On November 21, 1983, "U2" released their live EP "Under a Blood Red Sky". The album captures "U2" at a pivotal moment in their career, cementing their reputation as a dynamic live band. It's a historic document that captures "U2’s" meteoric rise. The title, drawn from the lyrics of “ New Year’s Day ,” evokes the album’s themes of political struggle and human resilience. The album and its accompanying concert film, "Live at Red Rocks: Under a Blood Red Sky", immortalize the band’s fiery performances and their evolution into a global phenomenon. Recorded during the " War " tour, this eight-song live album is not just a collection of performances but a testament to the band's fiery commitment to their music and message. The album exudes raw energy, with the band sounding unpolished yet impassioned. "U2’s" early post-punk sound is amplified through Bono ’s heartfelt vocals and The Edge ’s signature guitar work. Tracks like “ Gloria ” and “ I Will Follow ” demonstrate their ability to create anthems with emotional weight and a driving rhythm. The rhythm section, powered by Adam Clayton’s bass and Larry Mullen Jr.’s precise drumming, is tight yet expressive, giving songs like " 11 O'Clock Tick Tock " and " The Electric Co. " a sense of urgency and momentum. The live rendition of " Sunday Bloody Sunday " is the standout track. Bono 's iconic introduction: "This song is not a rebel song..." and his impassioned plea for peace is complemented by The Edge ’s cutting guitar riff, will forever be remembered as the moment that catapulted "U2" to worldwide fame. The crowd’s participation only adds an emotional resonance to this eternal. Another highlight is " New Year's Day ," where the band’s interplay creates a powerful soundscape, underscoring themes of hope and resilience. The album was produced by Jimmy Iovine, who captures the rawness of "U2’s" live performances without over-polishing them. He even left small mistakes like on The Edge 's solo in " Party Girl " as they are, adding to this live album's authenticity. The audience's contribution, such as in the closing section of " 40 ," and Bono ’s spontaneous stage banter enhance the experience of listening to the album, and make the listener feel an integral part of the performance. The concert film, "Live at Red Rocks: Under a Blood Red Sky", filmed on June 5, 1983, at the dramatic Red Rocks Amphitheatre in Colorado, complements the live album with stunning visuals and an iconic performance. Despite torrential rain and logistical challenges, the band delivered a career-defining set of 13 songs (17 songs on the 2008 DVD version), complete with a fiery torch-lit stage that added a mythic quality to the footage. "Under a Blood Red Sky" showcases "U2" on the cusp of greatness, bridging their formative years with the global stardom they would achieve with " The Joshua Tree ". It captures "U2" in their element—on stage, performing with passion and conviction. The album’s success helped to solidify their reputation as a must-see live act and expanded their fan base beyond Europe and into the United States. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Guitarist, singer, and songwriter Joe Walsh is celebrating his birthday today. (Photo: Andrew Macpherson) He may be best known for his membership in the "Eagles" but he is definitely not only that, he has a glorious solo career, he was part of the bands "James Gang" and "Barnstorm" and he also has quite a few collaborations with other artists, including "Foo Fighters", Where he participated in the song "Outside" from the album " Sonic Highways ". He was born on November 20, 1947, in the city of Wichita in the state of Kansas USA, named Joseph Fidler Walsh. His mother was a classical pianist so from an early age he absorbed music. His father was killed in a plane crash when he was 3 and at the age of 5 his mother remarried and he was adopted by his stepfather. At the age of 10, he started playing the guitar and he said that even then he knew that he wants to be a professional guitarist. One of the first bands he was a member of was "the Nomads", he played bass guitar there. In 1965 he formed the band "The Measles" where he was also the lead singer. The band even released two singles. "And It's True" and "I Find I Think Of You". In 1968 he joined "James Gang" which started with five musicians and shrank into a power trio where Joe Walsh sang, and played guitar, keyboards, and percussion. With the band, he released three albums, and among the band's great songs are "Funk # 49" and "Walk Away". Walsh reunited this line-up for performances in 2022 including the Taylor Hawkins Tribute Concert . Walsh left "James Gang" in December 1971. He was invited to join the band "Humble Pie" alongside Steve Marriott after Peter Frampton left it, but he chose to form a band called "Barnstorm" with whom he released an album of the same name in 1972. Walsh later embarked on a solo career during which he released albums that included the songs "Rocky Mountain Way" and "Turn to Stone", when in 1975 he joined as a full member of the "Eagles", right to its peak era with the album "Hotel California" released in 1976. While being a member of "The Eagles", Joe Walsh continued to strengthen his solo career, in between he served as a guest player and studio session player for many good artists like "REO Speedwagon", "Foo Fighters", Ringo Starr , Steve Winwood, John Entwistle , and more. Walsh is the brother-in-law of Ringo Starr . Marjorie Bach who is married to Walsh is the sister of Ringo's wife - Barbara Bach. This time we decided to compile a playlist that moves between major stations in his career. So click play, listen and discover some beautiful things in his repertoire: Spotify "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

"The Diamond in the Crown" of the "Queen", "A Night At The Opera", was released on November 21, 1975, and on the occasion of its anniversary, we would like to tell you some interesting facts about this masterful album: 1. This is Queen's fourth studio album in two years. 2. The name of the album came from a Marx Brothers film of the same name from 1935, which the band watched during the recordings. 3. The album was recorded in six different recording studios across England. 4. The duration of the recordings lasted about three months from August to November 1975. 5. At the time of its release, "A Night At The Opera" was considered an album with the most expensive production cost in the world. 6. The album features a wide range of influences from different musical genres: Hard Rock, Progressive Rock, Pop, folk, Opera, Skiffle, and Jazz. 7. The album also features a wide variety of instruments beyond the band's traditional instruments, such as harp, ukulele, and koto (Japanese strings). 8. The album does not include synthesizers, which the band members were very proud of and noted on the album cover. 9. All four members contributed to the writing of the materials for the album. 10. This album produced the band's biggest hit " Bohemian Rhapsody ". 11. Freddie Mercury began writing The song in the late '60s. The name he gave it during the writing process was - "The Cowboy Song". 12. He also wrote all the roles of the various instruments for the song. The piano, bass, drums, and even the guitar. 13. The recordings lasted about three weeks and were held in August and September 1975. During the recordings, the band used no less than four different studios. 14. The vocal harmonies were the hardest to record, the band members testified that they would sometimes repeat the vocal parts for 10-12 hours a day. 15. The recording of musical instruments also took a long time and included a large number of channel uploads. 16. The piano that Freddie Mercury played on during the recording is the same piano that Paul McCartney played during the recording of the song "Hey Jude". 17. Despite the length of the song (about 6 minutes) and despite the record company's opposition to its release as a single, the song was very successful on radio stations and reached number one on various charts around the world. 18. Very ironically, the song with the title "Mama Mia" by "ABBA", managed to knock "Bohemian Rhapsody" from the top of the British chart. 19. The word "Scaramouche" in the song, refers to a clown in Italian literature. 20. The word "Beelzebub" in the poem, is attributed in Christian literature to the devil. 21. The word "Galileo" Mercury used in the song was a tribute to guitarist Brian May who is a doctor of astrophysics. 22. The name "Figaro" appeared in Rossini's opera "The Barber of Seville". 23. The word "Bismillah" is the first word in the Qur'an. 24. The famous video for the song was the band's first ever. It was created because the band did not want to appear on the British TV show "Top Of The Pops" live, since the song was too complex to perform live. 25. How complex was the production of this song? It had layers upon layers of musical and vocal channels, some say there were about 180 different overdubs to create the wonderful harmonies and the rich sound. 26. The video clip for the song was based on the "Queen II" album cover. 27. The "Queen II" album cover was based on the famous photograph of Marlene Dietrich. 28. The director of the clip was Bruce Gowers, it took him 3 hours to film it for 3,500 Pounds. 29. Freddie Mercury noted that the song "In the Lap of the Gods" from the album "Sheer Heart Attack" is the prologue to the song "Bohemian Rhapsody". 30. Following the death of Freddie Mercury in 1991 the song was released again as a single and this time too it reached number one in the music charts. 31. The song returned to the charts a year later following its inclusion in the soundtrack of the movie "Wayne's World" from 1992. This time it jumped straight to second place on Billboard. 32. The song reached the top of the charts for the fourth time in 2018, following the success of the movie "Bohemian Rhapsody". 33. In 2002 the song was voted in the "Guinness Book of World Records survey" as the first of all singles released in the UK ever. John Lennon's " Imagine " and the Beatles' "Hey Jude" came in second and third. 34. In 2012 the song was selected at the top of the list of songs with" the best vocal performance in rock" by "Rolling Stone magazine". 35. It also ranks 166th on the same magazine's "500 greatest songs" of all time list. 36. In 2000 it was selected in England, Israel, and other places in the world, as the Millennium song. 37. At the time of its release, "A Night At The Opera" was the band's most successful album, shooting straight to number one on the UK charts and holding the top spot for 4 weeks. 38. " Death on Two Legs (Dedicated to) " is a Freddie Mercury letter of hatred to the band's previous manager Norman Sheffield, who managed the band from 1972-1975. 39. Sheffield denied all the band's accusations against him, in a book he published in 2013 called: "Life on Two Legs: Set The Record Straight". 40. During the band's performances, Freddie Mercury used to open the song with an introduction by calling Norman "a real motherfucker of a gentleman." 41. " Lazing on a Sunday Afternoon " was written by Freddie Mercury about his love for the day of rest (Sunday) and what he likes to do on it. 42. This is the shortest song on the album. Only 1:07 in length. Mercury plays on piano and sings all vocals. 43. Freddie Mercury 's voice sounds like he's singing through a megaphone, but that's not the case. This effect was achieved by recording Mercury through headphones that were put inside a bucket and placed in a remote part of the studio, then recorded again for the vocal channel. 44. " I'm in Love with My Car " written by Roger Taylor , is one of the most famous in his entire catalog. 45. The song was written for Queen's stage worker Johnathan Harris, who was in love with his "Triumph TR4" car. This was also noted on the album cover with the following words: "Dedicated to Johnathan Harris, boy racer to the end". 46. The engine sound heard in the song is authentic. It's a recording of Roger Taylor 's Alfa Romeo car engine. 47. Taylor insisted that the song will be issued as the b-side for the " Bohemian Rhapsody " single and he locked himself in the closet until Freddie agreed. 48. Roger Taylor 's insistence paid off greatly, when he finally received royalties almost equal to those of Freddie Mercury for the hit "Bohemian Rhapsody." 49. " You're My Best Friend " was written by John Deacon to his wife Veronica Tetzlaff. 50. Deacon plays a song on an electric piano on which he learned to play right before to writing the song. 51. “ 39 ” was written by Brian May and was influenced a bit by Skiffle The song tells the story of a group of space explorers who set out on a one-year journey in space, but when they return to Earth they discover that 100 years have passed and that their loved ones have aged or passed away. 52. Brian May sings the song with background vocals by Freddie and Roger. John Deacon plays the double bass, which he learned to play on following a joke by Brian May who asked him to play the instrument, but did not really mean it. 53. The song " Sweet Lady " was written by Brian May who wanted to write a song with a strong riff on the rhythm of the typical 3/4 waltz. Roger Taylor noted that this is one of the songs he has the hardest time performing live due to the rhythm. 54. The (seemingly) instrumental piece starting at 0:51 in the song " Seaside Rendezvous " is performed entirely by the vocals of Freddie Mercury and Roger Taylor , it does not use any instruments. 55. " The Prophet's Song " composed by Brian May , was influenced by a dream about the great flood in the days of Noah. 56. He wrote the song while he was ill during the recording of the album "Sheer Heart Attack". 57. This is Queen's longest song of all of its albums and is over 8 minutes long. 58. " Love Of My Life " was written and played by Freddie Mercury , with the addition of guitar by Brian May . The song was written for Mercury's girlfriend Mary Austin. May plays the villain harp in the song. 59. The jazzy song " Good Company " was written and sung by Brian May . He wrote the song on a banjo, but during the recording, he plays on the ukulele. 60. The cover of the British anthem " God Save the Queen " was first recorded by Brian May in 1974, before the tour that accompanied the album "Sheer Heart Attack". The recording was reworked with the addition of the guitars for the album. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On December 10, 2007, the three remaining members of "Led Zeppelin", Robert Plant , Jimmy Page , and John Paul Jones , accompanied by drummer Jason Bonham , son of John Bonham , went on stage at the "O2" in London for a one-off reunion show, in memory of Atlantic Records founder Ahmet Ertegun who signed the band and passed away a year earlier. It was the band's first full-length concert in over three decades, since the death of drummer John Bonham in 1980. This show broke the Guinness record for the concert with the "highest demand for tickets for a single musical concert". Tickets were put up for sale via a lottery system on a website at £125 / £250, with all proceeds going to Ahmet's charity. As soon as the website was opened for sale, it has collapsed due to excess demand reaching 20 million requests for only 18,000 tickets. During the show, the band performed 16 songs, including the two encores, from the band's entire repertoire, with the exception of their latest studio album, " In Through The Out Door ". Two of the songs performed that night were played live in their entirety for the first time ever by the band: "Ramble On" and "For Your Life". In October 2012, the film "Celebration Day" documenting the event, was released. The film gives viewers who were not included among the 18,000 lucky ones, a chance to see the brilliant performance in the closest way to how it actually happened, since the band members wanted to make as few edits as possible and intervene as little as possible in the sound mix or the song list. The band members look and sound precise and cohesive, considering the fact that almost 40 years have passed since they last played a full show together on the same stage. Jimmy Page 's guitar work is amazing, despite the effect of age on his voice Robert Plant screams his soul into the classic songs and pushes them forward, and the quiet force - John Paul Jones as always amazes with his playing both on bass and keys. But above all, the crazy chemistry of the three with Jason Bonham should be noted. Jason stepped into his father's huge shoes and even challenged himself to raise the bar with some interesting and unique drum fills he concocted himself. Rumor has it that Jason listened to gigs and quite a few bootlegs, trying and emulate his father's versatile and powerful playing. This show was also released on a double album on November 19, 2012, to critical acclaim. For listening to the album: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 19, 1982 "Led Zeppelin" released the album "Coda". It is the ninth and final studio album—and their first compilation album of "Led Zeppelin", released two years after John Bonham ’s tragic death in 1980 and the band’s subsequent dissolution. "Coda" is a passage that ends a musical piece following the main body, and therefore was chosen as the album title. The original album contains a collection of eight rejected and live tracks spanning their twelve-year career that were not released before. it offers fans a chance to explore the band's lesser-known material while providing a retrospective glimpse into their stylistic evolution. Guitarist Jimmy Page explained the motivation behind the release as related to the popularity of unofficial "Led Zeppelin" recordings: “Coda was released, basically, because there was so much bootleg stuff out. We thought, ‘Well, if there’s that much interest, then we may as well put the rest of our studio stuff out.’” While not a cohesive studio album, "Coda" serves as a posthumous celebration of "Led Zeppelin's" immense talent and creativity, even if it doesn’t reach the heights of their classic records. The album opens up with "We’re Gonna Groove" (live) and a punchy, high-energy performance. Originally written by James Bethea and Ben E. King in 1960, this track captures "Zeppelin" at their live best. Originally recorded for " Led Zeppelin II ", it showcases John Bonham 's dynamic drumming and Jimmy Page ’s fiery guitar licks, making it an exhilarating introduction. No wonder the band used to open their shows with it in the early of 1970. "Poor Tom" (outtake) comes right after with a folky, acoustic-driven number recorded during the " Led Zeppelin III " sessions, this song highlights the band’s softer, blues-inspired side. Robert Plant ’s plaintive vocals and harmonica playing and Bonham’s nimble shuffle on the drums make it a hidden gem. "I Can’t Quit You Baby" (Soundcheck Recording) is not a live rehearsal take and was actually recorded live in 1970. This Willie Dixon classic emphasizes "Zeppelin’s" early affinity for raw, bluesy jams. Page’s solos and Plant’s impassioned delivery evoke the spirit of their formative years. "Walter’s Walk" (outtake) was recorded during the " Houses of the Holy " sessions, this hard-rocking track combines a propulsive rhythm section with Plant’s charismatic vocals. This track started as an improvisation part during "Dazed and Confused" on the band performances. The second side of the vinyl opens with "Ozone Baby" (outtake). A playful rocker from the " In Through The Out Door " sessions, with boasts infectious riffs and an upbeat vibe. "Darlene" (outtake) is a piano-driven boogie tune that reflects "Zeppelin’s" versatility. It was also recorded from the " In Through The Out Door " sessions. John Paul Jones shines on keyboards, while Bonham’s drumming adds a steady groove, creating a track that feels both fresh and nostalgic. "Bonzo’s Montreux" Is a drum solo piece recorded by John Bonham in 1976 layered with effects by Page. This track serves as a tribute to his unparalleled skills. "Wearing and Tearing" (outtake) closing the album with a furious punk-inspired energy. Recorded in 1978 during the punk revolution it proves "Zeppelin" wasn’t afraid to embrace the changing musical landscape of the late '70s. It is interesting to note that the 1993 compact disc edition has four additional tracks. " Baby Come On Home " (outtake from " Led Zeppelin " sessions), " Travelling Riverside Blues " (live), " White Summer/Black Mountain Side " (live) and " Hey, Hey, What Can I Do " (B-side of the "Immigrant Song" single). The deluxe 2015 super deluxe edition feature bonus material containing alternative takes and previously unreleased songs like: " If It Keeps On Raining " ("When the Levee Breaks", rough mix), " Sugar Mama " (" Led Zeppelin " outtake), " Four Hands " ("Four Sticks", Bombay Orchestra), " St. Tristan's Sword " (rough mix, " Led Zeppelin  III " outtake), and " Desire " ("The Wanton Song", rough mix) and more. Coda is, at its core, a patchwork of material from various points in "Led Zeppelin’s" career. As such, it lacks the cohesion and thematic ambition of their studio albums. However, it succeeds as a testament to the band’s versatility and mastery across genres, from blues and folk to hard rock and experimental percussion. As it's name implies it is a final farewell from a band whose influence continues to shape rock music and serves as a fitting epilogue to a legendary career. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

A Sneak Peek... And this time .. "Joe's Garage" Frank Zappa 's Triple Studio Album which was released on September 17, 1979 (Act I) and November 19, 1979 (Acts II & III). This is a concept album, a kind of rock opera, which tells a crazy and imaginative story that includes harsh criticism against American culture, the pursuit of money, consumer culture, censorship and restriction of freedom of speech, especially in music, church, Scientology and more. The lyrics express protests on topics such as the phenomenon of Groupies, fetishism, youth bands, sexually transmitted diseases, American "junk" culture and "wet T-shirt" contests, the attitude of music companies towards artist and more. The plot tells the story of Joe, a good US boy mowing the neighbors' lawn, who suddenly discovers rock music. At the beginning of the album, in the first act, we are introduced to the narrator of the album, who tells us of the bad effects of music on man ( Central Scrutinizer ). We meet Joe, a singer in a band who spends hours in the garage and plays the guitar to the displeasure of the neighbors, who have often called the police to his house ( Joe's Garage ). Joe becomes a talented guitarist, he falls in love with Mary, a ( Catholic Girl ) who becomes a groupie of the rock band "Toad-O", she queues after them and sleeps with all the band members on the band bus ( Crew Slut ), until they leave her in Miami exhausted and destitute. In her attempt to raise money to return home, she participates in a "wet T-shirt" contest ( T-Shirt Nite ) and when Joe hears about her exploits he sleeps with a waitress named Lucille ( Lucille Has Messed My Mind Up ) and contracted a sexually transmitted disease from her, but claims he contracted it from the toilet seat ( Why Does It Hurt When I Pee? ). Joe turns to "Appliantology" (Scientology only one that worships appliances) ( A Token of My Extreme ). To achieve his sexual satisfaction he comes to the "closet" club where people have sex with home appliances. He falls in love with an expensive robot ( Stick It Out ) Joe is unable to stop himself and in a sex climax, he destroys the expensive robot ( Sy Borg ) and cannot pay for the damage. He is subsequently thrown in jail and meets other inmates, some of whom are in jail for music-related offenses ( Dong Work for Yuda ). Among them he meets John the bold - "King of the Plookers" and then he is raped in prison ( Keep It Greasey ). When he comes out of prison ( Outside Now ) he discovers that the music has been banned. He starts dreaming about playing guitar but then his neighbor interrupts his dreaming ( He Used to Cut the Grass ). Joe also sees in his dream his girlfriend Mary giving a lecture ( Packard Goose ). He deals with his depression in a kind of guided imagery of a guitar solo he hears in his head ( Watermelon in Easter Hay ), with the piece serving as a sort of farewell to the music as Joe chooses to move on with his life. In the epilogue song ( A Little Green Rosetta ), Joe gives up music, plays his imaginary guitar, and gets a "good job" at the "Utility Muffin Research Kitchen" (a reference to Zappa's personal studio). Later The "Central Scrutinizer" gives up the megaphone. He sings the last song on the album in his usual voice and joins a long musical number, when the song becomes chaotic we get the proof that music is dangerous ... There is no doubt that one of the mesmerizing tracks on this album is " Watermelon in Easter Hay ". An amazing segment of over 9 minutes in length, which although relatively repetitive and almost monotonous is particularly moving and absolutely not boring. The full name of the piece is "Playing a Guitar Solo With This Band is Like Trying To Grow a Watermelon in Easter Hay" and at least according to Dweezil Zappa Frank Zappa 's son this is the best solo his father ever played. It is interesting to note that Zappa planned a cinematic version of the concept album in light of the success of the cinematic adaptations of the rock operas " Tommy " and " The Wall ", but this did not materialize. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

"Persona Non Grata", "Exodus" 11th studio album, was released on November 19, 2021. This is their first studio album since 2014 "Blood In, Blood Out" which included a guest appearance by founding guitarist Kirk Hammett , and their second with vocalist Steve "Zetro" Souza since returning to the band that year. Work on the album began back in 2016 right at the end of the tour to promote the album "Blood In, Blood Out", but the writing and recordings were delayed due to schedule issues and the commitments of guitarist Gary Holt who joined "Slayer". Following the "Slayer" farewell tour and dissolution in 2019, Gary Holt was able to resume the intense work and recordings of "Persona Non Grata" more vigorously, and these took place in September-October 2020, when the album was fully completed in January 2021. The album was supposed to be released in the summer of 2021, but its release was postponed to November, due to the illness of drummer Tom Hunting. It is interesting to note that the album also includes guest appearances by the band's former guitarist Rick Hunolt in the guitar solo on the song " Lunatic-Liar-Lord " as well as a guest appearance by singer Chuck Billy on the theme song. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Rush's live album "Clockwork Angels Tour", was released on November 19, 2013. This live album is special and different from the band's other live albums, mainly due to the fact that this is the first time in the band's history that "Rush" shares the stage with other musicians. An ensemble that includes 10 string players and a conductor, who accompanied the band throughout the second part of the setlist. The addition of the string ensemble greatly enriches the sound of "Rush" and pushes the band and the songs forward. This can be heard especially in songs like "The Garden", "Red Sector A" and "Manhattan Project", where the strings just blend in perfectly, upgrading the performance and adding to the experience. The strings blend very nicely even in the noisier tracks like " Caravan " where they play right on Alex Lifeson 's riff, in the song " the Anarchist" , especially in the transition parts starting from 1:51 and up to the chorus, in the song " Carnies ", especially in the crescendo towards the end, so you can really hear the strings along with the power trio and pyrotechnics of the show, all together in one huge climax, and even in the instrumental track " YYZ " which has never sounded so special. Another reason for the uniqueness of this live album is the conscious decision the band has made, to "pull "out of the attic" songs that have not been played live for almost three decades and include them in the show's rich and varied setlist. In this way, most of the setlist (except for the songs from the album " Clockwork Angels " which we will refer to later), consists of songs from the band's synthesizers and new wave era. For example, you can find songs like " Grand Designs ", " Territories ", " The Body Electric ", " Force Ten ", " Middletown Dreams ", and " Manhattan Project " that have not been played live for a very long time, along with other songs from that era that was played here and there over the years like " The Analog Kid ", " The Big Money ", " Subdivisions ", " Red Sector A ". The show is divided into two parts. The first set is played by the band on stage alone, when after the break the band goes on stage with the ensemble and plays with it almost the entire album " Clockwork Angels ", from beginning to end. Remember this is the only full concept album of "Rush" and those who have not read our review of it and do not know the plot story of the album, are welcome to do so. There is no doubt that the second part of the setlist is the highlight of this show. It includes a video art that accompanies the story of the concept album and adds much to the experience of the show, with one of the highlights in our humble opinion, being the ending track of the concept album " The Garden ", in a very moving performance and accompanied by particularly impressive video art. It is interesting to note that this time the album features a short solo by Neil Peart , relative to other performances, during the song " Headlong Flight ". At the same time, the album also includes a nice surprise in the form of a guitar piece by Alex Lifeson called " Peke's Repose " which is an introduction to the song " Halo Effect ". Such an opening track by Alex Lifeson is well remembered from " Exit... Stage Left " with the track " Broon's Bane " which was the introduction to the song " The Trees ". The CD version of the album includes 3 discs. The first includes the first part of the setlist with only three "Rush" members on stage. The second includes the second part of the setlist centered on the album " Clockwork A ngels " with the string ensemble and the third includes the sequel to the second part of the setlist also with the string ensemble, including the encores and bonus tracks of songs played in additional performances on the same tour, as well as a recording of the song " Limelight " during the band's soundcheck. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 18, 2016, “Metallica” released their tenth studio album, “Hardwired… to Self-Destruct”. Eight years had passed since “Death Magnetic”  — the longest gap between studio albums in the band’s history — and the expectations surrounding their return felt heavier than any amplifier they had ever dragged onstage. This wasn’t just curiosity about a new record. It was a question of identity. Whether a band that shaped the foundations of thrash metal on albums like “ Kill 'Em All ”  and redefined mainstream heaviness on “Metallica (The Black Album)”  could still summon that fire after decades, tragedies, triumphs, reinventions, and a changing musical landscape. By the time work began on this album, the band was in a more stable place than during the dramatic years that followed “Load” . Relationships had strengthened, battles were behind them, and the hunger to write something meaningful had returned. "Hardwired… to Self-Destruct" became a project of renewed focus — a reminder to themselves of what “Metallica” truly is, and what drives them beneath the noise and the legend. Recording began at their San Rafael headquarters with Greg Fidelman producing alongside James Hetfield  and Lars Ulrich . The process was disciplined and deliberate: hundreds of riffs catalogued, sorted, sharpened and sculpted into shape. A major shift came when Kirk Hammett  famously lost his phone — and with it, nearly 250 riffs that he hadn’t backed up. For the first time since joining the band in 1983, Hammett had no songwriting credits on a "Metallica" album. The weight of structuring the record fell largely on Hetfield and Ulrich, giving the music a tightened, focused edge. Robert Trujillo contributed the intro to “ManUNkind” , written as a tribute to the late Cliff Burton . The album’s lyrical themes circle around destruction, anxiety and the darker wiring of human behavior. “Moth Into Flame”  mourns the seduction and toxicity of fame, “Hardwired”  dives into self-destructive impulses and addiction, “Dream No More”  reaches back into Lovecraftian nightmares, and “Murder One”  stands as a heartfelt tribute to Lemmy Kilmister , the iconic "Motörhead" frontman, named after his favorite amplifier. The album begins with “Hardwired” , a blast of pure thrash aggression — short, sharp, and unfiltered. It reconnects instantly with the spirit that originally fueled the band. “Atlas, Rise!”  carries that energy into a triumphant stride, with harmonized leads and a chorus built for arenas. “Now That We’re Dead”  dives into a muscular, ritualistic groove that balances heaviness with melody, while “Moth Into Flame”  becomes one of the album’s defining peaks — urgent, addictive, and lyrically piercing. “Dream No More”  which finds Robert Trujillo singing backing vocals drops into thick, sludgy depths, pulling listeners into a slow-moving monster of a track, and “Halo on Fire”  ends the first disc on a long, emotional rise, opening into brightness and release. Disc two shifts into darker, heavier terrain. “Confusion”  marches with a sense of psychological fracture and inner conflict. “ManUNkind”  blends tribute with tension, twisting between eerie harmonies and unsettling rhythms. “Here Comes Revenge”  delivers one of Hetfield’s strongest modern vocal performances, built on cycles of anger and consequence. “Murder One”  honors Lemmy with thick, pounding riffs. And the album ends with “Spit Out the Bone” , a full-throttle thrash explosion — one of the most exhilarating tracks the band has recorded since their earliest days. In addition to its two main discs, “Hardwired… to Self-Destruct” was also released in a deluxe edition featuring a rich third disc of bonus material. The Bonus disc opens up with a re-recorded version of “Lords of Summer” , originally released as a rough 2014 demo. “Ronnie Rising Medley (A Light in the Black / Tarot Woman / Stargazer / Kill the King)”  was recorded for the 2014 Ronnie James Dio tribute album "Ronnie James Dio – This Is Your Life". “When a Blind Man Cries”  initially recorded for "Re-Machined: A Tribute to Deep Purple’s Machine Head" (2012). “Remember Tomorrow” , originally recorded for the 2008 Iron Maiden tribute "Maiden Heaven: A Tribute to Iron Maiden". Beyond the studio material, the bonus disc delivers a vivid burst of live energy recorded at Rasputin Music in Berkeley, California, on April 16, 2016, and U.S. Bank Stadium in Minneapolis on August 20, 2016. Upon release, “Hardwired… to Self-Destruct” debuted at number one in more than fifty countries, instantly embraced by fans as a return to intensity, energy and purpose. Critics praised its ambition, its balance between old-school speed and modern weight, and the genuine spark running through its best moments. The “WorldWired” tour that followed became one of the band’s most successful, confirming several of the album’s tracks as new-era staples. In the years since, the album has come to represent a meaningful milestone — not a reinvention, but a reaffirmation. A reminder that even after decades, “Metallica” can still tap into the essence that made them monumental in the first place. It is a record that stands confidently beside the giants of their catalog, not as a copy of the past, but as proof of continued evolution and vitality. “Hardwired… to Self-Destruct” is the sound of a band rediscovering its bite — powerful, emotional, aggressive, and alive. A confirmation that “Metallica”, even after so many years, can still shake the earth the moment they choose to. 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Before we begin our review, we would like to express our gratitude... We invite everyone to come together and express their appreciation by saying "thank you very much" (even silently). We are grateful, Rick Rubin!! One day, a large and sturdy explosive barrel found its way into Rick Rubin's studio, posing an apparent danger. Despite this, Rick, a skilled fighter and demolition expert, acted swiftly and placed the barrel in his studio without hesitation. Later, he discovered that the barrel was missing a key component – a detonator. Unfazed, Rick considered the situation and remembered owning a unique detonator, crafted in Seattle in the 90s. This particular detonator, far from ordinary, held special importance. When Rick connected the detonator to the barrel, a remarkable synergy emerged, almost as if the barrel and detonator were meant to be together. To his amazement, this combination initiated a series of inevitable chemical reactions, leading to three significant and extraordinary explosions. The first explosion, causing a powerful shockwave, signaled the beginning of this explosive sequence – an album unlike any other! If you have stayed engaged following our captivating metaphor (as we see it), we will now elaborate on our intended message... On November 18, 2002, the debut album of Audioslave was born. After Zack de la Rocha's departure from Rage Against The Machine in October 2000, the remaining members, known as the "Rage Trio," were determined to move forward into a new era. While their commitment to staying together was evident, the question of who would fill the void left by Zack lingered. At this critical juncture, Rick Rubin, who was familiar with the band's situation, proposed an interesting solution - none other than Chris Cornell , the acclaimed lead singer of Soundgarden. The band members were immediately excited about the idea of having the voice behind "Badmotorfinger" join their ranks. Anticipation grew, but one crucial step remained. Rick contacted Chris, who was busy working on his second solo album at the time. A jam session was arranged to assess the potential chemistry and dynamics. The Rage Trio, along with Chris, entered the studio under Rick Rubin's expert guidance. As the scene unfolded, Tom Morell o kicked off the session with a guitar riff that produced a metallic sound reminiscent of an alarm. Suddenly, Brad Wilk joined in on drums, Tim Commerford on bass, and Tom shifted the sound to a distorted tone. After an intense opening of eight bars, the trio unleashed their energy and awaited Chris's response. Taking the mic, Chris sang, "In my hour of need, On a sea of gray." In that moment, the studio was filled with a burst of magical fragments and cosmic waves. Tom, astonished by what he heard, commented, "It wasn't just good... it was sublime!" The fusion of Chris Cornell's vocals with the instrumental prowess of the Rage Trio had created a moment that transcended the ordinary musical experience. And we have no other way to describe Chris' voice than sublime !! Indeed, this session showcased a preview of a tune titled "Light My Way" . It marked the debut performance of the band members playing in unison, and they instantly sensed a flawless chemistry, as if their partnership was destined. (Photo: Interscope) There is no denying that this partnership connected two slightly different realms. One side features the intense band with sharp riffs, consistently conveying political and social messages with a confrontational approach. On the other side, there is a prominent singer with a background of battling drug and alcohol issues, mainly focusing on expressing life's challenges and avoiding political and social discourse. Nevertheless, this exceptional supergroup cleverly merges these opposing components, with each aspect influencing the other in surprising ways. The trio of anger moderates their fervor, incorporating a style that remains powerful yet exudes a notable softness and harmony, free from obvious political or social passion. In contrast, Chris becomes increasingly outspoken and instinctive, exploring a mix of aggression and loud outbursts alongside instances of sensitivity and affection. The band's first album, named after themselves, is a masterpiece filled with vibrant musical elements that resemble a symphony of fireworks, especially in the music video for the opening track. It's a situation where the individual songs outshine the album as a whole. Each track is a significant piece, with no weak or insignificant songs on the record, regardless of personal preference. Every song is meticulously created, showcasing exceptional talent. The album starts off with the powerful anthem "Cochise," featuring Morello's distinctive guitar style that builds up tension like a coiled spring before releasing it with precision. The listener is swept away as the song takes flight. From the very first note, Chris pours his heart out as if he had been eagerly anticipating this trio to offer the stage for him to passionately release his emotions. Similar to the music video, we are delighted by a magnificent show of fireworks where the powerful trio meets this expressive singer. The next song features an intense rhythm with a strong snare and bass that hits hard, complemented by Morello's guitar work that appears crafted to make you feel like crawling on the ground. "Show Me How To Live" stands as nothing short of an exemplary anthem, with a delicate balance between the verse and the chorus that creates an abyss, compelling you to scream out loud. Regardless of your religious beliefs or the force that shaped your existence, you find yourself turning to your creator and letting out a scream. While some may argue that the reference here is to the creator of the monster Frankenstein rather than Jesus, for us, the significance lies in the act of screaming itself. The choice of who to scream to is a personal one. By the way, if you've ever wondered about the special effect on Cornell's voice at the end of the song, it's not an effect at all. It's Cornell himself gently patting his hands on his throat, adding a unique and personal touch to the sonic landscape. Now, let's "calm down" a bit with "Gasoline." Here, too, the familiar pattern of tranquil verses is followed by an eruption of the chorus, this time fueled by gasoline, so caution is advised to avoid burning everything down. In "What You Are," we are greeted by the mesmerizing fret and sweeping rhythm. At the 22nd second, Chris begins singing in a soft and caressing voice, seemingly leading us into a gentle ballad. However, the trio has other plans and once again introduces a powerful chorus when Chris exclaims, "Now I'm Free…" Prepare your handkerchiefs and keep an onion nearby as an excuse, because now we arrive at the emotionally charged climax of the album (time flies), "Like a Stone." The song brings together the rage trio's raw intensity with a softer side. Once again, we start calmly, but this time the chorus doesn't explode too much, allowing Chris to continue with his tender and soothing vocals. This track stands out as one of the most emotionally stirring on the album, if not the most poignant. Even Tom's solo seems to weep over what Chris has conveyed, capturing a powerful and poignant energy. You might find it amusing, but this is 21st-century poetics, and it's genuinely moving to tears—such is the profound impact a person can transmit through their voice. (By the way, the castle in the music video was where Jimi Hendrix lived and created, adding an extra layer of historical resonance.) Let's take a refreshing pause with a glass of water and then dive back in, because things are about to change, and we're reigniting the explosion with "Set It Off." The track kicks off with a sound that suggests something went awry in the studio, as if Rick accidentally nodded off on the buttons while editing Tom's recording. But then, it catches fire because someone "lit it." If we had a can of "gasoline" before, now you're urged to "set this [expletive] off," so go ahead and let it rip—we're not holding back. The combination of Tom's instrumentation and Chris's vocals feels almost celestial. Now, add the pulsating bassline, and you've got the formula for creating a powerful resonance in the heart (yes, we're pouring here, and we're doing it consciously, so no need to worry...). Introduce the drums to the chorus, and it becomes sheer pleasure. "We can't tell you why," maybe it's the "Shadow on the Sun." The song's finale from 4:40 is an explosive culmination of the rage trio, sounding as if Chris is roaring and urging those who have already moved the sun. Close your eyes and let Chris take the spotlight. Here, the rage trio truly eases off, allowing him to shine brilliantly. "I Am a Highway," some claim it was written about Chris' departure from Soundgarden, while others argue it was penned about his separation from his wife. Regardless, the song is undeniably stirring. Feel how he takes command of the song, embodying the lyrics—he is the highway and not just a wheel. He's not the hitchhiker or the magic carpet; he is the sky, and we wholeheartedly resonate with that sentiment. Going back a bit to Rage's distinctive style, Chris roughens his voice and unleashes an explosive force in "Exploder." While our interpretation leans toward the song reflecting Chris' personal struggles and addictions, it's merely our perspective. The track "Hypnotize" seems to be plucked directly from the demos Chris recorded for his solo album. Aside from Tom's little riff, it deviates from the style we've heard thus far, but we love it for its refreshing and different quality. Imagining the rage trio playing this song adds an intriguing layer. Bringing them back, we dive into "Bring 'Em Back Alive," which carries hints of religion and faith, infused with Rage's funky yet softened style. Yet another anthem from the supergroup's creator, "Light My Way" opens with Tom's sounds propelling us into a realm of electrical connections in the brain, inducing uncontrollable facial distortions. It's a monumental track, even with a touch of Chinese elements in the background. "Do not save it for another day," urges Chris. Click Repeat and let this song envelop you again. To unwind a bit, "Getaway Car" takes the stage with Chris leading the way and featuring "The Escort Band." It's a beautiful fusion with bluesy undertones, delivering a delightful musical experience. The album concludes with "The Last Remaining Light," where Tom's guitar seems almost broken, and Chris sits alone in a dark room recording the lyrics. But pause for a moment and focus on the sound of the snare. Notice how it rises above everything else, as if conveying a message, orchestrating perfect harmony among all the instruments. We've said it many times, but it's worth repeating: Music is a wonderful thing! And this album is no less wonderful! The album cover, created by artist Storm Thorgerson, renowned for his work with bands like Queen, Pink Floyd, Genesis, Rainbow, Black Sabbath, and more, originally featured a naked man in front of the fire. Eventually, they opted for clothing in the final version. This album stands as the band's most successful, reaching number seven on Billboard and earning a Grammy nomination in 2004 for the song "Like a Stone." It would be ridiculous to say "click play" now because if you do not do it automatically, there is nothing to talk about at all ... So go ahead, do not make us vent ... Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

There are moments that are never forgotten. Such was the initial shock from the sound of The Edge's guitar moaning in the opening of "Zoo Station", the sound of the industrial drums emerging right behind it and Bono's distorted voice informing us "I'm Ready ..", but caught us really "not ready". As the years go by we increasingly realize the magnitude of the change "U2" made at the time, and the courage it took for it to step out of its comfort zone, and out of a conscious choice to go as far as possible from the meteoric album "The Joshua Tree," which bought it world fame. On November 18, 1991, "U2" made the biggest turnaround in its history, with the release of its seventh studio album, "Achtung Baby". Stay tuned for more coverage in the "Class of 91' Albums" series. It was a year we thought we had heard almost everything. A year that drove us crazy in the good sense of the word. A year that played with our musical taste, one that broadened our horizons and even changed our look. But with all the positive upheavals we went through on that meteoric year, we really were not ready for this thing. The sounds that came from the speakers did not remind us at all of the band that a few years earlier had released one of the great albums of the 1980s. We later learned that the band had gone through a long and painful creative process with this album. A process that began with a self-search, but very quickly caused frictions and crises that threatened its future and almost led to the disintegration of the so cohesive Irish gang. After the release of "The Joshua Tree" in 1987, "U2" was on the top of the world. It was their most commercially successful album, with sales of over 25 million copies worldwide. It gave the band great critical acclaim, it conquered the tops of the charts and won a Grammy Award for Best Album in 1988. It brought them world fame and turned them from a band of medium venues into a formidable stadium monster. But after the high tide, came the low. In 1988 "U2" released the double album and movie "Rattle and Hum" and received less sympathetic criticism and accusation that they lost their direction and became pretentious and bombastic. In retrospect, this ambitious project was not properly understood by the crowd and some of the criticism it got did it no justice. The fact that the album sold a nice amount of 14 million copies did not sweeten the bitter pill and the members of "U2" felt a huge emptiness. They felt they had everything but still something essential was missing. Drummer Larry Mullen, Jr. was even later quoted as saying in an interview with "Rolling Stone" magazine "We were the greatest, but we were not the best". The big question that was written on the wall was "Where do they go from here?" During the "Lovetown" tour to promote the album "Rattle and Hum", the band began to get bored of performing their big hits. The feeling was of musical stagnation. At the end of the tour, during a performance in front of a local audience in Dublin, on December 30, 1989, Bono noted the following: it was "the end of something for U2", and that "we have to go away and ... dream it all up again" And indeed it was. After the tour, the band took its longest break to date. It was already clear to everyone that things were going to look different and that they needed to reinvent themselves. The band members realized that in order to do so they had to, first and foremost, change old habits. They believed that working on the album close to home was their "enemy", and that if they wanted to do it different this time, they should distance themselves from the usual "family" routine. The four members wandered following the "winds of change" that heralded the new post-Cold War in Europe, choosing the city of Berlin as their source of inspiration. On the recommendation of Brian Eno, they sought to record at the mythical "Hansa" studios in West Berlin, right next to the recently fallen Berlin wall. Quite a few acclaimed albums were recorded in these studios, including two of David Bowie's "Berlin Trilogy" in which Brian Eno was involved in and the members of the band hoped to draw inspiration for writing the material for the album there. The band members arrived in East Berlin on the very last flight, on the eve of the city's reunion, on October 3, 1990. But instead of being inspired by the "winds of change" and the festive atmosphere that brought with it the fall of the Berlin wall, "U2" members found the city cold, alienated and depressing. The hotel where they stayed in, in East Berlin was gloomy and dark and the winter was not welcoming. They discovered that Studio 2 of the "Hansa" studios where they plan to work served as the "SS" ballroom, and in addition they find that it was neglected for years, forcing producers Brian Eno and Daniel Lanois to rebuild it. To these logistical difficulties one can add the emotional difficulties experienced by the band members including the fact that The Edge had just divorced his wife and mother of three children as well as the immense mental pressure on the band to reinvent itself. And if you thought it could not be more difficult, then came the frictions that almost led to the disbandment of "U2". The band worked in the studio for long days but could not agree on a musical direction. The Edge listened at the time to electronic music and industrial rock with influences from bands like "Einstürzende Neubautenu" and "Nine Inch Nails". Bono was also connected to the new musical directions and was influenced by the Manchester club scene, but that was not the case with Larry and Adam. At the time they preferred "classic rock" such as "Blind Faith", "Cream" and Jimi Hendrix. The gaps between the two "groups" were abysmal. While Bono and The Edge looked ahead and turned to innovation, Larry and Adam were stuck in the past and preferred to focus on music that was from the same family of materials the band had previously recorded. This disagreement caused Bono and The Edge to distant themselves from the other two and start writing on their own. The situation worsened when they returned to the studio with preliminary sketches, as The Edge's growing interest in industrial and electronic music and club mixes, established the beat on drum machines and it made Larry Mullen, Jr. feel that his contribution as a drummer was diminishing. Similar to the previous two albums "The Joshua Tree" and "The Unforgettable Fire" the band preferred to continue with the duo Brian Eno and Daniel Lanois as the ones who would accompany them in producing the album. They saw the two and especially Brian as a formidable source of knowledge, literally a "school of music." He was the one who pushed them to explore and develop musically and he was also the one who taught them to use the studio and effects as creative tools for anything and everything. For this reason "U2" members have realized that they are simply not allowed to give up on the duo, especially in circumstances where they seek to reinvent themselves. Eno took on the role assigned to him very seriously. He deliberately distanced himself from the band and came to the studio from time to time, went over the materials, advised and gave the band a different and fresher perspective aimed at innovation. He noted that his said his role was "to come in and erase anything that sounded too much like U2". But even that did not help the band overcome its external and internal difficulties. After many hours in the studio and repeated attempts with drum machines, electronic sounds and effects, they felt stuck and frustrated. But just then, out of desperation during a repetitive musical work on "Sick Puppy" which is an early version of the song "Mysterious Ways", a breakthrough suddenly came. The Edge played a new chord sequence that simply grabbed Lanois's ear. He suggested taking this sequence out and using it for a new song. The band found in this chord sequence the inspiration and enthusiasm they needed and they quickly improvised a new song on it, that became the third single from the album "One". Bono noted that this song just fell from the sky. His core was written in 30 minutes as he improvised words that were influenced, among other things, by the crumbling relationship between them, the divorce of The Edge and the union of Berlin. This song breathed new spirit into the band morally and creatively, it gave them the confidence they needed and most of all united them and restored their faith in themselves. The Edge later said: "It was a pivotal song in the recording of the album, the first breakthrough in what was an extremely difficult set of sessions." This song completely did not match the musical direction the band was aiming for. On the contrary! It was closer in spirit to what the band had created on the previous album "The Joshua Tree" and maybe that's why Brian Eno did not really like it at first. But this song was exactly what the band needed for saving itself, what's more, it eventually became their anthem, which among all its titles and achievements become the "Song of the Decade" of the 90s of "Galgalatz" radio station charts held in Israel in the year 2000 . The big change that "U2" underwent on "Achtung Baby" can be heard from the first notes on the album. The metallic sound of the moaning guitar at the opening of "Zoo Station", which we mentioned at the beginning of the review, heralds the arrival of a new band. One that was born on the ruins of the previous band. Anyone who accompanied "U2" in the 1980s and listened to their albums in real time, will surely tell you about the total shock he experienced while listening to the first sounds of the album, which were light years away from those produced by the band on the previous album "The Joshua Tree". Bono would later define the sound of this album as the "the sound of four men chopping down The Joshua Tree" and he was so right !!! There is no doubt that the choice to open the album with "Zoo Station" was not accidental. It is meant to shake and shock the listener and make him ponder and wonder if he is indeed listening to "U2". The lyrics were inspired by a surrealist story about the Berlin Zoo that was bombed during World War II and the animals fled from it and wandered through the ruins of the city. But the total turnaround that "U2" made with "Achtung Baby" was not just musical. It was also expressed in look & appearance, dress, attitude and the way they refer to live performances from that moment on. The song (or rather the clip) that best presents this makeover is of the song "The Fly", which is a showcase to "The Fly" persona that Bono adopted in the form of a stereotypical, pretentious, megalomaniacal rock star, wearing leather and big black sunglasses that look Like insect eyes. This character was undoubtedly a central part of the band's transformation and it among other things came as an answer to all those critics who claimed that the band was pretentious and full of itself, just like the character created by Bono. Based on this character, "U2" will build the concept of the "Zoo TV" tour that will accompany the album, as well as the idea for the album cover. In this case, too, the band made a conscious choice to release this song as the first music video and single from the album, with the clear aim of introducing the world to the new "U2" and its updated sound. The lyrics were written based on an imaginary idea of ​​a phone call going on between the character of the "Fly" from hell and a man on the other end of the line. "The Fly" enjoys being in hell and is telling that person what he learned and experienced there, but in the end his got to hang up since he is "running outta change... There's a lot of things if I could I'd rearrange". The change in "U2"'s sound was not only reflected in The Edge' guitar effects. This is the band's first album with a drum machine. The fact that Edge brought it into the studio, initially created great frustration for drummer Larry Mullen, Jr., who felt that his contribution to the band was diminishing. But Larry learned to get used to the new situation and at one point even started having fun with the drum machine and learning to operate it. He later began recording himself playing short drumming parts and looping them through the drum machine. This gave the drum machine a more lively and authentic sound. The turning point in Mullen's attitude towards the drum machine is related to the song "Mysterious Ways" which was released as the second single from the album. The song started as a jam of Bono, Edge and Adam Clayton on a drum machine. The friends really liked Adam's amazing baseline but they had a very hard time developing the song. The breakthrough came after The Edge began experimenting with the effects unit of "Korg A3". He played the funky riff with the familiar effect on the drum machine and then it worked. Towards the end of the session drummer Larry Mullen recorded a much more groovy beat into the drum machine and this is already what made the difference between the mechanical sound of a drum machine and the live sound of a real drummer. The fourth single released from the album was "Even Better Than the Real Thing". It originated in a guitar riff that The Edge composed in Los Angeles during the "Rattle and Hum" sessions. It was even recorded during the same session in which the song "Desire" from the same album was recorded. The band thought the song's guitar riff reminded them to much of "the Rolling Stones", and the song was shelved until the "Achtung Baby" recording session. Also in this case the band made very little progress in the first sessions in Berlin, which were full of conflicts. The turnaround came after The Edge acquired a "DigiTech Whammy Pitch Shift" effect, through which he created a double octave sound on the guitar riff. This excited the band and made them rediscover the song and finally finish its writing. The fifth single "Who's Gonna Ride Your Wild Horses", is in our opinion one of the most beautiful and special of it, but the band does not really think so. It started as a demo the band recorded in 1990. They worked on it endlessly and recorded a variety of versions for it and some say about ten mixes, but failed to reach a satisfactory result. In desperation they invited producer Steve Lillywhite who produced the band's first three albums, to experience his opinion and try to help as a third party who had not heard the song yet. Lillywhite said the band just hated the song. He worked on it for about a month and he is still sure that the song did not fulfil it's potential and he noted that probably the band just tried too hard. Maybe that’s also the reason why the band said they had a hard time playing it on stage. The five singles released from the album certainly do not sum up all the good that is in this mighty album, which does not have even one weak moment. The band began writing the song "Until the End of the World" back in 1990. It was then called "Fat Boy" and originated in a guitar riff written by the lead singer Bono. Even though The Edge loved the riff, the band had a hard time finish writing it until they met with German filmmaker Wim Wenders (Wings of Desire), who was looking for music for the soundtrack to the film "Until the End of the World". The Edge was re-inspired to use the riff that Bono wrote and this time the band managed to finish writing the song. It moved them so much that they decided to include it on the album as well. They informed Wenders that he could get the song for the soundtrack, but that they were also going to include it on the album and use the name of the film as its title. This album is darker and gloomier than its predecessors. There is no denying that this is due to the musical influences on the band during the writing process and the general atmosphere in Berlin at the time. But it is mostly so in light of the divorce proceedings that The Edge went through at the time. The four friends knew each other from childhood and the difficult breakup that Edge went through had a significant impact on them as well and from there on the writing topics that recounted the pain and hardships experienced by The Edge. These songs are mostly (and probably intentionally) concentrated in the second part of the album, and you can even find a loose connection between them, which can even be interpreted as a kind of mini-concept that describes a relationship between him and her. It starts with the exciting "So Cruel" which talks about disappointed in love, obsession and possessiveness, it continues with "Tryin 'to Throw Your Arms Around the World" which presents a character of a drunk man stumbling home to his partner and it ends with a sequence of songs describing how the couple dealing with the suffering they forced on each other. "Ultraviolet (Light My Way)" describes a strained relationship and the discomfort that comes with commitment, "Acrobat" the betrayal, weakness and hypocrisy in the relationship and the mighty ending song "Love Is Blindness" is a bleak description of a failed relationship led by the moaning and howling guitar of The Edge, mourning the bitter fate of the one who holds it. The Edge will later admit that he was actually crying while constructing the solo. "Achtung Baby" may not be U2's biggest album, but it's probably it's most important one. This is the album that saved the band from disbanding. The album that saved them from a painful dying process, experienced by a large part of the eighties bands, who were unable to adapt to the changing musical reality. But more than that, it's the album that made "U2" one of the greatest bands in history. A band that, at least until the beginning of the 2000s, will continue to reinvent itself time and time again, in order to maintain its relevance at the top of the music world. This album, released in one of the greatest years ever in music history, won a Grammy Award for Best Rock Performance By A Duo Or Group With Vocal. This is not a trivial matter, especially when it comes to a year in which so many masterpieces have been released in, a year in which Grunge has exploded into the music market. It is therefore no wonder that "Achtung Baby" is still considered today, by many, to be one of the greatest albums of the 90's and one of the most important of all time. 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Guitarist Kirk Hammett is celebrating his birthday today. So let's tell you a little bit about him: (Photo: Gina Wetzler) 1. He was born in San Francisco to a mother of Filipino descent and a father of Anglo-Scottish-Irish-German descent. 2. In high school he studied with Les Claypool from "Primus" and since then they have remained friends. 3. He started playing guitar relatively late, only at the age of 15. 4. His first guitar was the "Montgomery Ward catalog special". He connected it to a small speaker he had assembled inside a shoebox to create a resonance. 5. He worked at "Burger King" to save money so he can buy himself a Marshall guitar amp. 6. His favorite band is "UFO". When he first heard Michael Schenker play there he was immediately addicted. 7. Before joining "Metallica", he formed, in 1979, the thrash metal band "Exodus". That was when he was only 16 years old. 8. The first time Kirk left California was when he flew to New York to audition for "Metallica", which recorded its first demo there. The phone call inviting him to the Audition was received while sitting on the toilet. 9. The first song he played along with "Metallica" in the audition was "Seek and Destroy". His solo there was enough for guitarist James Hetfield and drummer Lars Ulrich and they immediately accept him into the band. 10. Kirk was the last student of virtuoso guitarist Joe Satriani . He took guitar lessons from him after recording his first album with "Metallica". 11. The passage section in the song "Creeping Death" is a riff that Kirk "imported" from his time in "Exodus". He claims he wrote the riff when he was only 16 years old. 12. During the tour of " Master Of Puppets " in Europe, Hammett got into an argument with bassist Cliff Burton about the beds on the band's bus. They decided to settle the dispute using a deck of cards. Cliff Burton pulled the ace of spades from the pack, won, and choose the bed he slept on that later led to his death after being thrown away from the bus. 13. His inspiration for writing the immortal riff for "Enter Sandman" was "Soundgarden". Hammett claimed he was trying to recreate the sound of the heavy riffs on Soundgarden's " Louder Than Love " album. 14. One of the names suggested for the black album was "Married To Metal". This was because Kirk, Lars Ulrich , and Jason Newsted divorced during his recording. 15. After touring the " Black Album ", he began studying film and art at the "University of San Francisco". 16. During this time he developed his love for blues and jazz. 17. He wanted to contribute solos to the album " St. Anger " but drummer Lars Ulrich and producer Bob Rock thought they were not good enough so they stayed out of the album. 18. During this time (and perhaps because of it) he seriously considered working on a solo album. 19. He has a large collection of vintage toys. 20. He is also a fan of horror movies and a collector of related items. 21. His intense love for horror films led him to found an annual festival for the aforementioned genre called "Kirk Von Hammett's Fear FestEvil". 22. In 2015 he lost his phone, which he claimed contained about 250 musical ideas for Metallica's next albums. The phone was not backed up and he remembered only 8 of those 250 ideas. 23. Maybe that's why he did not contribute at all to writing the material for the band's latest album " Hardwired ... to Self-Destruct " which was released on his 54th birthday. 24. Hammett appears in the clip for the song "John the Fisherman" by "Primus" as one of the fishermen. 25. He plays solo on the song "Trinity" from Santana's 12th album, "All That I Am". 26. In 2014 he rejoined his bandmates in "Exodus", when he played solo on the song "Salt the Wound" from the band's 14th album - "Blood In, Blood Out". 27. That same year Kirk purchased the "1959 Gibson Les Paul" guitar used by Peter Green and Gary Moore . He use it in the band's performances, during the song "Whiskey in the Jar". (Photo: MetalCastle) 28. This guitar is very dear to Hammett. He was greatly influenced by Gary Moore and noted that the opening lick of the guitar solo of " Master Of Puppets " is a variation of the lick that Gary Moore played. Kirk added that when he listened to the album " Still Got the Blues " he was simply amazed - not only by the music but also by Gary's guitar sound and tone. He remembered being inspired to write a few riffs just based on Moore's sound and those riffs ended in "The Unforgiven" from " The Black Album ". 29. He shares his birthdays with "birthdays" for two "Metallica" albums - " Reload " and " Hardwired ... to Self-Destruct ". 30. Kirk is a vegetarian but only for health reasons. He believes that meat is unhealthy. 31. Kirk is ranked 11th on "Rolling Stone" magazine's 100 Greatest Guitarists. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website