He is one of the greatest drummers in the history of music. His playing even influenced Neil Peart, who also became a very close friend of him. He is one of the founders of "Police" and its unique musical style has a lot to do with his versatile drumming, but he is also a musician in his own right and even composed a rock opera. Here are some interesting facts about Stewart Copeland: (Photo: Joby Sessions/Future Publishing) 1. He was born in Alexandria, Virginia, USA, on July 16, 1952. His full name is Stewart Armstrong Copeland. 2. He is the youngest of four children. Son of a father who served in the American intelligence in the Middle East during World War II and a Scottish mother who served in the British intelligence in the Middle East at that time. 3. Copeland spent most of his childhood in the Middle East. A few months after his birth, his family moved to "Cairo" in Egypt and at the age of 5, the family moved to "Beirut" in Lebanon. 4. Copeland started taking drum lessons at the age of 12 and already at the age of 13, he was playing drums as part of the school band. 5. As a child Copeland listened to a mix of Lebanese music, rock, and roll, jazz, and reggae. The drummer who influenced him the most was Mitch Mitchell who was part of Jimi Hendrix's band, but he was also influenced by Sandy Nelson and Ginger Baker. 6. At the same time, Copeland stated that because of his "compulsive listening" to Buddy Rich, he considered himself "allergic" to jazz. 7. Despite being left-handed, Copeland plays a right-handed drum kit. He places the hi-hat on the left and the ride cymbal and floor toms on the right. 8. At the age of 15, Copeland returned to England where he completed his high school studies and later moved to the USA and studied at the University of Berkeley. 9. In 1974 he returned to England and became the tour manager of the progressive rock band "Curved Air". Later, in 1975, he became the band's drummer, where he also met the singer Sonja Kristina, whom he would marry in 1982. (Photo: deezer.com) 10. In 1977, after the breakup of "Curved Air", Copeland formed "The Police" together with bassist and singer Sting and guitarist Henry Padovani, who was shortly replaced by Andy Summers. Copeland was the youngest member of the band. 11. Police's first songs (even before its debut album) were mostly Copeland-penned compositions, including the band's 1977 first single "Fall Out" and its B-side "Nothing Achieving." 12. Later on, Copeland's contribution to songwriting gradually decreased, while at the same time Sting's part in writing increased. 13. Among the notable songs that Copeland wrote exclusively for the band are: "On Any Other Day" (in which he also sings), "Does Everyone Stare", "Contact", "Bombs Away", "Darkness" and "Miss Gradenko". 14. Copeland also co-wrote several songs with Sting, including: "Peanuts", "Landlord", "It's Alright for You" and "Re-Humanize Yourself". (Photo: Themoviedb.org) 15. Copeland's playing style is very unique and it includes an increased and complex use of hi-hat. In fact, in most of the songs of "The Police" Copeland only uses hi-hats and bass drums to keep the rhythm going. 16. His special hi-hat playing caught the attention of Peter Gabriel who invited him to play them in the song "Red Rain". 17. Copeland is also one of the few rock drummers who use a traditional grip rather than a matching grip. 18. In the 1980s, when many musicians were looking for a bigger sound with bigger drums, Copeland added to his drum set the "Octobans" - eight six-inch drums in the shape of narrow tubes invented by "Tama Drums" in 1978. 19. Copeland also used another innovation, a "Splash" cymbal based on his own toy that he helped "Paiste" design. 20. Outside "The Police", Copeland recorded under the pseudonym of Klark Kent, and released several singles, including "Don't Care" which entered the UK singles chart in 1978. Later in 1980, he also released a full album called "Klark Kent: Music Madness from the Kinetic Kid", in which this song was included. Copeland played all the instruments and sang himself. 21. In 1983 he participated in writing the theme song for the movie "Rumble Fish" - a movie, directed and produced by Francis Ford Coppola. The song "Don't Box Me In" featuring a collaboration between Copeland and singer-songwriter Stan Ridgway, leader of the band "Wall of Voodoo", earned Copeland a Golden Globe nomination in 1983. 22. In 1985 he released the soundtrack for the film "Rhythmatist", which was influenced by his visit to Africa. It features African drums and percussion. Copeland is seen in the film playing drums in a cage with a large number of lions surrounding him. 23. After the dissolution of "Police" Copeland began a career composing soundtracks for films, series, operas, and ballet including: "Wall Street", "Highlander II: The Quickening", "Taking Care of Business", "Star Wars: Droids", "Babylon 5" and more. 24. He also contributed his voice to the movie "South Park: Bigger, Longer & Uncut", in which he plays an American soldier. 25. And if that wasn't enough, then in 1998 he was invited by "Insomniac Games" to create the musical score for the hit "PlayStation" game "Spyro the Dragon". Copeland also created the scores for the sequels Insomniac "Spyro 2: Ripto's Rage!", "Spyro: Year of the Dragon", "Spyro: Enter the Dragonfly". 26. In 1989, Copeland formed "Animal Logic" with jazz bassist Stanley Clarke and singer-songwriter Deborah Holland. The trio achieved success with their first album and the world tour that followed. 27. In 2000 he teamed up with bassist Les Claypool after a guest appearance on one song from Primus' "Antipop" album. This collaboration gave birth to the supergroup "Oysterhead", which also included Trey Anastasio from the band "Phish". 28. In 2002, Copeland was hired by Ray Manzarek and Robby Krieger of "the Doors" to play with them on a new album and tour to accompany it, but an injury prevented him from fulfilling his commitment and the matter ended in mutual lawsuits. 29. In 2005, Copeland released the album "Orchestralli", a live recording of chamber ensemble music, which he composed during a brief tour of Italy in 2002. 30. Back in 2005, Copeland formed "Gizmo", a new project with guitarist David Fiuczynski, multi-instrumentalist Vittorio Cosma, singer Raiz, and bassist Max Gazzè. 31. At the 2007 Grammy Awards, Copeland, Andy Summers, and Sting performed the song "Roxanne" together. This was the band's first public performance since 1986 (except for an impromptu set at Sting's wedding in 1992 and a performance as part of their induction into the "Rock and Roll Hall of Fame" in 2003). 32. One day later the band announced that in celebration of the 30th anniversary of "Police", they embarked on a one-off reunion tour on May 28, 2007. The tour included 151 shows across five continents. 33. In 2017, Copeland formed the supergroup "Gizmodrome" with Adrian Belew, Vittorio Cosma, and Mark King. They released an album of the same name in which Copeland also takes the lead vocals. 34. In 2021 he released the album "Divine Tides" together with Ricky Kej, the album earned Copeland his sixth Grammy. 35. Copeland's brother - Miles Copeland III founded the label "I.R.S. Records" and was also the manager of "The Police". 36. In the 1980s, Copeland prevented the appearance of "Police" in Israel, against the background of his opposition to its involvement in the First Lebanon War (you remember that he grew up in Beirut, right?). 37. Copeland influenced many drummers with his playing, including Neil Peart - drummer of "Rush". 38. The two became very close friends. In fact, Copeland was part of Neil Peart's closest circle, which included only his family and closest friends, who knew about the terminal diagnosis of brain cancer that led to his death. 39. As part of his membership in "The Police" band, Copeland released 5 masterpiece albums between the years 1978 and 1983, 4 of which are on the "Rolling Stone" magazine's list of the 500 greatest albums of all time. 40. Beyond his role as the band's drummer, Copeland is also responsible for singing background vocals, he plays keyboards, producers, and is responsible for the band's arrangements. 41. On July 22, 2022, "The Witches Seed" - a rock opera he composed, premiered on Broadway. He was assisted in the production by Chrissie Hynde who also contributed some songs to the opera, which tells the story of 3 women accused of witchcraft during the witch hunts in Europe. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On July 15, 2017, "Guns N 'Roses" took the stage for the third time in "HaYarkon Park" in Tel Aviv, and this time it was already a completely positive experience with one of the most amazing performances ever seen in Israel, which even broke a record number of viewers in one show in Israel - 61,000. It was a particularly hot Saturday, and we're not just talking about the weather. The gates of "HaYarkon Park" opened in the late noon and from the heavy heat that prevailed there, it seemed that these were the gates of hell. This was the last in the band's European tour "Not in this Lifetime" and Guns members chose to end this "lag" of the tour in the "Holy Land", and it was not just an ending, it was an "atomic explosion". The band took the stage as planned at exactly 20:02 and for three consecutive hours poured on us in a continuous shelling "cluster bombs" in the form of the best "hits", along with cover versions of "Wings", "AC/DC", "Soundgarden", "The Who", "Pink Floyd" and more. The change from the controversial performance in 1993 could be felt from the moment the band took the stage. It happened with miraculous accuracy, without delays and judging the show just from that, it seems that Slash, Duff McKagan, and especially Axl Rose have matured far beyond the 24 years since they shared the same stage in Israel. It was a crazy and electrifying experience, from the video art, through the fireworks and pyrotechnics to the crazy energies that the band released to the audience and which brought back to the stage just like in a "Ping Pong" game. The setlist was just perfect. The band exploded on stage already from the opening track with "It's So Easy", through "Mr.Brownstone" and "Welcome to the Jungle", with a slight pause on the way to play "Chinese Democracy", which just proved to everyone that we are indeed witnessing a "reunion", When Slash and Duff perform, for the first (and not the last) time that evening, material from the album of the same name, which could easily have been crowned as Axl Rose's solo album. (Photo: Datathistle.com) With the exception of "Patience", we got almost all of "Guns" "hits". Slash, Duff, Axl, Dizzy Reed, Frank Ferrer, Richard Fortus, and keyboardist Melissa Reese did not stop for a moment, and beyond the songs already portrayed above, we were bombarded with "You Could Be Mine", "Sweet Child o 'Mine", "Nightrain", "My Michelle" and of course "Don't Cry" whose place was absent from the controversial 1993 show, thus closing their "open account" with the audience, 24 years after it was opened. But it certainly did not end there, we were privileged to witness epic songs of this amazing band including: "Estranged", "November Rain", "Civil War" and "Coma" which is considered the band's longest song, lasting over 10 minutes. During the show, there were some special and exciting moments, including the mesmerizing performance of "The Godfather" theme, the homage to "AC/DC" which until recently was Axel's band, and the accompaniment to Duff McKagan performing "You Can't Put Your Arms Around a Memory" and "Attitude", a cover of "Misfits" from the album "The Spaghetti Incident" and of course the rendition of the song "Black Hole Sun" in memory of Chris Cornell who committed suicide about two months earlier. And this was the setlist of the historic evening: It's So Easy Mr. Brownstone Chinese Democracy Welcome to the Jungle Double Talkin' Jive Better Estranged Live and Let Die (Wings) Rocket Queen Whole Lotta Rosie (AC/DC) You Could Be Mine Attitude (Misfits) (with "You Can't Put Your Arms) This I Love Civil War (with "Voodoo Child" outro) Yesterdays Coma Slash Guitar Solo (with "Johnny B. Goode" snippet) Speak Softly Love (Love Theme From The Godfather) Sweet Child o' Mine Used to Love Her My Michelle Wish You Were Here (Pink Floyd) November Rain (with "Layla" piano exit intro) Black Hole Sun (Soundgarden) Knockin' on Heaven's Door (with "Only Women Bleed" intro) Nightrain Sorry Don't Cry The Seeker (The Who) Paradise City * You Know My Name (Chris Cornell) "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On July 15, 1973 "Grand Funk Railroad" released their seventh studio album "We're An American Band". This is a legendary album that demonstrates their evolution as a rock powerhouse. It marked a turning point for the band, both in terms of their musical direction and critical reception. The change in musical direction and sound was achieved thanks to three main factors. The first was the addition of keyboardist Craig Frost that was credited as an additional musician on the previous album "Phoenix" and now become a part of the band that changed from a power trio to a quartet. Craig played the organ, clavinet and Moog on the album changing the overall sound of the band from a raw Guitar-Bass-Drums to a full and richer sound. The second, was the increase in lead vocal work of drummer Don Brewer, who sang half of the songs on the album, including the two singles released from the album - The title track "We're An American Band" released on July 2, 1973 and "Walk Like a Man", released on October 29, 1973. The third, was the guidance of multi-instrumentalist producer Todd Rundgren. Todd was known for performing a diverse range of styles as a solo artist and as a member of the bands "Nazz" and later "Utopia". He was known for his sophisticated and often unorthodox music and his addition as a producer (the previous album was produced by the band) helped "Grand Funk Railroad" embraced a tighter, more polished sound, resulting in a collection of songs that epitomized the infectious spirit of '70s rock. The album opens with the title track "We're An American Band", which encapsulates the unique spirit of "Grand Funk Railroad". The killer riff and thunderous bass immediately grab attention, while the vocals exude confidence and charm. The guitar solo, the iconic cowbell and the poppy psychedelic organ build on the song's energy, adding to its infectious nature and solidifying its status as a rock anthem. "Stop Lookin' Back" comes right after and reignites the album's energy with its catchy and groove-oriented riffs. The band's tight jamming abilities are on full display, showcasing their ability to maintain a cohesive structure while delivering powerful performances. The stomping Hammond organ and the short guitar lines intensify the experience with a head to head short sentences. "Creepin'" slows things a bit with its bluesy vibe, again the Hammond organ takes center stage and adds to the overall groovy and mysterious atmosphere. This is the first song on the album where Mark Farner takes the lead vocals carrying a soulful taste. His guitar solos are nothing short of impressive, and the jamming at the end adds a touch of psychedelic rock. "Black Licorice" ends the first side of the vinyl with its infectious bass riff and a funky guitar rhythm. Brewer takes lead vocals again reaching high notes and embodying the dangerously sexual themes of the lyrics, particularly in the chorus. The drumming is ferocious, driving the song forward with power, Farner's guitar solos are great while the intense organ solo reminds us of Jon Lord's great moments. The second side of the vinyl opens up with "The Railroad" sung by Mark Farner. A magical blend of bluesy tune, psychedelic organ, soulful vocals, and catchy hooks. The transition from a blaring intro to a quiet guitar melody adds an interesting texture to the song and The jam in the bridge showcases the band's collective skills, with Farner's magnificent guitar work, Don Brewer's tribal drumming, and Craig Frost's Hammond carpet on the keys. "Ain't Got Nobody" maintains a steady groove, though it may come across as standard fare in comparison to some of the album's standout tracks. The vocal harmonies led by brewer add a layer of sweetness to the jazzy vibe of the song, while Farner's guitar solo moves the song to a more heavy direction. "Walk Like a Man" brings back the infectious catchiness, with its shout-a-long chorus and prominent electric piano riff. Brewer's vocals intertwine with the soaring guitar licks, creating a memorable rock anthem. The bridge showcases impressive blues-rock guitar solos, further elevating the track's energy and intensity. The album ends up with "Loneliest Rider". While it may not resonate as strongly with some listeners, it still holds its own within the album's overall journey. The cool groove clavinet playing and the great production techniques, such as the heavily reverberated guitar, give the song a wash of funky-psychedelic elements. "We're An American Band" stands the test of time as a testament to "Grand Funk Railroad's" rock 'n' roll prowess. The album's diverse range of songs, from the mysterious and atmospheric to the infectious and groovy, showcases the band's evolution and ability to captivate listeners. With memorable hooks, impressive instrumentals, and an undeniable sense of fun, this album solidifies "Grand Funk Railroad's" place in rock music history and serves as a vibrant snapshot of the unapologetic spirit of the '70s. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On July 15, 1977, "Yes" released their eighth studio album "Going for the One". Following the increasingly ambitious scope of "Tales from Topographic Oceans" and the jazz fusion intensity of "Relayer", "Going for the One" represented a deliberate recalibration rather than a retreat. It welcomed the return of Rick Wakeman after Patrick Moraz's departure, reuniting the classic lineup of Jon Anderson, Steve Howe, Chris Squire, Rick Wakeman and Alan White. Produced collectively by the band, the album abandoned sprawling conceptual structures in favor of concise songwriting without sacrificing the musical sophistication that defined "Yes" during the 1970s. The title track "Going for the One" opens with one of Steve Howe's most unconventional guitar performances. His slide guitar work injects a raw, almost country-infused swagger that feels startlingly physical for a progressive rock band. Chris Squire's bass remains thunderous beneath the surface while Alan White locks the shifting rhythms together with remarkable restraint. Jon Anderson wrote the song around two or three years before the album was recorded. His soaring vocal lines prevent the muscular riffing from becoming earthbound, maintaining the band's unmistakable sense of uplift. "Turn of the Century" is among the finest examples of "Yes" balancing technical precision with emotional storytelling. The gradual build from delicate acoustic guitar and piano into a full band crescendo feels completely earned. Anderson delivers one of his warmest vocal performances, while Wakeman's piano avoids unnecessary virtuosity in favor of elegance. It is progressive rock at its most human. The song tells the story of Roan, a grieving sculptor who loses his wife during the winter. In his sorrow, he carves a statue in her likeness, which is miraculously brought to life. The narrative was inspired by elements of the opera "La bohème" and the Greek myth of Pygmalion. "Parallels" introduces church organ played by Wakeman, giving the song enormous harmonic weight. Built around one of Squire's strongest bass-driven compositions, it combines symphonic grandeur with genuine rock power. It was part of a collection of songs that Squire had written for his solo album "Fish Out of Water" released in 1975, but was left out due to the running time limitations of vinyl. The second side opens up with the album's commercial breakthrough "Wonderous Stories", solely written by Anderson while living in Switzerland. In barely four minutes, "Yes" distilled their celestial aesthetic into an accessible piece without compromising identity. Anderson's layered harmonies float above Howe's acoustic textures, creating a sense of quiet transcendence. Its simplicity is deceptive, supported by intricate vocal arrangements and subtle instrumental interplay. Everything culminates in "Awaken", arguably one of the defining compositions of progressive rock. The song originated when Jon Anderson heard Steve Howe repeatedly playing a guitar chord progression in a hotel, prompting him to improvise melodies and lyrics over it. Inspired by Calvin Miller's The Singer, a poetic retelling of the life of Jesus, and a biography of Rembrandt, Anderson shaped the piece into a deeply spiritual journey, while Howe's previously written guitar solo, rich keyboard arrangements by Rick Wakeman, harp, and choral performances gave it a majestic, symphonic character. Spanning over fifteen minutes, the composition unfolds patiently through contrasting movements rather than relying on spectacle. Wakeman's monumental pipe organ section, recorded at St Martin's Church in Vevey, becomes the spiritual centerpiece, while Howe moves effortlessly between acoustic intimacy and electric grandeur. The closing sequence achieves an almost liturgical atmosphere, with Anderson's voice functioning less as a lead singer and more as another instrument within the composition. Few epics of the era sustain their emotional trajectory so convincingly. What distinguishes "Going for the One" is its confidence. Earlier "Yes" albums often sought to impress through scale. Here, the band demonstrates that maturity sometimes means knowing when not to overplay. Every musician remains virtuosic, but the performances consistently serve the songs first. The result is an album that feels simultaneously more immediate and more enduring than many of its predecessors. "Going for the One" offers perhaps the most balanced portrait of "Yes". It combines technical brilliance, memorable songwriting, emotional depth and remarkable ensemble playing into a concise five-track album that rarely wastes a note. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

He is a virtuoso, gifted and brilliant guitarist, he is also a guitar teacher who has taught great and famous guitarists like Steve Vai, Kirk Hammett ("Metallica"), and Alex Skolnik ("Testament"), Larry Lalonda ("Primus"), and more. He is also a member of the supergroup "Chickenfoot", briefly replaced Blackmore in "Deep Purple" and was the founder of the "G3" as part of the hosted the spearhead of the world's guitarists, such as: Yngwie Malmsteen, John Petrucci, Paul Gilbert, Michael Schenker, Steve Morse and more. He's the best-selling instrumental artist in the world. Up until today, he released 18 studio albums (as a solo artist) and we have not started talking about dozens of collaborations with artists like Mick Jagger, Ian Gillan, Brian May, Alice Cooper, "Blue Öyster Cult", "Crowded House", "Steve Miller Band" and more, and he has won quite a few awards and titles. This very special man is called Joe Satriani and he's celebrating his birthday today, so let's honor him with 30 interesting facts! (Photo: Theo Wargo) 1. He was born in Long Island New York on July 15, 1956, as Joseph Satriani. 2. He played drums from age 9 to age 11. 3. At the age of 14 he was inspired by the death of Jimi Hendrix and started playing guitar. 4. As a child he attended the same school as Steve Vai on Long Island. 5. He was influenced by guitarists Brian May, Eric Clapton, Jimmy Page, Ritchie Blackmore, and Jeff Beck, among others. 6. His first guitar was the "Hagstrom" electric. 7. Since 1988 he has only played his Ibanez's JS Series signature guitar. 8. In 1974 he began to study music professionally, among others from jazz guitarist Billy Bauer and blind jazz pianist Lennie Tristano. 9. In 1978 he moved to Berkeley California and began teaching guitar. His students include Steve Vai, Kirk Hammett, Alex Skolnik, and more. 10. One of his first bands was "Squares" from San Francisco. He later moved on to the Greg Kihn Band. 11. With the money he earned from the performances he financed the recording of his first solo album. 12. Steve Vai returned him a double favor. He connected him to the record company "Relativity Records" with which he recorded his first album "Not Of This Earth" from 1986, and also introduced him to the Ibanez guitars. Joe played one specially made for Vai, got excited, and has been with the company's guitars ever since. 13. Did you know that Satriani also sings? In 1986 he sang background vocals on the "Crowded House" debut album. 14. It gave him the courage to sing on his solo albums as well. The first album he did so was 1989's "Flying in a Blue Dream". 15. In 1988 Satriani helped produce "The Eyes of Horror" - an EP of the death metal band "Possessed". 16. In the same year he participated in the album "Imaginos" by Blue Öyster Cult. 17. 1988 was a busy year for Satriani who was recruited by none other than Mick Jagger to accompany him on his first tour as a solo artist. 18. In 1991 he played on Alice Cooper's album "Hey Stoopid". 19. In the same year he won the title of "Outstanding Guitarist" in "BAM Magazine" music awards. 20 years later he played on "Spinal Tap's" "Break Like the Wind" album. 21. In 1993 he briefly joined "Deep Purple" as a replacement for Ritchie Blackmore who left the band. 22. In 1996 he founded the "G3" show in which he hosts the top guitarists in the world. 23. In 2004, Satriani contributed a guitar solo to keyboardist Jordan Rudess's "Rhythm of Time" album. 24. In 2006 he played on Ian Gillan's solo album "Gillan's Inn". 25. In 2007 he was one of the artists who contributed their voice to the speech segment in the song "Repentance" from the album "Systematic Chaos" by the band "Dream Theater". 26. In 2008 he filed a lawsuit against "Coldplay" claiming that the song 'Viva la Vida" "borrowed" elements taken from his 2004 album - "Is There Love in Space?". The parties reached a compromise outside the walls of the court when Satriani received payment for the same "question". 27. That same year he formed the supergroup "Chickenfoot" with Sammy Hagar and Michael Anthony of "Van Halen" and Chad Smith of the "Red Hot Chili Peppers". 28. The band has released two studio albums, with Satriani writing most of the material. 29. In 2015 he was awarded with the “Maestro” title from the "Rock and Roll Hall of Fame". 30. He is ranked fourth in the world in Grammy nominations without having won even once. And now in it, we will listen to his album released in 2022: Click Here. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written By: Moti Kupfer Release date - 14.07.1978 Zeev Nehama, frontman of "Ethnix", once explained the challenge of making a second album: "On the second album we knew projects fail. We tried to understand why second albums fail in Israel, and then we discovered that in most cases the problem is communication. People are less supportive of the second album, so we tried to think of a workaround." The "second album syndrome" is something almost every musician encounters early in their career, especially after a successful debut or one that creates enormous expectations. A first album is usually written in relative anonymity and without pressure, allowing artists to create an abundance of material, select only the strongest songs, and refine every small detail until the finished product is exactly what they envisioned. Once the debut is out in the world, however, there is usually pressure to strike while the iron is hot and release a follow-up as quickly as possible. That compressed schedule limits the time available to write strong new material and often forces artists to revisit songs that were left off the debut. "Talking Heads" found themselves in exactly this situation. The band, consisting of David Byrne, Chris Frantz, Tina Weymouth, and Jerry Harrison, had to confront the same challenge. In March 1978, just six months after releasing their debut album "77", "Talking Heads" entered Compass Point Studios in Nassau, Bahamas, to record their second album, "More Songs About Buildings and Food", which was released on July 14, 1978. Despite a title that almost sounds dismissive of the material, it actually reflected the band's own feelings about the rapid transition from their first album to the second. Rather than presenting a grand artistic statement, the title acknowledged the everyday subjects that fascinated Byrne's songwriting and the whirlwind pace at which the band was moving. During those few months, "Talking Heads" managed to tour Europe alongside "Ramones". Near the end of the tour, they played a small headline show in London attended by Brian Eno and John Cale, with Cale persuading Eno to come to the performance. By that point, Eno had already built a reputation as one of music's most adventurous innovators, having collaborated with "Roxy Music", David Bowie, Robert Fripp, and John Cale. After the concert, he met David Byrne backstage and invited him, along with Cale, to his home. There they listened to Afrobeat records by Nigerian musician Fela Kuti, music Eno believed represented the sound of the future. That meeting marked the beginning of a remarkable creative partnership between David Byrne, "Talking Heads", and Brian Eno, who became the band's producer for their next three albums. On "More Songs About Buildings and Food", Eno laid the foundations for the musical transformation that would soon define the band. He brought a stronger sense of cohesion to the record, particularly through its rhythmic consistency and unified sonic character. While Byrne had naturally been the focal point of the debut, Eno shifted part of the spotlight toward the bass and drumming of Tina Weymouth and Chris Frantz, the future husband-and-wife duo who would launch the new wave and R&B side project "Tom Tom Club" two years later. Eno shaped the album into one continuous collection of danceable, groove-driven songs, using only brief pauses between tracks to keep listeners immersed in the momentum. At the same time, he allowed the music to flow effortlessly between post-punk and psychedelic funk. His contribution went far beyond production, as he also played guitar, piano, keyboards, synthesizers, and added backing vocals throughout the album. For his part, Byrne continued exploring the ideas introduced on the debut. His lyrics remained focused on existential questions and paranoia, themes that would evolve into even more sophisticated forms over the following years of the band's career. The band's first major hit, "Take Me to the River", was unexpectedly a cover of a song originally written and recorded by soul and gospel legend Al Green. The album cover was David Byrne's concept, realized by American photographer Jimmy De Sana. It features a mosaic made up of 529 close-up Polaroid photographs of the band. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Today, July 14, 1789, an angry Parisian mob stormed the Bastille, freeing its prisoners and taking the large quantities of weapons and ammunition that were in it, thus beginning the French Revolution. The fall of the Bastille became a symbol of the revolution, a model of the struggle for freedom, liberation, aspiration for equality, and recognition of human rights. This historic day is known as "Bastille Day" and later became France's official Independence Day. Years later, in 1975, "Rush" wrote a song about this founding day. The song that opens the band's third album "Caress Of Steel" uses the act of assault on the Bastille, as an allegory for the revolutionary fervor required in the struggle against any dictatorial rule. Rush drummer - the legendary Neil Peart, managed to mold into the lyrics in such a clever and witty way, the message that money and power can not stand up to justice and equality, and the lyrics are relevant today just as they were in 1975 !!! One line stands above all in the lyrics of this amazing song, and continues to resonate over the centuries and generations that have passed since: "Guide the future by the past" says Neil Peart, teaching us to learn from the past in order to shape our future. The song served for years as the opening track in the band's performances as can be heard among others on the double live album "All the World's a Stage" from 1976. A few years later, not far from where the song was written, a devout fan and legendary drummer in his own right, Mike Portnoy listens to this immortal song, especially the ending section, from which the word "Majestic" comes. This is what Portnoy thought about the ending of the song and this is the name he decided to give to his band - "Majestic", which soon after became "Dream Theater". And now you must listen to the song: Click Here. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On July 14, 1992, the album "Countdown to Extinction", Megadeth's fifth studio album, was released. If we defined "Rust In Peace" as a metal classic that is also probably the band's best album, then "Countdown to Extinction" is the band's most successful album commercially. Although there is a fundamental difference between them, we certainly find a close connection between these two consecutive albums, which were recorded by the same "classic lineup" of the band, which includes Dave Mustaine, Marty Friedman, David Ellefson, and Nick Menza. Only a cohesive, professional, tight, and polished lineup like this, was able to produce under its hands two such monster albums. One, is in the form of the band's best album, and the other turns out to be the band's biggest album commercially to date! True, this album caused a great deal of controversy and even divided the band's fan base, some of whom saw it as a sign of commercialization, especially after two masterpieces of thrash metal: "Peace Sells ... but Who's Buying?" From 1986 and "Rust In Peace" from 1990. At the same time, it is an excellent album that has become the band's best-selling album in its entire career and has jumped to number two on the US Billboard charts. This album represents a fundamental change in the sound and style of the band, which is expressed, among other things, in the transition from thrash metal toward accessible and commercial heavy metal. In the 1990s, thrash bands took a foot off the gas, slowing down RPM, and adding more friendly riffs to their albums, trying to be more accessible to the radio and appealing to a wider audience. This change usually sounds like classic heavy metal, but with a biting and heavier twist. "Metallica" was the first to do so with "The Black Album", which in a sense overshadowed the entire genre and served as its right-wing marker. It should be remembered that at that time the root metal was in a kind of decline, as grunge and alternative raised their heads. David Ellefson and Megadeth read the map and realized they could not produce another album like "Rust In Peace". They consciously decided to go with the changes in the world of music and were also directly affected by the process that Metallica went through shortly before them. It was a conscious choice to write more catchy and less complex materials that would appeal to a wider audience and conform to the prevailing trends in the music market. Nick Menza noted in an interview with him in September 1992 for "Spin" magazine, that Metallica opened the door to change for the bands that came after it. "Of course, we were the next band to cross the doorstep," Menza added. But despite the band's change, it has not completely lost its identity. Dave Mustaine and his friends changed their sound and style, but they did so uniquely and intelligently without sounding like an imitation. They have found the balance point where they combine simple, catchy, and accessible riffs of heavy metal, with the virtuoso skill and complexity of thrash. "Countdown to Extinction" was less complex than the previous album - "Rust In Peace" but it still felt like a natural development of the band and not like a forced attempt to emulate. This balance has been reached by joint efforts, with all four contributing to the writing process with an increased presence of Marty Friedman and Nick Menza compared to the previous album. Songs like the theme song, "Captive Honor" and "This Was My Life", introduced the band's newer and more melodic side, with songs like "Ashes in Your Mouth", "Pyschotron" and "Architecture of Aggression" representing the heavier side of the band. This album features some of the band's most memorable songs. The opening song "Skin o 'My Teeth" was released as the fourth single from the album and was influenced by verse 20, chapter nineteen in the book of Job. This song created a lot of problems for Megadeth with MTV after he was suspected of being a song that encourages suicide and the network refused to broadcast it. The parties were able to reach a compromise after Dave convinced the network executives that it was not a suicide song and that he would declare it whenever he asked. The second track, "Symphony of Destruction", with such a chilling operatic opening and amazing solo. An immortal song influenced by the movie "The Messenger from Manchuria", a movie from the early '60s that came out during the missile crisis with Cuba and before the Canadian assassination, and tells about a communist plot to get an American president elected to be a Soviet agent. The third track "Architecture of Aggression" is based on a book of the same name and refers to the underground bunkers during the Nazi regime. Mustaine and Ellefson took the issue fifty years further, being inspired by Saddam Hussein's regime in Iraq in the early 1990s, during the Gulf War. This is the most beloved song by Marty Friedman from the album. "Sweating Bullets" features one of the amazing vocal performances of Dave Mustaine who enters the role of the schizophrenic perfectly and conducts with himself in a "crazy" dialogue. Dave noted that he wrote the song about himself after being remarked that he was the kind of schizophrenic who lived inside his own head. However, on VH1's "That Metal Show" he noted that the song was written about his wife's girlfriend who suffered from anxiety attacks. Dimebag Darrell really liked the song and took one of the lines seriously, when he made himself a black tooth tattoo based on the words: "Someday you too will know my pain and smile its black tooth grin". The theme song "Countdown to Extinction" was written by all four members of the band after reading an article in Time magazine about hunting animals. The speech that comes about 3 minutes into the song is performed by a friend of Dave's who worked at a sushi bar near the recording studios in Burbank California. And of course, the track that seals the album "Ashes in Your Mouth" which is also written by all four members and is also based on the Bible and more precisely on the book of Joel, chapter 4, verse 9. In this song, Dave Mustaine and his friends paint a black picture of the future of humanity that will always live on its sword. The album "Countdown to Extinction" was Megadeth's first step toward the mainstream, and the band will continue to follow it on future albums as well. Despite the softening of the sound, the result is amazing, while the band still retains its identity, and maybe that's what makes this album the band's best-selling ever. It enjoys both worlds, on the one hand, the hard core of fans who have not yet abandoned despite the softening in sound, and on the other hand, a new audience that has been exposed to the band, following the musical change it has undergone. And now let's listen to the album: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek ... How about a supergroup that unites members of "Deep Purple", "Black Sabbath", "Iron Maiden", "Metallica" and "HIM"? So, on July 13, 2012, an album called "WhoCares" was released, featuring a collaboration between Ian Gillan (vocals), Tony Iommi (guitars), Jon Lord (keyboards), Jason Newsted (bass), Nicko McBrain (drums) and Mikko Lindström (guitars). The truth is that after the 1983 album "Born Again" we did not think we would ever see Ian Gillan and Tony Iommi collaborate again, but apparently, the help needed to rebuild a music school in "Gyumri", Armenia, which was destroyed in the 1988 earthquake, is a goal Important enough to unite the two. They came together to write the song "Out Of My Mind" and managed to harness the respectable bunch of musicians we mentioned above, to record it. The song was released as a single on May 24, 2011, along with another new song called "Holy" Water", which Ian Gillan co-wrote with Steve Morris and Tony Iommi co-recorded. In light of the success of the project, the two decided to expand it to a full album that was eventually released as a double album, under the title "Ian Gillan & Tony Iommi: WhoCares". With the exception of the two new songs mentioned, the album includes familiar songs in different and rare versions, which Ian Gillan and Tony Iommi have collected and compiled especially for the album. For example, you can listen to the original take of "Zero The Hero" from "Born Again", "Trashed" from the same album re-recorded for the album "Gillan's Inn" and featuring Roger Glover and Ian Paice (which sounds much less like "Black Sabbath" and more like "Deep Purple"), "Slip Away" and "Let It Down Easy" recorded during the sessions of "Fused" by Tony Iommi and Glenn Hughes, "Don't Hold Me Back" taken from Gillan's solo album "Toolbox" which you must not miss, "Smoke On The Water" recorded with "Deep Purple" and the London Philharmonic Orchestra and including a guest performance by Ronnie James Dio, "Anno Mundi" by "Black Sabbath" with drummer Cozy Powell and singer Tony Martin and more and more surprises. It is interesting to note, that the album version on "Spotify" includes only 13 songs, while the full double album can be found on "Apple Music". Sadly, keyboardist Jon Lord passed away just three days after the album's release, making "WhoCares" the last recording to be released in his lifetime. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek... On July 13, 2010 "Korn's" ninth album... or actually their III was released !! This is an album that if you asked Jonathan Davis he would have given it up, he even called it a "mistake", why? You're asking yourself, so we'll explain right away... But first let us share that the recordings for the album began by the four members of the band after a break of almost a year in which they did not touch anything related to Korn, but focused on other projects. Let us remind you that they stayed three members after "Head" left the band four years earlier, and drummer David Silveria left three years earlier. Davis, James Shaffer, and Reginald Arvizu decided to add drummer Ray Luzier as a permanent member (he was the drummer on tour), and even shared his work on the album. (Photo: houseofblues.com) The band members decided they wanted to go back to their roots and enlisted producer Ross Robinson. The three members besides Davis worked on materials separately and recorded several demos, with Davis himself coming to the recordings without anything ready and in the process of recording demos for 11 songs. He said it was the first time everyone had worked together on all the songs. Usually, the rest of the band would finish recording the songs, and only then would Davis go in to write lyrics. So you asked why this was a mistake... Let’s start with the fact that producer Ross has taken the issue of back to roots one step (or several) too far. While they wanted to go back to using only the base of rock, with drums guitars, and vocals, with no electronic elements or atmospheric sounds, Ross put them in a small studio, closed them every day for a few hours, and told them, to play! Davis said that Ross had a method of getting all the anger and aggression out of them, but it no longer suited where they were. They were already adults, experienced, and no longer children who do not know what they are doing. Davis came to the recordings of the album with the attitude that it was going to be a concept album and in terms of lyrics he wanted to base it on five recurring elements and tell a story. But because of the form of work in which all the band members worked together under Ross' pressure, he simply improvised the lyrics throughout all the recordings of the album. He felt this was the way it worked for him and he adopted it throughout all the songs, even though in retrospect he wanted to record a concept album, as mentioned. This is why the name of the album is "Korn III", only at a later stage, just before its end, the title Remember Who You Are was added. As for the band and also Ross himself, who produced the band's first two albums, this is a return to the period of the late nineties. Even the recordings were made by a 24-channel analog tape and not by the famous Pro Tools software. Although the previous album and the pre-album tour, the band financed itself without a record company, this time too they thought about it but finally decided to release the album through the record company Road Runner, they did not have the time or ability to deal with anything related to the business side, The logistics, and marketing of the album. The album received quite cool reactions from critics, but also from fans, and although it reached number one on the Billboard 200, it is not an album to be framed or hung with dignity, it may even be an album to be shelved... Why should we decide for you, listen by yourself on: 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, on one of the biggest events in the history of music -was the "Live Aid" that was held on July 13, 1985. (Center Photo: Dave Hogan) So today in 1985 the greatest artists in the world of music came up, one after another, for performances that took place simultaneously in several places in the world. The event was organized by Bob Geldof known among others for his membership in the band "Boomtown Rats" and his memorable performance in the role of "Pink" in the movie "The Wall", and by Midge Ure known among others for his membership in bands such as "Ultravox", "Visage" and "Thin Lizzy ", In order to raise funds for aid to the victims of hunger in Ethiopia. The idea for the show came to Bob Geldof and Midge Ure, in 1984, following the recording of the hit "Do They Know It's Christmas?", Which included a selection of British music artists. This is a song composed by Bob Geldof and Midge Ure with the aim of raising donations for the victims of the drought in Ethiopia. After the recording, Ure and Geldof thought they should do it big, with a huge donation show that would include the entire top of world music. The Live Aid included two major shows, the first held at Wembley Stadium in front of 72,000 spectators and the second at JFK Stadium in Philadelphia in front of 89,500 spectators. In addition, shows were also held in Moscow, Sydney. At the same time, the show was broadcast live to the countries of the world. It was the most ambitious satellite broadcast in existence to date and was watched by over 1.9 billion viewers in about 150 countries. All big acts of the music world in those days took part in the shows: "U2", "The Who", David Bowie, Mick Jagger, Tina Turner, Eric Clapton, Elton John, Sting, "Dire Straits", Paul McCartney, "The Beach Boys", "Status Quo", "Simple Minds", "Ultravox", Tom Petty, Bob Dylan, Neil Young, "Duran Duran", "Crosby, Stills and Nash", Joan Baez, George Michael, Madonna and more and more... Some interesting data about the shows that happened on that historic day: 1. Elton John gave the longest show for that day, which lasted 32 minutes. 2. "Queen" gave one of the biggest shows of its career, and this show was later chosen as the best show of all time, so here it is in front of you, so that God forbid you won't miss a single note. 3. "Led Zeppelin's" reunited specifically for the show and it was their first time on stage since the death of drummer John Bonham. Phil Collins who played on Robert Plant's first two solo albums sat on drums alongside another drummer, Tony Thompson, but this reunion show will be remembered as one of the worst reunion shows, so much so that "Led Zeppelin" refused to have the show included on a DVD released later on. 4. "Santana" also asked that their show would not be included in the same DVD. 5. Another band that reunite especially in honor of the event was "Black Sabbath" which performed alongside Ozzy Osbourne who was fired from the band in the late 1970s. This show will also not be remembered as one of "Black Sabbath's" best performances. 6. This was not the only metal band on the show. "Judas Priest" also gave the Philadelphia audience a short set that included the songs "Living After Midnight," "The Green Manalishi" and "You've Got Another Thing Coming". 6. Phil Collins was the only one to appear on two different continents that day, both at Wembley and Philadelphia. Immediately after the show, he gave at Wembley (with Sting) he boarded a Concorde plane that took him to a show in Philadelphia. 7. Phil Collins was also the drummer on a set played by Eric Clapton in Philadelphia. 8. Billy Joel was scheduled to perform in Philadelphia but canceled at the last minute due to Geldof's insistence that he perform alone with the piano. 9. Another great artist who was absent from the Philadelphia show was Bruce Springsteen who did not want to cancel his band members' vacation. 10. "Tears For Fears" also had to cancel their appearance after two members of the band left. 11. The band "Thin Lizzy" was not invited to the show even though Phil Lynott was the one who helped both Midge Ure and Bob Geldof get recording contracts in their early careers. 12. The Philadelphia show hosted two couples who performed with two different bands. Jim Kerr appeared with "Simple Minds" and immediately after that Chrissie Hynde came up with "The Pretenders". 13. Japan also contributed its share of recorded performances that were broadcast between live shows, including a performance by the heavy metal band "Loudness". 14. Other countries that had parallel performances that were held for the same purpose were Austria, Russia, the Netherlands, Yugoslavia, and Germany. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On July 13, 1973, the music world discovered the most glittering queen in rock history - "Queen", who released their debut eponymous album. We assume that most of you are already familiar with the story of the band's formation and the recording of their first album, especially following the release of the blockbuster movie "Bohemian Rhapsody", and yet we are here to try to renew something for you or at least put things in order. So the story of the album and the band begins somewhere in the late 60s with a meeting between two students, guitarist Brian May and bassist/singer Tim Staffell who formed the band "Smile". The two recruited another student, drummer Roger Meddows-Taylor and the three began performing at clubs in London. Singer Farrokh "Freddie" Bulsara, who studied art with Tim Staple, came to one of "Smile"'s shows at Staple's invitation and immediately became a fan. Freddie Mercury was at the time a singer of several bands, including "Wreckage", but he always aspired to join the ensemble of "Smile". In March 1970, Staple decided to leave "Smile" in favor of a band called "Humpy Bong" and Freddie immediately jumped at the chance, ending his relationship with "Wreckage" and joining May and Roger Taylor. On June 27, 1970, Freddie Mercury took the stage for the first time with the band but it was still called "Smile". While searching for a bassist for the band, Mercury persuaded the other two members to change the band's name to "Queen". Freddie Mercury was also the one who designed the band's logo. Finding a suitable bassist for the band was not easy. Over the course of a year, members of the band replaced bassists like socks, and were unable to find someone worthy to fit in. In early 1971 a friend of May and Taylor recommended John Richard Deacon to them. The band auditioned John Deacon in the auditorium at Imperial College London and was immediately impressed by his performance. Deacon was also an electronics student and the band members thought it was a great advantage, especially Brian May who later took used Deacon's skills, among other things, to build a special guitar amplifier for him. The band's debut in the final and classical lineup and under the name "Queen" was held on July 2, 1971, at "Surrey" College in England. The band continued to perform in clubs and colleges around London for about two years, with no ability to obtain a recording contract. The opportunity fell on the band when they received an offer to try out new equipment for free at the recording studio "De Lane Lea Studios". The band took the opportunity to record a demo that included five songs: "Keep Yourself Alive", "The Night Comes Down", Great King Rat", "Jesus", and "Liar". (Photo: Amazon.com.au) Despite the low quality of the demos, the band members managed to convince Barry and Norman Sheffield, owners of the famous "Tridant" studios, to give them the option to record an album for free. Tridentate Studios was a highly sought-after studio at the time, where albums such as Lou Reed's "Transformer" and David Bowie's Hunky ​​Dory and Ziggy Stardust were recorded. Under these circumstances, the summary was such that Queen would be given full and unrestricted access to all the innovative recording equipment that was in the studio, including technicians who would accompany them. At the same time, the band will only be able to record in the small hours of the night, when the studios are not occupied with paid recordings. The recordings took place in June-November 1972 using the innovative recording equipment of "Trident Studios", while the band used, among other things, a large number of recording channels, merging them (in layers) to produce different sounds. For this reason, Brian May insisted on including on the back cover of the album the caption that no synthesizers were used during the recordings, presumably for fear that listeners would think the special sound was achieved through the use of electronic equipment. During the recordings, the band was required, by producer Roy Thomas Baker, to re-record the five songs from the demo recorded at "De Lane Lea Studios". The band was very angry at the demand to record everything again. They really liked the result in the demos but Baker insisted that the songs be recorded again with the new recording equipment. So it turned out that certain songs were recorded seven or even eight times, and still the band did not like the result, until the technician Mike Stone came and helped them reach satisfactory results. It also bought him the right to produce the band's next five albums. The original demos of these five tracks, are in the bonus EP of the extended edition of the album from 2011. Anyone who listens to them will find that there is indeed a certain preference for the demo versions, especially when it comes to the drum sound. Although the recordings were completed as early as November 1972, the album was released only about eight months later, as Trident Studios had difficulty finding a record company that would agree to distribute the album. Eventually, Trident did it by themselves with the help of EMI. The album, which combines several styles, mainly metal and progressive, was released at a time when Glam Rock was at its peak and received good reviews. Five of the ten songs on the album were composed by Mercury, Brian May composed four more (one of them in collaboration with Staple) and Roger Taylor wrote and sang on one song. The album opened at a fast pace with "Keep Yourself Alive" which was also released as the band's first single. The song was written by Brian May even before John Deacon joined the band and already from the opening we can notice May's innovative guitar sound that includes the Phaser effect, and is a special stamp that can not be missed even 4 decades later. "Doing All Right" slows down the pace a bit with a section that opens quietly and calmly and was written by Brian May and Staple back in the "Smile" days. It is one of Queen's only songs in which May plays the piano and the first song in which Freddie Mercury will play the piano during the band's performances. The third track "Great King Rat" was written by Freddie Mercury and includes several progressive motifs such as rhythmic changes and solos, and even a short Roger Taylor drumming segment at the end. The first side of the vinyl is sealed with the song "My Fairy King", also written by Mercury, and is the first song in which he plays the piano. This is also the first time that you can clearly hear the amazing combination and vocal harmonies of the band members, which will be tightened, perfected, and will later form the band's all-too-familiar DNA. The vocal harmonies here have been achieved, among other things, through overdubbing (recording layer upon layer of voices), a technology that will also be used in the song "Bohemian Rhapsody". This song apparently influenced Freddie Mercury to change his family name to "Mercury" and includes the lyrics: "Mother Mercury, look what they've done to me". The other side of the album opens with "Liar" another song that Mercury wrote back in 1970, before John Deacon joined the band. One of the heaviest songs on the album and the only one where Freddie Mercury uses the Hammond organ, and probably also one of the band's favorite songs, as he was part of the band's setlist (in one form or another) many years after its release. "The Night Comes Down" is one of the first that Brian May wrote after "Queen's" foundation. The song is one of the five demo songs recorded at "De Lane Lea Studios". In 2011 the original demo version was released as a bonus and you can mostly hear the differences in the sound of the drums. It's a nostalgic May song that talks about the loss of childhood and mentions among other things the song "Lucy in the Sky with Diamonds", by "the Beatles". "Modern Times Rock 'N' Roll" was written and sung by Roger Taylor. A quick song in which the guitar riff sounds at times like "Budgie" in the song "Breadfan", which was released about a month before the release of "Queen's" debut album. The track "Son and Daughter" is another one written by Brian May and appeared as a side cover of the single "Keep Yourself Alive". A heavy song led by the guitar-bass riff in which it is reminiscent of Black Sabbath and is undoubtedly influenced by the heavy metal of the early 70's. In the song "Jesus" Freddie Mercury tells of Jesus from Nazareth, even though he is not a Christian. The song features only two chords during the verses and a long instrumental section towards the end. Brian's guitar solo includes an effect that gives the song a somewhat psychedelic tone, which is heard in Queen's other songs. The album concludes with the short instrumental section "Seven Seas of Rhye" which was written by Mercury and will become a full song and the band's first hit, in "Queen II" the next album. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website