On November 12, 1971, "Yes" released their fourth studio album, "Fragile". It was the moment when the band stopped being a promising progressive rock act and became one of the defining forces of the genre. After the breakthrough of " The Yes Album ", the group experienced a lineup change — keyboardist Tony Kaye was replaced by the young virtuoso Rick Wakeman, who brought an entire symphonic universe with him. Together with Jon Anderson, Chris Squire , Steve Howe , and Bill Bruford, this became the classic Yes lineup — five musicians whose chemistry turned complexity into art. Recording began in the late summer of 1971, with Eddy Offord co-producing. The band was running short on money, so they came up with a creative solution: each member would contribute a solo piece alongside the main group compositions. The result was an album that balanced individuality and unity — a showcase of technical brilliance wrapped in celestial imagination. Roger Dean’s artwork, depicting a small, breaking planet, mirrored the album’s vast soundscapes and cosmic reach. "Roundabout"  bursts open like a sunrise over misty English fields — Steve Howe ’s acoustic intro evolving into Chris Squire ’s thunderous bass riff the music world hasn't heard before and Anderson’s soaring high pitched voice. Jon Anderson and Steve Howe wrote the song while traveling through Scotland near the end of a tour. Inspired by the breathtaking landscapes on the road from Aberdeen to Glasgow, Anderson began crafting the lyrics. The full version of the song lasts 8 minutes and 29 seconds, but it was shortened to 3 minutes and 27 seconds for the single release, which reached No. 13 on the U.S. Hot 100 — becoming Yes’s biggest hit until "Owner of a Lonely Heart" surpassed it in 1983. "Cans and Brahms"  follows, a brief but dazzling display of Wakeman’s classical training, transforming Brahms’ Fourth Symphony into a whirlwind of Moog and organ. "We Have Heaven"  is Jon Anderson at his most ethereal — layers of vocals looping into infinity, his voice floating like a mantra in space. Then comes "South Side of the Sky" , a monumental piece that fuses heavy rock with haunting piano interludes. It tells of a mountaineering expedition as a metaphor for human endurance — the climber’s struggle between life and death reflected in the music’s contrast of ice-cold riffs and warm harmonies. The playful "Five Per Cent for Nothing"  — Bill Bruford’s 35-second rhythmic experiment — is a burst of humor and precision. Its brevity is deceptive; every hit and rest are calculated to perfection. "Long Distance Runaround"  brings the album’s pop sensibility to the surface, with its catchy rhythm and cryptic lyrics about faith and confusion. It seamlessly blends into "The Fish (Schindleria Praematurus)" , Chris Squire ’s bass-driven odyssey that turns low frequencies into a symphony of their own. "Mood for a Day"  is a moment of quiet brilliance — Steve Howe ’s classical guitar solo feels timeless, a gentle interlude between the storm and the stars. And then, "Heart of the Sunrise"  — the eleven-minute finale that encapsulates everything "Fragile" stands for. Dynamic, emotional, and expansive, it builds from thunderous riffs to serene calm and back again, capturing the tension between chaos and beauty. It remains one of the defining pieces in progressive rock history. Upon its release, "Fragile" reached No. 7 in the UK and No. 4 on the Billboard chart in the U.S., propelling Yes into global stardom. Critics praised its ambition and technical mastery, while fans were captivated by its grandeur. It was the beginning of "Yes’s" golden era — soon to continue with "Close to the Edge", but "Fragile" was the album that truly defined their sound. Decades later, the album still feels alive — a fusion of mind and heart, intellect and emotion, precision and dream. It is not just a milestone of progressive rock; it’s a universe of its own, orbiting endlessly in the imagination of anyone who has ever listened. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Some bands do not survive the upheaval that "Genesis" went through after the release of their second album " Trespass ". After recording the album, guitarist Anthony Phillips, who was one of the pillars of the band, left due to health reasons and what is defined as "stage fright". In addition, drummer John Mayhew was fired from the band living it with only three members. losing 2/5 of the lineup is surely not easy for any band, especially in case you lose one of your main writers. But "Genesis" has proven that not only they can recover from such a shock, but that they are even capable of surpassing themselves and producing their best album to date. Reinforced by drummer Phil Collins and guitarist Steve Hackett , "Genesis" entered its "Golden Age" and on November 12, 1971, released its third album "Nursery Cryme". This is the first album of the four masterpieces from the classic lineup of "Genesis". The album in which the band completed the transition to progressive rock, the album in which the sound that so characterizes this band in its classical era is finally designed. An album that is a "progressive" milestone that greatly influenced the development of the genre. But all of this probably would not have happened had it not been for the shock the band had experienced shortly before. After the release of " Trespass , " Anthony Phillips left the band. His last appearance with "Genesis" was on July 18, 1970. He felt the increasing pressure of live performances affecting him. At the same time, he contracted pneumonia and isolated himself from the rest of the band, until he decided to retire. Keyboardist Tony Banks , singer Peter Gabriel and bassist/guitarist Mike Rutherford saw Anthony Phillips as an essential member of the band. He was one of the main writers and also an important and motivating factor in encouraging them to become professionals. They saw his retirement as the biggest threat to the band's fate and thought it would be very difficult to overcome it. Peter Gabriel and Mike Rutherford were very interested in continuing. Tony Banks agreed but on the condition that the band finds a new drummer with an equal level of playing to the rest of the band, and this led to the dismissal of John Mayhew. In August 1970 Phil Collins joins the band, after responding to a newspaper ad. He auditioned successfully at Peter Gabriel 's parents' home and joined the band. At the same time, Steve Hackett published an ad in the Melody Maker newspaper, in which he stated that he was looking for a band. The ad was answered by Peter Gabriel who invited him to audition, not before advising him to listen to " Trespass " before auditioning. The act of course passed the audition and his first appearance with Genesis was held on January 24, 1971. Recruiting Phil Collins and Steve Hackett , breathed new life into the band. The two brought with them a wealth of new musical ideas and contributed both to the creative process in the studio and to the renewed energies on stage. Collins brought the diverse and versatile drumming that he, among others, drew from the world of jazz and of course the vocal harmonies that complemented Peter Gabriel . Hackett on the other hand helped change and shape the sound of "Genesis", thanks in part to his very unique playing style and new playing techniques such as "Tapping" and "Sweep Picking" that he brought with him to the band. In addition, Hackett was also the one that pushed Tony Banks to make more significant use of the Mellotron, an instrument that became an integral part of the band's DNA. In terms of the musical line, this album starts right where " Trespass " ended. You can hear the musical connecting thread between them. The masterpiece " The Knife " that finished the previous album is not much different from what we get in this album and it certainly does not fall short of the great works in it. The musical connection between the two albums also exists thanks to the fact that even before leaving the band, Anthony Phillips contributed to writing some of the material for the album, including the amazing work that opens it " The Musical Box ". This piece was even played on a show when Phillips was still part of the band. Despite that, Steve Hackett managed to bring "added value" into the song in his clever guitar playing, in the little guitar sentences, in the amazing solo starting at 4:10, and in the harmonic solo at the end of the song, which Brian May admitted he was influenced by it. Listen to it starting at 9:55 onwards and you will immediately understand. The somewhat weird lyrics are based on a Victorian fairy tale written by Gabriel, about two children in a country house. The girl, Cynthia, kills the boy, Henry, by cleaving his head off with a croquet mallet (this part is also shown on the album cover). She later discovers Henry's music box. When she opens it, "Old King Cole" plays, and Henry returns as a ghost, but begins to age very quickly. It causes him to experience a lifetime's sexual desire in a few moments, and he tries to convince Cynthia to have a relationship with him. However, the noise causes the nurse to arrive, and she throws the music box at him, destroying both. It can be said that " The Musical Box " is a purposeful display of Genesis' sound and style on this album as well as on subsequent albums. Long musical pieces, complex compositions, strong and even extreme dynamics, smart and melodic playing of Hackett, pleasant vocal harmonies of Collins and Gabriel, virtuoso playing of Tony Banks , and more. This album has shaped the sound and style of "Genesis" so no wonder it is one of the more influential in the prog-rock genre, but not only. Brian May was not the only one to be affected by it. Geddy Lee bassist of "Rush" noted that it is one of his favorite and most influential albums. Guitarist Eddie Van Halen has taken from this album a musical technique that will accompany him throughout his entire career, and we have not yet begun to mention the plethora of prog and pro-metal bands that have been inspired by it. This playing technique can be heard, among other things, in " The Return of the Giant Hogweed " based on the book "The Day of the Triffids" by the writer John Windham from 1951. The song warns against the spread of the poisonous plant "Heracleum Mantegazzianum" after being brought From Russia to England by a Victorian scholar. Although the real plant is extremely poisonous and dangerous, the lyrics of the song are in the best of the masculine tradition with a humorous exaggeration that implies that the plant is trying to take over the human race. Steve Hackett 's "Tapping" technique was born when he tried to impress his friends and suddenly discovered the unlimited possibilities of playing with both hands on the guitar fret. A few years later, this playing technique will be perfected by guitarist Eddie Van Halen who said that he attended a Genesis performance in the early 1970s, where he learned the technique from Hackett. It's also the album where you can hear the voice of one of the best-selling singers in the world - Phil Collins singing his first solo. " For Absent Friends " is a short acoustic ballad that shows us the talent of Phil Collins who will later become the band's lead singer and later will have a wonderful solo career. This is also Steve Hackett 's first significant composition in the band and the two really remember how embarrassed they were when they presented the piece to Peter Gabriel . So if you have a spear 39 minutes, go ahead and listen to a great and influential classic: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 11, 1985 (or at least that's the date we invented), Faith No More's debut album was released, the album that started the career of this amazing band. It all started somewhere in 1979 with a band called "Sharp Young Men". Singer Mike Morris and keyboardist Wade Worthington formed the band and later added bassist Billy Gould and drummer Mike Bordin. The band's name was a contra to all the pop boy bands at the time but it created a different reputation for the band than they wanted so they decided to change the name to Faith No Man. In 1983 the band members recorded the song "Quiet in Heaven / Song of Liberty" which was released under the name Faith No Man. The young band started performing in several clubs and bars but immediately after the song came out Wade left the band and immediately after he left the other members decided to break up the group. Immediately upon disbanding Bordin and Gould recruited keyboardist Roddy Bottum and decided to create a new lineup called Faith No More. They went through several singers including Courtney Love and finally, they decided on Chuck Mosley. In October 1983 they made their first appearance when shortly afterwards they recruited guitarist Jim Martin and completed the lineup. Without the support of a record company, they started recording their first album with full self-funding. They managed to record five self-funded songs until during the recordings a woman named Ruth Schwartz recognized their potential and turned them into the first independent new label to sign up with Mordam Records. After the signing, they recorded five more songs funded by the new label and released their debut album in November 1985. The band members said that because the album was recorded on a very low budget every minute counted, sure they would have done things differently but because they knew they were limited in budget they practiced and did a lot of rehearsals before they started recording. The only single that came out from the album "We Care a Lot" was also included in the band's second album "Introduce Yourself", the band's first album released under a major label. It was also the first single that came out from that album. The album was reissued on August 19, 2016, by the Koolarrow Records label. The reissue included nine additional tracks that included three remixes, four demos, and two performances from 1986 live shows. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On November 11, 1991, "Genesis" released their fourteenth studio album, "We Can’t Dance". It was the group’s first studio effort in five years, following the enormous success of "Invisible Touch", and would ultimately stand as Phil Collins’ final "Genesis" album before his departure in 1996. It marked the end of an era — the last time the legendary trio of Phil Collins, Tony Banks, and Mike Rutherford would create new music together in the studio. The creative process behind "We Can’t Dance" was highly improvisational, with Genesis building songs from lengthy jam sessions in the studio. As with "Invisible Touch" and "Genesis" before it, the material was developed organically rather than being pre-written, reflecting the band's spontaneous approach. Originally considering a double album due to the amount of material, Genesis ultimately condensed the project into a powerful, thematically varied release with social critique, personal stories, and emotional reflection. The album’s recording took place at "The Farm Studios" in Surrey, England, and was co-produced by the band with Nick Davis, who would later handle remastering for their entire catalog. Just like with "Invisible Touch", the band initially divided the writing duties evenly — each member was responsible for roughly a third of the material, with their own lyrics and ideas. But as the sessions unfolded, Collins found himself more creatively engaged than ever, contributing a larger share of the words. Rutherford praised his work as “among his best in Genesis history,” while Collins himself said the music “stimulated him” to write some of the most personal lyrics of his career. The album opener "No Son of Mine", born from a placeholder phrase Collins repeated during rehearsals, evolved into a powerful story of domestic abuse and estrangement. "Jesus He Knows Me" is a joyful biting parody of the American televangelist scene. In The Way We Walk DVD, Banks explained how it came together: "Phil was playing really fast on the drums and I started playing a chord sequence on top of it". The ten-minute epic "Driving the Last Spike" tells the tragic story of 19th-century Irish railway workers, their grueling lives, and the dangerous conditions they endured — a narrative Collins was inspired to write after receiving a book on the subject. "I Can’t Dance" pokes fun at male fashion models that look good but can't string a sentence together. The song was built around Rutherford’s deliberately awkward, heavy guitar riff. "Genesis" wrote this song in the studio in one session. "Once we started we kept going 'til we finished it," Phil Collins said in the documentary "Genesis: Sum of the Parts". "Never a Time" offers a beautifully understated melody and heartfelt lyrics about love, regret, and communication. With its gentle instrumentation and classic "Genesis" harmonies, it reflects the trio’s ability to deliver emotional resonance through simplicity — another reminder that even in their late career, their songwriting depth remained intact. "Dreaming While You Sleep" explores the torment of a hit-and-run driver haunted by guilt. The song’s eerie atmosphere was enhanced by a unique sound effect — created when Mike Rutherford, experimenting with bending notes, produced a tone that Banks recorded, sampled, and slowed down on his E-mu Emulator until it resembled the distant call of an elephant. "Tell Me Why" confronts the Gulf War and humanitarian crises through imagery Collins absorbed from television news. "Living Forever" offers a cynical commentary on society’s obsession with self-help, diets, and immortality. "Hold on My Heart", one of the band’s most tender and soulful songs, presents a moment of quiet introspection amid the grander arrangements. Built around a slow, steady groove and Collins’ delicate vocal phrasing, it captures the essence of emotional vulnerability that defined many of his finest solo performances. The song became one of the album’s biggest international hits and remains a staple of the band’s softer side. The reflective "Way of the World" continues the album’s socially aware thread, turning its gaze toward global inequality and humanity’s recurring failures to learn from its past. "Since I Lost You", one of the album’s most heartbreaking moments, was written for Eric Clapton following the tragic death of his young son, Conor. Collins quietly penned the lyrics after a real conversation with Clapton, only revealing their meaning to Banks and Rutherford once the song was finished. At the heart of the album’s closing lies "Fading Lights", a majestic, introspective piece that feels like "Genesis" bidding farewell to an era. Its melancholic vibe is underscored by the knowledge that Collins would soon depart the band. Built around Tony Banks’ sweeping keyboard passages and Collins’ poignant vocal delivery, it meditates on aging, memory, and the passage of time. The song’s extended instrumental section recalls the band’s progressive roots. Many fans have interpreted it as Collins’ personal goodbye — a final statement before the curtain fell on his time with "Genesis". Two tracks — "On the Shoreline" and "Hearts on Fire" — didn’t make it onto the final album because of space limitations. Instead, they were later released as B-sides, accompanying the singles "I Can’t Dance" and "Jesus He Knows Me" respectively. "We Can’t Dance", was a commercial triumph that combined pop-rock with the band’s progressive roots, resulting in their fifth consecutive No. 1 album in the UK and a No. 4 spot in the US, selling over 10 million copies worldwide. The album produced six singles, became one of "Genesis’" best-selling albums, and led to their hugely successful 1992 world tour, documented in "The Way We Walk" live albums resonating as a closing chapter for the classic "Genesis" lineup. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"Foo Fighters" album "Sonic Highways" was released on November 10, 2014, and the captivating narrative of its creation during a road trip across the US is truly unmissable! While some may view it as an interim album bridging the gap between the acclaimed "Wasting Light" and the invigorating "Concrete and Gold," the backstory of this record is just as intriguing as that of other Foo Fighters albums. Dave Grohl strongly believes that the setting where an album is recorded plays a crucial role in shaping the music and the final outcome of the album. He strives to avoid replicating past recordings in each album by pushing the band to record in a new and unique way compared to the previous one. According to him, embracing greater challenges leads to enhanced creativity, which is evident in the music produced. (Photo: Foo Fighters) After wrapping up the recordings and filming for "Sound City: Real to Reel" , the directors presented Dave with the film enclosed in a box along with a pen and notebook, inscribed with the words: "And now for the next project..." Inspired by the interviews and recordings at Sound City, Dave decided to embark on a unique tour with the band across historic cities in the US. Collaborating with HBO, they planned to visit 8 cities renowned for their musical legacy, recording a distinct song in each location. During their week-long stay in each city, the band, alongside the photography and production team, interviewed musicians, producers, and other influential figures in the music scene. They absorbed inspiration, energy, and creativity from their surroundings, channeling these into the songs recorded in each city at significant locations that resonated with them. Overseeing the album production was the experienced producer Butch Vig. The entire journey was captured in an HBO documentary series titled "Foo Fighters: Sonic Highways." Interestingly, Dave penned the song lyrics right before the vocal recordings, drawing from the interviews conducted in each city after the musical recordings were completed. Shall we start with the tour??? 1. Chicago - "Something from Nothing" The band embarks on their journey in Chicago, but why Chicago, you may wonder... Well, here's the explanation. In Chicago, Dave attended his first-ever concert, a performance by a local punk rock band called Naked Raygun. This experience inspired Dave to pursue a career in music, setting the stage for what was to come. Prior to the recording sessions, they conducted interviews with Rick Nielsen, a guitarist and songwriter from the renowned 70s rock band Cheap Trick. With a track record of over 5,000 shows, more than 20 million albums sold, and induction into the Rock & Roll Hall of Fame in 2016, Cheap Trick is a legendary band. The band members have a longstanding friendship with Rick. At the end of the interview, Rick jokingly asked, "So, are you going to invite me to play on the song?" Without premeditation, the friends glanced at each other and enthusiastically agreed. This marked the inception of their collaboration with local musicians, recording a song with a different artist in each city they visited. The recording took place at Electrical Audio Studio, founded in 1997 by Steve Albini, serving as a hub for numerous local independent bands over the years. 2. Virginia - "The Feast and the Famine" The song was inspired by the punk rock band "Scream", hailing from Washington, D.C. (which, yes, is in Virginia). The band had a direct tie to the "Foo Fighters" when guitarist Franz Stahl briefly joined them on tour after Pat Smear's departure. However, this musical partnership was short-lived as Stahl was eventually replaced by Chris Shiflett . The track was recorded at Inner Ear Studio, and to come full circle, Pete Stahl, Franz's brother and the lead vocalist of Scream, as well as Skeeter Thompson, the band's bassist, both participated in the recording session. Coincidentally, Dave Grohl, who was also Scream's drummer, completed the lineup. 3. Nashville - "Congregation" This song was recorded by the band with singer Zac Brown. Dave produced an album with his band "Zac Brown Band". A country rock band that is considered to be very big in the province of Tennessee and even played at The Bluebird Café (mentioned in the song), this is where any artist who wants to succeed in Tennessee must go. If you have not passed the "Bluebird" test then you are not talented enough and you should look for another profession. Dave said that when Zack approached him to produce the album for him, he was surprised because he did not know him and when he asked people from Tennessee if they knew him, everyone told him he was a huge star. 4. Austin - "What Did I Do? / God as My Witness" This song was recorded in Austin Texas at KLRU-TV Studio 6A with singer and musician Gary Clark Jr, best known for his blues and rock style with a combination of hip-hop elements. He has performed on stage with Eric Clapton , Bibi Kin,g and the Rolling Stones, among others, and has won a Grammy for Best Traditional R&B Performance 5. Joshua Tree - "Outside" The song was recorded in the middle of the desert in a studio on the Rancho De La Luna farm. The song features guitarist star Joe Walsh who has a glorious career of 50 years in which he has played in several bands the most famous being the Eagles. Taylor said that when you add a guitarist like Joe, you don't let him play two, chords, but you let him explode and that's how it sounds. The song is also joined by Chris Goss who is a musician and producer (who also worked with Queens of the Stone Age) and is considered an important figure in the development of the subgenres Stoner Rock and Desert Rock. 6. New Orleans - "In The Clear" Dave expressed that leaving New Orleans was a regrettable experience for him, as he had developed a strong attachment to the city's people, cuisine, music, and overall ambiance. His connection to New Orleans was particularly significant during the creation of this album. The track was recorded at Preservation Hall, a jazz club and non-profit organization dedicated to safeguarding and supporting the city's music culture. Notably, the song features the club's own jazz band, known as the Preservation Hall Jazz Band. 7. Seattle - "Subterranean" Seattle, where Nirvana, Grunge, and Dave (despite not being born there) originated... The band revisits their roots and records the song at Robert Lang Studios, where Dave previously recorded the Foo Fighters' debut album alongside producer Barrett Jones. The track includes creator and guitarist Ben Gibbard, renowned as the lead vocalist and guitarist of the indie rock band Death Cab for Cutie. 8. New York - "I Am a River" The final track on the album, recorded in New York City, inspired the number eight on the album cover, which also features the infinity sign. Dave explained that the song served as a reflection of his observations, feeling like a river where everything is visible and all the water flows. Furthermore, the song was recorded at The Magic Shop recording studio, which was constructed in a New York basement. During construction, the floor collapsed, revealing a river flowing beneath the entire city. Dave expressed how he perceived a cosmic connection between the various studios they visited, envisioning a river flowing beneath them that united all music and creativity in an endless manner. This concept serves as the inspiration behind the symbol on the album cover. By the way... when they first released the album cover, Dave was so excited that he went in to check out the reactions to the cover and the first response was: "Dream Theater called to ask for their album cover back!" During numerous interviews, the band expressed that they embarked on a profound journey while recording the album, delving into spiritual experiences intertwined with the people, music, and history they encountered. The continuous movement from one city to another for recording sessions intensified their connection to the music-making process, leaving no room for breaks or distractions. The band found the experience binding and intense. Conversely, they also acknowledged that despite the intensity and dedication, creating the album was a solemn yet remarkably enjoyable endeavor. Each location they visited taught them valuable lessons in recording, band leadership, and music distribution. The amalgamation of interactions with individuals, exploration of new places, and immersion in history rendered the entire process profoundly unique and extraordinary. Now you are going to listen to the album 3-4 times and then search and watch the documentary. Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 10, 1967, "The Moody Blues" released their second studio album  "Days of Future Passed". This is the band's first album with bassist and singer John Lodge (who replaced Clint Warwick) and with singer and guitarist Justin Hayward who replaced guitarist and vocalist Denny Laine who joined Paul McCartney 's "Wings" in 1971. It is an influential, unique and groundbreaking album in many ways, which symbolizes a significant moment in the evolution of rock. This is the first album in the history of rock that was made entirely in full collaboration with an orchestra - the London Festival Orchestra conducted by Peter Knight. The album, which was initially considered as a demo record for Decca Records' stereo sound and the new Dynamic Sound System, developed into a groundbreaking mix that fuses orchestral arrangements with rock, classical music and psychedelic elements, thus also its influence on progressive rock (some would call it the first progressive rock album) . Moreover, it is one of the first concept albums, which presents a day in the life of a person, starting with "dawn" and ending with "night", with the masterpiece song " Nights in White Satin " written by Justin Hayward. The innovative combination, between a rock composition and sweeping orchestral arrangements created an abundant and sweeping sound that was new to listeners at that time. The album opens with " The Day Begins ", a kind of prelude that includes orchestral pieces that introduce the recurring themes and melodies heard throughout the album. Knight's orchestration sets the tone for the journey ahead. This track flows seamlessly right into " Dawn: Dawn is a Feeling ", a peaceful piece that evokes a sense of awakening with a soft and gentle melody that reflects the beauty and calm of the early hours of the morning, accompanied by Justin Hayward and Pinder vocals. As the day progresses, " Another Morning " takes over, with a more upbeat and whimsical tune for Ray Thomas' voice. This song depicts the light bustle of the morning, using playful lyrics and an upbeat melody to the sound of refreshing flute playing, to reflect the innocence and joys of a new beginning. It is followed by " Lunch Break: Peak Hour " which shifts gears to represent the rush and madness of midday. The upbeat rhythm and throbbing bass evoke the energy of noon in a bustling city. The mood turns more introspective with " The Afternoon " which is divided into two parts and contains the favorite track "T uesday Afternoon ". This song is one of the highlights of the album which is characterized by its dreamy quality, when the vocals that evoke the guitar playing and the poetic words of Justin Hayward transport the listeners to a peaceful and idyllic setting. " Evening: The Sun Set: Twilight Time " brings a change in mood, with Pinder and Thomas taking the lead vocals. This track presents a mystical feeling in anticipation of the approaching night. The combination of sitar-like sounds and eerie orchestration creates a sense of anticipation and the surreal beauty of dusk. The album reaches its climax with " The Night: Nights in White Satin ", the track that has become a symbol of the great legacy of the "Moody Blues". The ballad, written by Hayward, delves into themes of love, loss and longing. His vocal delivery, along with the soaring orchestral arrangement, create a deep emotional impact that resonates long after the song has faded. The album comes to an end on a contemplative note with " Late Lament ", which reflects the fleeting nature of life. The production of "Days of Future Passed" was also groundbreaking for its time. "The Moody Blues" and producer Tony Clarke leveraged the experimental Deramic Sound System, which added depth and clarity to both the orchestral and rock elements. The result was an immersive, almost "cinematic" listening experience that was ahead of its time, influenced generations of bands and reshaped the perception of what rock albums should sound like. In retrospect, "Days of Future Passed" is a conceptual masterpiece that helped raise the status of rock from light and simple singles aimed at the radio, to a complete, full and dignified work of art, capable of tying together weighty themes and complex music. The album's innovation and ambition continue to captivate listeners, setting it apart as a milestone in the evolution of rock music. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 10, 1998, "Rush" released their fourth live album "Different Stages". The album sums up the band's fourth era and especially the albums released during the 90s. As we mentioned in previous reviews, the band used to release a live album after every 4 studio albums. They did this with " All the World's a Stage " from 1976 which summed up the Hard Rock era and the first four albums up to " 2112 ". They did it again in 1981 with " Exit... Stage Left " which concluded the prog era and the four albums up to " Moving Pictures " And they did the same with " A Show of Hands " which came out in 1989 and summed up their four 80s synthesizer albums. And now, the album "Different Stages" is released right after the band's 16th studio album, " Test For Echo ", and sums up the band's albums from the 90s. The common denominator between them is the band's return to the roots based on "the Holy Trinity" - guitar-bass-drums. Naturally, the hard core of the songs on this album (about half of them if you don’t count the bonus disc), are out of the four said albums, that this live album is ostensibly meant to promote. But in this show there are also quite a few beautiful surprises, as we will describe later. This album is a little different and special from the previous three live albums in several ways: First, it is a triple album while its three predecessors were double albums that were truncated in the disc version to a single disc. Although one of the three albums on "Different Stages" is a kind of bonus disc that includes a performance by the band from 1978, it is still an initial precedent that will be perfected later for a triple album that was recorded entirely in one live performance with " Rush In Rio ". Second, drummer Neil Peart was not at all involved in the editing and mixing process of the album as he was dealing with the loss of his daughter and partner who died in 1997 and 1998 respectively. Following the two tragedies that befell him, Neil Peart informed his bandmates that he intended to retire from music. Geddy Lee and Alex Lifeson were sure it was going to be the band's last album and they treated it accordingly while editing. Needless to say, this album was eventually dedicated to Neil Selena's daughter who was killed in a car accident in 1997 and his partner Jacqueline who died of cancer in 1998. Geddy Lee and Alex Lifeson used the lyrics from the song "Afterimage" from the album " Grace Under Pressure " for the dedication to Selena and Jacqueline which read: "Suddenly. .. You were gone ... from all the lives you left your mark upon. In loving memory of Jackie and Selena". It is not clear if this is due to the lack of Peart involvement, but this album is characterized by a limited production with minimal intervention, compared to the previous two live albums, which gives the listener a feeling very close to reality taking place on stage, and thus it's greatness. Third, in this live album you can find a bit more improvisations of the band than those that exist on previous three live albums. The band, which by large did not deviate much from the versions of the studio albums, is having fun this time with nice little improvisations that on the one hand do not detract from the enjoyment of the listener who prefers the album versions and on the other give a little "twist in the plot". For example, already in the opening song " Dreamline " you can hear starting at 3:30 minutes a charming improvisation by Alex Lifeson 's during his amazing solo then connecting to the original version of the solo from the album. It also happens with Geddy Lee 's bass improvisation in "Driven" starting at 1:38, it happens again with Alex's solo in the song " Bravado " starting at 4:12 and it even happens in the masterpiece " 2112 " in the " Discovery " part that Alex gave "a facelift" that really flatters it. This live album is very special for a number of other reasons: This is the band's only live album featuring the entire masterpiece " 2112 ", from beginning to end, with all seven parts. The piece was performed and recorded during a live performance on June 3, 1997 at "the Great Woods Center for the Performing Arts" in Mansfield, Massachusetts. The band transcends itself here and simply reinvents the piece with additions and small touches that do kindness to the classics, even 20 years after its release. The band playing is so precise, perfect and meticulous that we now get goosebumps just from thinking about this while writing. There is no doubt that the three friends are at their peak, but the one who stands out most is Geddy Lee , who managed to sing perfectly even with the highest notes, for example in " Soliloquy ", where the protagonist can no longer come to terms with the world as controlled by the "priests" and puts an end to his life. Although the album was mostly recorded in 1997 at the "World Music Theater" near Illinois, during a tour to promote the album " Test For Echo ", it also includes three songs recorded during the tour of the album " Counterparts " and surprisingly it is not " Animate ", " Nobody's Hero " or " Stick It Out ". In addition to the 11 songs from the last four albums covered by this live album, we get some favorite songs that we did not hear in a live performance until this release, such as " Limelight ", " Analog Kid " and " Natural Science " which is the only one recorded live at the band's performances. This is a mini-piece that the band usually refrained from performing due to its great complexity, but this time the band responded to its own challenge and performed it perfectly. But the real gem of this album is actually in the bonus disc that includes part of a performance recorded in 1978 at the "Hammersmith Odeon" in London, during the tour to promote the album " A Farewell to Kings ". This is a recording that gives us a rare glimpse into how the band sounded in 1978, with songs that the band has refrained from performing since that tour , such as " Farewell to Kings ", " Cygnus X-1 ", and " Cinderella Man ". The quality of this recording is certainly not bad and it is not clear why the band only remembered to use it 20 years after releasing this treasure. By the way, if you are looking for this rare show in full, you can find it in the deluxe edition of the 40th anniversary press of " A Farewell to Kings ". The album "Different Stages" may not be considered a classic compared to the band's first two live albums, but it is definitely an excellent one with 33 songs that cover most of the important milestones in the history of "Rush" and beautifully illustrates how this great band sounds on stage. For Listening (but only if you have spare 202 minutes available) : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Editor's Choice ... And this time ... "Thunder Seven", Triumph's seventh studio album released on November 10, 1984. We have a weakness for Power Trios, you probably already know that, and if they're Canadians then they deserve a bonus from us. Now add to that the fact that they have a Jewish bassist and keyboardist, and two great singers, one of whom is the drummer, and you will understand that with such opening figures there is no chance that we would not have fallen in love with this band. It is one of the band's biggest albums, which reached its peak of popularity in its wake, largely thanks to the two "hits", " Spellbound " and " Follow Your Heart ", both of which were rotated on the MTV channel at the time. At the same time, the other side of the album includes a kind of concept musical piece whose recurring theme is related to "time". This is also one of the reasons why this album is our particular favorite, as it showcases the added value of sophistication and complexity that this band has. This album was influenced by changes in the music market during the 1980s, so its sound and style were updated accordingly, relative to the band's previous albums. These effects can already be heard from the excellent opening track " Spellbound ", with the clean and polished production and the excess of keyboards. The lead singer in this song is drummer Gil Moore and guitarist Rik Emmett on background vocals during the chorus. We have always loved the fact that this band has two singers, each with a different voice color. They complement each other and allow the band a greater musical diversity. This diversity is already reflected in the second track of the album " Rock Out, Roll On " which opens with an interesting guitar riff by Rik Emmett , who also sings Lead Vocals. Emmett's voice is higher and more flexible, he has an extra wide range and he uses his voice as a musical instrument, with melodic vocals that travel above and below the riff. The third track " Cool Down " is one of the specials on the album. It starts with a classic blues that reminds us of "Bon Jovi" "Wanted Dead Or Alive" and from the beginning, it becomes a bluesy hard rock that is sure to remind you of "Led Zeppelin", even with Rik Emmett 's singing that really sounds like Robert Plant , at times. The excellent slide guitar solo of Emmett proves how talented guitarist he is. Emmett also plays keyboards on this album and shares this instrument with bassist Mike Levine. The track ending the vinyl's first side is the excellent " Follow Your Heart ", which is also probably the band's most successful single. The lead singer in the song is drummer Gil Moore who this time too receives an enriching and beautiful reinforcement from Emmet in the high notes of the chorus. From here we come to what we think is the highlight of the album. The other side of the vinyl, with the concept of "time" which runs as the second thread between the various tracks on this side. The song " Time Goes By " opens up this kind of concept piece. It's not a complex song but it's definitely one of the best on the album with a strong and slow riff in the verses, a bridge section that includes an amazing collaboration between Moore and Emmett's vocal harmonies, and such catchy and beautiful chorus that will not leave your head. Immediately after comes the classic instrumental track " Midsummer's Daydream ", which is a passage played by Emmett on acoustic guitar. This piece also proves what a versatile giant guitarist Rik Emmett is, both in terms of melody and performance. The short section " Time Canon " is a kind of a cappella by Emmett and Moore which serves as an intro to the charming song " Killing Time ", which is the culmination of this concept musical piece. Emmett and Moore collaborate in lead singing that sounds like a vocal dialogue between the two. We think this is the first time in the band's history that these two excellent singers have equally shared lead vocals in a song, and it's so special and beautiful. We're nearing the end of the piece with " Stranger in a Strange Land ", another amazing blues piece sung by Rik Emmett that ranges from soft and caressing during the verses to poignant and powerful in the chorus. The song features excellent bass work by Mike Levine who also plays the synthesizers. The album is sealed with another instrumental track " Little Boy Blues ", whose title reveals its musical style. Unlike the previous instrumental track, this time Emmett shows us his abilities in blues playing on an electric guitar, and it's hard for us not to compare his playing here to the legendary Gary Moore . Come on, we got carried away. We dug deep enough. Now Listen : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

What should we do with all this jazz ??? On November 10, 1978, "Queen" released their seventh studio album, "Jazz". In contrary with the album's title the musical direction of the album has nothing to do with the mythological genre, except perhaps a minor mention in the song " Dreamer's Ball ". Even in the track " More of That Jazz " that seals the album, we did not get "More of That Jazz", but only more from Roger Taylor who plays on almost all instruments in the song and concludes the album with an excerpt of flashbacks from the songs " Bicycle Race ", " Mustapha ", " If You Can't Beat Them ", " Fun It " and " Fat Bottomed Girls ". So what is there any way in this album? There's a disco, funk, and drum machine in Roger Taylor 's song " Fun It " where he plays most of the instruments, a bit of John Deacon 's hard rock in " If You Can't Beat Them ", also a pinch of Brian May 's heavy metal with " Dead On Time " and even swing and ballroom music in " Dreamer's Ball " written by Brian May as a tribute to Elvis who passed away a year earlier. So how did all this musical diversity started? The year 1978 found "Queen" at the top of world music, after a series of masterful albums, a large collection of hits that have conquered the charts, and non-stop broadcasts on radio stations. The big money the band made and the big tax burden in the UK forced the band to fly out of the kingdom to record the album which was recorded in various destinations including Switzerland and France, which apparently influenced the diverse musical result existing on the album. Another thing that influenced the varied end result, was the fact that the band returned to work with Roy Thomas Baker who produced Queen's first four albums. This time Baker pulled the band toward other productions he did earlier that year, such as the debut album "The Cars" and the "Infinity" album of the "Journey", both American bands. Although this album does not maintain a uniform level, it still has some memorable moments, including the three first tracks which begin with the bold and cool " Mustapha " written by Freddie Mercury and include words in Arabic, Persian and gibberish, through Brian May 's " Fat Bottomed Girls" , which opens with a perfect a cappella and is played with the guitar and bass tuned down in the Drop-D tuning and " Jealousy " with the melancholic sitar sound (which Brian May created with a guitar). And there is " Leaving Home Ain't Easy " starring Brian May performing all the vocal parts without exception, and also " Let Me Entertain You ", a great song that we really like. A classic hard rock that exactly fits as an opening track of a show. Freddie Mercury 's vocals are so beautifully synchronized during the verses with Brian May 's guitar. Freddie wrote the song as a tribute to the fans and it includes some amusing mentions like: "we'll sing to you in Japanese" which corresponds with May's "Teo Torriatte" from the album " A Day at the Races " or "Hey! If you need a fix, if you want a high, Stickells will see to that" which refers to the band's tour manager Gerry Stickells. By the way, one of the riffs in this song will be used in the song "The Hitman" from the album " Innuendo ". The album also features one of Mercury's complex compositions with " Bicycle Race ", including a large number of chords, rhythm breaks, and a transition from the traditional 4/4 rhythm to the unusual 6/8. This ingenious song (and there is no other word to describe it) also includes May's crazy guitar race and the famous ringing of the bicycle bells. And of course, it is impossible to mention this song without referring to the poster that was part of the original vinyl and features 65 nude models on bikes. The band filmed a clip for this song at Wimbledon Stadium, which included those models, who were hired by a model agency. They rode on the bikes during the clip. The bikes were rented from a bike company who were shocked to find out what use was done with them and refused to get the bike seats back, forcing the band to pay for them. And we can't finish the review without mentioning one of the band's beautiful songs " Don't Stop Me Now " which was also written by Freddie Mercury , and is mostly led by his piano, accompanied by John Deacon 's bass and Roger Taylor 's drums, with a Minor contribution by Brian May for his guitar solo and vocal harmonies. This song was chosen by the band's fans as the one with the most beautiful lyrics and it was featured in so many movies and TV series that it's simply impossible to count them. The album cover was designed by Roger Taylor , inspired by similar graffiti he saw on the Berlin Wall. It is interesting to note that in the list of thanks on the inner cover, there is a special thank you to Thunderbolt courtesy of God. This is a thunder recorded by Brian May during a lightning storm and appears in the song " Dead on Time ". For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 9, 1979, "Iron Maiden" released their first EP, "The Soundhouse Tapes". The mini-album included only three songs, which were taken from the first demo tape the band recorded, as follows: 1. "Iron Maiden " 2." Invasion " 3. " Prowler ". The three songs were recorded in a single session held on 31 December 1978 at "Spaceward Studios" at a cost of 200 Pound. The band members chose to record the demo on the eve of the new year, in order to save expenses. On that historic night, a fourth song was also recorded - " Strange World ", but in the end only three reached the final version of the EP. The band members returned to the studio a week after the recordings to perform mixes and corrections, but were required to pay an additional 50 pound that they did not have. They tried to raise money, but it took several days. Finally, when they had enough money they returned to the studio only to find out that the owner of the studio had deleted the master. In these circumstances they had no choice but to take out the demo as it was, without corrections and mixes. The drummer in this mini-album is Doug Sampson who will later be replaced by the legendary Clive Burr ahead of the recording of the band's debut album. Also, alongside Dave Murray , another guitarist named Paul Cairns, who did not receive credit on the album cover. Anyone who listens to the different versions of the songs on this EP will find that they are immature, slow and less polished than those that appeared on the band's first album. The mini-album "The Soundhouse Tapes" will be remembered in the pages of history as the first piece of music that launched the glorious career of "Iron Maiden", but in a larger sense, this EP ignited a whole movement of British heavy rock known as "New Wave of British Heavy Metal". "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Editor's Choice... And this time ... "The Last Command", the second album of "W.A.S.P.", which was released on November 9, 1985. A year after the release of the hit debut album " W.A.S.P " the band settles into the second round with a slight lineup changes, with drummer Steve Riley strengthening the rhythm division in place of original drummer Tony Richards. The band comes to the recording of this album more cohesive, more experienced, even more mature, as far as such a description can be used in the context of a band whose it's genre name include the word “shock” . So true, "W.A.S.P." was one of the main bands of "Shock Metal" in the 1980s, but on this album they decided to replace "Shock" with "Heavy", producing one of the best albums of their entire career, who can stand proudly alongside albums like "The Headless Children" and "The Crimson Idol". Singer and bassist Blackie Lawless proves that his writing abilities can be much more mature, melodic and diverse than the previous album. He was involved in writing each of the ten songs, and with no doubt established his status as the leader of the band according to which he would speak. Also in terms of performance, Blackie noted that he played on this album on no less than 14 different instruments and promised that with each listening people would discover more and more things that were not noticed in the previous listening. The development and diversity in the writing ability and sound of the band can be heard from the opening song and the first single released from the album - " Wild Child ". An excellent song with an absorbing melody, and a bridge part rich with varied sounds. The guitar sounds here like "seagulls", the tambourine like Rattlesnake, the rustling cymbals, the bells and more prove that Blackie did not exaggerate when he claimed that he played on 14 different instruments on this album ... The album maintains a uniform level almost throughout, with songs like " Ballcrusher " still corresponding with the writing themes of "Shock" from the previous album, " Fistful of Diamonds " a song with a sweeping chorus that opens with the news report and all one big "greed" By Blackie, " Jack Action " with the all-too-beautiful riff influenced by "Judas Priest" and more. It is clear that the band was making an effort to get the approval stamp from the heavy metal community, when even the members of "ZZ Top" were asked to aid with a short appearance in the clip of the second single released from the album - " Blind in Texas ". This trend continues with the theme song featuring the recorded chorus made for making fifty thousand fans o roar with clenched fists raised in the air. And the album would not be complete without a ballad that stars in almost every heavy metal album of the period. " Cries in the Night " is well made and includes an amazing solo by the legendary Chris Holmes. This track is based on a 1976 song called "Mr. Cool" by one of Blackie Lawless ' early bands called "Killer Kane Band". For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 9, 1985 "Twisted Sister" released their fourth album "Come Out and Play". The album arrived on the heels of the massive success of "Stay Hungry". With high expectations from fans and pressure from the music industry, the band leaned into an ambitious and polished production approach, marking a departure from their raw, rebellious style to a more radio-friendly sound. Produced by Dieter Dierks ("Scorpions", "Accept"), the album incorporates big, booming production alongside "Twisted Sister’s" signature glam-metal attitude, creating a blend of polished rock anthems and defiant energy. The title track, " Come Out and Play ," (with the homage intro to the 1979 cult classic movie "The Warriors") kicks off the album with a gritty, intense vibe, complete with gang vocals and theatrical flair. The song captures the essence of "Twisted Sister's" message: embracing your true self and standing strong against societal pressures. But thenת "Twisted Sister" went far from their sound and style with the the album first single " Leader of the Pack " – a cover of the "Shangri-Las’" classic – that received mixed reactions from fans due to its playful, almost campy feel. “ Be Chrool to Your Scuel ,” is another track that aimed for commercial success. Featuring Alice Cooper , it is a fun, rebellious take on school life, amplified by Cooper's guest vocals, Brian Setzer on guitar solo, Clarence Clemons on saxophone and a notable cameo from Billy Joel on the piano. These collaborations add variety to the album but also signal a departure from the rawness that defined "Twisted Sister's" earlier work. The second single from the album, " You Want What We Got ", tries to hard to follow the band's 1984 hit single "We're Not Gonna Take It", but is lacking the rebellious charm that the band had on their previous album. Surprisingly, the album ballad “ I Believe in You ” is one of the best moments on this album, although its commercial appeal, maybe because they didn't went much far from their previous ballads. The band tried to stay true to their roots on tracks like " I Believe in Rock ‘n’ Roll ", " The Fire Still Burns " and speedy “ Kill or Be Killed ”, highlighting the raw guitars and Dee Snider ’s vocal intensity. However, despite of these high-energy moments, some fans felt the album’s polished sound and mainstream direction diluted the rawness that made "Twisted Sister" stand out. This shift in sound, while intended to reach a wider audience, ultimately fell short of the commercial success "Stay Hungry" had achieved. "Come Out and Play" was an ambitious attempt by the band to reach a wider audience. "Twisted Sister" made a change in style and sound towards a catchy and friendly direction in an attempt to reach a wider audience, but along the way lost its identity and did exactly the opposite. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website