing of the album and what happened after it... This album came out a year after the second album and right after the band members returned from a tour of the previous album. It seems like someone told them, guys... hurry up because we do not have much time left and we need to wrap up. Immediately upon completion of the album recording, Chris began work on his solo album " Carry On " released later in May 2007, and on the theme song of the film James Bond when the rest of the band began working on the reunion of "RATM" (February 2007). There were no future plans for the band and even a tour to support the album that had just been released was not in sight. And indeed on February 15 Chris officially announced that he was leaving the band as a result of disagreements and musical inconsistencies. We later discovered that despite all the talk about the band connecting as a band and that on the album they feel they are getting a unique hue and they are also writing as a band, they are actually falling apart from within. We won’t go into much of the details of the breakup because we came to enjoy the album, but we’ll just tell you that the disagreements were probably mostly about business conduct between Chris and the rest of the band and the form of management. Chris claimed that everything became a negotiation, for every little thing he wanted to do he had to negotiate as if he were signing a contract. This is probably what broke him (he did not even officially announce to the other members about his departure) and he decided to leave to continue his solo career. We’ll also end with a quote from the band’s latest song, “ Moth ,” which was recorded for the album as a result of the producer’s pressure to record another last song, a quote that might prove that Chris knew it was the end. “I don't fly around your fire anymore” So let's leave the controversies in the past and enjoy the music because that's basically what we're left with from this amazing band and from Chris himself... Listen to the album on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

The breakthrough album of the band "System Of A Down", known as "Toxicity", was released on September 4, 2001. We decided to bring you 11 facts you may not have known about this exploding and militant album. The quartet teamed up with the giant producer Rick Rubin and after four months of musical experience they came out with 44 minutes of unbridled insanity that combines harmony, outbursts, harsh lyrics, and even Armenian heritage. Before we begin we will tell you that this album came out a day after uncontrollable riots, as if the universe had signaled in its path what was going to happen with the release of the album. The night before its release, the band planned to hold a free show in an abandoned hangar in their hometown. The equipment was ready, the record company organized a number of bouncers, the band warmed up and everything was ready to go! Towards the start of the show, a huge number of fans began to arrive, much larger quantities than planned or allowed. The police established a command center to try to control the event but failed to do so. The band and the record label decided to cancel the show to avoid safety risks and events that might harm the audience. But the audience was outraged and took it all out... amplifiers were destroyed, musical instruments had crashed and the stage become a battlefield. It seems to us that there is no better way to describe what is happening on this album than this story. So here you go, 11 facts on this explosive album: 1. The burst of creativity was uncontrollable and the band members recorded 33 demos over four months. They had no idea how many or which of the songs were going to enter the album. It was so hard for them to choose that they postponed the decision as much as they could, which almost led to the postponement of the album release. In the end, they chose 17 songs that they mixed and from them, they chose 14 songs for the album. 2. The song bearing the name "ATWA" is an acronym for Air Trees Water Animals. The song was written by guitarist Daron Malakian and was inspired by Charles Manson's story and cult. Manson used the acronym to promote a message of harmony through nature. 3. All three singles from the album - " Chop Suey ", " Toxicity " and " Aerials ", occupied one of the top ten places on the "Modern Rock Tracks" chart. The songs came in seventh place, third place, and first place, respectively. " Aerials " is the only "System" song to reach number one to date. 4. The songs on the album are full of lyrics that sometimes say a lot and sometimes say nothing. Serj Tankian , the band's lead singer, wrote all the songs on the album and Malakian contributed his part in six songs. Producer Rick Rubin said that Serj has the ability to make you feel something even if you do not understand exactly what he is saying. Even his heap of incomprehensible words conveys feelings and sensations. 5. You must have noticed (either you did not see the movie or you did not notice) but in the animated film "The Secret Life of Pets" there is a scene in which the song " Bounce " is played. In this scene, the noble poodle is revealed as a metalhead the second his owner leaves the house. Watch the scene here: 6. The album came out a week before the tragic events of September 11th and took first place in the Billboard 200 during that week. It’s hard to think the band has achieved one of its biggest successes in such a tragic week. 7. Unlike the band's first album, Malakian decided that on this album he did not want thin guitars but lots of layers, lots of thickness. He said he was trying to create a loud and angry sound so instead of one or two guitar tracks he put on this album 12 guitar tracks per song. 12 layers of guitars that sometimes play the same thing and sometimes make different sounds. 8. One of the most important and exciting songs on the album for the band is the controversial song, which is hidden at the end of the album. The song is called " Arto ", after the Armenian musician Arto Tunçboyacıyan who is featured in the song. The song includes singing by the band members and uses only percussion, inspired by Armenian culture. 9. During the recordings, Malakian, and drummer John Dolmayan used to fight each other. In one case, the two disassembled each other and ended up in a hospital with stitches in all sorts of organs in the body. Serj, for his part, thought the band had reached the end of its journey. The other two see this as one of the "cool" events in the band's history. 10. The album earned the band two Grammy Award nominations in 2003. One of the nominations was for the song " Aerials ". The band refused to perform the song at the Grammys, claiming that a performance at the Grammys was suitable for bands like "N'Sync" or singers like Britney Spears. 11. The sentence you hear at the opening of the song " Chop Suey! ", In which Serge says "We're rolling suicide", is actually the original name of the song during the recordings - "Suicide". Listen to the album in a safe place on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

on September 3, 1991 "Rush" decided to roll its lucky dice, with "Roll The Bones". This is the band's 14th studio album and its first released in the 90s. In June 1989, the band completed the tour that accompanied their previous album "Presto". The band members said they finished the tour with a taste of more and that they had a desire to continue with the column. After a short break that the band has taken for themselves, Alex, Geddy, and Neil take these positive energies with them to the studio and pour them into the songs. They described the creative process as optimistic, literally a "rebirth" within the band. This album continues the musical line of the previous album "Presto", which included moving away from the Synthpop style that took over the band's albums during the 1980s, reducing the dominance of the keyboards and returning to basic guitar-based rock. The style of this album is not much different from its predecessor, only this time the band is not afraid to have fun with other genres such as Funk and even a bit of Rap. The writing process has also changed and this time it starts with the guitar and bass of the Lee-Lifeson duo, as opposed to the writing that characterized some of the albums of the 80s and started with keyboards. Lyrically Neil Peart bases his writing on the concept of "risk-taking", a motif that runs like a second thread between the album's songs and also seeps into the album cover, which features the lucky dice representing the gamble and risk-taking. The album opens with the murmur of "Dreamline's" passing car and the "blocked" strings of Alex Lifeson's guitar, which synchronize perfectly with Neil Peart's stick blows on the rim of the snare drum. Geddy Lee's bass joins in the second bar and leads us hand in hand to the powerful entrance with the simple and catchy riff at the base of the song. Guitar-bass-drums that connect together, as one instrument, with the keyboard that accompanies in the background, and when Lifeson squeezes the guitar at 2:58 we understand that although only 4 years have passed since "Hold Your Fire" but we are light years away from the musical style that dominated it. The second track "Bravado" is a quiet and moving song that talks about dealing with failure. It is the contrast to the song "The Pass", a song no less exciting from the album "Presto" that talks about suicide. This song was described by Geddy Lee as one of Rush's best works, partly due to its special and different structure from the rest of the band's material. Alex Lifeson also noted that this is a special song for him especially because he recorded his solo spontaneously and in one take. He said it was late at night in the studio and he was supposed to improvise a solo, something not binding just to see how it sounded like on the pre-recorded song, but the emotion suddenly hit him and he came out with such a good solo that he just did not want to replace it. Neil Peart is also at his best here. At first, it sounds like a calm and quiet song that is very easy to play but if you listen to the drum roles towards the end of the song (start after 3:00) and you will understand how complex they are. And now that you have listened, we will tell you that Peart nailed it in one take !!!! What a legendary drummer. The theme song "Roll the Bones" is the big surprise of this album. The name of the song refers to a science fiction story by writer Fritz Lieber called "Gonna Roll the Bones". Peart also loved the pun and context of the dice that are also on the album cover. Geddy Lee said the band was in a good mood and they decided to have some fun so they included the Rap section in the middle of the song. Although some may think that Neil Peart is the one who recites the Rap section, it is actually the voice of Geddy Lee who has undergone a sound distortion and a lowering of the frequency. "Where's My Thing?" Is the band's first instrumental piece in a decade, since "YYZ" which was included on the masterpiece album "Moving Pictures" from 1981. The instrumental piece has another title - "Part IV, 'Gangster of Boats' Trilogy". This is a double internal joke by the band, both about the "fourth part of the trilogy" and the name "Gangster of Boats" that Geddy Lee and Alex Lifeson threatened Peart they will give to the album, if he had a hard time choosing a more appropriate name. The band said they very much wanted to record an instrumental track on previous albums, but it never worked out because every time Geddy and Alex came up with music Neil brought lyrics that suited them like a glove. This time to make it happen Peart intentionally let Geddy and Alex finish writing the music and just did not provide them with lyrics. The other side of the vinyl opens up with "The Big Wheel" and the synthesizer sound that takes us 7 years back to the "Grace Under Pressure" era, but do not feel comfortable since that's just the intro, and immediately after comes Alex Lifeson's riff and reminds us that we're in the 90s again. This song proves that keyboards did not leave the band completely, they still exist in the background and it is a beautiful and refreshing addition to the overall sound of "Rush". The song "Heresy" was influenced by the fall of communism in Eastern Europe and Peart's optimism from the fact that people who lived under this regime regained their freedom. Geddy Lee claims that drumming in this song feels to him like the heartbeat of those people who have been freed from the shackles of communism. The song "Ghost of a Chance" is a song that talks about concessions that spouses have to make in a relationship for the relationship to succeed. Neil Peart was very proud of the lyrics as he claimed he managed to write a love song and at the same time evade clichés and tickling lyrics. It's also Alex Lifeson's favorite song on the album. He plays PRS guitar and his solo in this song is rated by him as one of his best solos ever. "Neurotica" includes the most catchy chorus on the album. Geddy Lee's amazing bass work, which sometimes sounds a bit jazzy, reminds us that he is one of the best bass players still walking among us. Alex Lifeson's riffs are heavy and yet catchy and the short solo with the dirty sound aligned with the perfect and so modest playing of this mighty guitarist on the album. The song that seals the album "You Bet Your Life" is for Geddy Lee the song the band had the hardest time recording, even though they really enjoyed playing it. The main difficulty was the right balance between the lead vocals and the background music during the chorus. Geddy says he is still not sure they were able to reach the right balance. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 3, 1990, the best "painkiller" was discovered in metal. The "Painkiller" album by "Judas Priest"!!! "Judas Priest" is without a doubt one of the bands that have shaped the metal world. True, "Judas" is not really one of the founding generation of the genre, but it was definitely there in the early years, influencing, teaching, and serving as a role model for the young metal bands that came after, from sound and musical style to appearance and performance. And like any good lecturer in academia, "Judas Priest" was always changing, developing, and learning on their own, until in the early 1980s, they seemed to crack the formula with a streak of masterful albums like " British Steel ", " Screaming for Vengeance " and " Defenders of the Faith " which raised them to the top of the metal world. But just then, at the height of its success and popularity, "Judas Priest" presses the " Turbo " button and releases a commercial and synthesized album, which although we love it very much personally, managed to drive away some of its fans. And it did not end there, because the band's attempt to "fix while cruising" with "Ram It Down" almost led to multiple flips and a crash ... The first to pay the price for "negligent driving" was veteran drummer Dave Holland, who was replaced by Scott Travis who had previously played with "Racer X". Beyond the fact that Scott has become the band's long-lasting drummer who plays with them to this day, his addition to the band was one of the factors that made this album one of the band's greatest and one of the most notable in Metal. Travis brought with him a powerful drumming style and renewed energies, and although he was hardly involved in the creative process of the album, his influence was substantial and noticeable in almost every song. Scott Travis' influence can be heard already in the first few seconds of the album, with the double bass and the powerful and crazy drumming that sets the tone for the theme song " Painkiller ". Travis' increased BPM seems to pull the guitars of Glenn Tipton and K. K. Downing deep into Speed Metal, with one of the band's most powerful songs. It is not a coincidence that Rob Halford stated in an interview with "! Kerrang" magazine in 2013ת that this is the song that he is most proud of writing-wise. The "Painkiller" is a kind of cyborg, a metallic superhero, who appears on the album cover and came to save humanity from the forces of evil. But this album is not just Travis of course, it combines edgy riffs, melodic solos, and an unimaginable singing ability that breaks the sound barrier in supersonic booms. Glenn Tipton, K. K. Downing, and Rob Halford are simply at their peak both in terms of writing and performance. This album does not stop for a moment and does not give you a minute of rest, with an attack of chainsaw riffs, melodic solos, and powerful singing. " Hell Patrol " refers to U.S. Air Force pilots in the first Gulf War who bombed repeatedly in Iraq to prevent the firing of Scud missiles, the smoking guns of " All Guns Blazing " exploding at an insane rate of fire of Scott Travis and Ian Hill and all aimed for Destruction, "Leather Rebel" which is a sort of autobiography of Rob Halford and somehow manages to stay melodic and catchy despite the fast double bass rhythm, " Metal Meltdown " with the amazing guitar work of the duo Downing and Tipton on the verge of Thrash, the dark and heavy " Night Crawler " with The creepy recitation and chilling guitar section, the charged and melodic " Between the Hammer & the Anvil " and the warlike " One Shot at Glory ", are all excellent songs that maintain a very high level, with a more or less uniformed sound and style. But then comes the surprise of the album. " A Touch of Evil " is a song that is strange and different compared to the rest of the album and without a doubt one of its greatest. This song is the only one co-written with producer Chris Tsangarides, who wrote its lead riff. Unlike most of the tracks on the album, this song is full of synthesizers played by none other than Don Airey who is familiar to us from his work with Ozzy Osbourne , Gary Moore , and of course "Deep Purple". What a melodic and amazing solo, on the classical border, Tipton gives here, what a mind-blowing singing by Rob Halford that on the one hand is very melodic and delicate and even reminds us of himself in the song "Night Comes Down" from the album " Defenders of the Faith ", and on the other hand is rough and powerful with high notes touching the sky. This song chills us over and over again and it is definitely not just the ringing of the bell in its opening. The title of the song and the lyrics give the feeling that this is a kind of dark song that speaks of black magic or acts of the devil and evil, but Halford surprised us and noted that it is a kind of love song. Interesting to note, that the extended version of the album from 2011 includes another song - " Living Bad Dreams ", which was recorded on the same album sessions, in which Don Airey also plays keyboards. This is a kind of quiet ballad, which is apparently left out of the album due to its slightly different style. This album reached gold status only one month after its release and is currently selling over two million copies worldwide. But more than the relative commercial success, this album restored Judas Priest's relevance, which it lacked in the second half of the 1980s. Unfortunately, it was then that friction began to emerge between the band members. Frictions that intensified due to Rob Halford 's desire to start a side project. The rest of the band thought Halford should devote his entire time to the band, especially when they were regaining popularity. But growing pressure on Halford gave its signals when in 1992 he announced to the band members by fax, that he was leaving. Halford focused on his solo band "Fight" and his solo career in the following years, but will return to the mother band in 2005. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On September 3, 1984, "Iron Maiden" released their fifth studio album "Powerslave". This is the album that established the status of "Iron Maiden" as the largest heavy metal band in the world at the time. This album is basically the essence of Heavy Metal, the "bread and butter" of this amazing genre and one of its pillars, just before it was split into countless sub-genres with different and weird names. This is the band's second album with its classic lineup, which included Steve Harris , Dave Murray , Adrian Smith , Bruce Dickinson , and Nicko McBrain , and is also the band's first album where the lineup remains the same as the previous album. The story of this masterful album begins in December 1983, with the end of the successful tour of the previous album " Piece of Mind ". The band takes a break of only three weeks and decides to repeat the same pattern that characterized the creation of the previous album, hoping to recreate the same success. They gathered at the Le Chalet Hotel in New Jersey for rehearsals, just as she did with " Piece of Mind ". During the six weeks, they stayed at the hotel, the band wrote most of the material for the album, again similar to what happened with their previous album. From there the band moves to the "Compass Point" studio in Nassau the Bahamas, the same studio where " Piece of Mind " was recorded. Legendary producer Martin Birch, with whom the band previously worked, was chosen to produce the album as well. Also, like the previous album, the material of "Powerslave" dealt with poetry, literature, historical events, and favorite movies of the band members. The album opens with " Aces High ", the second single released from it and one of the band's iconic songs. The name of the song is taken from a 1976 film of the same name starring Christopher Plummer. The lyrics are written from the point of view of the British Royal Air Force pilot who fought against the German Air Force during the "Battle of Britain" - the first battle in history that was entirely aerial. The intro to a slow and dramatic song as if simulating the plane on the runway as it drives before takeoff, then an explosion! Throttles are open all the way and the plane soars up along with the music at an insane speed of 134 BPM. And the rhythm, what a rhythm, listen to it carefully because it just tells us the whole course of the aerial battle. Dickinson is at his peak and he manages to convey through his voice what the pilot is going through during the fight, with the listener feeling as if he is right inside the cockpit. The solos of Dave and Adrian are simply complementing each other. The song opens with the words: "There goes the siren that warns of the air raid" words that soon enough will bare Bruce Dickinson 's nickname as "The Air Raid Siren", as befits his mighty voice. The clip that came out for the song opened with Churchill's famous speech, which later became an integral part of the song at the band's performances. Contrary to expectation the person who wrote the song is Steve Harris and not Bruce Dickinson . It is interesting to note that the song " Tailgunner " from the album " No Prayer for the Dying " is a kind of sequel to the song " Aces High " and it describes the battle for Britain from a different angle. The album continues to explode with the big hit and the first single released from it " 2 Minutes To Midnight ". The song opens with the catchy and stunning reef of Adrian Smith that simply sweeps you away and makes your head move in involuntarily (and not a word about the "borrowing" from Riot's "Swords and Tequila"). The song is based on the doomsday clock that represents the countdown to a nuclear war, with midnight representing a nuclear catastrophe. In September 1953 this clock stood at 2 minutes to midnight, following nuclear tests conducted by the two great powers several months apart. In 1984 - the year the album was released, the clock stood at 3 minutes to midnight, due to tensions between the USSR and the US, the highest reading of the clock since 1953. This amazing hit was written by Adrian Smith and Bruce Dickinson and the "old fans" between our readers will surely remember that the clip of this song was broadcast by Yoav Kutner musical in the mythological TV show "Zehu Ze", it was undoubtedly a defining moment for "Maiden" fans in Israel when a clip of the band was broadcast on Israeli television. The third track " Losfer Words (Big 'Orra) " is an instrumental piece composed by Steve Harris . This is probably the "weak" part of the album and maybe that's also why it's Maiden's last instrumental track to date. Weak or not, it's still "Iron Maiden" and the "weak" tracks are also mind-blowing, mainly thanks to the interesting guitar dialogue between Dave and Adrian. The fourth track, " Flash of the Blade ", depicts Bruce Dickinson 's love for fencing and tells the story of a medieval man who lives on his sword and seeks revenge. As you know, Dickinson is a professional fencer who came in seventh at the British Fencing Championships and represented his country at the European Championships in 1989. The dual guitar riff that opens the song fits the story and simply illustrates in an amazing musical way the battle of swords. This song was part of the soundtrack to the 1984 film "Phenomena" starring Jennifer Conley. The song that seals the first side of the vinyl " The Duellists " is probably the big brother of the previous song as it also talks about a duel. This time the song was written by Harris and is influenced by Ridley Scott's 1978 film of the same name. Something in the melody of the song is a bit reminiscent of the song " Where Eagles Dare " that Harris wrote for the previous album. Another song by the Dickinson-Smith duo " Back in the Village " opens the second side of the album with Adrian Smith 's crazy riff. This song was also influenced by the TV series "The Prisoner" which influenced the writing of the famous song from the album " The Number Of The Beast ". Dickinson uses the lyrics of the song in the terminology of a pilot and probably predicts his own future here and illustrates his love of aviation: "Take your chances, kill the engine, drop your bombs and let them burn." But the homage to the album " The Number Of The Beast " does not end there, the line "I see sixes all the way" and the number 666 that Dickinson whispers in the background, constitute a kind of small "tribute" to that masterful album. The theme song " Powerslave " is without a doubt one of the highlights of the album. The galloping and sweeping rhythm and oriental riff leave no room for doubt, this is one of the band's representative songs, a classic that puts us deep into its DNA. The song tells of a king in the Pharaoh dynasty who all his life taught and educated him that he was a kind of God. He is in the last hours of his life and does not understand how he is about to die, when in his last breath he promises to return as a mummy. The song was written by Dickinson and he claims he is referring to the song " Revelations " from the last album which was written about the English mystic Aleister Crowley - the founder of the religious philosophy Thelma. The epic piece that closes the album " Rime of the Ancient Mariner " is a song written by Harris under the influence of a poem of the same name by Samuel Taylor Coleridge. The piece stretched over more than 13 minutes and held the band's longest-running record for almost 30 years, until the release of the song " Empire of the Clouds " included on the album " The Book of Souls " and lasting about 18 minutes. The song tells of the ancient mariner who was cursed because he killed an albatross bird, his ship is swept south in the stormy sea, as he witnesses adventures along the way. It's a very musically complex piece, with a lot of rhythm changes and many influences from the progressive genre that are very close to Harris' heart. The story of the act blends well not only with the lyrics but especially with the music, with the center of the song we witness an instrumental piece led by Harris' bass playing and Murray and Smith's moaning guitars that simply lower us deep into the depths of the sea. By the way, this is the song that the band members testified that they most enjoy playing at shows. It is interesting to note that the album cover illustrated by Derek Riggs includes several encrypted messages embedded into the painting, including the face of Mickey Mouse, and captions such as: "WOT? No Guinness", "Indiana Jones was here 1941 wot a load of crap", "bollock". After the release of the album, "Iron Maiden" went on the biggest tour they had to date, which lasted almost a year. During the tour, the band visited places where they had not performed before and became the first heavy metal band to play behind the "Iron Curtain". The highlight of the tour was the band's performance in Rio, where they played for the first time in front of an audience of no less than 300,000 people. The album and the tour designed to promote it raised "Iron Maiden" to the rank of the biggest metal band of the time. The tour was recorded on audio and video during two of the four performances held at the Long Beach Arena in California, from March 14 to 17, 1985, and released on the double album and on VHS " Live After Death " - one of the greatest live albums of all time. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Iron Maiden's 17th album was released on September 3, 2021 and is titled: "Senjutsu" This album is released exactly 6 years (less a day but who's counting) after the release of the previous album " The Book of Souls " in 2015. This is the longest time, between two "Iron Maiden" albums, but today it can already be said that the long expectation definitely paid off, since in our humble opinion this is one of the band's greatest albums in the current millennium and it even surpasses some albums from the previous one, clear and cut!!! The date is not the only connection of "Senjutsu" to " The Book of Souls ". The band chose to record the album at the "Guillaume Tell" studio in France, where the previous album was also recorded. The writing and recording process was similar in both cases. The band wrote a song, rehearsed it and immediately recorded it, when everything was still fresh. The album was recorded at the beginning of 2019 during breaks from the "Legacy tour". Of course, covid-19 epidemic delayed things, but the band decided to delay the release a bit, even though its recording was already finished. The album's title - "Senjutsu", is a Japanese term that literally means "tactics and strategy", but can also be translated as "skill and spell". Indeed, throughout the album, these themes recur and emerge, as in the second single " Stratego " whose title alone speaks for itself. The truth is, it was very clear to us that it was going to be an "mind-blowing" album, from the very first listening to the first single from the album " The Writing On The Wall ", released on July 5, 2021. This song immediately stood out as nothing less than the anthem!!! The "Jethro Tull" classical guitar style intro, which for some reason reminded us of Ehud Banai 's "Canaan Blues" and the catchy riff with the oriental touch, got deep into our veins. When we got to the sweeping chorus, we couldn't stop it anymore and started singing along with Bruce almighty, and then everything was already clear, this song is going to be our anthem for 2021. " The Writing On The Wall " title refers to the story of the "Belshazzar Feast," told in the book of Daniel, during which an inscription appears on the wall, and Daniel interprets it as a prophecy of the destruction of Babylon. Belshazzar the king of Babylon made a great feast for a thousand of his ministers and his concubines in which they drank wine from the vessels of the destroyed great temple. At that time, a hand was seen writing on the Western Wall against the "menorah" the words "Mana Mana Tekel and Persin." The king was frightened and ordered to bring the sages of Babylon, but only Daniel could interpret the "writing on the wall" as the fall of the Belshazzar kingdom and the destruction of Babylon. At night King Belshazzar was killed and Darius took his place.. About a month later, the band released the second single " Stratego ". The melodic riff that leads the song sounds to us at first as a "Rainbow" rip-off. The galloping Steve Harris ' bass playing sounds similar to his pounding bass work on " Powerslave " which is celebrating its birthday today. But then, the deeper we got into the song, the more we fell in love with it. It's a classic "Maiden" song, but with an updated sound. In terms of style, it could easily have entered the first band's albums of with Bruce Dickinson , only here we get the addition of an upgraded sound that simply lifts this song up, and we are talking about the addition of the keyboards that sometimes accompany Bruce's vocals and occasionally the guitar riffs. It seems that these two singles are enough to prove how versatile and different this album is from the previous " The Book of Souls " album, even though the band chose to record both albums in the same studio ("Guillaume Tell" in France) and in the same process of writing and recording, as mentioned. This diversity is also reflected in the theme song which is also the opening track “ Senjutsu ”. An epic piece that crosses the 8-minute mark and touches all the band's sound elements and sets the tone for whatever comes next. Further proof of the band's versatility on this album can be found in the intro of the song " Lost in a Lost World ". The classical guitars, Bruce's vocal effect and the backing vocals reminded us of the "Uriah Heep" sound. It is unlike anything else "Maiden" has done in the past 41 years. The song starts quiet and slow with Bruce's soft vocals and the caressing backing vocals, continues heavy with a mid-pace rhythm and then reaches the anthemic chorus and the excellent instrumental part that follows. One of our favorite parts of the song is the one that starts at 3:40 minute, with the guitar line accompanying Bruce's voice with such a beautiful melody. This section repeats itself at the end of the song starting at 8:06 minute and then it just breaks us into pieces. It is hard not to mention Bruce Dickinson vocals. He simply surpasses himself on this album and proves that despite the passing years, the illness and the erosion of his voice he is still one of the greatest singers in metal, and has a vocal range that may have shrunk a little over the years, but still can be envy by many singers. By the way, " Lost in a Lost World " is one of the four songs on the album that Steve Harris wrote solaly, all of them cross the 9-minute line. Also this time, Harris is the main writer of most of the album's songs, which ends up with three epic songs written exclusively by him and spanning all together over a half hour of music. Along with Harris, there is also a very respectable representation of the Bruce Dickinson / Adrian Smith duo, who are responsible for writing 3 of the ten songs on the album, including the lead single " The Writing On The Wall ". What's beautiful about this album is that next to the band's attempt to change and diversify, they still don't allow themselves to completely move away from the DNA that characterizes them. In almost every song on this album, you can find something that will remind you of the classic "Maiden". over the 82-minute album, we get elements from the band's various music over the years. From the glorious 80s, through the Blaze Bayley era to the band's greatest albums in the current millennium, such as " Brave New World " and " A Matter of Life and Death ". A notable example can be found in the song " Days of Future Past ", which even according to Bruce Dickinson himself, corresponds with the " Piece of Mind " and " Powerslave " era of the band. Contrary to what most of you may think, "Days of Future Past" is not related to the "Marvel" comics and the movie from the "X-Man" series. It was inspired by the graphic novel "Constantine" and especially its adaptation into the movie starring Keanu Reeves. Of course, there is also no connection to the timeless album of by The "Moody Blues" called "Days of Future Passed". By the way, it is interesting to note that this is the shortest song on the album that includes one of the most minimalist solos in "Maiden's" career. Then comes " The Time Machine " written by Janick Gers in collaboration with Steve Harris , ending the first disc. This is one of the special songs on the album, with an addictive guitar line, a catchy and sweeping melody, a beautiful combination of the three guitarists and Bruce's tremendous vocals. A very dynamic song with many transitions and changes of melody and rhythms, some of them will remind you of the classic "Maiden", like the one that starts at 3:11 minute. The second disc opens with " Darkest Hour ", dramatic and exciting. Another great song from the Bruce Dickinson / Adrian Smith duo. A type of ballad that is not really typical for the band's musical style, but it is precisely the song that proves, once again, the enormous diversity in the album and the fact that despite the album lacking a uniform musical line, it doesn't have any falls, stumbles, "fillers" or even one unnecessary minute among the 82 long minutes. Wow, what a breathtaking singing by Bruce who manages to deliver the lyrics so well and what a tremendous and moving solo by Adrian Smith , perhaps one of the best on the album. This album ends with an insane "jaw-dropping" epic compositions by Steve Harris . Each of these works could have been used as an ending track on any of the band's albums. The first, " Death of the Celts " opens with Harris' beautiful bass playing and quickly sets off a folk-metal vibe, especially in sections like the one that starts at 5:15 with Harris' bass playing that draws from Celtic music. This song somehow manages to remind us at times, in its "vibe" and atmosphere, of "The Clansman" one of the greatest songs from " Virtual XI " album of the Blaze Bayley era. The second, " The Parchment ", an epic piece that is undoubtedly one of the highlights of the album. A quiet and dramatic opening that could easily have been part of of a historical war film soundtrack and a crazy entrance at 1:10 minute with an amazing, melodic and sweeping guitar line in an oriental style. Then, at 2:01 minute, a change that threw us straight into the oriental melody of "To Tame a Land", from the " Piece of Mind " album. The song continues to develop, with increasing rhythm changes during the crazy instrumental section that stretches for 4 enjoyable and delightful minutes, that leads us in a closing circle to the quiet part that opened the song. The third, " Hell On Earth " a war epic track that seals the album with a dark and exciting atmosphere, which after about two minutes changes and sweeps the listener into the battle-like atmosphere that surrounds it. This is exactly the classic piece with which "Maiden" should end up such an amazing album. This is where it should already be clear that this band is simply the best at what they do. Harris' racing bass rushes into battle and Nicko McBrain 's drums provide the rhythm. The guitar harmonies blend with each other, gracefully, delicately and sometimes aggressively, but they will always serve as an arrowhead to clear the way for Dickinson's almighty vocals. If there is a textbook that explains how "Iron Maiden" should sound, this song is probably in it. There are not many bands with a clear distinctive sound so identified with them, that can still change, diversify, innovate and continue to excite, without changing their DNA. "Iron Maiden" is one of these bands and it has been doing so for almost five decades, even if not always on the right side of the high bar they set for themselves in their first seven albums from the glory 80s. "Senjutsu" is an ambitious and insane album. It's terrifyingly long, but it has all the necessary ingredients to make us keep listening to it without skipping a single song, and that says a lot. It presents a band with wonderful writing and performing ability and proves once again why it is the biggest metal band in the world, which even fifty years after it was founded is able to sell tickets within 6 hours for a show that takes place more than a year later (see "2023 Wacken Open Air"). That's it, now it can be declared! From our point of view, the metal world should be divided into two. The one before "Iron Maiden" and the one after!!! For Listening: Spotify , Apple Music Track List: 1. Senjutsu (Smith/Harris) 8:20 2. Stratego (Gers/Harris) 4:59 3. The Writing On The Wall (Smith/Dickinson) 6:13 4. Lost In A Lost World (Harris) 9:31 5. Days Of Future Past (Smith/Dickinson) 4:03 6. The Time Machine (Gers/Harris) 7:09 7. Darkest Hour (Smith/Dickinson) 7:20 8. Death Of The Celts (Harris) 10:20 9. The Parchment (Harris) 12:39 10. Hell On Earth (Harris) 11:19 "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On September 3, 1991 Richie Sambora released his first solo album " Stranger in This Town ". Richie Sambora ’s debut solo album, "Stranger in This Town", is a deeply personal exploration of blues, rock, and introspective balladry. Best known as the lead guitarist for "Bon Jovi", Sambora used the band's 17-month hiatus as an opportunity to step out of the shadow of his band and into the spotlight as a solo artist. This album, released just a year after Jon Bon Jovi 's own solo effort, " Blaze of Glory " (1990), marked a significant departure from the high-energy, arena-rock sound that had defined "Bon Jovi". "Stranger in This Town" is a testament to Sambora's versatility. He not only sings lead vocals but also co-produced the album, responsible for all string arrangements, and of course plays guitar throughout the album, revealing his deep affinity for the blues. The album was recorded with the help of "Bon Jovi" bandmates Tico Torres on drums and David Bryan on keyboards, alongside renowned bassist Tony Levin. A special guest appearance by Eric Clapton on " Mr. Bluesman " adds a layer of authenticity to the album’s bluesy vibe, solidifying Sambora's credibility as a blues musician. The opening track, " Rest in Peace ," written by Sambora and Bryan , immediately distinguishes this album from "Bon Jovi’s" anthemic rock hits. This atmospheric, bluesy piece field with whining guitars and Sambora’s abstract vocals, is more of an intro for the next track " Church of Desire ". The title track, " Stranger in This Town ," encapsulates the album's essence, with Sambora’s vocals and guitar work expressing his raw vulnerability as a solo artist, as hinted in the title. The blues influence is palpable, particularly in this track and tracks like " One Light Burning ," the latter was co-written with members of Sambora's former club band, "Shark Frenzy", which also co-wrote and " The Answer ," and " Ballad of Youth ", the more "Bon Jovi's" style song in the album . " Mr. Bluesman " stands out not only for Clapton ’s guest appearance but also for its deeply personal lyrics, where Sambora seems to seek guidance from the blues legends who came before him. The track " Rosie ," originally intended for "Bon Jovi's" " New Jersey " album was co-written with Jon Bon Jovi , Desmond Child and Diane Warren, adds a rock edge, and fans may recognize bootleg versions featuring the full "Bon Jovi" lineup. long time "Bon Jovi" collaborator Desmond Child also co-wrote " Father Time " - maybe the most touching and personal songs on the album. " Ballad of Youth " was released as the album’s lead single, followed by " One Light Burning " and the title track " Stranger in This Town ", each accompanied by a music video. " Mr. Bluesman ," featuring Clapton, was also released as a promo single, further highlighting the album's blues credentials. Additionally, " Church of Desire " was released as a promotional single in the United Kingdom, and " The Answer " and " Rosie " were similarly promoted in Japan. Over the years, Sambora has occasionally revisited songs from "Stranger in This Town" during "Bon Jovi's" tours, most notably performing the title track on the "Lost Highway" Tour in 2008. The album’s production, handled by Sambora and Neil Dorfsman, is polished but not overly slick, allowing the organic qualities of the music to come through. The closing bonus track, a cover of Jimi Hendrix 's " The Wind Cries Mary ," serves as a fitting tribute to one of Sambora’s influences, showcasing his ability to honor the past while making the song his own. "Stranger in This Town" is a compelling and heartfelt solo effort that offers a glimpse into Richie Sambora's artistic identity beyond "Bon Jovi". The album is a showcase of his talents as a guitarist, vocalist, and songwriter, revealing a depth of emotion and a connection to the blues that might surprise those who know him only as a rock guitarist. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Released on September 2, 2022, this album marked the sixteenth studio release by "Megadeth". After six years of silence since "Dystopia", and through storms of personal struggles, health battles, and lineup changes, Dave Mustaine  returned with an album that feels like both a reckoning and a resurrection. In 2019, just as the band began preparing new material, Mustaine was diagnosed with throat cancer. While he fought for his life, the world itself collapsed into the pandemic, delaying tours, recordings, and forcing the entire creative process into fragments of stolen time. Sessions stretched from 2019 to 2021, scattered and haunted, giving the record a darker weight that seeps through every riff. And then came the rupture. Longtime bassist and co-founder David Ellefson, the familiar anchor of "Megadeth’s" sound for decades, was dismissed in 2021 after a public scandal and controversy that rattled the fanbase. For many, it felt like the breaking of an old brotherhood. Yet instead of collapsing, Mustaine chose survival. "Testament’s" Steve Di Giorgio was brought in to re-record all bass parts, delivering technical ferocity and precision that honored "Megadeth’s" legacy. Soon after, James LoMenzo returned to the fold, restoring a link to the band’s 2000s era and giving new life to their touring lineup. The lineup changes did not end there. "The Sick, The Dying... And The Dead!" marked the first full studio appearance of drummer Dirk Verbeuren, whose machine-gun precision and creative power elevated the music to new heights. It also became the swan song for guitarist Kiko Loureiro who co-wrote most of the music on the album with Mustaine. After a short intro, the title track "The Sick, The Dying... And The Dead!"  sets the stage with grim atmosphere, starting with slow arpeggiated chords, turning into razor-sharp riffs and pulling the listener into a narrative of plague and decay. Mustaine’s voice, gravel-edged from both age and illness, carries defiance in every word. (And No! Mustaine claimed that the song was not specifically written about the coronavirus pandemic). Then comes "Life in Hell"  and charges forward with relentless thrash intensity, corresponds with "Metallica" and echoing the band’s classic ferocity. Mustaine said that the song was written about all the turmoil that took place in the band, not just his cancer. "Night Stalkers" , featuring Ice-T , becomes a cinematic ride through covert operations. It's about the 160th Battalion secret helicopter division of the U.S. Army, and it's all the black-ops helicopters that go in at night. Verbeuren’s drumming spits flames of artillery fire beneath Mustaine’s snarling delivery and Kiko Loureiro's haunting guitar playing. And how beautiful is the instrumental and melodic transition that elevates this song to an epic level.. The haunting "Dogs of Chernobyl"  is a centerpiece. Beginning with mournful acoustic guitar melodies, it builds into catastrophic thrash, conjuring images of love lost in radioactive wastelands. It is both brutal and poetic, and one of the finest songs in the band’s late-era catalog. The song was based on the 2012 horror movie "Chernobyl Diaries". " Sacrifice " follows with venomous riffs and lyrical bite, a track that feels like Mustaine channeling both fury and prophecy about dark magic - a writing topic that Mustaine has tackled in the past. Then comes " Psychopathy " the short instrumental intro for "Killing Time" , one of the catchiest songs on the album. No wonder it was planned as the leading single from it, but then after the album release date was delayed, the band decided to release "We'll Be Back" instead. "Soldier On!"  takes a steadier, groove-driven march, embodying persistence in the face of collapse. It's more mid-tempo and melodic with groove elements and although it features much military imagery, it is actually about how you need to be brave when walking away from a relationship. "We’ll Be Back" , the first single, delivers pure thrash devastation. Its battle cry of vengeance and survival earned a Grammy nomination, proving "Megadeth" can still wield fury like few others. This song also opened a new chapter in the visual legacy of "Megadeth". " We’ll Be Back " became Chapter I  of a five-part short film telling Vic’s origin story—violent, apocalyptic, and relentless. "Night Stalkers"  served as Chapter II as Vic awakens as a vengeance figure, while the album’s title track became Chapter III , pushing the saga into plague-ridden warfare. "Life in Hell"  expanded the myth as Chapter IV , and finally, "Killing Time"  closed the series as Chapter V , tying the threads of betrayal, revenge, and survival with Vic’s redemption and rescue. For the first time in the band’s history, Vic wasn’t just an icon on the cover—he became a living, breathing character in a cinematic narrative. It was also a deliberate throwback to the mythology of " Rust in Peace ", when Vic was more than just imagery—he was the band’s alter ego. The record closes with a playful nod to punk and rock roots with covers of "Police Truck"  ("Dead Kennedys") and Sammy Hagar 's "This Planet’s on Fire (Burn In Hell)"  (featuring Sammy Hagar  himself). When the album finally emerged from years of uncertainty, it soared to number three on the Billboard 200, topping charts worldwide. Critics hailed it as a return to form, comparing it to " Endgame " and even " Countdown to Extinction ". For fans, it was more than music—it was proof of resilience, a reminder that even after cancer, scandal, and a global standstill, "Megadeth" could rise again. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On September 10, 1996, "Suede" released their third album "Coming Up". This is the album with which the band broke into worldwide consciousness. It is also the band's most successful album to date. Out of the album came no less than five singles that entered the top ten in various charts all over the world. " Trash " was the first to be released as a single even before the release of the album. It was the band's first single written without guitarist Bernard Butler and featured the first writing collaboration between Brett Anderson and Richard Oakes. It was followed by " Beautiful Ones ", which was originally called "Dead Leg" following a threat by bassist Mat Osman on guitarist Richard Oakes. Osman threatened Oaks that if he will not write a "hit" that would enter the top ten he would make sure to break his leg. Of course, Oaks "survived" after the song became a big hit. "Suede" did not stop and continued with the third single and one of the most beautiful ballads of the nineties: " Saturday Night ". The music video for the song was produced by Pedro Romhanyi, who also "handled" two other music videos for the band: "Animal Nitrate" and "Beautiful Ones". The "bomb shelling" continued with the fourth single, " Lazy ", which proved to all that the collaboration between Brett Anderson and Richard Oaks is simply meteoric. Pedro Romhanyi also directed this clip. The band finished with the fifth and final single released from the album. Like its predecessors, this song also entered the top ten on the British chart. " Filmstar ", with its oriental scent, introduced the band's musical diversity. The success of the album is intensified by the fact that only two years earlier "Suede" was at a low point in their short musical career. The downturn came after their second album, "Dog Man Star," failed in sales. Following the meteoric success of its debut album, the relevance of "Suede" was suddenly questioned. In an instant, the band became an uninteresting act, while watching the British media praise and glorify its colleagues, “Oasis” and “Blur”, who became the hot thing at the time. Add to that the fact that one of the band's main pillars, guitarist Bernard Butler, left and you have a deep crisis that could have threatened the future of "Suede." Butler's departure was no small matter. Beyond the fact that Butler was an excellent guitarist who greatly influenced the band's special sound, he was also its lead songwriter, along with Brett Anderson . But Suede members did not say desperate. They worked hard to find a new guitarist to replace Butler. The task was not easy as Butler was a key player in the band. In the end, Richard Oakes, who was a fan of the band and was only 17 years old, was chosen from among 500 different candidates for the guitarist position. What’s amazing about Oaks, is that he was the only guitarist who didn’t do an audition in front of the band but sent a demo tape to its fan club. Armed with the young spirit of a 17-year-old guitarist, the band entered the studio. The writing process was different from the previous two albums. If on the previous albums Brett mostly wrote the lyrics and Butler the music, this time the creative process was done by all the band members. In addition, the band decided to enrich its sound with the addition of keyboards. Thus, on the recommendation of drummer Simon Gilbert, his cousin, Neil Codling, was recruited to the role of keyboardist. Codling was also a co-writer of the songs and remains in the band's relatively stable lineup to this day (except for a brief break between 2003-2001). To avoid further shocks, the band decided, after some deliberation, to continue working with their previous producer, Ed Buller. It is interesting to note that during the deliberations the names considered for the role were, among others, Brian Eno and Flood, who is known for his productions for "New Order", "Depeche Mode", "U2" and "Nine Inch Nails". (Photo: imdb.com) The material written for the album was more accessible and catchy compared to previous albums and even a bit "Popish". The creative process was particularly fruitful. In addition to the ten songs that entered the album, the band also wrote the song " Young Men ". The song was left out of the album, as producer Buller, thought it was too dark compared to the rest of the album's catchy tracks. This song eventually came out as a b-side to the song "Beautiful Ones" and was included in the double masterpiece album "Sci-Fi Lullabies" which was released in 1997 and included 27 songs that were not included on the band's albums. In the end, the album turned out to be a huge success for the band. It included an incredible sequence of hits and garnered rave reviews from critics. You could say that this album even saved the band from disbanding, as it is very likely that it would not have survived another commercial failure. If that wasn't enough, this album brought back the relevance of the band, which was fading in the face of the success of bands like "Oasis" and "Blur". It seems that in the end, the name of the album predicted the future of the band. The album brought "Suede" "up", exposed them to a large and diverse audience, and earned them worldwide recognition and great appreciation. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On September 2, 1993 Neil Young & "Pearl Jam" an iconic live performances at the 1993 MTV Video Music Awards: (Photo: Jeff Kravitz) "Pearl Jam's" collaboration with Neil Young at the 1993 MTV Video Music Awards was a historical event that brought two different generations of music together. The event took place on September 2, 1993, and featured "Pearl Jam" and Neil Young performing Young's classic track " Rockin' in the Free World ." This performance symbolized a powerful fusion of two generations of rock music—Young, often referred to as the "Godfather of Grunge," and "Pearl Jam", one of the leading bands of the grunge movement. The collaboration came at a time when "Pearl Jam" was at the height of their fame, following the massive success of their debut album " Ten " and just before their sophomore release " Vs . "  Neil Young , already an established legend, was experiencing a resurgence in popularity due to his association with the grunge movement that was influenced by albums like " Rust Never Sleeps ", but particularly after the release of his 1990 album "Ragged Glory" and the live album "Weld", which echoed the raw, distorted sound that defined the genre. This bond between the two musical worlds was further cemented when "Pearl Jam" served as Neil Young 's opening act during their tour prior the release of the album " Vs . " and Neil Young used to bring them on stage during his encores to perform the song " Rockin' in the Free World "  with him . This mutual admiration between Neil Young and "Pearl Jam" was so clear that it was only natural that the two would collaborate in the near future. The opportunity came at 1993 MTV Music Awards.  "Pearl Jam" was the night's biggest winner when their video for " Jeremy " earned them four awards, including Video of the Year. They went up to perform " Animal " from their upcoming album " Vs . " and then, on their second and last song performed that historical evening, they invited Neil Young as if they were returning a favor for all the times he did it for them. On stage, the chemistry between Eddie Vedder and Neil Young was electric. Young's gritty guitar work and distinct vocals blended seamlessly with "Pearl Jam's" intense energy. The performance was raw, loud, and full of the rebellious spirit that both artists embodied. It was also notable for its spontaneity and unpolished nature—qualities that set it apart from the more polished acts typically seen at such events. The MTV performance further cemented Neil Young 's status as a major influence on the grunge scene and solidified "Pearl Jam's" position as a torchbearers of a new era of rock music. The collaboration was so well-received that it led to further work between the artists, culminating in "Pearl Jam" serving as Young's backing band on his 1995 album " Mirror Ball ", which further blended their distinct sounds. Overall, the 1993 MTV Video Music Awards performance remains a uniqe moment in the history of rock, representing the meeting of musical minds that spanned generations and shaped the direction of the genres of rock and grunge. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

And then they were two... On September 1, 1997 "Genesis" released their 15th album "Calling All Stations". This is the last piece of music released under the name "Genesis", but it's a pale shadow of what this great band has produced in the past, even compared to their previous album "We Can't Dance". Over the years, "Genesis" faced quite a few upheavals, but it seems that each time it actually came out of them strengthened. It started in 1974 when its charismatic lead singer Peter Gabriel decided to leave. The band, which was sure that it was impossible to continue without him, suddenly discovered Phil Collins as a singer and came out with one of its greatest albums " A Trick of the Tail ". Then, in 1978, the band suffered the departure of lead guitarist Steve Hackett who contributed significantly to the sound and writing process of the band, but even then, the three remaining members managed to emerge from this departure strengthened with the album " ...And Then There Were Three... ", which began the "journey" of "Genesis" from the heart of the progressive rock consensus to the bear hug of pop and the mainstream, with the meteoric success they will experience in the 80's. But not this time! In 1996, Phil Collins decides that his two parallel and successful careers are a little too much for him. After a long and successful tour with "Genesis" he decides to leave what he had for as a second home in the last 25 years and focus on his solo career. And so, "Genesis" finds itself, once again, without its charismatic singer who was also a full partner in the writing. The two remaining members Tony Banks and Mike Rutherford who insisted on moving on, were forced, for the first time in the band's history, to choose an outside musicians to help them record the material they had written for a new album. But unlike the previous times, the current change in the line-up was fateful and violated the delicate balance on which the band's glorious career rested over the years. The choice of Rutherford and Banks for a singer was quite surprising, to say the least. In the past, "Genesis" has survived tough line-up changes by relying on the band's own members, but this time it was different, because Rutherford and Banks couldn't take on the vocals duties and certainly not the drums. They could have chosen any other singer to try and step into Phil Collins ' big shoes, but they chose Ray Wilson, a fairly anonymous singer who had the one-off hit "Inside" from 1994 by his band "Stiltskin" (yes, the famous song from the commercial Levi's commersial). In contrast, to fill Phil Collins ' huge void as a drummer, Rutherford and Banks relied on not one, but two drummers. Nick D'Virgilio from the neo-prog band "Spock's Beard" and the Israeli Nir Zedkiyo, who played with various artists from Yehuda Poliker to Chris Cornell . To tell the truth, as much as Ray Wilson is a great singer and we really like the tone of his voice, he didn't really have a chance to step into the big shoes of Phil Collins . He joined the band after most of the album had already been written and probably even if he had been a full partner in writing he would also have lacked the glue that Collins had that connected the old trio so well. Although Ray Wilson occasionally participated in writing the lyrics of songs included on the album, such as " There Must Be Some Other Way ", " Not About Us " and " Small Talk ", it was still not enough. The album was missing the all-important addition of Phil Collins and his amazing talent to produce catchy songs that would instantly become hits. Tony Banks later admitted that if Phil Collins had been there, he just know that this album would have taken off somewhere else. The album includes 11 songs spread over 70 long minutes, without any significant hits. There is no doubt that there are some beautiful and special moments here, but this is no longer "Genesis". Despite Wilson's admirable effort and his very unique voice, he didn't fit the band's DNA, but to his credit, there is hardly any other singer in the world who could have fit. The hole left by Collins was simply unfillable. He is so identified with the band that we think that there are those who have trouble even distinguishing between "Genesis" hits and hits from his solo career. And some of you may ask, if this album has the talented duo of Tony Banks and Mike Rutherford with an excellent singer, then why didn't it work this time? We believe that the fans were not ready for a new, different and softened version of "Genesis". They weren't ready to accept the band without the person who was so identified with it. It is not impossible that if Rutherford and Banks had worked under a completely different name, everything would have looked different. On the one hand, they would give Wilson a clean, fresh start that would avoid the comparison to Collins, and on the other hand, they would allow him to be part of the creation and the final product. We are sure that excellent songs like the theme song " Calling All Stations ", the hit " Congo " and the ballad " Shipwrecked " would have worked better under another band name and not "Genesis" and we can only wonder if this collaboration with Wilson could have continued if it was a new band. "Calling All Stations" did not sell well in the US, which caused the band to cancel their American tour, and with the cancellation, the plans to record a follow-up album as a cohesive band were shelved. Banks and Wilson were actually ready to record another album. They felt that the European tour consolidated the band that began to feel like a cohesive unit, but poor sales and the lack of interest from the music world caused Rutherford to lose interest. 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