On September 29, 1992, "Alice in Chains" released its second album "Dirt". This is one of the greatest albums of the 90s and one of the ultimate statements of modern music. This album is a tragedy of contrasts between the creator and the listener. A musical paradise wrought in the fire of the artist's inner hell, a whole of wholeness formed from the shards of the writers' souls, a heavenly beauty made up of thousands of scars. This is a painful and creepy document that is a window into the feelings and thoughts of Jerry Cantrell and Layne Staley at the time. It deals with the issue of hard drug addiction in such a direct and overt way that there has been no equal since the masterful album "Velvet Underground & Nico", where Lou Reed honestly wrote about his experience with the song "Heroin" and told us how he waits for "Man" to sell it for $26 In the song "I'm Waiting for the Man". You could even say that "Dirt" is actually a concept album about heroin since most of its songs deal with this deadly drug in one way or another. "Dirt's" musical style is much heavier and gloomier than its predecessor, an album with a lot of sadness and rage, the most "metallic" grunge of the early '90s, and despite that, it was a huge success, quite a bit of which is attributed to the shaky and "breaking" lyrics of Jerry and Layne. This album managed to produce five successful singles and became the best-selling album by "Alice in Chains" to date. It also entered a high spot in almost every possible ranking list of the 90s and is ranked 6th and most respected in Rolling Stone magazine's big grunge album list as well as in the list of 1001 albums you must hear before you die. The writing session between Layne and Jerry continues on this album as well with an advantage for Jerry who also became more vocally dominant on this album. On the other hand, Layne wrote for the first time and played the guitar in two songs on the album. (Photo: Chris Carroll) The background to this amazing work begins with a tour designed to promote the previous album "Facelift" released in 1990. In September 1991 the band rides the wave of success of the album "Facelift" which becomes the first grunge album to reach "gold" status in sales and the band's future looks promising. But then the record company makes a tactical mistake. It brands the band as a metal band and teams it up for the "Clash of the Titans" tour along with bands like Anthrax, Megadeth, and Slayer. The tough crowd of the thrash giants fails to connect and the band is humiliated and receives boos during its performances. In November 1991 the band enters the studio to record their next album, but a dream dreamed by drummer Sean Kinney caused them to change the plan and go for an EP called "SAP" which was released in February 1992. Dream or reality, it was an ingenious move. The band managed with just four acoustic songs to erase the mental image that the record company was trying to equate to it. And if the four songs from "SAP" still haven't got the message across, then the back cover of the EP sure did. It shows the band members peeing on their old photos and saying hello to the image that was forced on them. This is it! The move is complete. The band was ready for its big breakout. Four months later, in June 1992, the music video for the song "Would?" was released. Which is designed to promote director Cameron Crowe's "Singles" film. The clip shows a completely different "Alice" both externally and musically. They look deliberately "anti-metallic" and sound like nothing else there has been until then. It was a song you could not remain indifferent to. A masterpiece that opens with Mike Starr's pulsating bass line and Sean's rolling African drumming, which without any warning grabs you with no ability to resist, and you're addicted. A masterpiece in which each of the instruments seems to be alone in the studio, playing solo for itself, but somehow all of them merge together and form a meteoric connection. This song also closes the album, which Cantrell wrote as a tribute to his good friend Andrew Wood from the band "Mother Love Bone" who died in 1990 and is undoubtedly responsible for the band's big break and the tremendous anticipation from the upcoming album. The song talks about the weaning process and what happens after it, with the last part of the song ending with the question of whether the future is more promising. Hence the question mark in the title of the song. Cantrell sang all the stanzas in the song and lined up the chorus. At the end of each line in the verses, Layne completes Cantrell in the harmonies of a second voice, and the combination between them is simply amazing. It's unbelievable that Layne had to convince Cantrell to sing and how great that Cantrell agreed because the combination of voices between them on this album is undoubtedly "divine" and is responsible for quite a bit of its so unique sound. This "appetizer" called "Would?" is definitely not a one-off and despite the magnitude of the anticipation for its release, this masterpiece called “Dirt” left no room for disappointment. The album opens with the angry cries of Staley and Cantrell with "Them Bones" and with Cantrell's chromatic riff that throws us in unusual beats of 7/8 which later become 4/4. This change of rhythm pushes this song strongly forward and is exactly what makes this band different and so special in the grunge landscape from the early 90s. A short, compressed, and sharp song like a knife that for 2:30 minutes manages to shake you and smash your "bones", against the backdrop of Cantrell's sarcastic lyrics that preach to you to just live and not be afraid of death because we all end up like bones. The song "Dam That River" continues at a fast pace and is led by Cantrell's heavy and nervous riff, with his blues-metal solo after the second verse and back again until the abrupt end. And this time, Jerry and Layne's vocal harmonies blend into the verse, with Layne singing the chorus alone. According to the explanatory note in the booklet Music Box, while Cantrell and Sean were fighting, Sean broke a table on Cantrell's head, and in response, Cantrell wrote the song. In the third track, we slow down the tempo a bit with "Rain When I Die" which includes perhaps Cantrell's best guitar work on the album. The only song that gives credit to all the band members opens with the slow bass line and Kean's strange rhythm when later Cantrell enters and manages to produce strange and varied sounds from the guitar that blend nicely with his and Layne's voices and the Doom atmosphere. From here we move on to one of the great songs from the album "Down in a Hole". It's a song with simple lyrics and breaks. Each line here is more destructive than the other and has the potential to become a tattoo or be engraved on tombstones. It's a power ballad that Cantrell wrote to his girlfriend Courtney Clarke, which undoubtedly shows how painful, hurt, and exposed he is. The vocal combination between Cantrell and Staley in this song is just amazing. Two voices sing separately but merge into one voice that roars and shouts. Just think of the level of sensitivity of Staley who even though he did not write the lyrics presents the song as if it is his own and is completely identified with him. It is interesting to note that Cantrell was initially afraid to play the song to the band because he thought it was too quiet, but the band loved it and it was good that way. Immediately after the song "Sickman" and the fast and mechanical rhythm cut into a slow waltz, we reach one of the highlights of the album "Rooster". Rooster was a nickname for Cantrell's father as a child in light of his "Show Off" personality and the hair curls he had and later adhered to as part of his service in Vietnam. Rooster is also a nickname for soldiers carrying an M60 machine gun as well as for the unit in which Cantrell's father served in Vietnam, but the prevailing opinion is that these versions originated by mistake. The song, written by Cantrell while living in Chris Cornell's home, is told from the point of view of a simple soldier serving in Vietnam and conveys the atmosphere of the war and also the post-trauma that followed. A gloomy and slow song that opens with guitar items caressing and howling in pain and later develops into a roaring and angry blues-metal. In the song, "Junkhead" Layne tries to tell us what it means to be addicted to hard drugs, to heroin. Layne explains to us that you can't really understand what's going on in a drug addict's mind until you become one. This song connects lyrically to the song "God Smack". Staley wrote the song together with Jerry Cantrell and based it on his addiction to heroin, providing us with a cold look at the addiction process, with sentences like: "Stick your arm for some real fun, So your sickness weighs a ton". Not for nothing did Jerry Cantrell define these two songs as the band's most honest songs, or in his own words - "most openly honest". Interestingly, Staley and Cantrell said that the second half of the album builds a narrative about the progression of a heroin addict, from messing in drugs just for fun to descending into hell. The first track in this narrative is "Junkhead" and the second is the theme song "Dirt". Although the song does not specifically refer to drugs, it certainly looks directly into Staley's suicidal thoughts, which are a direct result of the heavy use of drugs. Staley does not try to beautify things and writes harsh lyrics that describe in chilling detail the way he is going to take his life. He even leaves instructions on how to clean up the mess he will leave behind, literally in the lyrics of the song: I want to taste dirty, a stinging pistol In my mouth, on my tongue I want you to scrape me from the walls And go crazy like you've made me But although the theme song "Dirt" fits well with the narrative of the heroin addict, in several interviews conducted with him, Staley scattered hints from which we can learn that the song may have been written about his fiancee Demri Parrott. He referred to the album cover which corresponds with the theme song and noted that it is a form of "revenge" on a certain person who actually "buried" him, saying: "The woman on the album cover is kinda the portrayal of that person being sucked down into the dirt, instead of me". What can perhaps bridge the two different versions for the meaning of the song, is the explanation that Parrott was the one who introduced Staley to heroin. By the way, Parrott herself was a heavy user of heroin and she passed away in 1996. In the short part "Iron Gland" Tom Araya from "Slayer" is hosted. The segment started with Cantrell's riff annoying the band members and then Cantrell added the reference to "Black Sabbath's" "Iron Man". The songs "Hate to Feel" and "Angry Chair" were written by Staley who also plays guitar there. Cantrell noted that he thinks "Angry Chair" is a masterpiece and that he is proud of Staley for writing here and the fact that he plays guitar here. One interpretation of the lyrics of the song is that Layne's father used to punish him when he strapped him to a chair in front of a mirror, but there is no support for this. In any case, it's hard not to hear the pain in Layne's broken voice. The song "Hate to Feel" is another song from Staley in which he ascertains how he fights pain using heroin. A very dynamic song that includes rhythm changes, breaks and stops with Cantrell's amazing guitar work. What makes the album "Dirt" so amazing is its sincerity. The heroin dominated here in an almost absolute way that did not allow the band members to write on almost any other subject, otherwise, it was just fake. The heroin will seep very deep into the band's veins and the first casualty will be Mike Starr who vacated his spot immediately at the end of the tour. The heroin will continue to seep in a way that will make it very difficult for the four members to function as a band. "Alice In Chains" will indeed manage to release an amazing EP and an excellent album. It will also manage to connect to one divine moment in the immortal unplugged show, but in a very sad and unfortunate way, the “heroin” that inspired the amazing piece called “Dirt” is also the one that brought the end of its classic lineup. And there is also a small Israeli corner related to this tremendous album. On the 30th anniversary of the album, the Israeli musician Adir Laybo and friends recorded "Dirt" in its entirety, from start to finish as a tribute to the album and the great band. You can listen to the amazing results on all platforms, including here: Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written By: Moti Kupfer Release date - 29.9.1998 Every crisis passes, the question is how you deal with it when it is in full swing. In the case of "Mercury Rev", the psychedelic rock band from Buffalo, the crisis was expressed in quarrels and a breakup with the band's lead singer David Baker. In addition, bassist Dave Fridmann decided to retire from performing and focus on his career as a producer. Baker's departure after the album "Boces" affected the band's sound, which changed its direction from the realms of "Sonic Youth" to a dreamy and bewitching dream pop, with the singer's position taken over by Jonathan Donahue, whose broken and thin voice sounds like it blends in a kind of wonderful harmony with the bewitched sound that "Mercury Rev" slowly and confidently strived for on their fourth album "Deserter's Songs", released on September 29, 1998. This process did not happen overnight, but over several years, during which band members Jonathan Donahue and Sean "Grasshopper" Mackowiak became addicted to drugs. In addition, Donahue experienced a relationship crisis, and the band managed to release a third album "See You on the Other Side" which failed in stores and led the band to consider breaking up. Donahue and Grasshopper met as children at a children's camp, both grew up in America in the late sixties and early seventies, every Sunday night they would sit down in front of the TV to watch their weekly Walt Disney Hour which would always open with the phrase "When You Wish Upon a Star" and this was their first musical influence, it would later also influence "Mercury Rev" that was formed in 1989. It all started when Donahue, guitarist of "The Flaming Lips" at the time, spent time composing soundtracks for student films made by his childhood friend Grasshopper. Encouraged by their mentor Tony Conrad, a minimalist composer and multimedia artist, they formed a band together, joined by vocalist David Baker, flutist Suzanne Thorpe, drummer Jimy Chambers, and bassist Dave Fridmann. After a little more than a year, Donahue left "The Flaming Lips", and focused on his new band, which initially focused on a psychedelic and messy sound, consisting of influences from Donahue and Grasshopper during their adolescence. Iggy Pop, "Velvet Underground", Terry Jacks, "The Chameleons", and the New York proto-punk band "Suicide". The initial attempts lead to disagreements and addictions, and thoughts of breaking up. But just before they break it all up, inspired by a children's album and Disney soundtracks using classical orchestrations, Donahue pulls "Mercury Rev" in a more organic and quieter direction. The style was built on the principle of accessibility, a kind of combination of Disney songs, songs by composer and musician Cole Porter, and dark and gothic film clips by director Tim Burton. Donahue and Grasshopper secluded themselves for about six months in the Catskill Mountains, New Yorkת where they made contact with two former members of "The Band" who live in the area, Levon Helm and Garth Hudson, and over a period of six months they wrote and recorded their last attempt as a band and what would later turn out to be their breakthrough album "Deserter's Songs". This is an album built from pain, and the shared and difficult experiences that Donahue and Mackowiak (Grasshopper) went through in the period before it. An album that focuses on the two's drug problems, a concept album about separation or distance that defined the idea that in every sad ending, there is hope and joy for the new things that will come in the future. While their previous albums featured layers of distortion and guitars over the basic recordings, this time classical instruments, strings, horns, and woodwinds were used instead of guitars, and Dave Friedman, who returned to the band, this time as producer, mastered the album onto 35mm magnetic tape, a unique process that gave it an intentionally eerie sound while enhancing the music's cinematic feel. All of the songs on the album were written in the same six months in the Catskill Mountains, with the exception of the haunting lead single "Goddess on a Highway", which Donahue wrote sometime in 1989 while still a member of "The Flaming Lips". The song was forgotten until it was accidentally found on an old tape during the recording sessions for the album. Donahue was reluctant to work on the old song, but was eventually persuaded by Grasshopper. The song hints at an inevitable apocalypse through ecological disaster. "Opus 40," named after a massive 57-acre environmental sculpture in the Catskill Mountains, tells the story of a woman, perhaps a girl, scratching her wrists in the pouring rain and collapsing to the ocean floor. The identity of that woman is well-guarded by songwriter Jonathan Donahue, who does not give away any details about her. Levon Helm plays drums here. On the album's opening track "Holes," Donahue takes us on a journey of his own stream of consciousness and paranoia, backed by psychedelic synths, a slow beat, and bleak vocals. And here come the sounds of the electric piano and the Wurlitzer sorcerer, as Donahue sings and tells of "The Funny Bird," a funny bird that never lands. In "Tonite it Shows," Donahue fantasizes about rescuing a woman suffering from poor mental health, and in the song "Hudson Line," which features Garth Hudson on saxophone, we get the more optimistic side, as Donahue sings about the liberating experience of riding the Hudson Line train north from New York City toward the Catskill Mountains. No doubt! "Deserter's Songs" is essentially born out of loss, pain, and regret, but it also brings with it the moment when "Mercury Rev" through redemption and consolation finds her place, and her home. Dave Friedman took advantage of his knowledge from the album to simultaneously produce the excellent "The Flaming Lips'" ninth album "The Soft Bulletin", where he used similar production techniques. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 28, 1991, "Metallica" performed before an enormous crowd at Tushino Airfield. Credible estimates range from roughly 150,000 to 500,000 people, alongside a widely repeated unofficial estimate of 1.6 million. (Photo: Reddit) "The Monsters of Rock festival" in Moscow in 1991 stands as a monumental event in both musical and political history, forever etched into the collective memory of rock fans and historians alike. On September 28, 1991, only a month after the "August Putsch" failed, hundreds of thousands of rock and metal music fans converged in Moscow at "Tushino airfield" for the first open-air rock concert, as part of the "Monsters of Rock" series. The concert was completely free, causing many people to flock to the concert, making it one of the largest rock concerts ever held. This unprecedented turnout represented a staggering gathering of people, a number that had only been matched a few times in history. The sheer scale of the event is often captured in iconic aerial shots, showing a sea of people stretching as far as the eye could see, illustrating the enormity of the crowd that came to witness the performances that day. For "Metallica", the event marked a pivotal moment in their career. The band had recently released their self-titled album, commonly referred to as the "Black Album," which propelled them to new heights of global fame. Their performance at "Monsters of Rock" in Moscow is considered one of their most momentous and celebrated concerts, with their powerful set contributing to the festival’s legendary status. The thunderous energy "Metallica" brought to the stage in their 10 songs setlist, reverberated through the audience, with hits like “Enter Sandman”, “Creeping Death” and "For Whom the Bell Tolls" amplifying the raw emotion of the event. Their performance, immortalized on video released in 1992 - "For Those About to Rock: Monsters in Moscow", has become a symbol of the band's dominance in the metal genre at the time and remains a touchstone for rock music history. Without diminishing the greatness "of "Metallica's" performance, we have to mention the closing act of the festival, the band that the Russian people demanded to see as the main act - the legendary "AC/DC". Starting with "Back In Black" they played a stellar two-hour set complete with fireworks, gigantic half-naked blow-up dolls, and their legendary "Hells Bell". It was a mind-blowing show that made a lot of impact on both, the crowd and the band that would later said that they got phone call from Boris Yeltsin inviting them back to Moscow. However, the significance of the festival transcended music. Moscow in 1991 was undergoing a seismic shift, politically and socially. The Soviet Union was teetering on the brink of collapse, with the dissolution officially happening just months later in December. The atmosphere of uncertainty, combined with the people’s longing for freedom, made this free, open-air rock concert all the more impactful. It was the first time the Russian public had the chance to experience a major Western music event without the restrictions that had long governed the country under Communist rule. The concert became a symbol of newfound freedom and openness, providing the Russian people with an exhilarating taste of the culture they had been denied for so long. "Metallica’s" performance, alongside other legendary acts like "The Black Crowes", "AC/DC", "Pantera" and the local band E.S.T., resonated with the feelings of rebellion, freedom, and change that permeated the air. In retrospect, the concert became a defining moment in rock history, an emblem of the cultural and political shifts that would soon shape the world. The video footage of "Metallica’s" performance, capturing the overwhelming size of the crowd and the intensity of their set, has since achieved iconic status, symbolizing not only the power of music, but also the end of an era in global history. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 28, 1978, "Black Sabbath" released their eighth studio album, "Never Say Die!", in the United States; the UK release followed on October 1, 1978. The album title and theme song - "Never Say Die!" Were very far from the reality that struck the band's faltering lineup. Despite the title, which ostensibly constitutes a statement of intent on the part of the band, this heroic lineup that was among the founders of the Heavy Metal genre and released a considerable number of masterpiece albums, has been dying out. Shortly after the tour to promote the album, singer Ozzy Osbourne was fired, and this album will go down in the history of music as the last album recorded by the band's original lineup. What led to the dismal and why even though it is probably the band's weakest in the Ozzy era, it's still an underrated album? Stay with us and find out. So, as already known, the first cracks in the cohesive lineup that formed the band, began to appear already on the band's fourth album "Vol. 4" which was released 6 years earlier. These cracks deepened over the years, and the band members' drug and alcohol addictions only worsened the situation, to the point that work on the band's previous album - "Technical Ecstasy"(1976), was done almost solely by Tony Iommi, while the rest of the band spent most of the time on the Florida beaches and/or drowning in drugs and alcohol. The severe drug and alcohol addiction gave its signals on all the band members, but the impact was particularly devastating for singer Ozzy Osbourne, who before recording the album simply left the band. Determined to continue with the recordings, the band members decided to look for a new singer to replace Ozzy Osbourne. They chose singer Dave Walker who was known from various bands like "Savoy Brown" and "Fleetwood Mac". Walker received a phone call from Tony Iommi in November 1977, inviting him to join the band. On his way from San Francisco to London, Walker wrote the lyrics to a song that would later become "Junior's Eyes." Walker even performed the first version of the song with "Black Sabbath" on the BBC's "Look! Hear!" program, as well as the song "War Pigs". However, shortly after Walker's one and only appearance with "Black Sabbath" and about three months after his departure, Ozzy Osbourne decided to return to the band. Thus ended the short affair of "Black Sabbath" with Walker. The song "Junior's Eyes" was eventually recorded for the album "Never Say Die!", But since Ozzy refused to use Walker's lyrics, Geezer Butler was forced to write new lyrics to the song. You can listen to Walker perform the song with "Black Sabbath" here: It was not the only song from the album that Ozzy refused to sing. Walker was also involved in writing the final song from the album - "Swinging the Chain" and Ozzy simply refused to sing it, so under these circumstances, the one who sang it very successfully was drummer Bill Ward. "Breakout", which was another song in which Walker was involved, also underwent a metamorphosis and became an instrumental track on the album, due to Ozzy's refusal to sing it. Drummer Bill Ward said that this behavior of Ozzy and his refusal to sing songs in which Walker was involved in, forced the band to try to rewrite the materials during the mornings and record them at night without going over, correcting, improving and tightening them, which is why this album sounded the way it is. Ozzy told his version of the event and noted that he returned directly to the studio, after three months in which he was out of the band. During this time he lost his father and was in a very difficult mental state and under the heavy influence of drugs and alcohol. He said he had insomnia so he would get up early in the morning and go to the studio as early as 7:00 AM to record, but the rest of the band members who were under the influence of drugs would get up late and arrive at the studio towards noon, by this time Ozzy was already deep in alcohol and drugs, not been able to record. Despite that, there are quite a few gems on this album that make us wonder if this is the band's most underrated album? The theme song "Never Say Die!" Is simply excellent. A great song that other bands have failed to write even in decades of career. "Junior's Eyes" is an amazing track and it's clear why the band insisted on leaving it on the album, despite Ozzy not wanting to sing it, even if it involved rewriting its lyrics. "A Hard Road" with the slow boogie rhythm proves that despite all the difficulties, not only has the band not lost it but all its members without exception can transcend themselves and sing background vocals together here. And there's also the amazing "Air Dance" with the jazzy influences and shaky piano playing of keyboardist Don Airey and "Johnny Blade" with Airey's synthesizer intro and Bill Ward's rolling drumming, and more. Despite the incoherence between the songs on the album, this album was relatively commercially successful. During the tour that preceded the album's release and marked 10 years since the band's formation, the June 19, 1978 show at the Hammersmith Odeon was recorded on video and you can see for yourself that the band is still at its peak. Despite this, Geezer Butler during the tour people would greet the band for another 10 years of fruitful music making and he would roll his eyes and think to himself that they would not last even a year. Indeed, so it was. Immediately after the end of the tour, the band members will fly to Los Angeles in order to record their next album. Tony Iommi would describe the process as extremely frustrating. Ozzy Osbourne's addiction got worse and worse and his behavior became unbearable, so much so that it was clear to everyone that he could no longer serve as a member of the band ... And so Ronnie James Dio's era in "Black Sabbath" began... For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 28, 1988, Ozzy Osbourne released his fifth studio album "No Rest for the Wicked". The album marks a significant chapter in Ozzy Osbourne's solo career, released at a crucial time when he needed to re-establish his presence in the metal scene. Coming off a series of personal challenges and facing criticism after "The Ultimate Sin", this album not only reinvigorated his sound but also introduced a fresh lineup that would leave a lasting impact, with the addition of a fifth member - keyboardist John Sinclair, but most notably with guitarist Zakk Wylde who replaced Jake E. Lee after he was fired by Ozzy in 1987. The album stands as a defining moment in Ozzy Osbourne’s solo career, since not only that it marked a creative resurgence for Ozzy but also introduced guitarist Zakk Wylde, whose signature style would become synonymous with Osbourne’s sound for years to come. From the outset, Wylde’s impact is undeniable. His gritty, Southern-influenced tone and explosive pinch harmonics give the album a raw energy that redefined Ozzy’s music. Wylde’s playing—marked by furious solos and heavy, chugging riffs—can be heard throughout the record, particularly on tracks like "Miracle Man" and "Bloodbath in Paradise." His arrival signaled the beginning of a new sonic era for Ozzy, with Wylde’s dynamic guitar work becoming an integral part of Osbourne’s identity moving forward. The album’s opening track, "Miracle Man," is a scathing attack on televangelist Jimmy Swaggart, who had publicly criticized Ozzy. In 1985, Ozzy was "in the spotlight" after a teenager committed suicide and it was claimed that it was because he was listening to the song "Suicide Solution". Swaggart went on a crusade against rock music and took every opportunity to come down on Ozzy. Finally, Ozzy had the last laugh in 1988 when Swaggart was caught with a prostitute and confessed to being addicted to pornography. Wylde’s blistering riffs drive the song, while Ozzy’s snarling vocals deliver biting commentary on hypocrisy. Meanwhile, "Devil's Daughter (Holy War)" further exemplifies the synergy between Ozzy's dark lyrical themes and Wylde's aggressive, fast-paced guitar style. Another major factor in "No Rest for the Wicked’s" success was the return of bassist Bob Daisley, a key collaborator from Ozzy’s earlier solo records. Daisley’s contributions to the album’s songwriting and bass lines were crucial, especially in tracks like "Miracle Man" and "Breaking All the Rules." However, Daisley’s involvement wasn’t without controversy, as he later sued Osbourne over unpaid royalties, continuing the legal battles that had previously strained their relationship on the albums "Blizzard Of Ozz" and "Diary of a Madman". As was expected, after the album's recording was complete, Daisley was once again fired, and replaced by Geezer Butler. The album's thematic content often delves into Osbourne’s personal demons, nowhere more evident than in "Demon Alcohol." The track reflects Ozzy’s own struggles with addiction, blending a reflective narrative with a high-octane arrangement. Interestingly, "Judas Priest’s" Keith Olsen and Roy Thomas Baker handled the production, with Olsen producing the first two tracks on his own; Olsen also mixed the album. stepped in to sing the song during rehearsals when Ozzy faced vocal strain, offering support behind the scenes in a show of metal brotherhood. Bloodbath in Paradise, written by Ozzy Osbourne, Bob Daisley and Zakk Wylde, deals with the Manson Family murders and deepens the album’s dark atmosphere. A standout track, "Crazy Babies," showcases a more playful side to Ozzy, with its catchy, rebellious chorus and infectious high-energy guitar riff, courtesy of Wylde. The song feels lighter than the darker themes present on other tracks, yet its punk-like attitude and Wylde's fast, intricate guitar work keep it firmly rooted in the metal genre. "Crazy Babies" reflects Ozzy's defiant spirit and knack for crafting memorable hooks, making it one of the album's more accessible and radio-friendly cuts while still maintaining the heaviness fans expect. Meanwhile, "Breaking All the Rules" slows down the tempo, giving space for a more brooding atmosphere and allowing Ozzy to explore themes of defiance and freedom. The song is an anthem of independence and rebellion, with Ozzy delivering lyrics about rejecting societal constraints and carving one’s own path. Wylde’s guitar work complements the song's mood, mixing soaring melodies with grinding riffs that underpin the theme of breaking away from norms. The video clip for the song already featured Geezer Butler who replaced Bob Daisley after he was fired from the band. "Fire in the Sky" It is one of the most beautiful songs on the album. It delivers an epic sound with an amazing intro that builds up towards the entrance, with Wylde's guitar syncopated at a slower tempo, further showcasing his versatility. John Sinclair's keyboard work on this song is one of the best on the album and adds to the epic sound. The album closes with "Hero," A song on the original album was a hidden track that came after a few seconds of silence. It's a slightly anthemic track that balances grandeur with the album’s darker tones, bringing a sense of resolution to the chaotic journey. It wraps up the record on a note of triumph, despite the storm of heavy themes explored throughout. It is interesting to note, that the Japanese version of the album included a bonus track named "The Liar" - a beautiful ballad led by John Sinclair piano playing. "No Rest for the Wicked" also marked a significant career milestone for Ozzy, earning him his first-ever Grammy nomination for the song "Miracle Man" in the Best Metal Performance category. This recognition highlighted the album’s impact and cemented Ozzy’s place as a heavy metal icon in a new era. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

This talented Canadian and some even say the woman who invented female Punk-Pop, singer and creator Avril Lavigne, was born on September 27, 1984. (Photo: David Needleman) Here are some interesting facts about her… 1. She was born in Belleville, Ontario, and grew up in Napanee. Her father named her Avril, the French word for April. 2. There is a local pizzeria in her hometown that has added a pizza named after her to the menu. 3. She is multi-instrumental and knows how to skillfully play a large number of musical instruments. (Photo: Avril Lavigne) 4. She owns a very successful fashion brand called "Abbey Dawn", she is not only the owner but also the main designer 5. She was married to singer Chad Kroeger from the band "Nickelback", the band everyone loves to hate. 6. She was also married to singer Deryck Whibley from the band "Sum-41" who also produced several her albums. 7. She has released seven albums to date with the last one released in 2022 and called "Love Sux". Her favorite music video is "Complicated" because it is the first music video she shot. 8. She performed at the closing ceremonies of the 2006 and 2010 Winter Olympics, and at the opening ceremony of the 2015 Special Olympics World Games. 9. The agent Cliff Fabri discovered her and signed her to a contract after seeing and hearing her cover country songs at a bookstore in her hometown. 10. In 2007, two comic books were released called "Make 5 Wishes" starring Lavigne. 11. In 2015 she was diagnosed with an infectious disease called Lyme Disease which she caught from a tick and almost lost her life 12. She voiced a character in "Over the Hedge" and acted in "Fast Food Nation" and "The Flock" but she still has a dream of becoming a real actress. 13. Three fragrances carried her name: "Black Star", "Forbidden Rose" and "Wild Rose". 14. At the age of 16, she was signed by "LA Reid" to a contract worth 1.25 million dollars, left school, and began her musical career. Listen to her latest album "Love Sux" on: Spotify, Apple Music Follow us on Facebook or Subscribe to our website "Face/Off" - Israel's Rock Blog & Podcast

Today we are going to tell you some interesting facts about Meat Loaf. (Photo: Lynn Goldsmith) Meat Loaf was born Marvin Lee Aday in Dallas Texas on September 27, 1947. He was the only son of his mother - a teacher and gospel singer and his father a policeman who eventually set up a business selling cough syrup. His mother died of cancer when he was a child and his alcoholic father continued to raise him. He had a difficult childhood, on one occasion when his father was drunk he even tried to stab him with a knife. Already in high school, his acting and singing talent was evident, when he appeared in local school productions. When he reached conscription age he was so determined to avoid joining the army, so he deliberately gained about 30kg in a month in an attempt to become unfit for conscription. It did not help him that much. The army sent him his conscription notice two weeks later. His first band was called "Meat Loaf Soul", they served as a warm up-act for many well-known artists, including Ted Nugent, "The Who" and "The Stooges". He became famous following his performance in the 1975 cult film "The Rocky Horror Picture Show". Later in 1977 he released one of the best-selling albums of all time - "Bat Out of Hell", which sold over 40 million copies worldwide. This album will become a trilogy when in 1993 and 2006 Meat Loaf will release the sequels. The album remains one of the best-selling albums of all time and enjoyed a long run on the UK Albums Chart. In addition to appearing in "The Rocky Horror Picture Show," Meat Loaf has appeared in about 50 other films, including iconic films such as: "Wayne's World" from 1992, "Fight Club" from 1999, "Tenacious D in The Pick of Destiny" and more. Although he is called Meat Loaf he is vegetarian. He changed his diet for health reasons in the 80s. In 1994 he won the Grammy Award for Best Rock Vocal Performance, Solo, for the song "I'd Do Anything for Love (But I Won't Do That)" In his last years, he had difficulty in performing and reaching high notes, due to back problems that caused him severe pain. Meat Loaf has released throughout his career 12 studio albums, with sales of over 80 million copies. He passed away on January 20, 2022, at 74 years old, with his wife Deborah Gillespie by his side. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

He was considered a prodigy bass player who would have expected greatness, had he not died in an unfortunate accident and is only 24 years old. Here are some interesting facts about Cliff Burton, bassist of "Metallica": (Photo: https://www.notreble.com) 1. He was born on February 10, 1962, as Clifford Lee Burton, to a mother from a Jewish family from Germany and a father who worked as a road engineer. 2. The first instrument on which he began playing at the age of 6, was the piano. 3. His older brother died of a cerebral aneurysm when he was only 13 years old. That same year he started to play bass. He swore to become a great bass player as a tribute to his brother. 4. To achieve his goal Cliff used to train 4-6 hours a day. He was discovered to be a prodigy and after about two years had already surpassed his teacher in bass playing. By the way, Burton devoted many hours to training even after joining "Metallica". 5. He noted that he was greatly influenced in his playing by bassists Geddy Lee, Geezer Butler, Stanley Clarke, Lemmy Kilmister, and Phil Lynott. 6. Burton was also heavily influenced by classical music and Southern Rock music. Among the artists Burton loved and were not of the metal genre was: "R.E.M.", Peter Gabriel, "Yes" and "The Police". 7. In his youth, Burton earned the nickname "Cowboy" since he used to wear a straw hat. 8. Back in high school, Burton formed the band "EZ Street" in which Jim Martin played guitar and Mike Bordin drums, both from "Faith No More". 9. In 1979 Cliff along with "EZ Street" won a youth band competition, one of the songs played by them was "Rebel Rebel" by David Bowie. 10. In 1982 he joined the band "Trauma" with which he recorded the song "Such a Shame". The song became a hit and was included in the compilation album "Metal Massacre II" by the record company "Metal Blade". 11. He first met James Hetfield and Lars Ulrich when he performed at the "Whiskey A-Go-Go" club, with his band. He played the solo piece that would later become the instrumental "Anesthesia (Pulling Teeth)". James and Lars were stunned by Cliff's playing. They of course invited him to join their band immediately. 12. Cliff agreed but on one condition. That the band will move from Los Angeles to San Francisco, his hometown. The band agreed and indeed everyone moved to live in San Francisco. 13. The solo track "Anesthesia (Pulling Teeth)" from "Kill 'Em All", is one of Rock's greatest and most appreciated bass solo tracks. The track consists of several solo pieces that Cliff used to play in performances and that were put together into one track. The track highlights Cliff's playing level and his virtuoso abilities as well as his ability to compose and control the bass guitar with effects like distortion and wah-wah that were known to be used mostly on a guitar. 14. Burton was the one who coined the name of "Metallica's" first album. The album's original name was supposed to be "Metal Up Your Ass" but when the record company refused to release it with that name, Burton responded: "Just kill 'em all, man!". 15. The image of the blood-stained hammer was also inspired by him. Kirk Hammett said Cliff used to walk around with a hammer in his bag wherever he went. 16. Cliff co-wrote six of the eight songs on the "Ride The Lightning" album. 17. Cliff wrote the immortal riff for the song "For Whom the Bell Tolls". The intro to the song is also played by him with a bass guitar with a distortion effect. 18. The opening of the track "Damage, Inc." was written and played entirely by Burton. He uses 12 recording channels, that include harmonies and effects of his bass guitar. 19. The instrumental track "Orion" is one of Cliff's favorite tracks, in which he contributes a lot to its writing. There are two solos of Cliff with bass on this track, which are sometimes confused to be a guitar solo. The first starts at 1:42 and continues until 2:13 and the second starts at 6:36 and ends at 6:55. Cliff also uses the Wah-Wah pedal on this one. 20. James Hetfield has a tattoo with the notes from the middle bass section of "Orion", on his left arm. 21. James Hetfield also sometimes wears a ring with a silver skull that belonged to Cliff. (Photo: Amazon.com) 22. "Orion" was also played at Cliff's funeral, which was held on October 7, 1986. 23. Cliff was influenced in writing "Orion" from the composition "Come, Sweet Death" by Johann Sebastian Bach. 24. And the death did indeed come, when on September 27, 1986, Burton was killed in a car accident, after the bus on which the band was traveling during their European tour flipped and buried him underneath. 25. Before the horrific accident, the band members drew cards for choosing their sleeping places on the bus. Cliff and Kirk Hammett drew cards from a deck to decide who would choose the best place to sleep. Cliff pulled an ace of spades from the deck and won, choosing the place that would cause his death. 26. Burton's last appearance with "Metallica" was held at Stockholm's Solnahallen Arena in Sweden on September 26, 1986. 27. Cliff received credit for the song "To Live Is To Die" from the album "...And Justice For All" which came out after his death. James Hetfield noted that it was a homage to their good friend. 28. "Megadeth's" song "In My Darkest Hour" was also written by Dave Mustaine in Cliff's memory. Dave claimed that when he first heard about Cliff's death he sat down and wrote the music for the song in one take. 29. "Anthrax" went even further and dedicated an entire album - "Among the Living" to him. 30. So did the band "Metal Church" with the album "The Dark". 31. In a 1986 interview with him, Cliff noted that his Metallica's favorite song is "Master Of Puppets". 32. In 1987, "Metallica" released a collection of videos in Burton's memory called "Cliff 'Em All". 33. In 2009 Cliff entered the "Hall Of Fame", with his band "Metallica". His father - Ray Burton was present in the hall during the ceremony and took the stage with the band members. Sadly Ray Burton who was very active in commemorating Cliff's memory passed away in 2020. 34. In 2018, Alameda County, California, where Cliff grew up, set February 10 as Cliff Burton's day. This was done following pressure from fans. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 26, 1981, "Iron Maiden" made the best decision of its career, by welcoming Bruce Dickinson officially to the band. (Photo: Imdb) Dickinson, who began his musical career in 1979 with the band "Samson", first crossed paths with "Iron Maiden" in 1980, when they opened for his band "Samson". He was impressed, but did not imagine that he would soon become their singer. After the Samson band performance at the 1981 "Reading" Festival, Rod Smallwood, "Iron Maiden"'s manager, approached Bruce Dickinson and invited him to his room behind the scenes. In this small room, Smallwood invited Dickinson to audition for "Iron Maiden". For Samson's performance at the 1981 Reading Festival, see here: Bruce who was not so pleased with "Samson"'s style and saw the potential in "Iron Maiden", was interested, but he had some questions for Rod. He wanted to know whether he would get creative freedom and if Paul Di'Anno knows that the band was looking to replace him. In the end Bruce agreed. The audition took place early September 1981 in a rehearsal room in London's Hackney district. Bruce Dickinson listened to the members of "Iron Maiden" perform the songs "Prowler", "Sanctuary", "Running Free" and "Remember Tomorrow" and later he was asked to perform the same songs together with the band. Bruce claims that in addition they played songs that they all knew mutually. Before this historic audition, Bruce Dickinson was asked to send a tape to the band and we are lucky that this recording is available online and we can witness the moment when Bruce opened his mouth and sang for the first time songs of "Iron Maiden". Listen here: Bruce of course passed the audition and the official announcement of his joining the band appeared in the music press on September 26, 1981.... "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"Abbey Road", "The Beatles" twelfth album, was released on September 26, 1969. Here are 53 facts about the album. So take a deep breath and stay with us, because at least some of the facts will interest you: 1. This is the band's twelfth studio album in just 7 years (one of them a double album). 2. This is the band's first album not to be released in a mono version. 3. The album made extensive use of eight-track recording, allowing the band to experiment with layered instruments, sounds and effects. 4. To expand the band's range of sounds, the album uses the "Leslie" amplifier and the "Moog" synthesizer. The use of the Moog synthesizer was not only as a background effect, but also as the main instrument in the song "Because". This is the first and last time "the Beatles" have used this instrument. 5. Yoko Ono is the one who brought Lennon the idea for the song "Because" after playing Beethoven's sonata "Moonlight". 6. The Moog synthesizer was introduced to the band by George Harrison who used it on his 1969 solo album "Electronic Sound". 7. Although released before "Let it Be" this is actually the last album the band has recorded, chronologically. 8. The recordings began on February 22, 1969, just three weeks after the end of the recordings of what would later become the "Let it Be" album. 9. The band members had to convince George Martin to produce the album. After the unpleasant experience while recording The White Album and the sessions that led to the album "Let it Be", Martin no longer wanted to deal with the fabulous four. Paul McCartney was sent to persuade him and finally, Martin agreed but on one condition, that he would have complete control over all matters in the studio. 10. In the end the album was recorded in a very pleasant atmosphere, compared to the last two sessions, probably because the members realized that this is the last album they will do together. 11. One of the assistant recording technicians was Alan Parsons who will become a technician/producer and artist himself, who will work on Pink Floyd's "The Dark Side Of The Moon" album, among others. 12. Immediately after the album's release, John Lennon left the band. By September 1969 he had already formed the "Plastic Ono Band", mainly because the rest of the members were not interested in recording the song "Cold Turkey". 13. Although the band no longer existed, de facto, there was no official announcement about the breakup until April 1970, with Paul McCartney announcing that he was leaving the band. 14. The name of the album was supposed to be "Everest" and the idea was to photograph the album cover on Mount Everest. The band members were too lazy to make the trip to Everest so Paul McCartney suggested naming the album after the street where the EMI studios were located, and where the famous photo was also taken. 15. This is the band's first cover that does not include the band name or album name. 16. Photographer Iain Macmillan was given 10 minutes to complete the photo shoot, with police stopping traffic on the street. He took the famous picture of standing on a ladder placed at the intersection. 17. Immediately after the release of the album, the cover became another piece of fact in the puzzle of the conspiracy theory about the death of Paul McCartney. The fact that Paul is the only member of the band walking barefoot on the famous crosswalk testified, according to proponents of the theory, that Paul did die and was replaced by another. 18. Another statistic that contributed to the conspiracy theory is the fact that Paul is holding a cigarette in their right hand even though he is a lefty. 19. Paul mocked the conspiracy theory on the cover of the live album "Paul is Live", released as part of his solo career. 20. In 2010 the famous crosswalk received the status of an English Heritage. 21. The license plate of the Beetle vehicle (white Volkswagen) on the album cover, was stolen time and time again after the album was released. 22. The band "Oasis" paid homage to the album cover as part of the album "Be Here Now" from 1997. The license plate number of the Rolls Royce car inside the pool is the same as that of the black police car on the album cover of "Abbey Road". 23. The album opens up with the phrase "Shoot me" which John Lennon sang 4 times at the beginning of the song "Come Together". John Lennon would be murdered 11 years later. 24. "Come Together" was the basis for a copyright claim by Chuck Berry's heirs claiming a resemblance to his song "You Can't Catch Me". 25. All four members plus George Martin unanimously agreed that the song "Something" written by George Harrison is the best on the album. 26. It was also the first song Harrison wrote for the Beatles, which was released as the first side of a single. 27. Frank Sinatra defined the song as the most beautiful love song written in the last 50 years. 28. The clip for the song includes all the Beatles members along with their wives. At the same time, the photos of each couple were taken separately, in light of the tension that prevailed between the band members. 29. It took Paul McCartney a whole week to record the vocals for the song "Oh! Darling". He wanted them to sound "thin" and rough, so he would come to the studio every morning half an hour before the other friends to record the song. 30. Interestingly, John Lennon did not like at all the idea of the medley on the other side of the vinyl. McCartney and Martin wanted to collect pieces of songs and turn them into a medley but John Lennon did not like the concept. At first, it was thought that the whole second side would be a medley of Paul's songs, and the first side with Lennon's songs, but eventually John relented and agreed to the idea by donating the songs "Sun King", "Mean Mr. Mustard" and "Polythene Pam" to the medley. 31. McCartney changed the original lyrics of "Golden Slumbers" after encountering a book with a 17th-century poem in his father's house. 32. "The End" is the only Beatles song to feature a solo by all of the band members. Ringo Starr did not initially want to play the solo, but eventually relented after realizing it was probably the band's last album and contributed a short 15-second solo. 33. This is also the last song the band recorded with the four band members together in the studio. 34. The song "Her Majesty" is the band's shortest song and is 0:23 seconds long. 35. The song found its place at the end of the album as an accidentally hidden track. The initial intention was to place it between the songs "Mean Mr. Mustard" and "Polythene Pam", but Paul McCartney decided he did not like the song and asked to remove it from the medley. Recording technician John Kurlander who did not want to delete the song, stuck it at the end of the recording reel, after the song "The End". McCartney who listened to the final product liked the idea and what started as a mistake became a reality. 36. McCartney recorded this before the other Beatles arrived in the studio. 37. The same John Kurlander will become a recording technician known in part for his work on the soundtracks of "Lord of the Rings" films. 38. The band members hated Paul McCartney's song "Maxwell's Silver Hammer", and Lennon even left the studio for two weeks because of it. 39. Lennon was absent from the studio for another period during the recording of the album, following his injury in a car accident in Scotland. 40. The song "Octopus's Garden" sung by Ringo Starr, was influenced by a cruise in which a squid was served to him instead of a fish. The ship's captain told Ringo how the octopus uses his arms to build a garden. 41. The sound of bubbles in the song is a recording of Ringo Starr making bubbles with straw in a glass of milk. 42. "Here Comes the Sun" was written by George Harrison when he avoided a business meeting with the Beatles members, in which he did not want to be present. 43. The song was written on a sunny day when George Harrison was hosted in Eric Clapton's home garden. 44. "You Never Give Me Your Money" was written by Paul McCartney following the friction with Allen Klein, due to the difficulties the band members had at the time with Apple company. 45. The song "She Came In Through The Bathroom Window" was written by Paul McCartney following an incident in which an avid fan broke into his house through the window. 46. "Carry That Weight" includes singing by all four Beatles members and elements from the song "You Never Give Me Your Money". 47. ​​Paul McCartney wrote the song about the burden and difficulties of holding the Beatles together. 48. During the sessions of the album, George Harrison recorded demos for songs that would later become his amazing solo album "All Things Must Pass". 49. Another song Harrison recorded at the same time was "Old Brown Shoe" which came out under the band's name as a b-side to the song "The Ballad of John and Yoko". 50. Paul McCartney was also busy recording the song "Come and Get It", which he intended to include on the album, but later was given to the band "Badfinger" and became a hit. 51. The song was recorded during the medley recordings and McCartney played there on all the instruments in the song. 52. Immediately after the album's release, artist George Benson recorded an alternative version of it, called "The Other Side of Abbey Road". 53. Although this is a masterpiece the reviews did not really praise the album at the time of its release, especially the critic Ed Ward from "Rolling Stone" magazine who wrote that "the Beatles" were capable of more. Now you must listen to this masterpiece: Spotify, Apple Music Follow us on Facebook or Subscribe to our website "Face/Off" - Israel's Rock Blog & Podcast

Written By: Moti Kupfer Release date - 26.9.1994 (Europe and Australasia); 27.9.1994 (US) Sometime in early 1993, the band "R.E.M." was on top of the world. Their last two albums, "Out of Time" and "Automatic for the People," sold a combined 36 million copies worldwide, transforming them from a band with potential into an international giant. When you're on top of the world and everything looks promising, what could possibly go wrong? In the case of the promising band from Athens, Georgia, karma apparently turned their entire world upside down for them just after they reached the top of the world, almost causing the band to break up before the release of their ninth album, "Monster," on September 26, 1994 in Europe and Australasia and the following day in the US. The band members met in early 1993 in Acapulco to brainstorm about the band's future, a meeting after which two things were clear: after two albums in a mild and smiling atmosphere, it was time for distortion and guitar to take charge, and at the same time for the band to resume its world tour after a five-year break (1989). With the right mindset to "give a nod" to their audience, probably also inspired by the grunge genre that was strong at the time, "R.E.M." entered early and minimalist recordings in New Orleans where the band wrote no less than 45 songs, with the sessions being minimalist and experimental. Additionally, Michael Stipe was recorded by Mark Howard (who had worked with the band on their previous album) lying on a couch and coming up with lyrical ideas, which later helped him write many of the songs on the album "Monster". After the minimalist session, the band moved from New Orleans to Atlanta where they recorded most of the songs on the album. The songs were recorded while the band played live in the studio. Producer Scott Litt thought that since "R.E.M." had not been in touring for five years, recording live would be a fitting preparation for the upcoming tour. At this point, Bill Berry, and Mike Mills fell ill, Peter Buck, and Michael Stipe had to visit sick family members, and if all that wasn't enough, actor River Phoenix, and musician Kurt Cobain, Stipe's friends, had passed away ("R.E.M." dedicated the closing song "Let Me In" to Cobain, and the entire album to River's memory. Phoenix). After the multiple breaks, the band continued recording, and moved again from Atlanta to "Criteria" Studios in Miami, but this time the recordings were interrupted due to Michael Stipe's tooth abscess. But that was not the end, the situation reached its lowest point when the band moved to record at Litt's house in Los Angeles. Tensions between the band members reached their peak and the controversies led to a situation where each member of the band went to a different room, thinking to themselves "to hell with everything". This was also the point of no return, and the band decided to meet, talk, and solve the tensions and problems together. Despite all the problems described, this album soared with its release to number one on the American charts and in no less than 7 other countries, not least thanks to the lead single from it "What's the Frequency, Kenneth?". This is, as mentioned, the rockiest album by "R.E.M." since its inception. It combines glam rock and grunge, has distorted guitar tones and minimal overdubs, and Michael Stipe's vocals sound a bit muffled because they were pushed back in the mix. If in the past "R.E.M." sought to explore and play new acoustic instruments, this time it turned out that playing an electric guitar can be just as fun. "Bang and Blame" will surely remind you of "Losing My Religion" from "Out of Time", during the verses. It features Rain Phoenix - River Phoenix's sister, and bassist and singer Lynda Stipe - Michael Stipe's sister, both of whom provide background vocals. This isn't the only song on the album that will give you a sense of "déjà vu." "Strange Currencies" for example, manages to convey the feelings of "Everybody Hurts" from the previous album - "Automatic for the People". As always, Michael Stipe's enigmatic writing stands out throughout the album, where you can also find guests from the alternative genre, such as Thurston Moore from "Sonic Youth" on "Crush With Eyeliner." Above all stands the distortion of guitarist Peter Buck, echoing throughout the album, so that even grunge fans will know that "R.E.M." can be heavy, distorted and rough, even if in their essence they are not one of those bands that grew up in Seattle in the early nineties. The album cover was made by photographer Chris Bilheimer after Stipe showed him a green balloon that he wanted to use for the album cover. Bilheimer transformed the album cover into a bear's head, photographing the bear's head in several frames, some blurred. One of these frames was eventually used for the album cover, with the color changing from green to orange. The band's ninth studio album sold nine million copies worldwide. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On November 27, 1982 Ozzy Osbourne released the live double-album “Speak of the Devil”. It arrived during one of the most intense and chaotic periods in Ozzy’s life. Earlier that year, a plan was formed to record an album made entirely of 1970s “Black Sabbath” songs, a business decision driven by publishing rights, label profits, and a desire to beat "Sabbath’s "own upcoming live record to shelves. Randy Rhoads and Tommy Aldridge hated the idea, tensions rose, and Ozzy spiraled into one of the darkest stretches of his career. Rhoads’s tragic death in March shattered the original recording plans, the band rapidly reshuffled, and guitarist Brad Gillis joined in April to rebuild the lineup. With grief still fresh and pressure rising, the band was given only five days of rehearsals in a gloomy Manhattan studio. The album was recorded during two intense nights at “The Ritz” in New York City, September 26–27, 1982. With barely any preparation time, the new lineup - Brad Gillis on guitar, Rudy Sarzo on bass, and Tommy Aldridge on drums - was thrown straight into the fire. They learned the entire "Sabbath" catalog at breakneck speed, reshaping riffs, tightening grooves, and injecting a sharper, more metallic edge into the old material. The shows themselves were raw, loud, imperfect, and unmistakably alive. Some songs were later polished in the studio, and a few were secretly taken from an empty-room recording session with added crowd noise, but the beating heart of those nights remains intact. Ozzy was fighting for his life, and you can hear it in every scream, every breath, and every desperate push forward. The album erupts with “Symptom of the Universe”, Gillis attacking the riff with fresh aggression as Ozzy delivers it with defiant power. “Snowblind” follows, steeped in its narcotic haze and pushed by a dangerous, jagged swing. “Black Sabbath” descends next, slow, ominous and ritualistic, with Ozzy facing the very mythology he helped create. Side B begins with “Fairies Wear Boots”, start soft and slow later bursting forward with raw urgency and punk-like velocity. “War Pigs” comes after, one of the album’s most commanding performances, stretched and hammered with live fury. “The Wizard” shifts the atmosphere again, bluesy and gritty, a smoky mid-set breather before the next wave hits. Side C opens with “N.I.B.”, where Gillis’s modern, fiery approach replaces Tony Iommi’s original blues-driven edge. “Sweet Leaf” follows, thick, grinding, and swaggering, a highlight made for the intimate chaos of "The Ritz". “Never Say Die” gets a heavier, more muscular edge than its studio version ever carried, lifted by Tommy Aldridge’s sharp and relentless drumming. Side D starts with “Sabbath Bloody Sabbath”, one of the album’s heaviest and most dramatic moments, believed to have been recorded during the no-audience afternoon session. Then comes the final three-part strike: “Iron Man / Children of the Grave”, delivered as a snarling medley, and the closing blow, “Paranoid”, short, frantic, and triumphant. These final tracks were originally rehearsed loosely because the band had been told they wouldn’t appear on the record, a decision later reversed, resulting in performances that feel reckless, imperfect, and alive. Upon release, critics pointed to the rushed production, the rough edges, and the studio edits, but fans embraced the rawness, honesty, and sheer emotional force. In the UK, where it appeared as “Talk of the Devil”, it quickly reached Silver certification. Over the years, the album became a cult favorite - not polished, not perfect, but truthful. A live snapshot of a band holding together through grief, pressure, and exhaustion. “Speak of the Devil” is more than a live album. It is a survival document - a portrait of Ozzy Osbourne standing in the wreckage of his past, performing the songs that defined him, and proving that even at his lowest, he still owned them. For Listening: Spotify, YouTube Full Album Playlist "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website