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Editor's Choice... And this time on a masterpiece album by an excellent band, but in our opinion not well known and appreciated. On June 27, 1989 "Gretchen Goes to Nebraska", "King's X" second studio album, was released. This is one of the most important albums in its impact on the development of the progressive metal genre. A concept album that tells a short story conceived by the band's drummer Jerry Gaskill. So for those unfamiliar with the band, "King's X" is a power trio from Houston USA, which was founded somewhere in 1979 in Springfield Missouri by bassist and singer Doug Pinnick, drummer Jerry Gaskill and guitarist and singer Ty Tabor. The three called themselves "the Edge" and added rhythm guitarist Dan McCollam who was soon replaced by Kirk Henderson - Tabor's friend. The quartet played in pubs as a cover band that played mostly classic rock songs. In 1983 Henderson leaves the band, and Phoenix, Gaskill, and Tabor decide to continue as a trio. They change the band's name to "Sneak Preview" and release their first album of the same name, back in the same year, self-funded and independently labeled. However, this album fails to arouse interest and the band finds itself without the possibility of releasing another album or funding from a record company. In 1985 the band moved its operations center to Houston in an attempt to connect with the "Star Song" Records record company based in Houston. This attempt was unsuccessful however the band met Sam Taylor who was a member of the board of "ZZ Top" in Houston. Sam soon became the band's director, producer, and mentor, to the point that many see him as the band's fourth member. Sam was the one who convinced the trio to change its name to "King's X" and even pushed them to change their style to more complex and experimental music. With Sam's help, the band managed to sign a contract with "Megaforce Records". (Photo: Soundcloud.com ) In 1988, the band released, for the first time, an album under the name "King's X", this was "Out of the Silent Planet", which name was given from a book by the same name by the British writer C. S. Lewis. The album was praised by the fans and music critics, but also by artists who greatly appreciated the original sound and new style that the band brought with it. For example, Rex Brown and Dimebag Darrell from "Pantera" mentioned that this was the sound they were looking for in "Panthera" and that at that time they were listening to this album non-stop. This example illustrates well why later on "King's X" had the name of a band whose fans are artists themselves. On "Gretchen Goes to Nebraska", the band took their all-too-unique sound and style a step further. The combination of the heavy progressive of another power trio - "Rush", together with singing that draws from the harmonies and melodies of "the Beatles", got an extra twist here with the addition of new instruments such as sitar, dulcimer, and flutes. The musical style also evolved and received further diversity, with a combination of psychedelic motifs, hard rock, and gospel mixed with progressive. Lyrically, the album revolves around religion and Christianity, which will later lead to the band's cataloging under the genre of "Christian Rock", a move that will probably affect its future and undermine its publicity and success. For example, " Over My Head " is a song in which the gospel and church atmosphere is well evident. The song was written by Pinnick five years before it was recorded for the album. He recorded it on a cassette in his home studio and when the band went over materials for the album he came across it. He was very surprised that his bandmates really liked it. The lyrics were influenced by Pinnick's grandmother who brought the music to his life. Pinnick is ​​an African-American and his grandmother exposed him as a child to gospel singing in church and at home. Pinnick noted that the structure of the song is influenced by the song "Let Love Rule" by Lenny Kravitz . He believed that Kravitz's song has "The Beatles" vibe, it's being built and evolving, but precisely when it comes to the chorus there is a kind of a drop. He noted that this was the first time he had heard an anti-climax chant that still managed to do the job. In the song " Pleiades " the band confronts the injustices that can be done in the name of religion and specifically the burning of Giordano Bruno, a 16th-century Italian philosopher, mathematician, and cosmologist who was burned just because of his views. Criticism from another direction can be heard in the song " Mission ", which refers to the brainwashing that preachers pass on to television viewers in the name of Christianity. It is interesting to note that the album's mesmerizing opening song - " Out of the Silent Planet " is identical to the name of the band's previous album, thus creating a kind of continuity between the two albums. The title of the song and album came from the title of the book by the British author C. S. Lewis, which bears the same name and is the first part of his science fiction trilogy. Well, the name of another song on the album - " The Difference (In the Garden of St. Anne's-on-the-Hill) " is taken from a chapter in the third book in the same trilogy called - "That Hideous Strength". The album also features " Summerland ", a kind of ballad with a catchy, melodic, and sweeping arpeggio chord sequence, " Fall on Me " with the amazing vocal harmonies, " Don't Believe It " with Gaskil's excellent percussion work, and Tabor's innovative guitar sound, Which sounded in the solo as Dimebag Darrell 's guitar would sound a few years later, and of course the amazing " The Burning Down " that seals the album and brings us back to the same atmosphere in the song that opened it. This album is probably the pinnacle of the band's work. A masterpiece that contributed greatly to the development of the prog-metal genre, and forms a connecting thread between "Rush's" prog albums from the 1970s and "Dream Theater's" works in the 1990s. An album with a unique sound and style that is a must for fans of the genre. And now all you have left to do is to listen : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

How much we love this album ... "Queensrÿche's" "Rage for Order", released on June 27, 1986. This is the band's second studio album, which was released before the move to prog-metal and before the big breakthrough that will come two years later, with the concept album " Operation: Mindcrime ". This is probably also the reason why fans tend to skip it. We are here to tell you that this is a great album that does not have even one unnecessary moment, and that for us it is even at the same level as the masterpiece that will come two years later. This album is very different from the rest of the band's repertoire and that is also its uniqueness. This album has a "New Wave" production, a bit "Dark", which is expressed, among other things, in echo and reverb, in transferring the sound of the drums and guitars through effects and bringing the keyboards forward in the mix. It has a dark atmosphere, and we do not know why, but when we listen to it we immediately run through our minds images from science fiction movies about futuristic dystopian worlds. It is possible that the band members' picture on the inner cover looks like taken from a science fiction movie. What undoubtedly contributes to the feeling that this is a complete work that accompanies a story that can be used as a soundtrack to a futuristic film, is the fact that many of the album's songs connect in a cross fade in a way that gives the listener the feeling of listening to a concept album. An excellent example of understanding how different this album is from the rest of the band's mighty catalog, we should note that the band even did a cover here for singer Dabello - a Canadian pop artist who released " Gonna Get Close to You ". Not only did the band members choose to perform a cover version of the song, but they even chose to release it as the first single from the album. Anyone who listens to the band's excellent cover and great performance will immediately understand what we mean, the keyboards, the bold bass, the twisted drum sound, the vocals, the guitars, and the effects, all of which are not entirely reminiscent of a metal band but a New Wave or post-punk band from the 1980s. The band has even released a 12-inch version of this song with a long remix, which amplifies the electronics and effects, just like a New Wave band. As we said, this album does not sound like anything else this band has released during its almost 40 years of activity, but it's good, it's great, it's awesome and we really like it. Starting with the opening track " Walk in the Shadows " we are embarking on a journey forward in time, because as we said this album can serve as the perfect soundtrack for a film about a futuristic world. This song with the rhythmic and dominant guitar riff, Geoff Tate 's blatant screams, and vocal harmonies a-la "Queen", was written by guitarist Chris DeGarmo in collaboration with Tate and Wilton, inspired by vampire movies and books, including "Vampire Chronicles". Immediately after that comes " I Dream in Infrared " written by Tate and the second guitarist Michael Wilton. The song opens calmly with Eddie Jackson's bass beats and the guitar's broken chords, evolving into a mesmerizing and dynamic piece that ranges from rough riffs to soft, clean acoustics, and from Geoff Tate 's screams of pain to his caressing, delicate voice. The song definitely demonstrates Tate's vocal abilities and his tremendous vocal range. The guitar solo in this song is played by Michael Wilton who also wrote it. This song received an acoustic and interesting remix version in the expanded edition of the album released in 1991. The third track " The Whisper " connects to the fade-out of the previous song and opens with the East-style doubled guitar sentences by Chris DeGarmo and Michael Wilton. After the short intro, the song just explodes with a bouncy and catchy rhythm and with a catchy and sweeping riff. Tate's singing is skyrocketing, how high it reaches in the transition to the chorus. Just an amazing voice control. We skip " Gonna Get Close to You " which we referred to above, and move on to " The Killing Words ", the first pure ballad on this album. And again the amazing combination of the acoustics and the electric, the keyboards, and the effects, the melodic and quiet vocals, and Tate's whistling screams, all of these just blow our minds. And what a melodic and beautiful solo Chris DeGarmo gives here that shows how much emotion he has in his playing. The song that seals the first side of the vinyl " Surgical Strike " and was written by the two guitarists, is also one of the fastest on the album. Amazing guitar work combined with Scott Rockenfield's thunderous and rolling drums that also lead the houses. In the transition sections, we double the rhythm that only gets louder during Michael Wilton's amazing solo, with the effects combined during it only intensifying the enjoyment from it. The other side of the vinyl opens up with " Neue Regel " and a synth sound that reminds us of the synthesized guitar sound that opens the song "Out in the Cold" by "Judas Priest" from the album " Turbo ". The title "Neue Regel" means "New Rule" or "New Order" in free translation from German. This song is replete with squeaky guitars, weird sounds, and amazing effects that just make it a monstrous piece. These effects dominate all the instruments and even the voice of Geoff Tate who sang the whole first verse through a kind of megaphone, until the break at 1:45 with the shout "Now!" It is also one of the most beautiful passages in the song that we can hear over and over again. We highly recommend that you put on a headphone and listen to this song at high volume, to the climax end in the roar of Tate and the effects that come after it, just sheer pleasure that sounds with relevant and up-to-date production and amazing sound even today over thirty years later. " Chemical Youth (We Are Rebellion) " was born as a result of another collaboration between Tate and Wilton. How beautiful the guitar work is here, without a doubt one of the best on the album, which at times reminds us of the playing of Akira Takasaki from the band "Loudness". " London " is probably one of the reasons that make us feel that this album is a soundtrack to a futuristic film. When we listen to the dark keyboards that open the song, the guitars that pop up in Fade In, and the synthesized bass sound that gives the rhythm to the song, we can not help but imagine London in a futuristic world, under ashes and post-nuclear war ruins. Although the lyrics of the song do not place this song in time (except for the date of November 4th), we have no doubt that DeGarmo, Tate & Wilington who wrote it aimed for the futuristic London. " Screaming in Digital " connects again in cross-fade with the previous song, and again it opens with futuristic effects that blend well with the digital name of the song written in an analog age. What a sweeping rhythm with Scott Rockenfield's double bass drum and what a beautiful combination of the "carpet" of keyboards and guitars in the solo, and Tate's voice and the background voices of the other members that create an amazing vocal celebration here. The song ends with an explosion with Tate's scream and the silence that follows connects to the silence of the next song which is without a doubt one of the pearls on the album. The ballad " I Will Remember " that seals the album, is one of the most beautiful songs on it. The short electric guitar line accompanied by the acoustic at the opening of the song reminded us a bit of the "scorpions" (and maybe also Tate's whistle at the end of the first chorus). How much emotion is conveyed through Tate's singing, how much talent in de Garmo's amazing playing, who also wrote the song. It is interesting to note that during the recordings of the album the band recorded another song - "Prophecy", which was released as a side note to the first single " Gonna Get Close to You ". The band also worked on demos of two more songs " From the Darkside " and " The Dream ", which remained on the editing table. The band also wrote during the recordings the theme song "Rage for Order" which did not enter the album. The music from the song eventually rolled into the song "Anarchy-X" from the album " Operation: Mindcrime " which came out two years later. Before concluding we will note that the album cover "Rage for Order" is the first to display the band's logo that will accompany it down the road. And now let's listen to the album but only with a headset and at high volume : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Not every day do we tell you about a meteoric connection between two great artists, from two different generations and both ends of the musical spectrum. It is also rare for such a connection, until it already happens, to be fruitful and give birth to a full album, a double single, and even a joint tour. This is the story of the album "Mirror Ball", Neil Young 's 21st studio album released on June 27, 1995, in which members of the Pearl Jam band collaborated with Neil Young . Our story begins in 1993, when "Pearl Jam" was in the midst of touring the " Vs . ". During that time "Pearl Jam" also served as Neil Young 's opening act in his shows. "Pearl Jam" members' admiration for Neil Young was well known. It’s no secret that bands in the grunge scene have been influenced and adored by him, but it turns out that this admiration was mutual. Neil Young known as the "Godfather of Grunge" used to bring "Pearl Jam" members on stage during the encores to perform the song " Rockin' in the Free World" with him. It worked so well that it was clear to everyone that this mutual admiration would eventually yield a joint creation, but it did not work out with the busy schedule of both parties. Eventually, a narrow window of opportunity opened up for the artists in early 1995 and they decided to make the most of it. Eleven days after performing with "Pearl Jam" members in a charity show in Washington, Neil Young flew to Seattle and settled in the famous recording studio "Bad Animals", where albums such as "Soundgarden's" " Superunknown ", "Mad Season" " Above " and " Vitalogy " of "Pearl Jam" were recorded. The recordings were held for only four days, at the end of January 1995 and the beginning of February. Young wrote all the songs during those four days of recordings except the two " Act of Love " and " Song X ". All of the songs on the album were written by Young except for " Peace and Love " co-written with Eddie Vedder , so this is actually Young's album with "Pearl Jam" which serves as his backing band, similar to "Crazy Horse". At the same time, it is impossible to ignore the fact that the members of the band "Pearl Jam" were the ones who were responsible for the sound, the musical style, and the general atmosphere of the album, and thus contributed quite a bit to the result. The album was recorded almost entirely live and without special production tricks. The sound is very immature and rough, with quite a bit of guitar feedback and friends' talk before and after the songs, really a sense of performance and not of an album. Eddie was almost absent from all the recordings because at the time he was under the surveillance of a serial harasser, and hardly left his home. During the sessions for recording, two more songs were written by Eddie, who did not find their way to the album: " I Got Id" and "Long Road " . These songs eventually came out as a "Pearl Jam" double single of the season called "Merkin Ball", which was also released in 1995. The reason these two songs were not included in the album is probably because it is Neil Young 's album and not a joint work, hence the separation between the songs was a commitment to reality. However, just as "Pearl Jam" served as Young's backing band on the album, Neil Young returns a favor here and accompanies "Pearl Jam" on both of these songs, so all 13 songs from the album and the double single can be treated as one piece. After the release of the album, Neil Young and Pearl Jam (minus Eddie Vedder and plus album producer Brendan O'Brien who played keyboards) went on a short tour in Europe. During that tour, we were privileged to see them here in Israel, at the " Sultan's Pool ", and in Caesarea. We were there in Jerusalem that hot summer night, a day after the horrific attack on Line 26 in Jerusalem, and after a really unrelated warm-up show by Ronit Shachar. We have witnessed this special connection between two generations, the veteran in the plaid shirt and the young men in Bermuda shorts, sharing one stage in the name of music. By the way, this special connection continued even after the tour, as the partnership with Young influenced Pearl Jam's sound later on. Parts of this can already be found on the band's next album " No Code " which was released in 1996. Listen to the songs " Red Mosquito " and " Smile " for example and you will hear in them the clear effects of Young, especially in playing the harmonica in the last song. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On June 26, 1990, "Sonic Youth" released their sixth album, "Goo". The album included a change in the band's sound and a certain departure from the No Wave style that characterized it. This is perhaps the band's most accessible album, with a cleaner and more processed sound than the band has had so far. The album combined genres like Noise, Pop, Psychedelia, and a bit of rap, (Chuck D from "Public Enemy" is featured on the song " Kool Thing "). The album also features artists such as J. Mascis from "Dinosaur Jr." and Don Fleming. Following the success of the 1988 album "Daydream Nation", Sonic Youth embarked on a major tour with "Nirvana" (who was then just in their initial steps) and Neil Young . This tour brought the band the long-awaited recording contract with Geffen that will help it break out into global success. Despite making the band's sound more accessible (with the help of the record company), "Sonic Youth" was able to maintain its identity. The influences of post-punk and sometimes also the "avant-garde", which corresponds with the "Velvet Underground" (even on the album cover), also exist on this album, despite the "friendly" production. The rough and immature sound from previous albums is still heard in songs like " Cinderella's Big Score " and " Mary-Chris ". The familiar Dark touches stand out in the song " Song For Karen ", a song about Karen Carpenter from "the Carpenters" who died of anorexia, and the innovation and experimentation that were the band's hallmark are found in the song " Scooter And Jinx ". By the way, It is interesting to note that a few years later "Sonic Youth" will complete the tribute to Karen Carpenter with a cover version of the song "Superstar", included in the soundtrack of the movie "Juno". There is no doubt that this album was an essential part of the breakthrough of alternative music towards the mainstream, a move that will erupt in full force a year later. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On June 26, 1974, "Bad Company" released its self-titled debut album. This album is a timeless classic that showcases the raw power and talent of one of rock’s original "supergroups." The album, produced by the band itself alongside the legendary Ron Nevison, is a masterclass in blues rock and hard rock, characterized by Paul Rodgers ' soulful vocals, Mick Ralphs' gritty guitar riffs, Simon Kirke's solid drumming, and Boz Burrell's deep bass lines. The story of "Bad Company’s" formation is as intriguing as their music. The band was formed on January 18, 1973 by Paul Rodgers and Simon Kirke, both former members of the acclaimed band "Free". Rodgers' powerful voice and Kirke's dynamic drumming had already earned them a place in rock history, but they sought a new direction after "Free's" dissolution. They joined forces with Mick Ralphs, the guitarist and primary songwriter for "Mott the Hoople", and Boz Burrell, who had played bass for "King Crimson". This combination of talent and experience was a recipe for success, and "Bad Company" was born. Their name, inspired by a 1972 Jeff Bridges western of the same name, captured the rebellious spirit and gritty edge that the band wanted to convey. The chemistry between the members was instant, and their mutual respect for each other’s musical abilities laid the foundation for what would become one of rock’s most formidable line-ups. The album was recorded at "Headley Grange", that "Led Zeppelin" used as a studio. "Bad Company" was signed to "Zeppelin's" "Swan Song" label when "Zeppelin" was working on " Physical Graffiti " at "Headley Grange". "Led Zeppelin" had to leave the place, so their manager, Peter Grant, can bring "Bad Company" to record there using the same setup with Ron Nevison, who was working on " Physical Graffiti ", as engineer. The album opens with the anthemic “ Can’t Get Enough ”, a perfect introduction to the band’s sound. Mick Ralphs' iconic riff and Paul Rodgers’ passionate delivery make this track an instant classic. It's a song about insatiable desire and captures the unbridled energy of the band. it is their first single and their biggest hit, considered their most popular song, credited to guitarist Mick Ralphs, who tuned his guitar in the open-C tuning. Next up is “ Rock Steady ”, which keeps the momentum going with its driving beat and infectious chorus. The interplay between Ralphs' guitar and Burrell's bass creates a groove that’s hard to resist. “ Ready for Love ” slows things down with a soulful ballad originally written by Ralphs for "Mott the Hoople" first released on their 1972 album "All the Young Dudes". This version is more refined and emotionally charged, showcasing Rodgers' ability to convey deep emotion. The bluesy “ Don’t Let Me Down ” (not that of the "Beatles") has a catchy chorus with "gospel" style background vocals. It's a devastating classic blues song, with a saxophone (and guitar) solos, that speaks of resilience and holding on, themes that resonate with many listeners . The title track, “ Bad Company ”, is a slow-burning epic that has become one of the band’s signature songs. With its haunting lyrics and powerful instrumentation, it tells the story of a renegade seeking redemption. Rodgers’ vocal performance here is particularly noteworthy, conveying a sense of both defiance and introspection. The song was Co-written by the group's lead singer Paul Rodgers and drummer Simon Kirke, and it's meaning comes from a book on Victorian morals inspired by the 1972 Jeff Bridges western of the same name. And indeed the song has "Western vibe". “Bad Company” continues its exploration of blues rock with “ The Way I Choose ”, a track that highlights the band’s versatility with Mel Collins on Saxophone. The song’s mellow vibe and introspective lyrics provide a nice contrast to the harder-edged tracks. “ Movin’ On ” is another energetic rocker, with a driving beat and uplifting message about moving forward despite obstacles. It’s a testament to the band’s optimistic outlook and determination. The album closes with “ Seagull ”, an acoustic ballad that showcases the band’s softer side. The gentle strumming and introspective lyrics create a peaceful, contemplative ending to an otherwise high-energy album. Paul Rodgers said on an interview for "Classic Rock Revisited": "Every song that we have done has it's own story. 'Seagull' was written sitting on the beach. Music is about atmosphere. The best way to create the atmosphere is to actually be there". "Bad Company’s" debut album is a landmark in rock history. Its blend of blues, hard rock, and soulful ballads has stood the test of time, influencing countless bands and musicians. The chemistry between the members is palpable, and their combined talents create a sound that is both powerful and nuanced. It’s a must-listen for any rock enthusiast and a perfect introduction to the enduring legacy of "Bad Company". For listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On June 26, 1964, The Beatles' third album, "A Hard Day's Night", was released in the United States (and two weeks later in England). Almost at the same time, a film of the same name was also released, starring the Fabulous Four. The name of the album (and the film) came from a remark that Ringo Starr accidentally said to the director of the film. This is the Beatles' first album in which they wrote all the songs themselves, without any cover versions. The album featured 13 original tracks (with differences between the British and American versions) including the theme song " A Hard Day's Night ", which opens up with the famous chord of George Harrison 's 12-string guitar, " I Should Have Known Better ", " I'll Be Back ", " And I Love Her ", " Can't Buy Me Love ", " Things We Said Today ", " You Can't Do That " and more. The album and film were released at the height of "Beatlemania" and are intended to create a classic image of a famous and successful rock band "The Beatles", with the film showing what a typical day in the life of the fabulous four looks like, with the band members starring as themselves. The aura presented by the film around the members of "The Beatles" made many young people want to be like them and led to the growth of many rock bands on both sides of the ocean. Active bands were also greatly influenced by the album and the film, for example, "The Byrds", which until that time was a folk band and changed its style towards rock and roll to resemble the Fab Four. The album also opened the door to the US, for other British bands such as "The Rolling Stones", "The Kinks" and "The Animals", who owe their success in the US to "The Beatles". On the day of the film's premiered, "The Beatles" flew from London to their hometown of Liverpool, to be greeted at the airport by a huge crowd of about 3,000 fans who screamed and shouted,. The screening itself was attended by about 200,000 fans who were very proud of the fact that "The Beatles" that came from their hometown managed to create a revolution all over the world. At the end of the film premiere, "The Beatles" members were taken to a balcony that overlooked the fans who flocked outside the venue, While the fab four were on the porch waving goodbye to their fans, the gang's bad boy, John Lennon waved his hand as if it was a Nazi salute. Luckily the unusual event did not create harsh criticism. Remember John Lennon got more entangled in his remark that "The Beatles" are more famous than Christ. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On June 26, 1970, "Free" released "Fire and Water" !! This is the band's third album and its breakthrough album which was a huge commercial success. The album that managed to put them on the top list of artists who performed at the "Isle of Wight Festival" in August of that year, in front of over 600,000 people. Who does not know the video clip of the mega-hit " All Right Now " shot in the same mythological show. So for those unfamiliar with "Free", this is a hard rock/blues rock band formed in 1968 by guitarist Paul Kossoff who came from the band "Black Cat Bones" and singer Paul Rodgers . The two added drummer Simon Kirke and bassist Andy Fraser from "John Mayall's Bluesbreakers", whom he joined when he was only 15 years old. They recorded their first album - "Tons of Sobs" in late 1968 and it was released in March 1969. They were really young and inexperienced, all under the age of 20, when Andy Fraser was then only 16, which is noticeable in the results. The album failed to elicit a response from audiences and critics. Although the second album bearing the band's name - "Free" was released only a few months later, one could already feel the difference, especially in Paul Rodgers ' voice which sounded like a combination of James Brown's voice with Robert Plant 's depth and Rod Stewart 's hoarseness. Another significant change was in the quality of the material, which was written almost entirely by Rogers and bassist Fraser, who studied classical music and also knew how to play the piano. At the same time, this album also did not arouse any significant interest, nor did it enter the charts. In January 1970, "Free" opened the decade at the Trident recording studio in London, where they entered to record their third album. They decide to make a change and for the first time produce the album themselves. They knew they had to have a "hit" this time. After two albums that failed to take off, it was clear to them that if they failed to produce a serious hit, their fate was doomed and no record company would be interested in continuing to fund them. The opportunity to produce the "hit" they so longed for, came precisely after the band's failed performance in Durham England. Drummer Simon Kirk recalls that they got off the stage at the sound of their footsteps because the audience did not even clap. They went into the locker room and realized they desperately needed a good rock track with which they could end their performances. And so all of a sudden, the inspiration fell on young bassist Andy Fraser and he started dancing while singing the phrase "All Right Now". Kirk noted that the entire song was written in the same locker room within 10 minutes. This song was a meteoric success and jumped straight to number one on the charts in over 20 different countries. It is one of the greatest rock anthems of all time, which has a place of honor next to other great anthems like "Smoke On The Water", "Satisfaction", "Whole Lotta Love", and more. In 2006 the American Artists' Rights Organization BMI announced that the song had been played over 3,000,000 times on radio stations since its release. Do the math yourself, it means this song was played 10 times an hour, every day, every month, for 26 years !!! This song of course saved "Free" from doom, but it is the one that also eventually led to its end. The band failed to recreate such a big hit which would eventually lead to their disbandment after two years and another two studio albums. Even today, more than 50 years after its release, you can hear in "Fire and Water" the boldness and innovation that the band brought with it. Unlike the English blues-rock / hard-rock bands that performed at the time, such as "Cream", "Blind Faith", and "Derek and the Dominos", "Free" knew how to incorporate soul and groove, into their music, while the other bands were missing. Listen to the theme song " Fire and Water " that Paul Rodgers noted he wrote with the thought that a soul singer would have to sing it. He said that when he wrote it during the band's US tour in which they warmed up "Blind Faith", he felt that Sly Stone and James Brown were present in the room, but it is clear that the song is closest to Wilson Pickett, who even performed a cover version of it a year later. The guitar playing in this song, is a genius of simplicity, just pure gold. " Mr. Big " was written by all four members of the band. A great track that showcases the talent of each of the band members. Kosoff's amazing solo that almost sounds like feedback and Fraser's cruel bass with Kirk's precise drumming - a-la Charlie Watts , prove how talented these guys are. The song inspired the name of the American hard rock band "Mr. Big", which even performed a cover version of it in their third self-titled album from 1993. " Remember " could easily have been part of Rod Stewart and the Faces' repertoire. A song of longing, written by Rodgers and Fraser in Fraser's apartment after Paul moved in. This is a remake of Outtake from the band's first album called " Woman by the Sea ". And how is it possible not to mention the blues-soul ballads “ Heavy Load ” with Fraser’s piano playing, the mesmerizing “ Don’t Say You Love Me ” and the “ Oh I Wept ” that guitarist Paul Kossoff led its writing. For Listening : Spotify , Apple Music Follow us on Facebook or Subscribe to our website "Face/Off" - Israel's Rock Blog & Podcast

On June 25, 2002, Ozzy Osbourne released "Live at Budokan" album. The album was recorded during Ozzy Osbourne 's performance at the legendary "Nippon" Budokan Hall on February 15, 2002, during his " Down to Earth " Tour, this album showcases Ozzy and his formidable band—longtime guitarist Zakk Wylde , bassist Robert Trujillo (soon to join "Metallica"), drummer Mike Bordin ("Faith No More"), and keyboardist John Sinclair. However, despite its high-energy performance, the crazy Japanese crowd and solid production, "Live at Budokan" feels like an unnecessary addition to Ozzy’s discography. The album kicks off with " I Don’t Know ", a classic from his debut album " Blizzard Of Ozz " that immediately sets the stage for the live Ozzy experience. Although Zakk Wylde ’s is out of this world he is not always sticking to Randy Rhoads ’ original composition, which sometimes feels like an overkill. The setlist continues with " That I Never Had " from " Down  to Earth " failing to leave a lasting impression with Ozzy's voice sounding a bit strained and out of tune, while Zakk’s backing is more solid. " Believer " on the other hand, stands out as a highlight, with Wylde capturing the essence of Randy Rhoads ’ original style, making it one of the better tracks on the album. The setlist continues as a mix of old and new songs with another track from " Down  to Earth " - " Junkie . Zakks playing is as amazing as the studio album's version, but Robert Trujillo 's bass playing is pure perfection. Then comes " Mr. Crowley " letting John Sinclair to step into the spotlight with the classic intro. The album includes four tracks from the " No More Tears " album, with the title track and " Road to Nowhere " faring particularly well. " Mama I’m Coming Home " and " I Don’t Want to Change the World " receive enthusiastic responses from the crowd, though the latter remains a less exciting part of the setlist. " Crazy Train " and " Bark at the Moon " staples of Ozzy’s live shows, don’t sound quite right with the down-tuned arrangements, and their energy seems diminished as a result, despite Mike Bordin ’s drumming that usually brings a fresh, energetic style. The album ends up with a "Black Sabbath" classic " Paranoid " which in our opinion got a weak version. Zakk, again, is trying to push the boundaries of this classic track with too much improvisations, in our opinion. More than that, the double-tracked Ozzy vocals sound very artificial. The Japanese crowd at Budokan adds an interesting dynamic to the recording. Known for their respect and attentiveness, they provide a loud and enthusiastic backdrop not seen in a typical Western concert. Production-wise, the album is decent, and the rhythm section of Mike Bordin and Robert Trujillo positively impacts the sound. Trujillo's bass is prominent in the mix, and Bordin’s drumming is consistently engaging. Despite this, Wylde's guitar work, characterized by excessive pinch harmonics and flashy solos, sometimes overshadows the rest of the band. It is interesting to note that a DVD of the concert was also released along with the album, including the song " Suicide Solution " and Zakk Wylde 's guitar solo, which spanned over 13 minutes. These sections were cut from the CD version due to time limitations. For those interested, you can watch the full performance here: Despite its moments, "Live at Budokan" feels like an unessential of Ozzy’s live releases. The setlist, lacks the depth and variety that might have made this recording stand out, with the absence of tracks from albums like " The Ultimate Sin ", " No Rest for the Wicked " and "Ozzmosis". Except of the addition of the unique Japanese crowd and the "Superstars" lineup, this album fails to overshadow live albums like "Tribute" and "Live & Loud". For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On June 26, 2007, "Pierce The Veil" released their debut album, "A Flair for the Dramatic", through Equal Vision Records. But the story of this album begins long before the first note was recorded... It starts in San Diego, California, where brothers Vic Fuentes and Mike Fuentes began crafting music long before they had a name or a direction. The two had grown up in a musical household, Vic had studied graphic design at San Diego State, Mike was a powerhouse on drums even as a teenager, and together they formed the nucleus of what would eventually become "Before Today", a band that flirted with the boundaries of post-hardcore but never quite found its identity. In 2006, after "Before Today" disbanded following the release of "A Celebration of an Ending", the Fuentes brothers made a choice. Instead of auditioning new lineups or starting from scratch, they doubled down, recording music on their own terms. Vic took over guitars, bass, keyboards, and all vocals while Mike handled drums and percussion. The songs they were writing were personal, volatile, and operatic. And they needed a new name to match. "Pierce The Veil" was born from a phrase Vic had written during his college years, describing the need to "pierce the veil" of superficiality and get to the core of things. It wasn’t just a band name, it was a philosophy. As the demos began to take shape, the duo attracted the attention of Equal Vision Records. With the help of producer Casey Bates, known for his work with "Chiodos" and "Fear Before the March of Flames", they entered the studio in Seattle and started to craft what would become "A Flair for the Dramatic". But the album wasn’t a team effort in the traditional sense, it was Vic and Mike in a creative bunker, building every layer themselves, taking turns refining melodies, screams, beats, and breakdowns. Every moment was intensely personal. Photo: Reybee Productions It was only after the album’s completion that the full band lineup was solidified. Tony Perry joined as lead guitarist, bringing a clean and melodic playing style that would complement Vic’s chaotic energy in future records. Jaime Preciado, a friend from the local scene and former bassist of Trigger My Nightmare , brought groove and charisma to the rhythm section. Though neither contributed to the recording of this debut, their arrival solidified Pierce The Veil  as a full-fledged live band and completed the circle. The chaos begins with "Chemical Kids and Mechanical Brides" , a tight, emotionally wired burst of heartbreak and fury. Vic’s vocals climb the walls, collapsing into themselves and then erupting again. "Currents Convulsive"  thrashes and sways like an ocean storm—Mike’s drums splashing down like thunder, while Vic draws blood from every lyric. an then comes "Yeah Boy and Doll Face"  is the album’s most theatrical moment—part experimental spoken-word, part scorched-earth breakdown, stitched together with heartache and poetic rage. "Falling Asleep on a Stranger"  is the sigh that follows the scream. The stripped-down arrangement pulls you inward, Vic’s voice cracking not with volume, but with pain. It’s intimate, fragile, and unforgettable. "Drella" , "I'd Rather Die Than Be Famous" , and "The Balcony Scene"  push into new emotional terrain—mixing punk urgency with emo confession and Latin-flavored rhythm changes. It’s not just post-hardcore. It’s a genre swirl that only made sense through the lens of the Fuentes brothers' eclectic upbringing. The final stretch— "Diamonds and Why Men Buy Them"  and "The Cheap Bouquet" —wraps the record in a dark, romantic veil. These songs are bruised and grandiose, tragic and triumphant. And when the hidden reprise of "Currents Convulsive"  drifts in, you realize the drama never ends—it just fades behind the curtain. But there's one more surprise for fans who picked up the iTunes edition of the album: a blazing cover of "Beat It"  by Michael Jackson . Pierce The Veil strip away the pop polish and reimagine the song with screaming vocals, double-kick drumming, and jagged guitars. It’s not a gimmick—it’s a tribute filtered through their lens, a defiant nod to a pop icon reinterpreted by a band still defining themselves. In 2017, to celebrate the album’s tenth anniversary, Equal Vision released a special limited edition vinyl pressing of "A Flair for the Dramatic". It came in multiple color variants—including red/black marble and clear gold—and quickly sold out. The reissue was more than nostalgic packaging; it was a reaffirmation of the album’s enduring legacy. In retrospect, this album wasn’t meant to fit neatly into a scene. It was meant to rip through it. "A Flair for the Dramatic" is messy in the best way, ambitious, unfiltered, full of heart and risk. It introduced "Pierce The Veil" not with a whisper, but with a scream wrapped in poetry. Fifteen years later, it still feels like a diary read out loud under stage lights. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On June 25, 1967, the first live broadcast in the history of satellite television called "Our World" took place. This was the first international production of satellite TV. Various artists were asked to appear on the same broadcast as opera singer Maria Callas, painter Pablo Picasso and another band you may have heard of called "The Beatles". ( Photo: The Beatles Bible) "The Beatles" were asked to provide a song with a message that could be easily understood by many people from different countries and cultures. Two songs were suggested by the band " Your Mother Should Know " written by Paul McCartney and " All You Need Is Love " written by John Lennon . In the end, Lennon's song was chosen because of its contemporary social significance. About a week before the broadcast the BBC Announced that "The Beatles" are expected to present a new live song to the world and that this would take place in a special and preliminary broadcast. On June 14, "The Beatles" entered the studio and began recording the song that opened with "La Marseillaise" - the French national anthem, at the request of producer George Martin. The Fabulous Four returned to the studios to add instruments a few days later, when on June 23rd the orchestral accompaniment that is heard throughout the entire song was also recorded. On the day of the broadcast, Studio No. 1 of "Abbey Road" Studios was converted into a television studio from which the song was broadcast live to the whole world. Prominent artists in British culture came to attend the special and historic event, including Mick Jagger , Eric Clapton , Keith Richards , Pattie Boyd, Keith Moon , Marianne Faithfull, Graham Nash , and Jane Asher, and more. Everyone, including "The Beatles", was dressed in colorful clothes, and the studio was decorated in the spirit of the "Flower Children" and the "Summer of Love". The song was broadcast live to 25 different countries and was watched by more than 400 million viewers. The song was played as playback from the Beatles' early recordings, except for Lennon's vocal roles, George Harrison's guitar solo, and a few other instruments. The "Rolling Stone" magazine ranked the song 362nd out of the 500 best songs of all time. This special day was so significant in the history of "The Beatles", so this is the reason why it was decided to hold the "Global Beatles Day" every year on June 25!!! "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On June 25, 1984 "Purple Rain" was released, Prince's sixth album and his first with "the Revolution". Indeed, this album, which is also the soundtrack to a film by the same name released two weeks later, has created a "revolution." Beyond the pile of nominations and awards this album has garnered, it ranks third on the list of best-selling soundtracks ever. The album revealed to the world that Prince is much more than a gimmick, he is a gifted and talented musician, a multi-instrumentalist and a guitarist of supreme grace. But more than that, this album influenced a lot of artists, among them, Chris Cornell who especially loved the song "The Beautiful Ones". So now let's learn about this album some important facts: 1. Prince originally wrote the country-style theme song " Purple Rain " with the intention of collaborating with Stevie Nicks of "Fleetwood Mac". 2. Prince approached the Nicks with a 10-minute recording of the music of " Purple Rain " and asked her to write the lyrics to the song. 3. If you thought the song " Purple Rain " and its guitar solo were too long (the song goes through the 8 minutes), then think again. The song was originally intended to be 11 minutes long and include an additional verse and chorus that dealt with the subject of "money." 4. Each of the three verses in the song deals with a different theme from The Kid's life. His parents, Apollonia and his bandmates. 5. Prince was very worried that the song was very similar to the song " Faithfully " by the band "Journey". He was so worried, that he was rewarded, called the songwriter, Journey's keyboardist - Jonathan Cain, and asked him what he thought. Cain gave Prince a "green light" and noted that there are only a few identical chords. 6. The name of the song and the album "Purple Rain" were taken from the lyrics of the song "Ventura Highway" by the band "America". 7. According to the film's director, Prince had about 100 written songs that he sent him, so that he could choose songs for the soundtrack. " When Doves Cry " and " Take Me With You " were not on this list and were written later. " Purple Rain " was not on the song list either. The director heard Prince play the song in a fundraising show, got excited, and asked Prince to put it on the soundtrack. 8. Prince plays all the instruments in the song " When Doves Cry ". 9. There is no bass channel in this song. Prince neutralized it at the last minute. 10. The singles " Let's Go Crazy " and " When Doves Cry " but actually the theme song " Purple Rain " only came in second place on Billboard. 11. Q Magazine ranked the theme song in 40th place out of the 100 best guitar songs of all time. 12. Rolling Stone magazine ranked the song 144th out of the 500 greatest songs of all time. 13. The song also entered the list of 500 songs that shaped the rock 'n' roll of the Hall of Fame. 14. Prince won an Oscar in 1984 for the song "Purple Rain" as the best original song. 15. The soundtrack of the film reached number one on Billboard and stayed there for 24 consecutive weeks. 16. It was Prince's first album to reach number one on the Billboard 200. (Photo: Tidal) 17. The album entered the list of major albums in the "Grammy Hall of Fame". 18. It also entered the list of significant recordings of the Library of Congress. 19. The album sold about 25 million copies, making it one of the best-selling albums in the world. 20. It is also the sixth best-selling soundtrack in the world. Above it are "The Bodyguard", "Saturday Night Fever", "Grease", "Dirty Dancing" and "Titanic". 21. The album is ranked 8th in the "Rolling Stone" magazine's list of the 500 greatest 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

On June 24, 1988 "Pantera" released their fourth album "Power Metal". This is a historically significant album that serves as a bridge between the band's earlier glam metal sound and their heavier thrash-influenced style that would come to define their later releases. This album marked a turning point for "Pantera" as it introduced Phil Anselmo as their lead vocalist, solidifying the lineup that would remain intact until their breakup in 2003. The album's backstory adds depth to its significance. After parting ways with vocalist Terry Glaze, "Pantera" held auditions for a replacement singer and began working on songs with various candidates. The tension between the band and Glaze led them to search for a heavier vocalist, which led to the introduction of Phil Anselmo . Anselmo's first appearance with the band was recorded on November 25, 1986, and he brought a new energy and aggression to the group. "Power Metal" showcases "Pantera's" musical evolution and the band's determination to shed their glam metal roots. The album's songwriting and musicianship demonstrate a balanced fusion of their earlier flamboyant prowess and the street grit that would become characteristic of their later releases. The influences of glam acts like "KISS" and "Def Leppard" have given way to heavier inspiration from "Judas Priest" and "Metallica", with hints of the groove metal sound that would define their later work. Phil Anselmo 's vocal performance on "Power Metal" is a standout element. His mix of Rob Halford falsettos and David Lee Roth swagger, while lacking some of the quirks that would later become his signatures as a vocalist, exudes confidence and captivates the listener. His techniques may make him nearly unrecognizable in compered to " Cowboys from Hell " for example, but his delivery is compelling and enjoyable, showcasing a range that would come to define his future work. It is worth noting that the lyrics underwent significant changes from their original versions, with Anselmo altering most of them to suit the band's evolving direction. The instrumental prowess of the band is evident throughout the album. The Abbott brothers, Dimebag Darrell on guitar (then credited as Diamond Darrell) and Vinnie Paul on drums, display their growing strength as musicians, with Dimebag's guitar work combining southern crunch with tight chugs and acrobatic soloing. Dimebag was working at the time with "Slayer's" Kerry King and there is no doubt that this was affecting the outcome on this album and on his future playing style. Vinnie Paul 's drumming injects hard rock beats with faster patterns, adding dynamism to the songs. Bassist Rex Brown 's presence on "Power Metal" is more pronounced compared to previous albums, laying the foundation for the role he would come to play in the band's sound during the nineties. (Photo: Revolver Magazine) The songwriting on "Power Metal" is more consistent than on any other "Pantera" album. The album largely avoids the pitfalls of their earlier glam releases while steering clear of the experimental tendencies of their groove metal era. The album has a perfect balance between the past and future of the band's musical styles. Tracks like " Rock the World " go more toward the glam metal roots of the band, while tracks like " Power Metal " with the double bass-driven onslaught showing their thrash metal influences. The rollercoaster continues with the glam of " We'll Meet Again " against the fast-pace of " Over and Out ", the stomping beats and catchy choruses " Proud to be Loud " (written and produced by "Keel's" Marc Ferrari who also plays guitar) vs. the thrash metal riffs of " Down Below " and Rob Halford 's -like vocal of Phil Anselmo . "Death Trap" sounds like a very early "Queensrych" song while " Hard Ride " adds a touch of AOR flair and a chorus reminiscent of "Judas Priest's" "Rock Hard, Ride Free". The album ends with the speed metal track " Burnnn! " and " P*S*T*88 " featuring non-other than Dimebag Darrell on vocals. Despite limited promotion and the absence of major label support, "Power Metal" has garnered a dedicated following over the years. While initial critical reception was mixed, with some acknowledging its transitional nature, the album has since been recognized as an intriguing early effort from one of the most important metal bands of the '90s. While "Power Metal" may not have achieved mainstream success or received the same level of acclaim as "Pantera's" later releases, it remains a hidden gem for fans of the band. Its role as a transitional album, combining elements of the band's earlier glam metal sound with their evolving heaviness, makes it a worthy addition to "Pantera's" catalog. The album serves as a testament to the band's musical growth and showcases the talents of its members, particularly the emerging vocal prowess of Phil Anselmo and Dimebag Darrell 's guitar skills. In conclusion, "Power Metal" deserves a second look and appreciation for its place in "Pantera's" history. It might not be one of their best, but its importance in the band's progression cannot be overlooked. It stands as a testament to "Pantera's" resilience and determination to carve their unique path in the world of metal. For Listening: Youtube "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website