On December 7, 1984, "Foreigner" released their fifth studio album "Agent Provocateur". Marking the band’s only number-one album on the UK Albums Chart and reaching the top five on the US Billboard 200, it demonstrated their ability to adapt to the glossy, synth-heavy production trends of the 1980s. However, its creation was marked by artistic tensions and challenges, resulting in a record that blends soaring highs with some uneven moments. The album includes "Foreigner’s" most enduring hit, " I Want to Know What Love Is ," a global anthem that became their only number-one single on both the UK Singles Chart and the US Billboard Hot 100. Despite its commercial success, "Agent Provocateur" also reveals the growing creative divide between founding member Mick Jones and vocalist Lou Gramm , whose conflicting visions for the band's direction became increasingly apparent. Writing and preproduction for "Agent Provocateur" began in mid-1983 with Trevor Horn as producer. Early sessions in New York hinted at an exciting collaboration, but the relationship soured when the band traveled to England later that year to resume recording. Horn eventually left the project, citing irreconcilable creative differences, though his contributions—particularly on the backing tracks for " I Want to Know What Love Is "—remain a part of the album's DNA. Mick Jones and co-producer Alex Sadkin ultimately helmed the project, shaping the polished, synth-heavy sound that defines the record. This production shift aligned with Jones’ vision of steering the band toward a softer, more commercial style. However, this direction clashed with Gramm's desire to maintain "Foreigner's" hard rock roots, creating an artistic tug-of-war that influenced the album’s eclectic tone. Adding to the tension, Jones and Gramm clashed over songwriting credit for " I Want to Know What Love Is ." Gramm felt his vocal interpretation was instrumental in elevating the track, while Jones—who wrote most of the song (about his relationship with future wife Annabelle Dexter-Jones) —believed the credit rightly belonged to him. This quarrel strained their working relationship with Jones offering Gramm only 5% of the credit and Gramm thinking he deserves at least 40%. Gramm was so hurt that in the end he gave up on his credit for the song. This led to his eventual departure from the band. Despite its fraught creation, "Agent Provocateur" features some of "Foreigner’s" most compelling work. The album’s centerpiece, " I Want to Know What Love Is ," is a masterclass in emotional balladry. Lou Gramm ’s soulful lead vocals, the gospel harmonies of the New Jersey Mass Choir, and contributions from Jennifer Holliday and Tom Bailey of the "Thompson Twins" create a lush, transcendent soundscape. It’s no surprise the song became a timeless classic. " That Was Yesterday " is another standout, blending a memorable chorus with sharp synthesizer flourishes that epitomize mid-1980s AOR. Mick Jones explained that he draws a lot of songwriting material from subconscious emotions from past relationships. He said that the song is about a relationship that failed, which you're still clinging onto. You still feel that there's a chance to resurrect it. Meanwhile, tracks like " Reaction to Action ", " Stranger in My Own House " and " Tooth and Nail " harken back to "Foreigner’s" harder rock roots, offering driving riffs and energy, though they lack the melodic depth of the album’s highlights. The album’s deeper cuts reveal a mix of experimentation and filler. " Stranger in My Own House " explores funkier grooves, while " A Love in Vain " and " Down on Love " stick to softer rock, delivering less impact. Gramm’s vocals remain a consistent high point, elevating even the less inspired material. "Agent Provocateur" is both a showcase of "Foreigner’s" strengths and a reflection of its challenges. Mick Jones ’ production emphasizes melody and polish, moving the band into softer, radio-friendly territory. While this approach yielded commercial success, it sometimes sacrifices the grit and spontaneity of "Foreigner’s" earlier albums. It is a fascinating snapshot of a band caught between artistic ambition and commercial pressures. It delivers moments of brilliance, particularly in its standout singles, while grappling with  creative discord and unevenness with a handful of fillers. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On December 7, 1995, Berry Sakharoff's third album, "Hot on the Moon" , was released, an album that officially placed Berry Sakharoff at the center of the Israeli mainstream and spawned many hits that became the soundtrack of Israeli music. In 1994, Berry released his second solo album, "Signs of Weakness," a groundbreaking work that incorporated avant-garde electronic and sampling elements, pushing the boundaries of Israeli music at the time. Despite its innovative nature, the album did not achieve commercial success, experiencing lackluster sales. Undeterred by this setback, Berry, an experienced musician, remained resilient and embarked on the creation of his next album. In his previous release, Berry had already distanced himself from his longstanding collaborator Ramy Fortis, establishing an independent approach to his work. With the current project, Berry entered the studio with a clear vision of how he wanted to compose and produce the album. Unlike a singular guiding force, Berry favored a collaborative approach to music-making. In the studio, a diverse group of musicians gathered to contribute their individuality to the creative process, each adding their unique elements to the songs. Dan Toren, a significant figure in the writing and production aspects, described the atmosphere at D.B. Studios as exhilarating, marked by highs and lows. Berry aimed to capture the essence of live music, fostering an environment where musicians collectively shaped the musical direction rather than relying on a single decision-maker. Berry's collaborative and diverse approach to music-making, where each musician contributes their unique style, has yielded an album that is truly eclectic and varied. The inclusion of rock-grunge in tracks like "Come Home" and "I Know," blues in "'77," reggae, dramatic symphonies, nature-inspired parties in "Diamond," and the oriental vibes of "Ohtak Baby" showcase the album's wide-ranging influences. The creative ensemble comprised of Berry, Dan Toren, Oren Lautenberg, Haim LaRose, and Oded Farah has played a pivotal role in crafting this diverse musical landscape. The album produced several chart-topping hits, including "Come Home," "Yomoledet" (which received a dance rendition by Infected Mushroom), "Hot on the Moon," and "Make Room." These songs have not only left a lasting impact on Berry's career but have also made a significant mark on the landscape of Israeli music. Following the album's release, Berry embarked on a lengthy and successful local tour alongside the band with whom he recorded the album. This tour garnered increasing audiences, solidifying Berry's status as one of the most recognizable rock stars in Israel. Following the success of the aforementioned album, Berry's second album received a significant boost, solidifying its status as one of the pivotal works in Israeli music. Notably, tracks like "Kama Yossi," "White Noise," "For You," and "Tni li makom" left a lasting impact on listeners. In 2015, in celebration of the album's 20th anniversary, a tribute show named "Dub on the Moon" was staged during the "Indingev" festival. This special performance featured a dub and reggae interpretation of the album's songs. Beno Handler, the producer and bassist who had previously collaborated with Berry on the "You Are Here" album, took on the responsibility of managing the show. Listen to the album on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Written By: Moti Kupfer Release date - 7.12.84 (CD) / 1.10.84 (LP) In the book “Sefer HaChinuch” (" Book of Mitzvos") it was written: “After the actions, the hearts are drawn.” The idea behind this phrase is that the purpose of many commandments is to bring the heart closer to the right path through rituals and actions, because through words alone it will not happen. After the huge success of "Supertramp" with "Breakfast in America", Roger Hodgson, the vocalist and one of the band’s two primary songwriters, felt that he could manage by his own. Hodgson, who in 1980 won the Ivor Novello Award from the British Academy of Songwriters and Composers for "The Logical Song", decided to leave Los Angeles and move to the mountains of northern California, where he built himself a home studio and began recording solo material. The geographical distance created tension between Hodgson and the other band members, and in 1983 he officially resigned from "Supertramp" and began working on his first solo album "In The Eye Of The Storm", released on October 1, 1984 on vinyl and on December 7, 1984 on CD. His debut is a direct continuation of the last album he worked on with "Supertramp", "...Famous Last Words", and several of its songs were originally written and intended for that record. Hodgson wrote, sang, arranged, and produced the entire album, and aside from the drum parts and fretless bass on two tracks, he played almost every instrument himself. Hodgson continued the early-80s “Supertramp-style” direction, blending pop with progressive rock, resulting in an album built mostly from extended tracks of six minutes or more (five out of seven songs). The album opens with the eight-minute piece "Had a Dream (Sleeping with the Enemy)" , which begins like the introduction to a dramatic film before shifting into quicker rhythms and bouncing piano. The following track, "In Jeopardy" , combines piano and percussion with synthesizers. Conceptually, "In Jeopardy"  continues the dark thread of uncertainty introduced in the opening track. Later, on the fifth track, Hodgson almost pleads "Give Me Love Give Me Life" , and immediately after declares "I'm Not Afraid" , before the album closes with "Only Because of You"  - another long, eight-and-a-half-minute composition written during his "Supertramp" days. So Hodgson does everything on this album, but that does not mean he has no fears, and he expresses them throughout the songs. "In the Eye of the Storm" is a powerful and inspiring opening chapter in Hodgson’s solo journey. Its sweeping arrangements, daring song structures, and especially the fact that Roger Hodgson played nearly every instrument himself, revealed an artist redefining his identity outside the shadow of his former band "Supertramp". It stands as a moving reminder of what his solo career could have become, as he would go on to release only two more albums. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On December 7, 1973 “Yes” released their sixth studio album “Tales from Topographic Oceans”. This was the moment where progressive rock reached its most ambitious, most fearless and most divisive point. A double album made of four side long epics, written at the height of the band’s confidence and tension, and recorded in the strange glow that came after the triumphs of “ Fragile ”. It was the sound of a band pushing every boundary at once, length, structure, spirituality, musicianship, as if rock music suddenly had no ceiling. This period in the story of "Yes" was turbulent and electric. Jon Anderson dove deep into Eastern philosophy, drawing inspiration from Paramahansa Yogananda’s writings and building a full album around the idea of four shastras, four spiritual paths represented by each epic movement, that range between 18 and 21 minutes each. Steve Howe  embraced the challenge, expanding his guitar palette, weaving acoustic textures into the sprawling structures. Chris Squire , the heartbeat of the band, delivered some of his boldest and most melodic bass work. Rick Wakeman struggled with the direction and the length but contributed textures, colors and moments of brilliance that shaped the album. Alan White , still new in the lineup, found himself navigating compositions that shifted every few minutes into new tempos, new moods, new landscapes. The recording sessions at "Morgan Studios" became legendary for their surreal atmosphere, carpets, foliage, dim lighting, almost an attempt to turn the studio into the topographic world the music was trying to describe. Jon Anderson decorated the studio with flowers, plants, and cardboard cutouts of cows and sheep. White picket fences were placed around Rick Wakeman’s keyboards, and amplifiers were set on stacks of hay. When "Black Sabbath" moved into the neighboring studio to record "Sabbath Bloody Sabbath", Ozzy Osbourne recalled seeing a model cow with electronic udders and a small barn in the corner, “like a kid’s plaything.” The opening piece, “ The Revealing Science of God (Dance of the Dawn) ” , is where the album shows its heart. It moves slowly but gracefully, building layers of harmonies and repeated motifs until the whole band locks into a majestic flow. Jon Anderson’s voice takes its time, floating over Steve Howe ’s melodic climbing lines and solos which he admits were influenced by Frank Zappa , with Chris Squire  carving thunder beneath. The track was originally 28 minutes long, but was cut to fit the time constraints of a record. “The Remembering (High the Memory)”  is the dreamiest and most atmospheric of the four movements, softer edges, slow tides of keyboards, a sense of searching. Anderson described it as "a calm sea of music" and wanted the band to play like the sea. There is beauty in its patience, in its willingness to stretch themes until they shimmer. At moments it drifts, but in those minutes where everything aligns, it becomes one of the band’s most hypnotic pieces. Howe plays here various instruments like Danelectro electric sitar, lute, and acoustic guitar. “The Ancient (Giants Under the Sun)”  is the most chaotic, the most challenging, the moment where the album leans hardest into avant garde territory. Alan White ’s percussion spreads across the stereo like a ritual dance, Steve Howe  merges sharp electric lines with dissonant clashes, steel guitar and a Spanish Ramirez acoustic guitar, and Rick Wakeman’s keyboards move between textures as if refusing any single identity. And then, almost miraculously, it all dissolves into Howe’s gentle classical guitar passage which later became known as " Leaves of Green ", one of the most human and intimate moments the band ever captured. “Ritual (Nous Sommes du Soleil)” , the closing side, gathers everything that came before and explodes it into one final 20 minute ceremony. Anderson described its bass and drum solos as the fight and struggle between "sources of evil and pure love" Chris Squire ’s bass roars with impossible size, Alan White  (who wrote the piano sequence for the closing "Nous sommes du soleil" section) delivers the extended percussion ritual, and Anderson sings with spiritual conviction. It feels like a farewell to the epic format the band had perfected, a monument lifted into the sky as the golden age of classic "Yes" approached its turning point. Upon release, “Tales from Topographic Oceans” split the rock world in half. Critics attacked its length and ambition, while fans debated its meaning, its structure, its purpose. Even inside the band, the cracks widened. Wakeman left shortly after the tour, exhausted from the conceptual weight. But with time, perspective softened. Today the album stands as one of progressive rock’s boldest statements, a document of a band unafraid to risk everything in search of transcendence. It is not an easy album. It is not a perfect album. But it is an album unlike any other, spacious, spiritual, overwhelming, flawed, breathtaking. “Tales from Topographic Oceans” is immersion, commitment, surrender. It demands patience, but it rewards imagination. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On December 6, 1994, "Bush" released their debut album "Sixteen Stone" , an album that was a huge success for the small band from the UK just as Grunge peaked and began the downward trend. It all began at a Brian Adams concert at Wembley in 1991. Following his departure from his initial band, "Midnight," Gavin Rossdale attended Brian Adams' show at Wembley and caught the performance of the opening act, "Baby Animals." Nigel Pulsford, the guitarist in "Baby Animals," left a lasting impression on Gavin, leading to the discovery of their shared love for various bands. Inspired by this common interest, they, along with Dave Parsons on bass and Robin Goodrich on drums, decided to form a band named "Future Primitive." Despite being unsigned, the new band recorded several songs and opted to release "Bomb" as their debut single. Gavin released it under his independent label, Mad Dog Winston Records. Although the single received minimal airplay and attention, a person named Rob Kahane recognized its potential and signed the band. With the band's new manager having a distribution contract with Hollywood Records (then owned by Disney), they promptly began recording at Westway Records studios in London in January 1994. Despite Gavin's preference for producer Steve Albini, Clive Langer and Alan Winstanley, renowned figures in British pop/rock from the early '80s, were chosen, mainly due to their British background. In retrospect, this decision proved wise, as events unfolded. Now, addressing the band's name, towards the conclusion of the recording process and during the album cover design phase, David Carson, the entrusted designer, persuaded the band to choose a shorter name for better presentation on CD packaging. Convinced by this reasoning, the band members settled on the name "Bush." (Photo: Bush) So, with songs recorded, a new name chosen, a cover designed, and the album seemingly ready for release... an unexpected hurdle emerged. Following the completion of the recordings, a key Disney executive, Frank G. Wells, who was Rob's connection within the company and a staunch supporter, sadly passed away. His absence had a significant impact, and immediately after his departure, the label's managers decided to shelve the album. They refused to release it, citing the absence of a standout "single" and predicting the album's failure in sales. Devastated, the band members, envisioning the demise of their careers before they even took off, returned to routine jobs. However, Rob remained undeterred and began searching for a new home for his budding band. Eventually, Interscope Records stepped in and embraced the band, releasing their debut album, "Sixteen Stone," under its Trauma Records label. Rob, having connections at the renowned KROQ radio station in the US (and globally), sent them the single "Everything Zen" to promote the album. The single received extensive airplay on the station, and along with other singles like "Little Things," "Comedown," "Glycerine," and "Machinehead," "Sixteen Stone" quickly climbed to number 4 on the Billboard Heatseekers chart. The album gained significant exposure and achieved notable success. The decision to have English producers, Clive Langer and Alan Winstanley, proved wise for several reasons. The band's lead, Gavin Rossdale, initially wanted the renowned American producer Steve Albini to produce the album. However, the choice of Langer and Winstanley, being British themselves, brought a different perspective to the table. In hindsight, this decision turned out to be astute, and the reasons became evident as events unfolded. Following the album's release and the subsequent success it brought to the band, critics and listeners started accusing "Bush" of riding the grunge wave and attempting to emulate the music emerging from Seattle, particularly bands like "Soundgarden," "Nirvana," and "Pearl Jam." Gavin Rossdale faced accusations of trying to imitate Eddie Vedder, and there were even claims that the song "Bomb" was attributed to Kurt Cobain's writing. However, the fact that the producers, Langer and Winstanley, were not associated with the music scene in the US, especially in Seattle, served as evidence against these allegations. It emphasized that the band's sound and style were not a result of trying to mimic the Seattle grunge scene but rather a unique approach influenced by their own musical influences and collaborations. Certainly, despite the aforementioned criticisms and comparisons, we firmly believe that this album possesses a distinctive quality of its own. Undeniably, it echoes the sounds emanating from Seattle, carrying the hallmark grunge roughness. However, what sets it apart is the unique interplay of the rugged guitars, introducing a slightly different dynamic to the genre. Gavin Rossdale's voice is truly captivating and stands out as a defining element. Whether he's pushing his vocal limits to convey raw emotion or adopting a cleaner tone, the power and emotion he imparts are both wonderful and deeply moving. There's a certain roughness even in his clean vocals that adds to the band's character. Following the release of this album, "Bush" firmly secured its place among our favorite bands. What further solidified our admiration was the band's commitment to evolution with each subsequent album. Their ability to adapt and grow with each release only deepened our appreciation for their artistry. Listen to the album on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

If there's one singer we can say has a simply "divine" voice, it's probably Greg Lake. He has a powerful and caressing voice that penetrates through the pores of the skin into the bloodstream and from there through the veins directly into the heart. This talented singer is also a songwriter with supreme grace, who wrote and perform some of the greatest progressive rock anthems, and for all that, he also plays bass, guitar, and harmonica. (Photo: Ian Dickson) So let's tell you some facts about this very talented musician: 1. He was born to a poor family in the town of Poole in Dorset County, England, on November 10, 1947. His name at birth was Gregory Stuart Lake. 2. Already in his youth he became interested in music. Although his parents feared that there was no future from which to make a living, they did not stop him, quite the opposite. His mother, who was a pianist, bought him his first guitar and even work harder to finance his guitar lessons. 3. In 1957, when he was 10, he discovered rock 'n' roll and the first single he purchased was "Lucille" by Little Richard. 4. Already at the age of 12 he wrote his first song - "Lucky Man", which in due course will sign seal first album of the supergroup "Emerson, Lake & Palmer". 5. The first band he was a member of was "Unit Four", this was a cover band. 6. The first serious band he was a member of and with which he released Janis Ian's single "Don't Go Away Little Girl", was "The Shame". 7. Greg Lake was determined to fulfill his dream of becoming a musician, he worked during the day and played at night, but the money was not always enough so he often found himself hungry for bread and without heating in his apartment. On one occasion he even went into a coma as a result of acute pneumonia. 8. In 1967 he joined "The Gods", which included keyboardist Ken Hensley and guitarist Mick Taylor . 9. Greg later teamed up with guitarist Robert Fripp , also a native of "Dorset". They both took childhood lessons with the same music teacher. 10. After Robert Fripp disbanded his band "Giles, Giles and Fripp" he offered Lake to join his new band - "King Crimson", as a singer and bassist. 11. Although he was a guitarist, Lake agreed to join and to that end, he learned to play bass guitar. 12. Lake was part of the band's debut album, the masterpiece " In The Court Of The Crimson King " and even took part in writing some of the songs. (Photo: Top of the Pops B.B.C T.V) 13. During the band's tour in the US he met and teamed up with Keith Emerson who was part of the band "The Nice". In this meeting, the two expressed their desire to form a joint band. 14. When "King Crimson" returned to England in the early 1970s, Greg Lake announced his departure from the band, but agreed to record one more album with them before retiring - "In the Wake of Poseidon". Lake even appeared with them on a TV show with the song "Cat Food". 15. In April 1970 Lake was already jamming with Emerson. Joined by drummer Carl Palmer, known from the bands "The Crazy World of Arthur Brown" and "Atomic Rooster", they formed the supergroup "Emerson, Lake & Palmer". 16. The band's first album, which also bears its name, was released in November of that year, when the song that seals it is, as mentioned, "Lucky Man", which Lake wrote when he was only 12 years old. 17. The band later released masterful albums such as "Tarkus" and "Pictures at an Exhibition" both from 1971, " Trilogy " from 1972, "Brain Salad Surgery" from 1973, and the double album "Works Volume 1" and "Works Volume 2 " from 1977 and "Love Beach" from 1978. (Publicity Photo) 18. In the late 1970s the band disbanded and Lake burst into his solo career with two albums: "Greg Lake" from 1981 and "Maneuvers" from 1983, both in collaboration with guitarist Gary Moore . The opening song of the first solo album - "Nuclear Attack" was also recorded by Gary Moore for his 1983 album "Dirty Fingers". 19. In 1983 he briefly replaced John Wetton in the supergroup "Asia" alongside his drummer friend Carl Palmer. 20. In 1986 Emerson and Lake sought to unite "ELP", but because Carl Palmer was committed to the band "Asia" the one who filled his place in the band was Cozy Powell . The band was called "Emerson, Lake & Powell" and released an album of the same name that year. 21. The band "Emerson, Lake & Palmer" returned to activity in 1992 with the album "Black Moon" and later in 1994 the album "In the Hot Seat" was also released. 22. In 2001, Lake joined one of the incarnations of Ringo Starr's All-Star Band - "Ringo Starr & His All-Starr Band". 23. In 2003 he was a guest as a bass player on the song "Real Good Looking Boy" by "The Who". 24. On December 7, 2016, Greg Lake passed away after a long battle with cancer and is 69 years old. We have prepared a playlist for you that includes some of his greatest moments: Spotify "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On December 5th 2000, "Rage Against The Machine" released their last studio album to this day, almost two months after the band's official and first breakup. The album is a homage to artists who influenced the band members and had a significant role in music history in the eyes of the Rage Quartet. This is Rage's only album to not be accompanied by a supporting tour. Shortly after the release of the album, three of the four band members (minus vocalist Zack de la Rocha ) formed a new band, "Audioslave", with Chris Cornell . RATM did, however, release the live album "Live at the Grand Olympic Auditorium" in 2003, consisting of their final two concerts before their initial break-up. (Photo: Rage Against The Machine) The album's cover art is a parody of the pop artwork "LOVE" by Robert Indiana, with the word "love" replaced with "rage" and the letter G at the bottom left corner slanted (in the original sculpture, the slanted letter O is at the top right corner). The album's packaging also includes a poem by Josh Koppel. On the back of the album's cover, there is an artwork with a photograph of an American one-dollar bill with the message "You are not a slave" written on the back. The album achieved platinum status a little over a month after its initial release. There is no doubt that each and every song in the album was adapted to the Rage style and it sounds like an original Rage album!! The album contains 12 cover songs as below: 1. "Microphone Fiend" - Eric B. & Rakim (1988) 2. "Pistol Grip Pump" - Volume 10 (1994) 3. "Kick Out the Jams" - MC5 (1969) 4. "Renegades of Funk" - Afrika Bambaataa (1983) 5. "Beautiful World" - Devo (1981) 6. "I'm Housin" - EPMD (1988) 7. "In My Eyes" - Minor Threat (1981) 8. "How I Could Just Kill a Man" - Cypress Hill (1991) 9. "The Ghost of Tom Joad" - Bruce Springsteen (1995) 10. "Down on the Street" - The Stooges (1970) 11. "Street Fighting Man" - The Rolling Stones (1968) 12. "Maggie's Farm" - Bob Dylan (1965) Listen to the album on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

A Sneak Peek... On December 5, 2000, Alice In Chains' only live album, simply called "Live", was released. True, we did not forget that one of the band's biggest albums is the masterful album MTV Unplugged , but now we refer to an album where the band is immortalized exactly the way they sounded on stage. In fact, this is a compilation album that includes recordings of the band from a number of performances in a chronological order, starting with the opening song "Bleed the Freak" recorded at the famous Seattle Moore Theater on December 22, 1990 and featuring Mike Starr on bass, through a collection of songs recorded on March 2, 1993 In Glasgow Barrowland, Scotland, and up to the five songs that sign the album, which were recorded during Layne Staley 's last two performances with the band, which were held on two consecutive nights on July 2-3, 1996. It is interesting to note that the album includes the song "Queen of the Rodeo" which was not released on any of the band's official studio albums. This album is an important historical document and not just due to the fact that it includes tracks from Layne's recent performances with the band. This album gives us a chance to be impressed by the band's amazing abilities and especially by the vocal performances of Layne and Jerry Cantrell who prove to us that they sound great and know how to combine harmonies perfectly, even over a prism guitar screen, drum beats and audience roars. Listen to the album on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Written By: Moti Kupfer Release date - 5.12.66 “Stephen is a genius,” troubadour Neil Young  once said about Stephen Stills  - and if Young says it, he’s probably not wrong. Stills and Young collaborated in several groups: “Buffalo Springfield”, whose debut album was released on December 5, 1966, “Crosby, Stills, Nash & Young”, and the "Stills-Young Band". I’ve written before about Stephen Stills ’ involvement in recording the album “ Super Session ” with Mike Bloomfield and Al Kooper. Stills was born in Dallas to a military family and, because the family moved frequently, he grew up exposed to — and loving — a wide variety of musical styles, from folk and blues to Latin music. At age 9, Stephen Stills was diagnosed with partial hearing loss in one ear, a condition that worsened as he grew older. After dropping out of Louisiana State University, Stills played in several bands, including "The Continentals", which featured Don Felder — the future guitarist for “The Eagles”. Stills began performing solo at Gerde’s Folk City, and later joined a nine-member vocal harmony group called The "Au Go Go Singers", where he met his future “Buffalo Springfield” bandmate Richie Furay. Together with Furay and three other members of The "Au Go Go Singers", Stills formed a band called "The Company", which went on a touring circuit in Canada. While in Canada, Stephen Stills met guitarist Neil Young , whose dream was to play folk music with a rock band. To pursue that, Young joined a group called the "Mynah Birds" in early 1966 - a band that also included Bruce Palmer, the future bassist of “Buffalo Springfield”. As mentioned, Young and Stills met in Canada and immediately clicked, but each continued on his own path. Meanwhile, "the Mynah Birds" disbanded because lead singer Rick James (later known for “Super Freak”) was exposed for dodging the draft. Still remembering his encounter with Stephen Stills , Neil Young convinced Palmer to travel with him to Los Angeles in hopes of finding Stills, which eventually happened, though in reverse. Stills eho was with Furay at the time, spotted them while driving down Sunset Boulevard. The four reunited, and were later joined by drummer Dewey Martin, at the recommendation of "Byrds" manager Jim Dickson. Stephen Stills came up with the name “Buffalo Springfield” after seeing it stenciled on a railroad freight car. “Buffalo Springfield” played a blend of folk, country, psychedelia, and rock, combined with creative songwriting and stunning vocal harmonies. They became one of the clearest markers of the rise of folk-rock. Their most recognizable song, “For What It’s Worth,”  was written by Stephen Stills , inspired by the Sunset Strip curfew riots in Los Angeles in November 1966. These riots took place while “Buffalo Springfield” were the house band at the Hollywood club "Whisky a Go Go". Local residents and business owners were bothered by the crowds of young people flocking to nearby clubs and music halls, creating heavy traffic late at night. In response, they pressured the Los Angeles Police Department to enforce a strict 10 p.m. curfew on the area. On November 12, 1966, leaflets were distributed and local radio stations announced a rally and protest outside Pandora’s Box and Crescent Heights. No fewer than a thousand demonstrators, including celebrities like Peter Fonda and Jack Nicholson, gathered to protest the curfew. In later years, the song was embraced as a protest anthem against the Vietnam War. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Written By: Moti Kupfer Release date - 5.12.94 When “The Stone Roses” released their groundbreaking debut album in May 1989, they became the dominant voice of the Manchester groove. "Madchester "was a musical scene built on pure good-time energy, and “The Stone Roses” were its most inviting and emblematic faces. But like every passing trend, even the baggy trousers eventually disappeared from the world. Almost overnight, “The Stone Roses” found themselves trapped under a bad contract with the “Silvertone” label they were signed to. "The Roses" took the label to court and fell into a legal mess, unable to record or release a single song. The case was dragged on until May 1991, when "the Roses" finally managed to break free from “Silvertone” and signed with “Geffen”. But “Silvertone” appealed the ruling and froze the band for another year. Around the same time they were stuck in legal proceedings, the dream of Manchester turned into a nightmare. Ian Brown remembers: "…a feeling of community strength … coming out of a club at the end of the night feeling like you were going to change the world. Then guns come in, and heroin starts being put in ecstasy. It took a lot of the love-vibe out". Drugs meant money. Money meant gang wars for control of the market. "The Roses" actually watched a gang leader get shot at a reggae show during 1990. But it was a series of violent incidents at the "The Haçienda" club that finally broke the camel’s back. “The Stone Roses” disconnected themselves from club culture. The band’s bassist Mani moved to a small village in South Wales. Fourteen people he knew died from heroin in a single year. “Kids I’d known since I was seven. I’ve seen people I’ve never ever thought would take the drug, fucked. Me, I’ll turn my back on them people, however much it hurts me. That’s why I moved out of Manchester, I don’t wanna be near it.” Against the backdrop of a dying Manchester scene and endless legal battles, “The Stone Roses” struggled to find their way back musically. They spent much of 1992–93 traveling through Europe and, in a sense, enjoyed the fruits of the “Geffen” deal, which brought them 20 million dollars in exchange for recording five albums. In the summer of 1993 they finally began working on their second album, “Second Coming”, released on 05.12.1994. It was an album that instantly cut away from the hazy optimism of "the Roses" of ’89 and into a band that had experienced both death and birth. Drummer Reni had two sons, guitarist John Squire became a father to a daughter, Ian Brown had a son, and even bassist Mani was expecting to become a new father later that year. More "cooked", and more mature, the 1994 version of "The Stone Roses" were focused on heavier themes such as the origins of humanity, crimes committed by the British Empire, and the way escaped slaves in South America often joined Indigenous tribes. This time Squire wrote all the songs except three. His pyrotechnic solos and wonderful riffs dominate the record. He described the album as an exercise in “neo-classical homo-erotic eclecticism”, an exploration of the most masculine aspects of rock — speed and noise, machines and explosions. On “Second Coming”, "the Roses" turned their backs on their psych-dance rock sound, letting Squire take the reins, write most of the songs, and unleash pyrotechnic solos steeped in the 1970s blues-rock of “Led Zeppelin” and “The Allman Brothers”. This was the album where the guitarist fully embraced the sound of the Les Paul guitar. The result is a much darker record, marked by his confident playing and the fat, punchy tones heard across many tracks, including “ Driving South ” and “ Love Spreads ”. In the 11-minute-and-19-second epic opener called “ Breaking Into Heaven ”, a not-so-subtle hint toward “Stairway to Heaven”?, Squire created layers of sound with his Les Paul guitar to build harmonies that were later manipulated. After a promising start, which included four songs completed in the first four weeks (among them the wonderful “ Ten Story Love Song ”), the work stalled and bogged down. Together with producer John Leckie (“Radiohead”), the band slipped into a year-and-a-half spiral of new distractions: archery, a billiard room, an indoor pool, a sauna, and a jacuzzi - all inside a shared house lent to them by a local millionaire. “It was heaven in every sense of the word,” claimed Mani. One person’s heaven is another’s hell. For John Leckie, the entire period was a disaster. In the end he quit and was briefly replaced by engineer Paul Schroeder, who stepped into the producer role until he too left in February 1994. The band then appointed “Rockfield’s” in-house engineer Simon Dawson as producer. Dawson’s idea was simple: he preferred live recording. But John Leckie’s work did not go to waste. Elements of it - like the long intro to “ Breaking Into Heaven ” — were kept, as were the drum tracks for “ Ten Storey Love Song ” and “ How Do You Sleep ”. Maybe it had to do with Ian Brown’s voice. Brown’s singing is one of the key elements of the album, squeezing enormous emotion out of John Squire’s lyrics. “It’s never easy singing someone else’s words,” Brown said. If you set aside the myth created around the debut album, “The Stone Roses” delivered a wonderful second album that is often overlooked, simply because it didn’t fit the world’s expectations of a follow-up by a band that had influenced with such intensity. A single life-changing, generation-defining album becomes an impossible barrier to overcome. “The Stone Roses” spent years recording their second album. At their peak they looked like they were on the fast track to becoming a stadium band with American-level success. Looking back, “Second Coming” may not have produced a long list of anthems, but it brought with it a fresh-yet-familiar sound from a band that dared, twice, to astonish the world. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Editor's Choice ... And this time ... "Balls to the Wall", the fifth studio album by "Accept", released on December 5, 1983. A year after the incredible breakthrough album "Restless and Wild", "Accept" returns with this excellent album that finally established them as one of the great and influential metal bands of the 1980s. This album earned the band wide international recognition, gaining gold status in a number of countries, including the United States, where it even entered the Billboard 200. In this album the band puts an emphasis on the melody, while slowing down the pace a bit, compared to the previous album, adopting a much more honed and polished sound. This is a much more accessible album aimed for the general public, with catchy melodies and sweeping riffs that will make you wave your fists in the air to the sounds of the metal anthems in it. On "Balls to the Wall", "Accept" forms the sound that will accompany it on the next excellent albums, including " Metal Heart " and "Russian Roulette", on which beyond the focus on melody the vocal harmonies were pushed forward in the final mix. We mentioned "Metal Anthems", so the theme song " Balls to the Wall " is definitely the ultimate example of that. A perfect riff, sweeping rhythm, amazing production and a melody that will not leave your head and will not make you stop singing. The amazing guitar work on this album is simply noteworthy. This time we have guitarist Herman Frank alongside Wolf Hoffmann. It's Herman's only album with the band until 2010, when he will return to the band. The combination Hoffmann and Frank is perfect and combines honed riffs alongside mind blowing solos. Listen to them in the song " Fight It Back ", which happens to be the closest in style to the previous album, and you will understand what we are talking about. This album strives for perfection and does not have a single song that we can define as weak or a filler. Even the use of electronic drums in part of the song " Losing More Than You've Ever Had " will not make us change our minds. Udo Dirkschneider is at his peak here. His singing has always been powerful, but on this album he really surpasses himself and proves that he definitely deserves to be included in the list of great metal singers of the period, and we are not only talking about the powerful part of the singing but also his softer side, like in the excellent " Head Over Heels " and " Winter Dreams ". All lyrics on the album were written by the band and by Deaffy, which later turned out to be a fictitious name used by Gaby Hoffmann, the guitarist's wife and band manager. The lyrics are mostly about "sex" and "politics". Songs like " London Leatherboys " and " Love Child " were perceived as songs about homosexuality, especially in light of the album cover that focused on the loins of a man who was seen wearing leather clothes, but Udo denied that, saying that the song " London Leatherboys " Refers to motorcycle gangs. For Listening: S potify , Apple Music . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

With “Rubber Soul,” "The Beatles" didn’t just release another record; they reinvented what an album could be. “Rubber Soul” isn’t merely a collection of songs, it’s the moment "The Beatles" reshaped the boundaries of rock itself elevating rock music into an art form. It was crafted with a bold fusion of new sounds, emotional depth, and fearless experimentation that opened the door to to the revolutionary worlds of “ Revolver ” and “ Sgt. Pepper. ” Here are 50 interesting facts about "Rubber Soul": “Rubber Soul” was released on December 3, 1965 in the UK and December 6, 1965 in the US. It is The Beatles’ sixth studio album in under two years. It was recorded in only four weeks at EMI Studios in London. The band was w orking long nights and early mornings to write and record 14 songs before the holiday season. But despite the pressure, they manage to create some of their most innovative work, showcasing their growing studio prowess. No UK singles were released from it, showing their shift toward the album as a complete artistic statement. The album reached number one in both the UK and the US Selling over 8 Million copies. There are few versions about the origin of the album title. The first that it came from Lennon’s joking phrase “plastic soul,” referring to white musicians copying Black soul music. Another is that Paul McCartney suggested the title after overhearing an American musician describe Mick Jagger’s singing style as “plastic soul. A third version is that the band was aiming for an organic feel in the studio without relying on electronic effects. The album marked "the Beatles’" transition from pop hits to introspective, adult-oriented songwriting. Bob Dylan ’s influence pushed Lennon and McCartney toward deeper and more personal lyrics. They increasingly wrote separately despite still using joint credit. The record incorporates strong folk-rock elements inspired by Bob Dylan and "The Byrds". Indian music enters mainstream pop here, with Harrison introducing the sitar for the first time. McCartney’s bass playing evolved into more melodic, leading lines throughout the album. Ringo Starr expanded his percussion with maracas, tambourines, and subtle rhythmic textures. The band used harmonium on several tracks, adding a new tonal color. Three-part vocal harmonies are more complex and more frequent than before. Harrison contributed two songs and began emerging as a confident songwriter. George Martin encouraged experimentation that pushed the band’s studio creativity forward. The album cover photo by Robert Freeman was accidentally stretched and the band loved the distorted look. It was the first album cover that did not include the bands name. The UK album includes 14 songs, while the US version changed the order and removed tracks. Capitol Records altered the US version to emphasize a folk-rock sound. Brian Wilson  said the album inspired him to create “ Pet Sounds ”. "The Rolling Stones", "The Byrds", Bob Dylan , and many American folk-rock bands were directly influenced by it. The album helped open the door to psychedelic music and conceptual albums. Critics frequently rank it among the most influential albums ever made. “ Drive My Car ” was composed by McCartney with contribution from Lennon with the lyrics. Harrison contributed heavily by suggesting a dual guitar–bass riff and bassline in the style of Otis Redding's version of "Respect". It was one of the few Beatles songs where the punchy bass-and-guitar riff was created before any vocal melody existed. Lennon and McCartney recorded their “ Drive My Car ” vocal parts facing each other at the same microphone, increasing the natural tension in their dissonant harmonies. McCartney overdubbed both the piano part and the slide guitar solo in “ Drive My Car ”. He played both. “ Norwegian Wood (This Bird Has Flown) ” is the first Western pop song with sitar and reflects Lennon’s secret affairs, with McCartney suggesting the song’s dark ending. The sitar part in “ Norwegian Wood ” was so experimental that George recorded it sitting on the floor with improvised mic placement. It was recorded unusually quickly. only two full takes were used, despite the unfamiliar instrument. “ You Won’t See Me ” is one of the only "Beatles" tracks where the sustained organ note runs continuously through nearly the whole song, played by roadie Mal Evans because the band needed both hands free. “ You Won’t See Me ” was recorded at the end of a long 13-hour session - the longest day the band ever spent in the studio up to that point. “ Nowhere Man ” was the first "Beatles" song recorded using matching Fender Stratocasters, giving the guitars a sparkling, unified tone. The triple-layered vocal harmonies in “ Nowhere Man ” were mixed unusually bright to mimic the “California sunshine” sound of "The Beach Boys". “ Think For Yourself ” includes a rare 1965 fuzz-bass tone played by McCartney after experimenting with distortion pedals. He recorded the fuzz-bass line and a clean bass line, then the band mixed them like two guitars. “ The Word ” features one of Ringo Starr ’s most unusual drum approaches. he plays backward fills, meaning the rhythmic accent falls before the beat, not after it. Early drafts of “ Michelle ” contained nonsense syllables instead of French lyrics. The French lines were added at the very end of the writing process, with help from McCartney's frien from art school. It later won the Grammy for Song of the Year. Harrison’s guitar solo on “ Michelle ” was deliberately played with minimal vibrato to mimic the dry tone of French café musicians. “ What Goes On ” is the only "Beatles" record credited to Lennon–McCartney–Starkey. Ringo Starr wrote part of it years before joining "the Beatles". “ Girl ” features Greek-influenced scales and intentional breathing sounds as percussive accents. The acoustic guitar in “ Girl ” was double-tracked intentionally out of sync by a few milliseconds to imitate the imperfect feel of Greek bouzouki bands. “ I’m Looking Through You ” originally had no chorus. The band added one late in recording to strengthen the structure. McCartney wrote it after a major argument with Jane Asher. “In My Life ” is one of Lennon’s first autobiographical songs, featuring George Martin’s piano solo sped up to sound like a harpsichord, after Lennon requested him something “Bach-like”. McCartney claims that the melody of “ In My Life ” was inspired by the song "The Tracks Of My Tears", by "Smokey Robinson & the Miracles". “ In My Life ” originally had no instrumental break Lennon left the space empty because he couldn’t decide what belonged there. “ Wait ” was originally recorded for “Help!” and was revived to complete the album. “ If I Needed Someone ” was directly inspired by "The Byrds’" 12-string Rickenbacker sound. George Harrison said he wrote it for Patti Boyd. Lennon said he disliked the jealous “ Run For Your Life ,” calling it one of his worst lyrics. The song shares the line " I'd rather see you dead, little girl", from Elvis Presley's song " Baby Let’s Play House". “ Run for Your Life ” has two different guitar parts recorded by Harrison. One in standard tuning and one in slide, layered to create an anxious, unsettling sound beneath the cheerful tempo. In 1978, 47 top critics and broadcasters voted Rubber Soul the 5th greatest album ever made in Paul Gambaccini’s Critic’s Choice: Top 200 Albums. In the first edition of Colin Larkin’s All Time Top 1000 Albums (1994), the album ranked #10 among the greatest records in history. VH1 ranked Rubber Soul the 6th greatest album of all time in 2001, above many later Beatles records. In Rolling Stone’s famous “500 Greatest Albums of All Time” list, Rubber Soul ranked #5 in both 2003 and 2012. In 2000, Rubber Soul was inducted into the Grammy Hall of Fame, honoring its lasting historical significance. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website