He is one of the most influential artists in psychedelic rock, he was the living spirit behind "Pink Floyd" in its early days and wrote most of their songs. He even gave the band its name. Here are some interesting facts about Syd Barrett: (Photo: Aubrey Powell) 1. He was born Roger Keith "Syd" Barrett in Cambridge, England, on January 6, 1946. 2. From an early age he began to take an interest in music. His father who was a pathologist and his mother who was a housewife, supported him in this matter. 3. When he was 11 he began attending a boys' school in Cambridge, where he first met David Gilmour and Roger Waters, who attended another school in the same compound. 4. About a month before he turned 16, his father died of cancer. It was an event that greatly influenced him and connected him to Roger Waters, also an orphan from a father. 5. By the way, they were both called Roger but Barrett adopted the name of a local drummer he admired, in the name of Syd. 6. In 1962 he began studying at the College of Arts and Technology at Cambridge, where he deepened his friendship with David Gilmour. They used to play together during breaks. 7. Barrett did a lot of painting at the time. His paintings were strange and unusual and showed his colorful and unconventional personality, which would later be expressed in psychedelic music as well. 8. In August 1965 Barrett and Gilmour spent their time as street performers in Spain and France. They used to play "The Beatles" songs. (Photo: Gems) 9. Luck did not play for them. They did not even have enough money to buy food. In one case they were even arrested and in another case, Gilmour was hospitalized due to malnutrition. 10. Later Gilmour and Barrett traveled to France and lived in tents outside Paris. 11. Towards the end of 1965 Barrett came to London and joined his friend Waters, who two years earlier had formed a band called "Sigma 6", along with his friends from the College of Architecture, Nick Mason (drummer), Rick Wright (keyboardist), Clive Metcalfe (bass guitar) and - Juliette Gale (singer). 12. Right after Barrett joined the band he created a "revolution", that caused a change in the band lineup and a change in the musical style, which was then a combination of black music and rhythm and blues. 13. Barrett was the one who suggested that the band will change its name to "Pink Floyd", naming it after the blues players Pink Anderson and Floyd Council. 14. In 1967, "Pink Floyd" signed a recording contract with EMI. They released 2 singles, "Arnold Layne" and "See Emily Play", which Barrett wrote by himself. 15. In March and June 1967, the band entered the studio to record their debut album - "The Piper at the Gates of Dawn", which was released in August 1967. 16. Barrett wrote eight of the 11 songs on this great album on his own and co-wrote two more. 17. Beyond the musical control, Barrett also led the visual side of the band. He was charismatic, colorful, and used black nail polish and heavy makeup. 18. He was the one responsible for the psychedelic and experimental sound of "Pink Floyd", which was even accompanied by spectacular psychedelic visual effects, in the band's performances. 19. As a guitarist he produced strange and unique sounds from the guitar, using a cigarette lighter with which he played his instrument. 20. Barrett's drug use and especially LSD increased towards the end of 1967. The combination of his unsettled mental state and drugs further disrupted his condition. His behavior became strange and unexpected. He would suddenly leave the stage in the middle of a show, sometimes playing only one chord for the entire performance and one time disappearing for several days. 21. One of the stories that show his difficult situation at the time, was the one where he asked the band members not to "peel him". Barrett was just sure he was a banana. 22. On the band's recent rehearsal Barrett played a song called "Have You Got It Yet?" The band members said they could not play it due to its strange and crazy structure. 23. Barrett's situation forced Nick Mason to contact David Gilmour and offer him to join "Pink Floyd". 24. Another guitarist who was considered as Barrett's replacement was Jeff Beck, but Nick Mason noted years later that none of the band members dared to approach him and ask him to join. 25. Gilmour joined the band initially as an additional guitar player and later as a temporary replacement for Syd Barrett. Gilmour's first appearance with "Pink Floyd," along with Syd Barrett, was on January 12, 1968. You can read more about it here. 26. The band continued to perform in the aforementioned lineup with Syd Barrett and David Gilmour for an additional number of performances. However, following the worsening of Barrett's mental state, Gilmour became a permanent member of the band in his place and the band returned to four members lineup. (Photo: (Instagram / @ pinkfloyd) 27. The band's last appearance with Barrett as a quintet was held on "Hastings" on January 20, 1968. 28. On January 26, 1968, on the band's way to a performance at "Southampton University", the four members simply decided not to pick up Barrett on their way. This was the band's first appearance as a quartet without Syd Barrett. 29. The band's original intention was that Barrett would continue in the band as a songwriter but not appear on stage, just like Brian Wilson from the "Beach Boys", but even this idea was soon abandoned due to Syd's dysfunction. 30. An official announcement of Syd's departure from the band would be issued only on April 6, 1968. 31. Gilmour and Barrett will continue to collaborate as part of Barrett's solo career. Gilmour has produced and participated in two of his 1970 solo albums: "The Madcap Laughs" and "Barrett". 32. Barrett always wanted to go back to "Pink Floyd". He would wait outside the recording studios, hoping he would be invited inside, but his friends had already moved on and evolved musically, while Barrett faded and became the shadow of himself. 33. One of the famous cases in which Barrett surprised his friends in the studioת was during the recordings of the album "Wish You Were Here". On June 9, 1975, Barrett entered Abbey Road Studios in London. He was fat, with shaved head and eyebrows and the band members did not even recognize him. (Photo: Nick Mason's autobiography, "Inside Out" 2005) 34. As you know, the whole album is a kind of tribute to Barrett. The track "Shine on You Crazy Diamond" is a kind of lament for Syd Barrett, and its initials spell the name "Syd" as follows: Shine On You Crazy Diamond. 35. The song "Wish You Were Here" was also written about Syd Barrett and its lyrics speak for themselves. Similarly, the song "Welcome to the Machine" is a protest against the "money machine" of the record companies that put pressure on the band and on which Waters hung the blame for deteriorating Barrett's condition. 36. These were not the only poems written about Barrett. For example, the song "Brain Damage" from the album "The Dark Side Of The Moon" as well as the main character of the drugged rock star "Pink" from "The Wall", especially the line" Wild, Staring Eyes" line from the song "Nobody Home". 37. All of Barrett's attempts to return to music failed. He became eccentric and lonely. The recordings he made did not mature into the albums and the band he formed ("Stars") in 1972 was so bad it did not survive. 38. His attempt to record a third album in 1974 was unsuccessful and he decided to retire from music. He sold his rights to his solo albums and moved to an apartment hotel in London. 39. In 1978 Barrett moved to his mother's house and since then he has hardly been seen in public, for almost 30 years. 40. He was diagnosed as schizophrenic, with bipolar disorder and his medical condition was deteriorating. His spirit was broken, he suffered from an ulcer, diabetes, and also pancreatic cancer. 41. Barrett died on July 7, 2006, and is only 60 years old. His funeral was small and none of the "Pink Floyd" members were present. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On July 7, 1986 David Lee Roth released "Eat 'Em and Smile", his first full-length solo album following his departure from "Van Halen". David Lee Roth's first solo release was the "Crazy from the Heat" EP which he released in 1985, while still a member of "Van Halen". The EP consisting of cover versions of songs with dissimilar style from "Van Halen", became a surprise hit. This would probably give Roth the confidence that he can get by by himself. After leaving "Van Halen", Roth sought to assemble a top-tier band to solidify his solo career. He recruited a "dream team" consisting guitar virtuoso Steve Vai, renowned for his technical prowess and unique style, bassist Billy Sheehan, known for his exceptional speed and precision, and drummer Gregg Bissonette, whose versatility and power provided a solid rhythmic foundation. This lineup, often referred to as the "Eat 'Em and Smile Band," brought together some of the most talented musicians of the era. The album title, "Eat 'Em and Smile," is a reflection of Roth's flamboyant personality and approach to music. It conveys a sense of confidence, bravado, and a playful attitude, all hallmarks of Roth's stage presence and public persona. This title encapsulates the album's spirit, inviting listeners to enjoy the music with a carefree and joyful attitude. But, it may also be a kind of a "sting" on his mother band "Van Halen", which earlier that year released "5150" it's firs album with Sammy Hagar. Indeed this option becomes more relevant when you look at the next "Van Halen" album title: "OU812" pronounced "Oh You Ate One Too". From the very first track, "Yankee Rose," listeners are greeted with the electrifying guitar work of Steve Vai. Vai's virtuosity is a standout feature throughout the album, bringing a unique and dynamic sound that complements Roth's larger-than-life vocal style. The chemistry between Roth and Vai is palpable already in the first seconds of the song, creating a compelling interplay that drives the album forward. The rhythm section, featuring Billy Sheehan on bass and Gregg Bissonette on drums, provides a solid and energetic foundation. Sheehan's bass lines are intricate and powerful, adding depth to the songs, while Bissonette's drumming is precise and hard-hitting. This combination results in a tight, cohesive sound that keeps the energy high from start to finish. Tracks like "Goin' Crazy!", "Elephant Gun" and "Shyboy" (which Billy Sheehan brought in from his previous band "Talas") are pure rock anthems, filled with catchy hooks, infectious energy, and Roth's signature charisma. His playful and theatrical vocal delivery injects a sense of fun and excitement into each song, making the album a joy to listen to. But what's really shine out on this album is the amazing work of Steve Vai and Billy Sheehan on guitar and bass respectively. Throughout the album the two would often sync complicated basslines and lead guitar parts on a way never heard before. Gregg Bissonette also add his part to the musical "Dream Team", in a very technical and unique druming, just lisen to the special precussion additions in the song "Goin' Crazy!" and you will know what we mean. However, the album isn't just about high-octane rockers. Similar to his "Crazy from the Heat" EP, Roth included three covers on the album: "That's Life", which was a minor hit at the end of 1986, "I'm Easy", and John D. Loudermilk's folk-blues song "Tobacco Road". These Songs bring a touch of humor and a different musical flavor to the mix. These tracks demonstrate Roth's ability to step outside the hard rock genre and explore other musical styles, all while maintaining his distinctive personality. It is interesting to note, that a version of "Kids in Action" originally by Kim Mitchell ("Max Webster"), was also recorded for the album, but did not make it to the final cut. Billy Sheehan was briefly a member of "Max Webster", and tried to bring this song to the album. The production quality of "Eat 'Em and Smile" is top-notch, with a clear and punchy sound that highlights the individual talents of each band member. The album's mix balances the various elements perfectly, ensuring that both the instrumentation and vocals shine through. Overall, "Eat 'Em and Smile" is a strong debut solo effort from David Lee Roth. It captures the essence of his wild and irreverent persona while delivering a collection of songs that are both musically impressive and incredibly entertaining. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Ringo Starr is celebrating a birthday today and he invites everyone who wants to join him for a celebration of peace and love. (Photo: Ringostarr.com) We wish him good health and many more years of music with interesting facts about him: 1. He was born on 7 July 1940 in Liverpool England, named Richard Starkey. An only son of his parents. 2. When he was only 5 his parents divorced and his mother remarried. 3. At the age of 6 he underwent surgery to remove appendicitis which got complicated and forced him to be hospitalized for a long time. 4. The recovery lasted almost a year, during which he was away from school, family, and friends. Even when he returned home his mother did not want to bring him back to school immediately, so it turned out that at the age of 8 he could not really read. 5. During his stay in the hospital and to alleviate his boredom, the hospital staff as well as other patients persuaded him to join the hospital band. 6. Even when he was released from the hospital, his mother did not return him to school immediately, for fear of his health. Ringo used his time listening to music and playing music. 7. Ringo expressed a growing interest in drums. He noted that he got a mandolin and banjo from his grandfather, a harmonica from his grandmother, and at home, there was a piano, but all he wanted to do was play the drums. 8. In 1957 his mother remarried to Harry Graves who was a Big Band fan. He exposed Ringo to music and even bought him the first drum set, which was minimal and second-hand, at Christmas that year. 9. Ringo is left-handed but he plays the drums as a right-handed. 10. Ringo's first band was the "Eddie Miles Band", the band played in the Skyfall style which soon was surpassed by Rock n' roll. (Photo: Ultimateclassicrock.com) 11. During this time he adopted the stage name, Ringo Starr. The name Ringo came because he had a lot of rings on his fingers. 12. In November 1959 Ringo joined the band "Rory Storm and the Hurricanes". They played Skype-style songs in pubs and clubs and soon became the most sought-after band in Liverpool. 13. They even surpassed "The Beatles" and earned more than they did at that time. "The Beatles" members who then included Pete Best as a drummer, learned to appreciate Ringo and his playing. 14. On October 15, 1960, Ringo played for the first time with Paul McCartney, John Lennon, and George Harrison on a recording of the lead singer of the band "Hurricanes". 15. In January 1962 Ringo left the "Hurricanes" and went to accompany the singer Tony Sheridan who greatly appreciated his playing and asked him to join him permanently. 16. On August 14, 1962, John Lennon invited Ringo to join "the Beatles". Two days later "The Beatles" manager Brian Epstein fired Pete Best and thus Ringo officially joined the band. 17. He was the oldest friend among all the band members, but the last to join. 18. Ringo's first recording as a member of "the Beatles" was made on September 4, 1962, during the recording of their first album - "Please Please Me". Producer George Martin did not like Ringo's performance in that session. 19. Martin even enlisted a session drummer named Andy White to play the songs "Love Me Do" and "P.S. I Love You." Martin later apologized to Ringo for the move. 20. As a member of the Beatles and beyond his role as a drummer, Starr has won at least one song on almost every "Beatles" album. These songs include "Yellow Submarine", "I Wanna Be Your Man", "Good Night", "With a Little Help from My Friends", "Octopus's Garden", "Don't Pass Me By" and more. 21. Ringo also co-wrote some Beatles' songs, including "Octopus's Garden," "Don't Pass Me By," which is given credited only to him, and "What Goes On," "Flying," "Dig It" and more, which he co-wrote with others. 22. Star is also responsible for some interesting titles for "The Beatles" songs such as "A Hard Day's Night" and "Tomorrow Never Knows". 23. In the song "The End" from the album "Abbey Road" Ringo recorded his first drum solo. It was also one of the first in rock music. 24. Despite this Paul McCartney testifies that Ringo simply hates playing drum solos and that he should have begged Ringo to perform the solo on "The End". 25. He was the first Beatles member to experiment with marijuana in the same famous meeting with Bob Dylan in 1964. Dylan suggested to all the other members who were apprehensive, the Ringo experiment. 26. Ringo is the first of "the Beatles" members to sing with another artist. It was with Cilla Black in 1968. 27. After the breakup of "the Beatles", Ringo started his solo career with his first album - "Sentimental Journey" which was released in 1970. 28. To date, Ringo has released no less than 22 albums as part of his solo career, making him the second most prolific of the four fabs. 29. Star is also a film actor. He took on most of the lead roles in "the Beatles" movies, and also starred in quite a few other feature films. 30. In the years 1984-1986 Ringo gave his voice to the television series "Thomas the Locomotive". 31. Ringo's son - Zack Star is also a drummer. He has played with bands like "Oasis", "the Who" and his father. 32. Ringo is allergic to certain onions, garlic, and spices. He never ate pizza. 33. In 1999 he was inducted into the "Modern Drummer" Hall of Fame. 34. In 2015 Star entered the "Rock and Roll Hall of Fame". 35. Ringo is the richest drummer in the world. His fortune is estimated at more than $ 350 million. 36. He came to Israel and made 2 appearances at "Nokia Hall", in 2018. 37. Ringo is the brother-in-law of guitarist Joe Walsh, known among others from the "Eagles". Marjorie Bach who is married to Walsh is the sister of Ringo's wife - Barbara Bach. 378. In honor of his 81st birthday, 7.7.2021 at 12:00 noon, Ringo invited all fans to join him for a celebration of peace and love. And this was the content of his announcement (with a link to the video at the end): I’m inviting everyone who wants to join the peace and love celebration for my birthday at noon your time wherever you are, 7-7-21 – you can post it, you can say it, you can even think it – but it would be really cool if you go "Peace and Love" at noon on my birthday – so let’s spread peace and love on my birthday – c’mon everybody! #PeaceAndLove 😎✌️🌟❤️💖🎵🎶☮️ "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On July 6, 1981 "Def Leppard" released their second album, "High 'n' Dry". If you want to hear the "Original" "Def Leppard" at its pick, then this is the album you need to start with. Before "Glam", before the big stadiums and the huge success, this is a pure New Wave of British Heavy Metal (NWOBHM) album. A hard rock tour-de-force that catapulted the band at its best heavy metal era. This is Pete Willis' last full album with the band and it represents a significant leap forward from their debut, "On Through the Night," largely due to their first collaboration with producer Robert John "Mutt" Lange. You can say that this album is the bridge between their row unpolished debut album "On Through the Night", to their catchy and accessibly produced "Pyromania". Working with Lange, "Def Leppard" made substantial strides while maintaining some of their raw energy. The band's lineup— Joe Elliott (vocals), Steve Clark (guitar), Pete Willis (guitar), Rick Savage (bass), and Rick Allen (drums)—is in peak form, showcasing tight musicianship and a cohesive sound. Lange's production brought a refined edge without completely smoothing out the rougher aspects of their music, allowing the band's youthful vigor to shine through. The album features excellent tracks like "Let It Go" Kicking off the album with a powerful punch, and sets an energetic and anthemic tone that grabs the listener's attention right from the start, "Another Hit and Run" that continues the high-energy vibe with aggressive guitar work and a relentless rhythm, exemplifying the band's heavier side, the title song "High 'n' Dry (Saturday Night)" reminiscent of "AC/DC" capturing the band's rock 'n' roll spirit, the instrumental "Switch 625" featuring dueling guitars with echoes of classic "Thin Lizzy", showcasing the band's musical prowess and of course the power ballad "Bringin' On the Heartbreak" the album's most famous track, hinting at the pop crossover success that would come later. "High 'n' Dry" is widely regarded as "Def Leppard's" hardest rocking album, characterized by sharp and focused songwriting. Joe Elliott reflects on the album as a crucial step in their evolution, noting the influence and mentorship of Mutt Lange. It captures a young band hungry for success and ready to take on the world. It stands out as a genuine, raw, and unfiltered heavy metal record that contrasts with the more polished, commercially driven albums that followed. The album balances raw rock energy with melodic sensibility, a formula that would become "Def Leppard's" signature sound. For listening: 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 - 06.07.1985 For many years, the word "change" has sent shivers down the spines of countless people. Why is it so difficult for us to change the course of our lives? And does that change truly lead to personal growth, or is it more like taking one step forward and two steps back? After releasing four albums in five years, all driven by their own songwriting, and after firmly declaring that rock and roll needed far more women, sisters Ann and Nancy Wilson, better known as "Heart", found themselves in unfamiliar territory at the dawn of the 1980s. With each new release, the band's commercial momentum continued to fade. It began with the departure of guitarist Roger Fisher in 1979 and continued in 1982 with the exits of founding bassist Steve Fossen and longtime drummer Michael Derosier. Nancy Wilson and longtime guitarist Howard Leese rebuilt the rhythm section by recruiting former "Montrose" drummer Denny Carmassi and Mark Andes, bassist of "Spirit" and "Jo Jo Gunne". Despite the obvious chemistry between the musicians, "Passionworks", the first album they recorded together, was far from igniting listeners' imaginations. Following Nancy Wilson's brief venture into film soundtracks, the band signed with "Capitol Records" and made the decision to completely reinvent both their image and their musical direction. "We just sort of washed ashore after a big personnel change in the band and a management change," Ann Wilson later recalled. "We changed everything. Nancy and I just instinctively felt we'd come to the end of an era." The disappointing performance of "Passionworks" forced the band to seek a new recording contract. Ann later explained that signing with Capitol proved to be their lifeline, one that ultimately arrived in the form of their eighth studio album, "Heart", released on July 6, 1985. "We had a lot of enthusiasm and a tremendous desire, but we knew we had to make a hit record or we might not have another recording contract next time around. There weren't really any huge expectations. We were just trying to regroup. Things were pretty chaotic." An essential part of that transformation was their new manager, Trudy Green, an energetic Brit who believed in the Seattle quintet even more than they believed in themselves. "Trudy is this wonderful, funny Englishwoman," Nancy Wilson recalled affectionately. "She said, 'All right, darlings, let's do this together. Let's do clothes, let's do hair, let's do makeup, let's do rock!' And that's exactly what we did." The 1980s brought with them a version of "Heart" that was willing to do whatever it took to return to the spotlight, even if that meant surrendering some creative control and recording songs written by outside songwriters instead of relying solely on their own material. Ann Wilson later admitted that the process ultimately created a remarkable team, although it took her time to become comfortable with the idea of interpreting songs written by other people rather than exclusively performing her own. It didn't take long for that new direction to prove itself with the lead single "What About Love", although it almost never happened. Producer Ron Nevison later recalled that Ann didn't like the song at all when she first heard it. "Neither did Nancy. But I told the band I wasn't going to force them to do anything. At the same time, I didn't want them judging a song based on the demo. I said, 'I don't want you listening to somebody's lousy vocal, because you're the greatest rock singers in the world,'" Ron Nevison later recalled. For Ann, however, the real issue was that she couldn't relate to the song's sense of victimhood. Rather than portraying someone pleading for love, she chose to deliver the vocal with anger and conviction, transforming the character into a woman demanding the love and respect she deserved. "What About Love" was originally recorded in 1982 by the Canadian rock band "Toronto", whose lineup included songwriters Sheron Alton and Brian Allen. The third songwriter, Jim Vallance, was not a member of "Toronto", although he played drums on the original recording. The rest of the band ultimately decided not to release the song, and the frustration Alton and Allen felt over their inability to convince their bandmates to include it, along with other material they had written, eventually led to their departure from "Toronto". The music video was directed by David Mallet, already renowned for his groundbreaking work on videos such as David Bowie's "Ashes to Ashes" and "Radio Ga Ga" by "Queen". "Never" is an anthem of empowerment written by Holly Knight, Gene Bloch, and the Wilson sisters. Knight and Bloch were members of the band "Device" and also co-wrote Rod Stewart's hit "Love Touch". Its music video received heavy rotation on MTV, giving the song a significant boost. The song that ultimately turned the album into a blockbuster, however, was undoubtedly "These Dreams", written by the outstanding songwriting duo Martin Page and Bernie Taupin, Elton John's longtime lyrical partner. Originally titled "Boys in the Mist," the song was first offered to Stevie Nicks, who chose not to record it. "Heart," having recently signed with "Capitol Records," were impressed by "These Dreams" and, despite previously relying almost exclusively on their own material, agreed to include it on their eighth studio album, "Heart." The song is a polished power ballad that marked a noticeable departure from the band's earlier sound. It also became the first "Heart" single to feature Nancy Wilson on lead vocals instead of Ann Wilson. When it came time to record her vocal, Nancy was battling a cold, giving her voice its distinctive husky tone. After the song became a major hit, producers reportedly joked that they wanted her to recreate that vocal style on future recordings, asking, "Can't you just get sick again?" According to the album's liner notes, the song was dedicated to Wilson's close friend Sharon Hess, who had died of leukemia shortly before its release. Its lyrics portray the fantasy world a woman escapes to each time she falls asleep while trying to cope with the hardships of her life. "Ann and Nancy were never really happy about recording other people's songs," producer Ron Nevison admitted. "But it was definitely the right thing to do. I didn't hear any hits in the material they brought in. It was good, but it wasn't what was on the radio. I introduced them to a lot of songwriters, and we found the right mix." "Well, it was really hard because we loved the success it brought," Ann Wilson later admitted. "But we really felt uncomfortable with the fact that we'd worked all those years, and then somebody else's songs took us to Number One. But I'm not going to lie and say somebody tied our hands behind our backs and made us do it. We did it of our own free will." Sometimes the best decision is to loosen your grip on the steering wheel and let a new direction take over. That gamble paid off spectacularly. "Heart" sold more than five million copies in the United States alone, earned a Grammy Award nomination, and produced four hit singles that reached the top of the charts and the American Top 10. The Wilson sisters' comeback was complete. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On July 6, 1972, "Emerson, Lake & Palmer" released "Trilogy". It is one of the well-known albums in progressive rock and the one that influences symphonic progressive rock. This is the supergroup's third studio album, the fourth, if you count "Pictures at an Exhibition" that was recorded live and was released a year earlier. For those unfamiliar, ELP is a supergroup made up of three meteor musicians who came from leading rock bands. Keith Emerson a virtuoso keyboardist and composer who came from the band "Nice" - a band that combined progressive rock, jazz, and classical music, Greg Lake bassist, guitarist, and singer with a divine voice (no other words to describe his voice), who came from "King Crimson" in which he took part In what is considered perhaps the best progressive rock album ever created - "In The Court Of The Crimson King", and Carl Palmer who came from "Crazy World of Arthur Brown" and "Atomic Rooster" on drums and percussion. And now, after reading the introduction, we want to put things straight. If progressive rock is not your "cup of tea", then this album is certainly not the place to start "getting to know this wonderful genre". But if you belong to the unique group that does not afraid of complex, dynamic, and beautiful musical styles, if you are not afraid to experiment with aggressive, wild, and animalistic music or you are just interested in getting to know ELP, then this album is the right place to start. But just promise us one thing. No matter what group you belong to, please listen to only one song from this album - "From The Beginning". It is not a representative sample from the album or the band, but it is a song that you simply should not miss even if you are not a fan of the genre or the band. So in 1971, ELP was busy promoting the album "Tarkus" which was released in 1971 as well as with a series of performances that included the piece "Pictures at an Exhibition" which was released that year on the album of the same name. In October 1971, the band entered the studio to record their fourth album. It was clear to the Fantastic Three that it was not going to be an album similar to the previous albums. There will not be a whole piece of concept that spans an entire side like on the album "Tarkus", nor a single piece of work like "Pictures at an Exhibition". They knew that this album was going to mark a musical development for them and they came to the recordings more focused, experienced, and confident in themselves. Indeed, the result speaks for itself. It's an album with excellent melodies and almost perfect production. An album that combines a high level of writing with a brilliant performance that is simply hard to believe is attributed to just three musicians. Emerson demonstrates incredible keyboard control here, Greg Lake's vocals sound deeper and strong, he even puts the bass aside for a moment and treats himself with a tiny guitar solo in one of the songs, and Palmer's drumming sounds crazier and wilder than ever. The album opens up with a three-part mini-piece led by "The Endless Enigma (Part 1)". Anyone who listens carefully to the opening sounds of the piece will find that "Pink Floyd" was not the first to open an album with a heartbeat. They will only do so a year later with “The Dark Side Of The Moon”. For years we thought these heartbeats were created using Carl Palmer's bass drum, but in the 2015 booklet attached to the reissue of the album, the remix technician noted that they were actually bass strings played by Greg Lake. Emerson is amazing here In a play that alternates between the piano, Hammond organ, and synthesizer that sounds reminiscent of a kind of communication with aliens in the style of the movie "Encounters of the Third Kind", and even a kind of Indian trumpet called zurna in which he plays at the beginning of the song. Lake's singing here ranges from melodic and caressing to strong and aggressive, as in the transition to the chorus in which he shouts PLEASE! And we can not remain indifferent to this precise and vibrating voice. The second part of the mini-work is "Fugue". It's a classic piece of music by Emerson that definitely shows us what his musical roots are, with the piano screaming "Bach". Rumor has it that Emerson wrote the piece directly to the page without playing a single note. Closes the mini-suite is "The Endless Enigma (Part Two)" which is a kind of Reprise section for the first part, with the same melody in Gregg Lake's singing, only this time we also witness Palmer's Church Bells and Emerson's church Coral giving the piece a slightly different variety from the opening track. The fourth track "From The Beginning" may not be a piece that faithfully represents what this amazing supergroup does, but it is an immortal piece. A charming and moving ballad written and performed almost alone by Greg Lake who plays acoustic & electric guitars, and bass and sings like an angel. And notice the break that Emerson brings here with his crazy mug solo section towards the end of the song which is a tremendous counterpoint to Lake's soft melody and melting vocals. This track was released as a successful single which undoubtedly helped attract more listeners to the genre. The fifth track "The Sheriff" introduces the humorous side of the band that wrote and composed a classic western piece. Listen to Emerson's honky tonk solo immediately after the shooting effect until the end of the song. Anyone who listens carefully to the beginning of Palmer's drum solo will find that he says "Shit!", After accidentally hitting the "Rim" of the tam-tam. The atmosphere of the wild west continues in the concluding section of the first side of the album - "Hoedown", which is a fast and synthesized instrumental section that is an adaptation of the Hoe-Down section from the "Rodeo" work by the American composer admired by Emerson - Aaron Copland. The second side of the album opens up with the theme song "Trilogy". The piece opens with a kind of ballad by Greg Lake that accompanies the piano, but it develops as you progress into the piece that deepens into the progressive rock with drum and keyboards solos and rhythm changes. "Living Sin" tries to present a slightly sinister song by Lake, perhaps out of a desire to match the voice to the song's title. Lake gives us an excellent vocal performance that at times even reminded us a bit of Ian Gillan. The song features an interesting Hammond riff and Palmer's brilliant drumming, but in our opinion, it lacks the spiciness that exists in the other songs. The song that seals the album "Abaddon's Bolero" was originally called Bellona's Bolero after the war Goddess and is an attempt to trace the work "Boléro" by composer Maurice Ravel. Upon its release, the album "Trilogy" received mixed reviews from critics, but these reviews were not reflected in the sales as the audience purchased the album in nice numbers. Before concluding, a word on the cover. The band turned to Spanish painter and artist Salvador Dali to design it, but he demanded an astronomical sum for those times of $ 50,000. Under these circumstances, the band hired the services of the design company "Hipgnosis", which released a classic cover showing a side painting of the faces of the three members of the band. It was the first time the band members had appeared on the cover of their album. For Listening: Spotify, Apple Music Follow us on Facebook or Subscribe to our website "Face/Off" - Israel's Rock Blog & Podcast

Editor's Choice... And this time ... "4" - the fourth studio album from, "Foreigner", released on July 3, 1981. This is one of the band's best-selling albums, with sales of over 7 million copies in the US alone. Upon its release, the album jumped straight to number one spot on the Billboard and held the top for 10 consecutive weeks. The album was originally intended to be called "Silent Partners", but the band decided to change its name to "4", as this is the fourth album and also because the band dropped from six members to only four. The departure of multi-instrumentalist Ian McDonald and keyboardist Al Greenwood brought a change in the band's style and the completion of the transition that began with the previous album "Head Games", from hard rock style towards pop and mainstream. Mick Jones fired the two, among other things, out of a desire to control the band's musical direction, leaning only on the rhythm division of veteran drummer Dennis Elliott and bassist Rick Wills who previously played with Peter Frampton, "Roxy Music", "The Small Faces" and in the debut David Gilmour's album, and joined the band on the previous album. As a result of the departure of the two, all the songs on the album without exception were written by Jones or in collaboration with Jones and Lou Gramm who simply stood out here in his tremendous singing. At the same time, since the two were part of the sessions and rehearsals for the album, where they played saxophone and keyboards, among other things, it was necessary to find replacement studio session players to perform these roles. To Implement his vision, Jones collaborated with legendary producer Robert "Mutt" Lange who was responsible for the biggest comeback in rock history with "AC/DC's" "Back In Black" album. Lang was also responsible for the meteoric success of "AC/DC" on the album "Highway To Hell" and later would do his magic with "Def Leppard" on the albums "Pyromania" and, "Hysteria", their mighty breakthrough albums. Five successful singles have been released from the album, including the hits: "Urgent", "Juke Box Hero" and "Waiting for a Girl Like You". "Juke Box Hero" was written by Mick Jones about an incident that happened at one of the band's shows in the city of Cincinnati. Mick saw one of the fans standing in the rain during the sound check. About five hours later as they were getting ready for the stage Jones noticed the same fan still standing in the rain-soaked in water. He asked the security people to put him behind the stage and this song was written about him. Mick thought he was "Juke Box Hero." It is interesting to note that the dramatic drum opening of the song was led by singer Lou Gramm who was a drummer in his past. In the song "Urgent" the band was assisted by musician and producer Thomas Dolby who played the synthesizer as well as by the multi-instrumentalist and Motown artist Junior Walker who played the saxophone here. Walker had a show several blocks from the studio where the album was recorded and the band saw it in the local newspaper and asked him to come to the studio and play the saxophone in the song. Walker agreed and even played with the band on stage after the album's release. In the ballad "Waiting for a Girl Like You" the band was assisted by Thomas Dolby who adorns the song with synthesizers, in particular the all-too-familiar overture. This overture was written by Ian McDonald before he was dismissed from the band. This song became the band's most successful song. In his autobiography, Lou Gramm tells about a mysterious girl who stayed in the studio during the recording of the song and gave him the inspiration for the amazing vocal performance he gave here. he album also features "Luanne" with its 1950s scent and "Break It Up" - one of the beautiful tracks on the album reminiscent of the old "Foreigner" with the amazing combination of Jones' strong and catchy riffs with the bouncy keyboards and the all-too-beautiful vocal harmonies. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On July 5, 1983, "Suicidal Tendencies'" self-titled debut album was released. "Suicidal Tendencies" is one of the "founding fathers" of the crossover thrash genre (or in short crossover), which is actually a combination of metal and hardcore punk. The band was formed in 1980 in Venice, California, more or less in the same area where "Metallica", "Slayer" and "Megadeth" would soon emerge, and was mostly influenced by Speed ​​Metal and hardcore punk. The band gained a fan base even before the release of their first album, mainly due to negative publicity stemming from the band's name, which drew criticism from various parent organizations. In addition, there were rumors that the band members were linked to street gangs who lived in the area. The fact that the band's bassist brother (Louiche Mayorga) was a member of one of those tough gangs in south Los Angeles only added to the band's bad name and even contributed to the bear hug that those gangs gave them. But as we already know very well, there is no such thing as "bad publicity", and as long as people talk about you, no matter what the context, it means you exist. The controversy and talk surrounding the band's name attracted a young and frustrated audience that was only growing. Moreover, the "noise" created by the band also attracted the attention of record companies, and eventually, the band managed to obtain in 1983 a recording contract with the independent label "Frontier Records". The band's debut album combined, as mentioned, the speed, power, and rage of Crossover and Hardcore Punk with Thrash breaks mostly in the chorus, but not only. Songs like "I Saw Your Mommy", and "Subliminal" start with relatively slow thrash riffs, and only then gain momentum and power. The album featured the single "Institutionalized" which aired on MTV and was one of the first hardcore-punk songs on the station. "I Shot the Devil" is a song written about Ronald Reagan and its original name was "I Shot Reagan", as you also hear in the first sentence of the song. Rumor has it that the FBI contacted the band and demanded that the song be renamed, as was actually done. At the same time, the lyrics on the inside cover of the album include the original name. Beyond the fact that this is a pioneering and groundbreaking album in its field, its importance is mainly in the development of the thrash metal genre we are familiar with. As you may recall, the bands "Metallica", Slayer, and "Megadeth" all came from the South Los Angeles area. The bands hung out in the same clubs where "Suicidal Tendencies" performed and were undoubtedly influenced by their sound. In fact, all four members of Thrash Metal's Big Four have stated at one time or another that this album was one of their influences, an influence that can be heard in the albums released by each of the Big 4 bands, the first of which "Metallica" will release its debut album shortly thereafter... For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On July 5, 1993 "U2" released their eighth studio album "Zooropa". "Zooropa" stands as one of the band’s most daring and experimental works. After the triumph of "Achtung Baby", "U2" were deep into their visually chaotic, irony-soaked "Zoo TV Tour". In between the madness of traveling and performing, the band retreated to "Windmill Lane Studios" in Dublin with a rough idea to record an EP Inspired by the band's experiences on the tour. What followed instead was a whirlwind of late-night creativity, driven by exhaustion and improvisation, that gave birth to a full album drenched in abstraction, electronica, and futuristic themes. The production was helmed by Flood, Brian Eno, and for the first time, The Edge, who added his sonic curiosity to the mix. The album finds the band experimenting with alternative rock, electronic dance music, and electronic sound effects. It perfectly captures the disorientation of the early 1990s—a time when TV, technology, and consumerism began to blur the lines of identity, connection, and truth. This was not "U2" making arena rock. This was "U2" plugging directly into the chaos of modern life and channeling it into a work that was as challenging as it was visionary. The opening track - "Zooropa", is an atmospheric buildup of static, synthesized pulses, and sampled advertising slogans like "Be all that you can be" and "Vorsprung durch technik". It sets the album’s tone: one of saturation, confusion, and beauty emerging from overload. "Babyface" blends a seductive melody with an undercurrent of obsession and digital longing. It's about a man obsessed with a celebrity manipulating her image on a TV recording. Musically it’s dreamy, soft, and unsettling—reflecting the way technology warps human emotion. "Numb" puts The Edge in the vocal spotlight. His monotone list of commands—"Don’t move, don’t talk, don’t think"—is backed by industrial beats and hypnotic guitar repetition. Bono's falsetto haunts the background, reinforcing the sensation of mental paralysis in a hyper-stimulated world. Strangely this song was picked up as the album's leading single. "Lemon" is a standout experiment. A funky, robotic groove supports Bono’s shimmering falsetto, with lyrics referencing a film reel of his late mother wearing a lemon-colored dress—a surreal blend of memory, loss, and future-pop. "Stay (Faraway, So Close!)" is the emotional core of the album. Originally written for Wim Wenders’ film of the same name - a sequel to Wenders' 1987 film "Wings of Desire". It is a rare moment of warmth and directness. The ballad’s soaring chorus and intimate lyrics feel like the soul reaching through a screen. No wonder Bono claimed that it is "perhaps the greatest U2 song". The song first began to take shape during the recording sessions for the band's 1991 album "Achtung Baby". Originally inspired by Frank Sinatra, it was even given his last name as its initial working title. The accompanying music video, directed by Wim Wenders, was shot in Berlin, Germany. "Daddy’s Gonna Pay for Your Crashed Car" is theatrical and dark. It was described by Bono as "industrial blues". The track opens with a brief fanfare taken from Lenin's "Favourite Songs" and includes a sample from MC 900 Ft. Jesus' track "The City Sleeps.". Built around distorted samples and booming brass, it critiques addiction—whether to drugs, media, or fame—with unsettling flair. "Some Days Are Better Than Others" adds playful rhythm and funk, but the lyrics remain bittersweet. It’s a strange intermission that offers charm while hinting at deeper disillusionment. "The First Time" strips everything back. Over a simple melody, Bono uses biblical metaphors to tell a story of faith, betrayal, and forgiveness. It’s tender, almost hymnal. Bono saw the song as his own take on the story of "the Prodigal Son"—but in his version, the son chooses not to go back home. We are nearing the end with "Dirty Day". Bono has described the song as a "father and son song," where the lyrics tell the story of a father coming back to his estranged son, only to be unrecognized by him. The title was inspired by a phrase often used by Bono’s father, who would refer to difficult days as a "dirty day." And then comes "The Wanderer", the album's closer sung by Johnny Cash. His weathered voice drifts through a synthetic wasteland, narrating a soul’s search for meaning in a spiritually bankrupt world. Bono based the song on the Book of Ecclesiastes, modeling the narrator after "The Preacher." The song follows a character searching for meaning in a post-apocalyptic world. Bono saw it as a response to the uncertainty explored throughout "Zooropa", offering a possible sense of resolution. It’s not just an ending—it’s a reckoning. When it was released, "Zooropa" debuted at number one in several countries and earned the 1994 Grammy Award for Best Alternative Music Album. But fans were divided. Some expected another "Achtung Baby". Instead, they got a glitchy, conceptual fever dream that defied genre and audience expectation. It remains one of the most misunderstood yet essential albums in "U2"'s catalog—bold, strange, and unforgettable. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On July 5, 1988, "Slayer" hit the clutch pedal, downshifted the car gear, and released Their fourth album, "South Of Heaven". This album comes about a year and a half after the masterpiece "Reign in Blood", which was released in October 1986, and is Slayer's second album with producer Rick Rubin, who contributed greatly to the production and sound of the previous album and probably also to its success of the band. But the success of "Reign in Blood" caused the band quite a headache. The album was so perfect that it was clear to the band members that they could not surpass it, so they decided there was no choice but to beat the masterpiece so they had to change their musical direction. We said "downshift" and meant it. The band members decided, consciously and deliberately, to slow down the playing speed and fast pace that characterized their previous album, but not only that. Tom Araya's vocals have also been lowered, Kerry King's and Jeff Hanneman's guitars sound less rough but heavier and Dave Lombardo's drumming focuses more on technique and less on speed. The result was undoubtedly different from what "Slayer" had done up to that time. The musical direction of the album pulled in a heavier direction with the influences of "Black Sabbath". Listen to the theme song "South Of Heaven", the song "Mandatory Suicide" and the riff that comes right after the acoustics in the song "Spill the Blood" and you will not argue with us. It is interesting to note, that the album includes the first cover version of Slayer with the song "Dissident Aggressor" by "Judas Priest" - their classic from the album "Sin After Sin". At the time of its release, the album was heavily criticized by fans who thought they would get the sequel to "Reign in Blood". But over time and as the material slowly seeped in, the appreciation for the album rose and today it is considered one of the band's best albums (in our humble opinion one of its top three), with quite a few songs from it continuing to fill the band's setlists, even three decades later. Despite the band's conscious decision to slow down the tempo on this album, you can still find some tracks in faster rhythms, like "Silent Scream" and "Ghosts of War", which are reminiscent of the band's previous albums. In conclusion, "South Of Heaven" is like a good wine that only gets better over the years, and is without a doubt one of the band's greatest albums. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On July 1984 "Metal Church" released its debut eponymous album. "Metal Church" emerged from the 1980s thrash metal scene, and often flies under the radar despite their significant contributions to the genre. Formed in 1980 by guitarist Kurdt Vanderhoof in San Francisco, California, the band (then called "Shrapnel") released the three tracks "Red Skies" demo in 1981. The same year Kurdt Vanderhoof returned to his home town "Aberdeen", Washington eventually solidifying its lineup with David Wayne on vocals, Craig Wells on guitar, Duke Erickson on bass, and Kirk Arrington on drums. The band released the demo "Four Hymns " in 1983 readopting the "Metal Church" moniker. They spent following year touring and accruing material, while slowly becoming an integral part of the Seattle heavy metal music scene of the 1980s. Being influenced by the NWOBHM and the San Francisco thrash metal scene the band faced a choice: play heavy metal/power metal like the British bands they admired or thrash metal as their American peers. "Metal Church" mixed both, offering a balanced blend of melody and aggression. This balance, combined with Wayne's aggressive vocals, created a dark, epic atmosphere that defined their debut eponymous album - a classic that showcases the band's unique blend of thrash and traditional heavy metal. The mix of genres is prominent already at the opening track "Beyond the Black", featuring a lengthy intro with distorted spoken lines. It starts as a heavy metal but around 3:40 minute shifts to thrash metal with powerful fast riffs. Vanderhoof and Wells form a guitar-playing dream team, creating engaging riffs and impressive solos. The dark, apocalyptic lyrics about the aftermath of atomic warfare enhance the track's intense atmosphere. Then comes the title track "Metal Church" which is undoubtedly the album's standout. It opens with ambient wind sounds and building military drumming before the guitars explode into action. David Wayne's sinister laugh and commanding vocals drive the song, supported by some of the best riffs in the band's career. The interplay between the instruments is exceptional, making this track a highlight. The blistering drum opening of the instrumental track "Merciless Onslaught" showcases Kirk Arrington’s drumming, which is a highlight, providing a solid backbone and delivering intense, headbanging moments to this album. As its name provides, this instrumental is a full-force merciless metal attack of powerful riffs and fast-paced drumming. The semi-ballad "Gods of Wrath" that closes the first side of the vinyl is one of "Metal Church's" most memorable songs showing their musical versatility and dynamic range. It begins with a slow, melodic guitar intro and clean vocals, gradually building in intensity. Wayne's high-pitched vocals and the shredding guitars create a powerful contrast. The second side of the vinyl begins with "Hitman" - A fast-paced, thrashy number that showcases the band's technical prowess. Again this song proves the mix of genres that "Metal Church" blends into its unique style. The song begins slowly, but just after a few seconds explodes into its thrash metal riff combining power-metal screams and lightning-fast guitar solos. The next two songs are "less memorable" as compared to the rest of the album. "In the Blood" is a decent heavy metal track but its riffs and chorus leaves no impression. "(My Favorite) Nightmare" is a thrash metal track that features clever drumming especially during the intro, but again it does not rise above the rest of the album's songs. we are getting near the end with "Battalions" which brings back the album’s momentum, with its dynamic drumming, energetic guitar solos, and standout vocals from Wayne. The album ends up with "Highway Star" which is a fast-paced "Deep Purple" Cover. While it retains the catchiness of the original, it feels somewhat that the band's urge to play it fast cameד at the expense of feel, groove and melody. "Metal Church's" debut album is considered a classic in the metal community. It helped to establish the band's reputation and influence within the heavy metal and thrash scenes. The album's blend of aggressive and melodic elements, combined with strong musicianship, makes it a must-listen for fans of the genre. Its release in 1984 placed it among other significant metal releases of the time, contributing to the evolution of heavy metal during that era. For listening: 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 - 04.07.1994 "What we're dealing with here is a total lack of respect for the law" Without a doubt, it was a bold and unmistakable statement by "The Prodigy" against the authorities, delivered through "Their Law", from their second studio album, "Music for the Jilted Generation," released on July 4, 1994. The album's production, handled primarily by Liam Howlett, was heavily influenced by the growing hostility within the British mainstream toward rave culture. That atmosphere culminated in the Criminal Justice and Public Order Act 1994, legislation designed to restrict rave events and crack down on unlicensed gatherings, which were officially characterized as anti-social behavior. "The Prodigy" took a firm stand against the proposed Criminal Justice Bill, whose supporters sought to suppress the rave scene, associating it with widespread drug use and excessive alcohol consumption. Where the band's debut album, "Experience," was built around uplifting hardcore rave energy and feel-good dancefloor anthems, "Music for the Jilted Generation" lives up to its title by offering a soundtrack for a generation that felt rejected by both the establishment and mainstream society. As a result, the material on "Jilted" is darker and more closely connected to the ecstasy-fueled rave culture from which the band emerged. Alongside massive, high-energy dancefloor anthems, Liam Howlett reveals a far more sophisticated side of "The Prodigy," experimenting for the first time with blending electronic music and guitars while helping shape an early form of breakbeat built around fractured rhythms. If the closing thoughts of our review of "Experience" looked toward Howlett and his bandmates as trendsetters with an uncanny ability to anticipate the future, "Jilted" delivers the proof. It is an album that confidently fuses rave, breakbeat, techno, and hardcore into a bold artistic statement. The album opens with the brief "Intro," featuring the spoken words: "So I've decided to take my work back underground, to stop it falling into the wrong hands." The message is clear: the band refused to become prisoners of commercial expectations. True to that philosophy, they deliberately avoided mainstream exposure, turning down invitations to appear on "Top of the Pops" and other major British television programs. Next comes "Break & Enter," a complex breakbeat composition built around a sample from "Casanova" by British breakbeat act "Baby D." The variety continues with "Their Law," a collaboration with alternative rock band "Pop Will Eat Itself," which also incorporates a sample from "Drop That Bassline" by "Techno Grooves." The album also includes two tracks recorded during the transitional period between the band's first and second albums: "Full Throttle," which features a sample from Star Wars: Episode IV – A New Hope, and the rave anthem "One Love," the album's first single, which incorporates a sample of an Arabic muezzin. The third single, "Voodoo People," features a sample from "You're Starting Too Fast" by Johnny Pate. Its unforgettable guitar riff is based on "Very Ape" by "Nirvana" from "In Utero," performed by Lance Riddler. One of the album's most impressive moments is the breakbeat masterpiece "Poison," which seamlessly weaves together no fewer than three different samples. The album's most commercially successful single, "No Good (Start the Dance)," which reached No. 4 on the UK chart, also relies on two prominent samples, taken from recordings by Kelly Charles and Bahamian funk group "The Beginning of the End." "The Guardian" praised "Jilted" as a complex and powerful album that helped pave the way for dance music to become an accepted part of major rock performances. Despite "The Prodigy's" determined efforts to distance themselves from anything that resembled commercial music, the public embraced the album wholeheartedly. "Jilted" sold more than one million copies, marking the beginning of a new era for the band, who would continue to redefine both what people listened to and what they danced to on their next album. The album artwork was created by Stuart Haygarth and Les Edwards. The inner artwork reflects the conflict between ravers and the police during the era of the 1994 Criminal Justice legislation. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website