In September 1971 (no exact date) "Fuzzy Duck" released their only album "Fuzzy Duck". This album is undoubtedly one of the hidden treasures of the early seventies. We generally hold the opinion that there is no album released between the years 1967 and 1973 that is a bad album, and this album is the winning proof that even a relatively anonymous band that has not received any publicity, can release an album that, if had been released in a slightly different time, would surely have been a great success. There were simply so many great treasures released during this period that even an excellent and amazing album like this was lost in the vast and rich musical paradise that prevailed during that magical time. This is the only album of a unique band that made great music in the early seventies, lived for a short period, and disbanded without leaving a bright trail of fire as many others did during their time, so it is very difficult for music lovers to track them down. To the above must we add the fact that only 500 copies of the band's only album were originally printed, and there you have a cultural-musical disaster that allowed only virtuous individuals to know this blooming treasure. So let's start by getting to know the band a little. "Fuzzy Duck" was a hard rock - progressive band from London, formed in 1970. It included Mick Hawksworth, known among others from bands like "Killing Floor", "Andromeda" and "Crazy World of Arthur Brown" - on bass, guitar, Electric cello, and vocals, Roy Sharland - on keyboards and vocals, Grahame White on guitars and vocals and drummer Paul Francis from the band "Tucky Buzzard". The band got lucky and in a short time, they signed a recording contract with producer Gordon Mills' MAM label, known for having worked with artists such as Tom Jones and Engelbert Humperdinck. Wanting to grow and develop in other musical genres, Mills was looking for an underground band to sign to the new label he had just founded and the ever-emerging line-up of "Fuzzy Duck" fitted him like a glove. The album was produced by bassist Mick Hawksworth who believed that the band itself would do a better job better producing the album, rather than an outside producer who is not familiar with the band's unique style. He was indeed right! This album style is a crazy mix between blues, hard-rock, funk, psychedelia, and fine British progressive rock similar to bands like "Soft Machine", "Caravan" and highly recommended for classic rock fans who enjoy Hammond organ and rough electric guitar solos. The album opens up with "Time Will Be Your Doctor" - a song written by drummer Paul Francis together with his two friends from his previous band Tucky Buzzard - bassist David Brown and keyboardist Nick Graham. Indeed it is evident that this is a song that a drummer and keyboardist co-wrote, with a thick and dominant Hammond sound and energetic drumming. The Vocal duties on this album are split between bassist Mick Hawksworth and guitarist Grahame White, who fills the vocal role in this case. The album continues with this one-off band's unique groove and energetic tempo changes. The song "Mrs. Prout" is an amazing technical display of all the members with a classic Hammond organ, precise drumming that holds the rhythm, despite the frequent rhythm changes, and the sharp and focused guitar work. The band changes the musical color as the song progresses, just like a chameleon, from a stormy fast-paced part to an amazing progressive section, just brilliant playing. But what makes this piece so special is the instrumental part in the middle of the song. It just proves how professional these guys are. The fifth track "More Than I Am" written by bassist Mick Hawksworth and sung by him, is one of the standout songs on the album with a cool guitar riff, a particularly catchy organ melody, and unforgettable harmonic vocals. The quiet guitar line in its opening reminds us a lot of the "Strawbs". This is undoubtedly a song that should have represented the band as the lead single from the album. The sixth track "Country Boy" is a good song, melodic and rhythmic. What makes it more interesting is the sudden break and transition to a slow tempo with the distinct "Led Zeppelin" guitar solo and drumming. Then the song picks up speed again and before you realize what's happening you're back to the opening tune again, this time with some crazy organ solo. Just pure perfection. Another great song on the album is "Just Look Around You", written and sung by Mick Hawksworth and featuring one of the catchiest choruses on the album and amazing guitar work by Grahame White, with short and hot solos. "In Our Time" features guitar work reminiscent of the legendary Ritchie Blackmore, and keyboards and vocals that all bring us back to the first "Deep Purple" lineup. The album is sealed with "A Word From Big D", a humorous, sweeping, and rhythmic instrumental piece with duck sounds and effects accompanying the music. It is simply a psychedelic piece and an original way to end such a special album. Over the years "Fuzzy Duck" became a rare and underground classic. Whoever owned the original vinyl copy of it, is just like the owner of a golden egg. The demand for this album grew through the years until the record company decided to release remastered versions of the album, which also include four new bonus songs that were not released before. Unfortunately, "Fuzzy Duck" released only one album before disappearing from the classic rock scene. They disbanded only 18 months after their formation, leaving us wondering why the tremendous potential that lay within it remained wasted and unrealized. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written By: Noam Asulin Release date - 18.9.2020 It really doesn't matter what season of the year or where on earth you are, because the band "Sunken" will make sure to bring you chills of freezing cold with a melancholic and atmospheric album. "Sunken" comes to us from Denmark and was founded in 2012. As of today, the band has two albums, the first one was released in 2017 and their second album is the featured album "Livslede", which was released in 2020. "Sunken" (to sink, to be covered in water) is an atmospheric black metal band that is influenced by nature, the sea, and melancholic themes. This is actually the band that introduced me to this very non-standard subgenre. The band members are: Simon Skotte Krogh (Guitars) Kasper Deichmann (Guitars, Keyboards) Martin Skyum Thomasen (Vocals) Jonas Faghtmann (Bass Guitar) Jakob Ridder (Drums, Keyboards) The album includes a total of five tracks, with a total length of 43 minutes. The first track "Forlist" is an intro designed to introduce us to the melancholic atmosphere that the band members want us to "dive into", literally. The piece begins with the sounds of waves, a piano, and a slow and melancholic violin. The next piece "Ensomhed" ("Loneliness") already includes vocal parts. It is accompanied by the same melancholic motifs, sea, and nature, which are meant to introduce us to the gloomy feeling and "loneliness", but then comes the angry blast beat, screams of agony, and a slow increase in emotion and energy that lasts throughout the twelve minutes of the song. For some reason, despite the cries of cold rage and despair, the atmosphere in this song is still soothing and it doesn't change even when the vocalist enters with hoarse, high-pitched vocals. All five sections have the same atmospheric and sweeping motifs, but as mentioned, they are combined with blast beats and screams that instill a sense of restrained rage. I think this is an album that may not be easy to "digest", especially if this genre is not your cup of tea. However, the melancholy and the sense of nature that is conveyed beautifully in the songs connect me to this album. Regardless of the environment or the temperature I'm in when I listen to it, it makes me feel like I'm enveloped in darkness, in a fetal position during winter. Therefore, even if you find it difficult at first to contain the style, give this album a chance. Who knows, you might be surprised. For Listening: Deezer, Apple Music, Spotify, YouTube Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 17, 1996, "Tool" released their second studio album "Ænima". When the global rock scene was moving helplessly between the slow death of grunge and the rapid commercialization of alternative rock, Tool released "Ænima" - their second album, which is far more than just a turning point in the history of a single band. This album represented a cultural earthquake that changed everything we knew about the boundaries of metal. It is no coincidence that the album was included in the best albums of 1996 lists by magazines such as "Kerrang!" and "Terrorizer." In addition, "Kerrang!" ranked it as the 6th most influential album of all time, and in 2017, "Rolling Stone" magazine ranked the album 18th on its list of the "100 Greatest Metal Albums of All Time." Following the surprising, angry, and raw success of their 1993 debut album, "Undertow," one might have expected Tool to keep digging in the same heavy alternative-metal mud. But Maynard James Keenan, Adam Jones, Danny Carey, and Justin Chancellor (who joined the band and injected new, mesmerizing blood with deep, hypnotic basslines) chose to take the listener on a dangerous journey with no way back. They took raw aggression, filtered it through layers of complex polyrhythms, dark psychedelia, musical mathematics, and progressive influences, and forged a sound entirely their own-unique, mesmerizing, and menacing! Musically, "Ænima" is a marvel of dynamic construction and rhythmic complexity. The band's ability to move effortlessly between non-standard time signatures (such as 7/8, 9/8, or complex transitions within the same song) without ever losing its sweeping groove is what makes the album so unique. Danny Carey's drumming functions as a complete polyrhythmic system combining jazz influences with immense power, while Justin Chancellor's bass playing serves as a melodic and powerful backbone upon which Adam Jones's riffs are built. David Bottrill's brilliant production wraps the album in a heavy, almost claustrophobic shroud where every instrument breathes, lives, and kicks with psychotic detail. From Danny Carey's mesmerizing and meticulously precise drum web in "Stinkfist," through Justin Chancellor's snake-like twisting bass, to Adam Jones's sawing, dirt-caked, and groove-laden riffs in "Forty Six & 2." This is a conceptual album at its core, moving masterfully between deep personal catharsis and sweeping societal psychosis. Maynard navigates his unique voice from fragile whispers to soul-shredding screams of rage, preaching uncompromisingly against hypocrisy, cultural brainwashing, and addictions in a modern, alienated era. The undisputed peak arrives in the title track "Ænima," where the band calls out with black irony for a metaphorical apocalypse to wash away filthy Los Angeles to its foundations and return humanity to a pristine, unblemished beginning, featuring the immortal and chilling line: "Learn to swim, I'll see you down in Arizona bay." This album presented a band evolving in giant leaps, unafraid to break the mold. Songs like "H." and "Hooker with a Penis" showcase the extreme and fascinating contrast between raw, wounded emotional vulnerability and a rough, aggressive cynicism toward the music industry and the listeners themselves. The album features experimental and alternative interludes that complete the conceptual fabric. They break the rhythm time and again, leaving the listener breathless in the face of this unique musical monster built from the darkest mirrors of the soul. Looking back, "Ænima" not only redefined the style of modern progressive metal, but proved that rock music can be intelligent, challenging, terrifyingly complex, and still strike you in the soft underbelly with sheer force. It is a timeless musical masterpiece that hasn't lost a single drop of its relevance. On the contrary! As the musical world continues to change over the years, the scream of "Ænima" sounds closer and more precise than ever. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 17, 1977, "Camel" released their fifth studio album "Rain Dances". This album marked a pivotal moment in "Camel's" evolution. This album represents a distinct shift in the band's sound, blending their characteristic progressive rock elements with jazz-fusion influences and a more polished production. With the departure of bassist Doug Ferguson and the arrival of "Caravan's" Richard Sinclair, as well as "King Crimson's" Mel Collins on saxophone and flute, "Camel" embraced a broader sonic palette, adding new layers to their music while maintaining their intricate, melodic approach. The album opens with "First Light," an instrumental that showcases "Camel's" evolution right from the start. The jazzy Richard Sinclair's bass guitar lines steal the show from the beautiful Peter Bardens and Andrew Latimer's melody. Mel Collins' saxophone solo is merging with Andy Latimer’s guitar and Peter Bardens’ atmospheric keyboards, creating a fusion of prog rock and jazz textures. The track’s dynamic structure, alternating between serene moments and bursts of energy, sets the tone for the album’s experimental approach. "Metrognome" starts with the sounds of a metronome and introduces Richard Sinclair’s vocals, with a notable change from the previous albums. His smooth, laid-back voice complements the song’s playful rhythm and jazz-inflected sections. Latimer’s guitar work shines here, delivering melodic leads and tasteful solos that float over Sinclair’s basslines and Bardens' intricate keyboard arrangements. The track’s mid-section explodes into a lively instrumental passage, blending time signature changes with a jazzy flair. "Tell Me" is a melancholic ballad that shifts the album’s mood, with Sinclair delivering an emotionally vulnerable vocal performance to the sounds of Andrew Latimer's fretless bass. The instrumentation is restrained, with Bardens’ keyboards providing a lush backdrop while Latimer’s flute and Collins' Saxophone touches adding a gentle, pastoral touch. The song’s simplicity contrasts with the complexity of other tracks, offering a tender, introspective moment amidst the album’s more adventurous compositions. "Highways of the Sun," one of the most accessible tracks on the album, takes a more radio-friendly approach. It's an upbeat, melodic song that leans towards a pop-rock sound, while still maintaining "Camel’s" characteristic musicianship. The catchy chorus, driven by Latimer’s warm vocals and Bardens’ synth layers, showcases a more streamlined, approachable side of the band. The album’s centerpiece, "Unevensong," is one of the standout tracks. It’s a classic progressive rock number, full of time changes, complex rhythms, and engaging melodies. The song’s structure flows seamlessly between various moods, from fast-paced, intricate passages to more serene, reflective moments. Latimer’s guitar and Collins’ saxophone play off each other beautifully, while Bardens’ keyboards give the track a rich, textural depth. Sinclair’s bass work is also particularly notable, adding a fluid, rhythmic foundation that anchors the track’s shifting dynamics. "One of These Days I'll Get an Early Night" introduces a funky groove to the album, driven by Sinclair’s bass and Bardens’ jazzy keyboard riffs. The track is upbeat and playful, with Collins’ saxophone taking center stage alongside Latimer’s guitar with the help of two outside players - Martin Drover on trumpet and Malcolm Griffith on trombone. It’s a fun, light-hearted moment that demonstrates the band’s versatility and willingness to explore new musical territory. "Elke," brings a collaboration with ambient music pioneer Brian Eno. Its dreamy soundscape is marked by sparse instrumentation, with Bardens’ keyboards, Latimer's flute and Eno’s subtle electronic textures creating a haunting, otherworldly atmosphere. Latimer’s guitar is barely present, allowing the ambient elements to take center stage. It’s a bold departure from the rest of the album, showcasing "Camel’s" willingness to push boundaries and experiment with different genres. On "Skylines," "Camel" fully embraces their jazz-fusion influences, creating a fast-paced instrumental driven by Bardens’ keyboards and Collins' saxophone. The track has an energetic, almost improvisational feel, with Latimer’s guitar taking a more subdued role, allowing the rhythm section to shine. The interplay between the musicians is tight and fluid, showcasing the band’s technical prowess. The title track, "Rain Dances," closes the album on a soft, reflective note. It's a brief but beautiful instrumental that uses parts of the melody from the opening track "First Light", thus giving the album a circular feel with a beginning and an end. Collins’ saxophone and Latimer’s gentle guitar create a serene, atmospheric piece. Its soft, ambient feel contrasts with the more energetic tracks on the album, bringing a sense of calm and introspection. It’s a delicate, soothing way to wind down before the final track. "Rain Dances" stands as a transitional record for "Camel" that highlights their willingness to evolve. While it marked a departure from the more prog style of earlier works like "Moonmadness" and "The Snow Goose", it didn’t stray too far from the band’s roots. Instead, it added a new dimension to their sound, with jazz fusion elements enriching their compositions. "Camel’s" decision to expand their lineup and experiment with new sounds led to one of their most ambitious and forward-thinking releases. Though it may not have achieved the commercial success of some of their earlier works, "Rain Dances" remains a fascinating and important album in "Camel’s" discography, appealing to both progressive rock and jazz fusion fans alike. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 17, 1991, "Guns N 'Roses" made a revolution in the world of music, releasing the double album "Use Your Illusion I" and "Use Your Illusion II". Stay tuned for another review in the 1991 masterpiece album series - "Class of 91'". After three years of eager anticipation (four if you don't count the "G N 'R Lies" album), the active and dangerous volcano called "Guns N' Roses" has finally erupted. On September 17, 1991, at midnight, the band released an insane amount of music material. Two double albums (equivalent to four vinyl records), 30 songs, and over two and a half hours of music !!! The albums sold an insane amount of 500,000 copies in the first two hours of the sale. Immediately upon their release, the albums took first and second place on the Billboard 200 charts and clung to the top for a long time. The first place was taken by the younger brother "Use Your Illusion II", with sales of about one hundred thousand more copies than his older brother. The two albums together eventually reached sales of over 14 million copies and helped the band establish its status as the biggest rock band of the time. We said volcano and really meant it. The amount of material the band has collected since the release of their debut album has grown and accumulated to huge proportions, when as early as September 1990 the band had over 30 songs ready and the members had to make decisions on how they are going to release all this material. And the pressures on this formidable volcano were not only from within the band but also from outside. After the dizzying success of "Appetite for Destruction", the expectation from the band to release new material was immense. This expectation only intensified when from April 1990, we received teases and hints of materials that will be included in the album. Bootlegs from the band's live shows began to sell in large quantities, with this pressure causing the band to embark on a worldwide tour even before the album came out. We received the first teaser on April 7, 1990 (more than a year before the release of the albums), as part of the band's performance at the "Farm Aid IV" festival. The band performed the song "Civil War" for the first time and even then it was possible to understand that the M1 0.3 semi-automatic rifle, became a 7.62 Mag full machine gun and that the band is already ready to conquer the world. What obscured the premiere performance of the song "Civil War" was the fact that this would be the band's last appearance with drummer and original member Steven Adler, who was soon fired from "Guns N' Roses". Axl Rose later said that the band gave Adler countless opportunities to solve his drug problem, and only after nothing helped they decided to fire him. Izzy Stradlin said in a November 1992 interview that he would have preferred to continue with Adler but they could not wait any longer until he settled down. Circumstances summoned to the band an equally talented drummer - Matt Sorum. About two months later on June 26, 1990, the band released their live version of Dylan's song "Knockin' On Heaven's Door", as part of the soundtrack of the movie "Days of Thunder", starring Tom Cruise and Nicole Kidman. The song had meteoric success and became instantly an anthem for the masses. Next ... In an interview with MTV on Kurt Loder on August 31, 1990, Axl Rose revealed that the band was working on another cover version of Paul McCartney and "Wings" from 1973 - "Live And Let Die". Axl said they approached the song in thrill and admiration when at first they even thought they could not play it at all due to its complexity, but after a few rehearsals, things started to connect. Another song that Kurt talked about in that interview was "Coma" which he co-wrote with Slash, about the overdoses they took. Axl Rose said that this song is Slash's baby and that it is a strange track without a chorus that stretches over more than 10 minutes. In January 1991 we received three new pieces of information on the album in the form of the songs "Double Talkin 'Jive", "You Could Be Mine", "Estranged" and "Dead Horse" which were played at the band's performances in Rio. Later in June 1991 "You Could Be Mine" which talks about Izzy Stradlin's relationship with his ex-girlfriend Angela Nicoletti was released as the first single from the album. It was also the theme song of the hit film "Terminator 2". The song won a spectacular clip starring Arnold Schwarzenegger, that had heavy rotation on MTV. The clip shows Schwarzenegger "on a deadly mission" to locate and eliminate the band members. At this point, after releasing so many clues, even the "non-believers" already knew it was going to be a meteoric album. The volcano was about to erupt! And it did erupt, in a big way. On September 17, the two double albums were released simultaneously and at the same time the single for the song "Don't Cry" was released. These albums feature an experienced and mature band that has come a long way in terms of their style and sound since their debut album "Appetite for Destruction". Although the band did not abandon its aggressive and rough Hard Rock sound, it added elements of blues, punk, folk, rock 'n' roll, progressive, and even classical music to its songs. Some of the band's songs became more complex and longer compared to the first album and in another part, the piano was used as the main and essential instrument. As part of their musical development and the process of expanding the range of sounds, the band added keyboardist Dizzy Reed as a permanent member. The band's maturation was also reflected in the openness, in which its members allowed more artists to enter the studio during the recording of the albums. One of these prominent artists was Shannon Hoon who was the lead singer of "Blind Melon". Hoon who was Axl Rose's friend was invited to the studio and was featured in several songs as a background vocalist, including "Live and Let Die", "November Rain", "You Ain't the First" and "The Garden", while co-singing "Don't Cry" with Axl Rose and even appears in a video clip that accompanied it. (Photo: Ilpo Musto) If we go back for a moment to the changes that "Guns N 'Roses" went through during the recording of the albums, then these were not accepted unanimously among all the band members. They are the result of disagreements during writing and recording, mainly between Slash and Izzy Stradlin on the one hand and Axl on the other. Slash and Izzy thought the band should keep its familiar sound from the first album while Axl Rose asked the band to experiment in new directions and adopt a cleaner sound that would make it accessible to the masses and make it the biggest band in the world. Axl Rose's hand was on top, but it was a small victory in a battle while the war was lost, since not long after the cracks within the band will begin to show. The singles released from the album instantly became hysterical hits that conquered the top of the charts all over the world and proved the band's dominance in the music market for almost 3 years when the last single, the masterpiece "Estranged" was released in January 1994. As part of the diversity of styles on these albums, other band members were also given the opportunity to "use their voice". Duff McKagan sang "So Fine"ת which he dedicated to Johnny Thunders, a member of the "New York Dolls" who passed away that year. Izzy Stradlin was also surprised not only as a gifted writer but also as a lead singer in the songs "Dust N 'Bones" and "14 Years", which he wrote as a child about a complex relationship with a woman. Izzy Stradlin also participates as a co-lead vocalist along with Axl Rose in the songs "Double Talkin 'Jive" and "You Ain't The First". Some of the songs on the album were written in the early days of the band and before the release of their debut album and can even be found in old bootlegs. Among them: "Back Off Bitch" written about Axl's girlfriend Gina Siler who moved with him to Los Angeles in 1982 but dumped him in 1983, "Bad Obsession" which talks about drug rehab, and in which Michael Monroe from the band "Hanoi Rocks" plays saxophone and harmonica, "Don't Cry" which refers to Monique Lewis who was Axel's girlfriend and whose face is tattooed on his right shoulder and "November Rain" which is the longest song to ever enter the top ten on the Billboard charts. Other notable songs with interesting facts are: "Right Next Door to Hell" which opens the first album and tells the story of Axl's neighbor Gabriella Kantor who caused his arrest after accusing him of beating her with a bottle of wine, "The Garden" starring Alice Cooper, "Dead Horse" that Axl wrote the acoustic guitar riff for, "Get In The Ring" that was written about the critics who gave "Guns" bad reviews at the beginning of their journey and "Pretty Tied Up" where Izzy Stradlin plays the sitar. Very unfortunate that the meteoric success these albums brought the band was also the one that will ultimately lead to its slow disintegration. After the release of the albums, the band continued on the world tour, which they began even before their release. This tour may have included tremendous performances of over three hours but it will be mostly remembered as the one where Axl Rose just lost it. He was late for performances, off-key in singing, hit fans, abandoned shows in the middle, disappeared from the stage for long minutes leaving his friends uncertain if he is going to be back, and even caused the cancellations of some shows. Axl Rose's behavior did not go unnoticed by the Israeli fans during the band's performance at Hayarkon Park on 22/05/1993 when Axl Rose initially refused to take the stage and only after many pleas did he kindly arrive late for the show. This bullying behavior of Axl Rose which even started while writing the material for the album is the one that apparently led Izzy Stradlin to leave the band at the height of its success. Stradlin's departure left a deep hole in the band, but most of all in the heart of Axl Rose who was his best friend since they were young. A hole that even the talented guitarist Gilby Clarke could not fill. Although as a result of this unnecessary conflict the world lost many years of marvelous music, this talented band was able to produce these magnificent albums with material equivalent to four albums with immortal songs engraved forever in the history of music. For listening to the first album: Spotify, Apple Music For listening to the second album: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

He's an icon, he started as a dancer but very quickly became the face of one of the biggest bands in the world of electronic music, but he is also an integral part of our world !! (Photo: Andy Sheppard) 1. His full name is Keith Charles Flint, he was born on September 17, 1969 and passed away on March 4, 2019. 2. He was born in Redbridge, London and had an unhappy childhood when his parents regularly quarreled until the moment they separated when he was young. 3. Although he was a brilliant boy, he suffered from dyslexia and was thrown out of school when he was 15 years old. 4. He started working as a "roofer" and at the same time fell in love with music and began practicing it. 5. When we say practicing, we do not mean writing and playing, but dancing. He was very strong in the rave scene that developed in England and was a dancer and DJ in clubs. 6. In 1990, Flint met a DJ named Liam Howlett, the two teamed up and Liam gave Flint a tape containing original pieces he had created. On the tape he engraved the word "Prodigy". 7. Flint loved Liam's music and literally pushed him to create a band in which Liam plays his music and Flint and his friend Leeroy Thornhill dance on stage. 8. The three teamed up with another dancer named MC Maxim Reality and formed the band "The Prodigy". (Photo: Phil Nicholls) 9. In 1992 came out the band's debut album "Experience", the album was a success in the rave and underground clubs in England. 10. In 1994 the band's second album "Music for the Jilted Generation" was released. This is the band's international breakthrough album which was a crazy success. The most interesting thing is that songs from the album were played in electronic music clubs but also in rock and metal clubs. 11. We are sure that many of you that were in the relevant age danced to the sound of the song "No Good (Start the Dance)" in clubs, alongside "Metallica", "Guns", "Nirvana", "Pearl Jam" and more... 12. Starting with the third album "The Fat of the Land" released in 1997, Flint moved to the forefront not only as a dancer but also as a singer. 13. Flint's breakthrough song was “Firestarter,” a crazy song that exploded on every possible radio station and won many broadcasts on MTV. With the looks and sound of a punk rock singer, Flint has become an iconic figure in the music world. 14. Another single that came out of the album and made "waves", was "Breathe", also in which Flint took the singing role alongside background vocals from Maxim Reality. 15. The band has released four more albums "Always Outnumbered, Never Outgunned"(2004), "Invaders Must Die" (2009), "The Day Is My Enemy"(2015) and "No Tourists" (2018). Apart from the fourth album, Flint sings a number of songs on each of the other albums. (Photo: Mystic Production) 16. In 2002, Flint formed a Punk Rock band called "Flint" with Jim Davies, Kieron Peppe, Rob Holliday, and Tony Howlett. They released one album in 2003 and have performed briefly at a number of festivals. 17. He is a die-hard "two-wheeled" enthusiast. Not only does he ride a professional road motorcycle and even competed in a number of races in England, but he formed a racing team called "Team Traction Control" and competed with it in the "Supersport" League and the British "Superbike" League. 18. In addition he reached an impressive achievement when together with his team rider Ian Hutchinson they won four "Isle of Man TT" races in 2015 and 2016. Anyone who knows these races knows that they are hallucinatory, insanely dangerous and terribly difficult tracks, very few individuals manage to ride these races unharmed and only riders who are semi-god manage to finish them. 19. He was also a well-known "MotoGP" fan and visited quite a few races. He had a track in his yard, where he would ride the fleet of special motorcycles in his possession. 20. In a long period of his life he suffered from depression and consumed drugs and alcohol regularly, they often had negative effects on his life. Despite his delicate and pleasant nature, on stage he was a unrestrained beast with energies that made the band's performances to something divine. Yes Divine! We experienced one of these on May 29, 2014 at the Tel Aviv Exhibition Center (their fourth and final show in Israel). (Photo: Mirrorpix) 21. On March 4, 2019, Flint was found dead. He hang himself at his home, the police officially announced that he had committed suicide and on March 29, 2019 his funeral took place. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 17, 1991, Ozzy Osbourne released his sixth studio album, "No More Tears". Stay tuned for another review in the "Class of 91'" series about the masterpiece albums released in 1991. This is Ozzy Osbourne's sixth solo album and one of his most commercially successful in North America. It's also the first album Ozzy has recorded as a drug and alcohol-free, after 20 years of addiction. Apparently, Ozzy's 'clean' approach also affected the outer cover which for the first time looks completely mainstream, as well as the material on the album which does not include words about demons, darkness, or madness and is slightly more accessible and lighter than its predecessors. Guitarist Zakk Wylde co-wrote all of the album's songs with drummer Randy Castillo and Ozzy Osbourne, with Lemmy Kilmister of "Motorhead" writing the lyrics for four of them. This is the last album where drummer Randy Castillo and bassist Bob Daisley were part of Ozzy's band. Bob Daisley may have played bass on all the tracks on the album, but it was the spirit of bassist Mike Inez that hovered over a significant portion of the bass parts, and he is also the one who wrote the famous and memorable bass riff of the theme song. Mike Inez also co-wrote the theme song and received credit on the album cover as Michael Inez, with the following words written next to his name: "bass/inspiration and musical direction". In 1989 Mike Inez was one of 50 bassists who auditioned for the role of bass player in Ozzy Osbourne's band. The young Inez got accepted and became the bass player of the "Prince of Darkness" in the band's live performances between 1989-1993. In 1993, Inez joined "Alice in Chains" and recorded with them, among other things, the masterpiece album MTV Unplugged. "No More Tears" produced no less than four crazy singles that entered the Top 10 on American Billboard. "Mama, I'm Coming Home" (2nd place), "Road To Nowhere" (3rd place), "Time After Time" (6th place), and "No More Tears" (10th place). What’s more, this album has produced some of Ozzy Osbourne’s greatest songs that have been part of his setlists in performances for three decades. "Mr. Tinkertrain" which opens the album tells the story of a pedophile who seduces little girls with the help of sweets and toys, with the suffix of the song's name (Train) intended to illustrate how he passes from one girl to the other like a train. "I Don't Want to Change the World" won a Grammy for best performance in 1993 for the live version from the album "Live And Loud". "Mama, I'm Coming Home" was written about Ozzy Osbourne's wife, Sharon Osbourne whom Ozzy used to call "Mama". Ozzy said the melody had been playing in his head for years but he could not write the song until Zakk Wylde arrived and helped him with it. Zakk began writing the song on the piano and later suggested to Ozzy that he will move it to a 12-string guitar. It might be hard for you to believe because it really does not fit in with his pose, but the lyrics to the song were written by none other than Lemmy Kilmister from "Motorhead". The song "Desire" is one of the most beautiful, catchy, and rhythmic on the album. Here too, it's another collaboration between Lemmy Kilmister, Zakk Wylde, Ozzy Osbourne, and Randy Castillo. The chorus of the song includes the word "Crazy Train" and it seems that an attempt was indeed made to produce a catchy hit in the style of the immortal "Crazy Train" from the debut album "Blizzard Of Ozz". The writing of the theme song "No More Tears" began with a random jam session when Mike Inez began playing the famous bass line and drummer Randy Castillo joined the drums. Although, as mentioned, the one who plays the bass on the recording is Bob Daisley, the one who appears in the clip of the song is Mike Inez. The theme of the song is about a prostitute in the red light district who is tortured by an obsessive follower. Immediately afterward comes "Won't Be Coming Home (S.I.N.)" a track that opens with a quiet and melodic bluesy solo by Zakk Wylde, but later develops into a rhythmic song with a catchy and sweeping chorus. The song "Hellraiser" was written by Ozzy Osbourne together with Lemmy Kilmister. A version of the song also appears on Motorhead's "March ör Die" album from 1992. Watch the excellent version of "Motorhead" here: Anyone who listens to the first bass notes that open the song "Zombie Stomp" will surely notice the resemblance to the first notes in the song "Would?" by "Alice in Chains". Although the immortal song of "Alice in Chains" was released about a year later, we don't think there is any connection, especially given that bassist Mike Inez will join "Alice" about a year after bassist Mike Starr will record the track himself. The meaning of the acronym of the song "A.V.H." Are "Aston Villa Highway". This is Ozzy's tribute to the football team that he and his friends from "Black Sabbath" admired in their youth. The song that opens up with a slide guitar played in country style, very quickly becomes a fast track with a riff and guitar work that reminded us of Nuno Bettencourt from "Extreme". In the song "Road to Nowhere" which seals the album Ozzy looks back on his life after being sober for the first time in 20 years of addiction. It is also a song of thanks to his wife Sharon for saving his life, he claims. During the recording of the album, two more songs were recorded - "Don't Blame Me" and "Party with the Animals". They were released as B-Sides for singles released from the album. Both songs were later included in the 2002 reissue of the album. The album "No More Tears" sold 4 million copies in the US alone and is considered his best-selling album in North Africa, along with his debut album "Blizzard Of Ozz". "Classic Rock" magazine ranked it third out of all Ozzy Osbourne's albums (after his first two solo albums) and "Loudwire" magazine ranked him 22nd out of the 100 greatest metal albums of the 1990s. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written By: Noam Asulin Release date - 17.9.2021 Metalcore is a genre that is already quite difficult to innovate in. The sound often contains the same motifs in all kinds of bands. Lots of guitars and distortions, lots of growls and a nice addition of some breakdowns in the middle of the song to close the formula. "Spiritbox" is a Metalcore band, but with a little twist. The band incorporates electronic motifs into the sound, the growls and the general structure of an average metalcore song. So who are "Spiritbox"? The band comes from Victoria, British Columbia, Canada. The current lineup of the band includes Courtney LaPlante (vocals), Mike Stringer who is Courtney's partner (guitars), Zev Rose (drums) and Josh Gilbert (bass) (ex- "As I Lay Dying"). The band was founded in 2017 by Courtney and her partner, when at the end of that year they already released their first EP called "Spiritbox". The band started working on their first full album (the reviewed album) back in 2018, but during 2019 took a short hiatus and released another mini-album called "Singles Collection". The Covid-19 epidemic forced the band to further delay work on the album, which was originally planned to be released in April 2020. In the end, the band moved to Joshua Tree, in California, where they completed the songwriting process, finishing the recording of all 12 songs in February 2021. "Eternal Blue" is a captivating and powerful journey into the intricacies of modern metal. It presents the extraordinary musicianship of the band members, the catchy and fascinating melodies and the uncompromising power. From start to finish, "Eternal Blue" is a kind of school for combining heavy and aggressive elements with electronic and atmospheric music, wrapped in exciting lyrics. One of the outstanding features of this album is Courtney LaPlante's amazing vocal performance. Her versatile and dynamic range shines throughout the album, moving effortlessly from "horrifying" growls to "angelic" clean vocals. LaPlante's ability to convey emotion through her voice adds another layer of depth to the already moving lyrics. The songwriting on "Eternal Blue" is exceptional, with each track offering a unique sonic experience. From the overwhelming heaviness of "Holy Roller" to the atmospheric beauty of "Constance" and the infectious "hooks" of "Secret Garden", "Spiritbox" demonstrates their versatility and ability to create a wide range of moods and sounds. The band's ability to seamlessly blend elements of metalcore, djent and alternative rock is certainly impressive, resulting in a cohesive and unique listening experience. The production on this album is amazing and allows every voice and instrument to shine while maintaining a balanced mix. The guitars provide a combination of strong riffs, complex melodies and spectacular solos, while the rhythm section provides a solid foundation with strong and steady drumming and thundering basslines. The atmospheric and electronic elements are skillfully combined and add to the overall atmosphere and flow of the music. Lyrically, "Eternal Blue" addresses themes of introspection, emotional struggles, and personal growth. Courtney LaPlante's poignant words delve into topics such as mental health, self-discovery and moods. The depth and vulnerability in the words create a truly immersive listening experience, allowing the listener to connect on a deep emotional level. The opening song "Sun Killer" starts with an atmospheric electronic section and after a while Courtney enters with her clean voice. The song begins calmly, but at its peak Courtney turns to growling and conveys the sharp and clear message that we did not gather here to listen to elevator music. The next song - "Hurt You" continues the line where the previous one ended. It starts with a really infectious guitar-keyboard riff and powerful drums that always make me stomp my feet, as if I'm some kind of glorified drummer myself. The third track, "Yellowjacket" features a collaboration with "Architects" vocalist Sam Carter. I have to say that for my taste, Sam doesn't add much to the song. Collaborations should, in my opinion, yield some added value, otherwise what's the point? And in this case the duet doesn't really bring anything that Courtney couldn't provide herself. The fourth track "The Summit" is one of my favorite tracks on the album, among other things because it has a very addictive and fun chorus. There is something very interesting in the song "Secret Garden". When I first heard the song, the bass rang in my ear all the way through The verses, the feeling was that he was not quite in sync with the beat. After several listens it became clear to me that it is indeed not in tune with the other instruments, but this is intentional and the more you listen to the song the more you get used to it and even begin to like it. The theme song "Eternal Blue" is in my opinion one of the weakest on the album. He's just not interesting enough. Another song that I really like is the first single released from the album "Circle With Me". The chorus is super addictive and the song has a very atmospheric vibe that feels very appropriate for the moment when you dive into the depths. A feeling that might be a little hard to explain. You can even say that the album cover quite corresponds with this feeling. In conclusion, the debut album of "Spiritbox" is a very intriguing album, which, unlike other Metalcore albums that sometimes tend to be banal, maintains interest and relevance, precisely because it is different from traditional Metalcore. The electronic tunes that are found in every song on this album make it stand out from the rest and make it fun to listen to for a long time without him getting tired. It's an extraordinary album that showcases the band's incredible talent and artistic growth. With its powerful vocals, captivating songwriting and superb production, "Eternal Blue" is suitable for modern metal fans and anyone looking for a deep musical experience. There is no doubt that the album creates anticipation to know what else "Spiritbox" will release in the future. For Listening: Deezer, Apple Music, Spotify, YouTube Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 17, 1979 "Judas Priest" released their first live album "Unleashed in the East". "Unleashed in the East" often hailed as one of the greatest live metal records ever made. Recorded during their 1979 Japanese tour, it captures the raw power and precision of "Judas Priest" in their prime. Though rumors of studio overdubs on Rob Halford's vocals gave the album the moniker "Unleashed in the Studio," its impact remains undeniable. This album delivers an electrifying snapshot of the band’s live prowess, setting a new standard for live heavy metal recordings. The album kicks off with "Exciter," a speed-metal anthem that’s even more intense in its live rendition than the studio version from "Stained Class". Halford’s vocals are even more soaring and aggressive live, and the twin guitar attack of K.K. Downing and Glenn Tipton sounds sharper and heavier. Tracks like "Sinner," "Running Wild" and "Genocide" showcase this dynamic, with the live versions adding a sense of spontaneity and raw power that makes them feel more dangerous than their studio counterparts. The band's legendary precision shines throughout, with the rhythm section of Ian Hill on bass and Les Binks on drums providing a relentless, driving force. One of the defining aspects of "Unleashed in the East" is how the live versions of the songs often outshine their studio counterparts. Tracks like "The Ripper" and "Victim of Changes" from "Sad Wings of Destiny" feel more visceral and intense, with Halford pushing his vocal limits to incredible heights. The guitars sound more cutting and aggressive live, with Downing and Tipton’s solos possessing an immediacy and intensity that sometimes feels dialed back in the studio versions. Interestingly enough, the highlights of the album are actually attributed to the two cover versions performed by the band on this album. The live version of "The Green Manalishi (With the Two Prong Crown)," a "Fleetwood Mac" cover, is more forceful and menacing than its studio recording, fully embracing the dark, metal edge "Priest" brought to the song. Similarly, "Diamonds and Rust," a cover of the Joan Baez classic, becomes a full-blown metal anthem, with its acoustic origins almost unrecognizable beneath the live band's power. The 2001 reissue of "Unleashed in the East" offers fans even more, featuring four bonus tracks: "Rock Forever," "Delivering the Goods," "Hell Bent for Leather," and "Starbreaker." These tracks further emphasize the sheer energy of "Priest’s" live performances, with songs like "Delivering the Goods" exploding with more grit and aggression compared to the "Killing Machine" studio version. "Rock Forever" and "Hell Bent for Leather" capture the anthemic quality of Priest’s music in front of an audience, while "Starbreaker" includes an extended drum solo by Les Binks, adding an extra layer of excitement to the track. Overall, "Unleashed in the East" shows "Judas Priest" at their peak, delivering definitive versions of their classic songs. The energy and intensity of the live performances elevate the material beyond their studio origins, making this album a must-listen for metal fans. For anyone looking to understand why "Judas Priest" is regarded as one of the greatest heavy metal acts of all time, "Unleashed in the East" is an essential listen. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 17, 1975 "Scorpions" released their third album "In Trance". Some say that it's the real first "Scorpions" album. It was the first in which the band completely abandoned their "krautrock" and "progressive" styles, that characterized the albums "Lonesome Crow" and "Fly to the Rainbow". The first in which they began to shape their sound with tighter, shorter songs of typical "hard rock" and its first to include the all-too-familiar logo that would accompany them for the next four decades. It is also the band's first album with new producer Dieter Dierks, who would go on to help the band release a long streak of internationally successful albums up until the 1980s. The change in musical style is attributed in no small part to the addition of guitarist Uli Jon Roth, who had also participated in the previous album "Fly to the Rainbow", his influence there was minimal and almost imperceptible. After the recordings of "Lonesome Crow", the band went on tour, during which they served as the warm-up act for the British band "UFO". "UFO" vocalist Phil Mogg was very impressed by Michael Schenker's guitar playing and charismatic performance, so he offered him to join the band. Michael agreed and left "Scorpions" in 1973, even before the band started recording "Fly to the Rainbow". This departure proved to be decisive, not only because Michael Schenker developed his sound and guitar playing technic, eventually becoming famous as one of the greatest guitarists in his field, but also because of the addition of Uli Jon Roth into the band, a guitarist who helped shape the sound of "Scorpions" on the following four studio albums and the masterful live album "Tokyo Tapes". Roth, whose style was greatly influenced by Jimi Hendrix, brought power and strength on the one hand and a mystical and classical aura on the other hand, which became the driving force behind the band, together with Rudolf Schenker and Klaus Meine. The first album of the new lineup, "Fly To The Rainbow", was released in 1974, when Uli Jon Roth was already part of the band. However, Roth's contribution was limited to writing two songs, only one of them on his own, compared to five songs written by Rudolf Schenker and Klaus Meine, three of them in collaboration with Michael Schenker, as part of his deal with "Scorpions", before he left them in favor of "UFO". track of the album "Dark Lady" which Roth wrote. Its lead guitar and brutal riff make "Dark Lady" one of the most aggressive songs recorded by "Scorpions". Roth's vocals during the verses are a stark contrast to Klaus Meine's powerful vocals and chilling screams in the chorus. Immediately after comes the genius of Rudolf Schenker and Klaus Meine who wrote the theme song "In Trance". A dark ballad, with a psychedelic tone with strong blasts, and a metallic chorus. It doesn't sound like anything they've recorded up until then and maybe even since. The song was written by Klaus and Rudolph while waiting for the band's performance in a church at Ligneuville in Belgium. The two said that the atmosphere there was unimaginable. The church gave them the inspiration and the special sound to write the song during the sound check before the show. Roth said that at first, he didn't really connect with the song, it sounded too exposed to him, so he also chose to perform a minimalistic solo that sounded to him like a change of tone. In the third track, we are introduced to the sad ballad "Life's Like a River", which refers to the aging process and life that just passes by like the stream of the river. This song fits well with the rather melancholic line of the album that started with the melody of "In Trance" and will later be reflected in the lyrics of songs like "Living and Dying". "Scorpions" are known for their amazing ability to combine melancholic and sweet ballads with heavy metal crunch riffs, so that's it, it all started here, in this album, and the outstanding example of this is the musical "swing" we experienced from the beginning of the album and continues with "Top of the Bill". A simple and sweeping riff by Rudolf Schenker with powerful vocals by Klaus Meine, who both wrote the song, and of course a leading and sweeping guitar work by Uli Jon Roth, who produce the very unique "sound staple" of the band. The musical swing continues with another ballad that seals the first side of the album - "Living and Dying", which as we wrote, is one of the band's most melancholic, both musically and lyrically: "Nothing really looks pretty and I’ve been alone, I’ve been alone, I’ve been alone And in my heart many wishes are crying, living and dying" Although the song was written by Rudolf Schenker and Klaus Meine, there is no doubt that it would not sound as it is without the amazing guitar playing of Uli Jon Roth, which shapes the general atmosphere of the song. Did we mention a "musical swing" yet? So this sequence is maintained with "Robot Man" which opens the second side of the album. The song rests on Rudolf Schenker's "crunchy" and somewhat strange riff, on the fast tempo maintained by the stable rhythm section of Rudy Lenners and Francis Buchholz, and on Klaus Meine's "robotic" vocal effect. But even here, the song wouldn't sound the way it is if it weren't for Uli Jon Roth's guitar sentences and licks that add so much to the atmosphere. The album continues with two songs written exclusively by Uli Jon Roth. The intro of "Evening Wind" reminded us somewhat of that of "White Room" by "Cream", but what comes next is completely different and drowns us in a sea of ​​melancholy with a slow tempo of "Black Sabbath's" Doom, which navigates its way between the great guitar licks and solos of Roth. The song is followed by the bluesy "Sun in My Hand", which Uli Jon Roth sings based on the melody of the guitar that accompanies his voice, just like his personal mentor Jimi Hendrix whose spirit hovers above the guitar work in the song. Let's be honest, Ruth's vocal abilities aren't amazing and that's probably why they're limited to songs he personally wrote. We are nearing the end with "Longing for Fire", written by Rudolf Schenker and Klaus Meine, whose drive reminded us somewhat of "This Is My Song" that the due wrote for the previous album. Note the great bass playing of Francis Buchholz, who does an amazing job here, as well as the mind-blowing solo of Uli Jon Roth. The musical swing that began with Uli Jon Roth's powerful and heavy "Dark Lady", ends up in a melancholic atmosphere with the instrumental piece "Night Lights", which Roth also wrote. This is without a doubt, one of the best melodic pieces this great guitarist has ever written and a great way to end the album. "In Trance" was the first album in which "Scorpions" designed their unique sound, and believe us, as excellent as it is, it only got better on the next albums. The album cover included, for the first time, the band's famous logo that accompanies it to this day, but it was the first to draw criticism, all thanks to the image of the cheeky breast which dared to poke out under the model's shirt' aiming directly toward Roth's white Stratocaster guitar. This is the first and not the last "Scorpions" album where the cover will be censored, while in its later editions the "rebellious" tit was blacked out, so that it is no longer visible. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 15, 2014, "World On Fire", Slash's third solo album and his second with "Myles Kennedy and the Conspirators", was released worldwide. It followed in North America the next day. Two years earlier, "Apocalyptic Love" had shown that the connection between Slash's guitar and Myles Kennedy's voice was far more than a temporary collaboration. Bassist Todd Kerns and drummer Brent Fitz completed a lineup that sounded and felt like a real band. After months on the road, the four musicians knew one another well, so some of the ideas for the next album emerged naturally during the tour. This time, production duties went to Michael Baskette, who replaced Eric Valentine and already knew Kennedy well through his work with "Alter Bridge". Baskette gave the album a broader, heavier sound and, more importantly, made room for all four musicians in the mix. Slash remained at the center, but the bass and drums were more than accompaniment, while Kennedy sounded like part of a cohesive band rather than a singer brought in to perform over finished riffs. Most of the album was recorded at NRG Studios in Hollywood, with the aim of preserving the energy the lineup had developed onstage. The bass and drums sit prominently in the mix, the guitars are heavy without sounding overpolished, and Kennedy moves easily between a rough-edged delivery and the soaring high notes associated with his voice. The band was not chasing the fashionable sound of 2014. It was simply playing direct, bluesy hard rock, built on large riffs and solos allowed enough room to develop. The song "World On Fire" opens the album without wasting time. The riff is sharp, the pace is relentless and the chorus was made to carry across an arena. The lyrics celebrate life without restraint, although beneath the party lies the sense that everything could spin out of control. Slash's solo extends the song's momentum instead of interrupting it. The single reached number one on Billboard's Mainstream Rock chart and quickly became a regular part of the band's live set. The song "Shadow Life" brings a darker atmosphere to the album, driven by a creeping riff and lyrics about living beside someone only to realize that you do not truly know them. "Automatic Overdrive" immediately raises the pace again, while "Wicked Stone" is one of the album's strongest tracks. It begins with considerable weight, grows more menacing as it unfolds and reaches a long solo in which Slash develops one idea after another instead of settling for a display of speed. The song "30 Years To Life" tells the story of a single decision that carries a lifelong cost, set against a dirty groove with a Southern edge. Kennedy sounds angry and remorseful at the same time, while the band moves between sections without losing its weight. It is followed by "Bent To Fly", the album's major ballad. Kennedy wrote it after saying goodbye to his mother before leaving on the road, and the struggle between wanting to stay and needing to leave can be felt in every line. The acoustic guitar and gradual rise in intensity prepare the solo well, allowing it to arrive at exactly the right moment. The song "Stone Blind" returns the band to heavy, blues-based rock, while "Too Far Gone" pushes ahead with one of the album's most direct choruses. By contrast, "Beneath The Savage Sun" is darker and more ambitious. Kennedy wrote the lyrics after watching footage of elephant hunting and the ivory trade, and his anger is clear even without knowing the story behind the song. Slash adds layer after layer until the track takes on an almost cinematic scale. As the album progresses, its main weakness also becomes clear. Seventeen tracks spread across more than an hour and fifteen minutes are slightly more than the material requires. "Withered Delilah" and "Dirty Girl" offer strong riffs, but within such a long sequence it becomes difficult for every song to receive the attention it deserves. "Battleground", by contrast, benefits from slowing the pace. Its atmosphere is more reflective, and the guitar leaves open spaces instead of filling every second. The song "The Dissident" is fast and rebellious, with a touch of punk. "Safari Inn" is a colorful instrumental that brings Slash back to the blues and 1970s rock. The album closes with "The Unholy", one of its heaviest and most unsettling tracks, in the best sense of the word. It addresses abuse and institutional silence within religious organizations, so the music offers neither a celebratory nor a comforting ending. The tension is still hanging in the air when the album stops. The artwork was created by Ron English, and it suits the music well: colorful, crowded and provocative, filled with figures celebrating while the world burns around them. It makes no attempt to be pleasant to look at. Instead, it presents a grotesque image of a society addicted to consumption, entertainment and excess. Like the album itself, the cover is impressive because of its abundance and occasionally weakened by it. Upon its release, "World On Fire" entered the Billboard 200 at number ten, reached number seven in the United Kingdom and number four in Canada. It later earned a silver certification in the UK. The more important achievement was artistic: it established the lineup as a stable band rather than a project led by Slash with a guest singer and backing musicians. That partnership continued across subsequent albums and tours around the world. The album would have benefited from stricter editing and a shorter track list. Even so, at its best it is difficult not to be carried along by the band’s energy. "World On Fire" captures four musicians who know one another well and understand when to push forward and when to leave room for the guitar or the voice. It does not reinvent hard rock, but it plays it with passion, confidence and a very generous amount of fire. 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 - 16.09.1985 "Music passes, music prevails, makes the string tremble; music storms, music remains, and the singer with it." Or, as The Waterboys frontman Mike Scott sang: "I have heard the big music, And I’ll never be the same." This was the spirit of music that rested upon the Scottish folk-rock band "The Waterboys", whose third album, "This Is the Sea", was released on 16.09.1985, the same day as Kate Bush’s fifth album, which I also wrote about. The band’s leader, Mike Scott, was born in Edinburgh, Scotland. His mother, an English teacher who raised him alone from the age of ten, introduced him to the qualities of English literature at an early age, a detail that probably helped him write songs that are ambiguous, sometimes difficult to decipher, and often written in the second person. Scott was interested in music from an early age and began learning guitar at twelve. Listening to Hank Williams planted in him the desire to become a musician. The first band he formed was "Karma", influenced by the music of "The Beatles", Bob Dylan and David Bowie. Speaking of Bowie, anyone who has heard the band’s great hit "The Whole of the Moon" many times may feel certain that Bowie’s voice can be heard during the final half-minute. It is not Bowie, but Karl Wallinger, then a member of the band and later the founder of "World Party". After beginning studies in English literature and philosophy at the University of Edinburgh, Scott became interested in the emerging British punk scene, particularly "The Clash" and Patti Smith. Scott and guitarist Allan McConnell formed "The Bootlegs", which later changed its name to "Another Pretty Face". All these musical incarnations brought Scott to the realization that he wanted a band shaped in his own image, and so "The Waterboys" came into being in 1983. Over the years, he was joined in shifting lineups by Steve Wickham, Anthony Thistlethwaite, Karl Wallinger, and many other musicians. They took the term "Big Music" from the title of a song on their second album, "A Pagan Place". After two early albums centered on post-punk and new wave, work began on the third. Scott started writing its songs in the spring of 1984. Over roughly two months, between 35 and 40 songs poured out of him. Alongside the writing, Scott created the guitar and piano arrangements. On 10.04.1984, the first song intended for the album was performed live: "Trumpets", a direct love song containing one of its most romantic lines: "I want to be with you, when to be with you is the same as being you." Here Scott expresses uncompromising love and the desire to unite with his partner as though the two were a single being. It reminded me of the famous verse from Genesis: "Therefore shall a man leave his father and his mother, and shall cleave unto his wife: and they shall be one flesh." Scott entered "Park Gates" Studios in Hastings with producer and recording engineer John Brand, joined by Anthony Thistlethwaite, Karl Wallinger, Chris Whitten, and Roddy Lorimer. For Wallinger, this would be his final recording with "The Waterboys". He left afterward to form "World Party". Scott spoke of Wallinger with great admiration, saying that without his ability to play so many instruments, the album might still have existed, but it would have sounded far less impressive. On several songs Scott added a drum machine, using the Wall of Sound technique associated with Phil Spector. On the album, Scott writes about love, spirituality, British politics, renewal and rebirth, as well as consideration for those around us, as heard in "Don’t Bang the Drum". Scott wrote the great hit "The Whole of the Moon" at the age of 26. According to him, it was not written about one particular person, but intended to illustrate how much more there is to learn beyond anything we can imagine. He chose to address, in the second person, a figure possessing greater knowledge or wisdom. Scott was thinking of people whose stars shone brightly and then faded quickly, such as Syd Barrett and Jimi Hendrix, who displayed extraordinary talent but burned out and left us too soon. He made it clear that the song was not written about C. S. Lewis, although Lewis had been an important spiritual inspiration from his childhood and throughout his life. In the song, Scott pays tribute to musician Roddy Lorimer, whom he described as sunlight breaking through the clouds. Anthony Thistlethwaite lifts the piece even higher with an eruptive saxophone solo, reinforced by the sound of fireworks passed through an echo machine. Scott said the song began with his youth and the playful spirit he carried at the time. In his twenties, wanting to impress a new girlfriend, he told her that writing a song was easy. Spotting a crescent moon in the sky, he pulled out a pen and a piece of paper and wrote the contrast between one person seeing the crescent and another seeing the whole moon. She was impressed, and he continued developing the lyrics at a hotel and later at his London home, where he also composed the piano part. On "The Pan Within", Scott is once again ambiguous and not entirely clear. The song is based on the Greek god Pan, functioning partly as a form of meditation and partly as a sensual invitation to sex. In 1980s England, it was almost impossible not to take a swipe at the prime minister and her Thatcherism, as well as at drug addiction. On "Old England", Scott turns national decline into a bleak portrait of a sick country and refuses to separate the political, the social, and the personal. On the closing title track, "This Is the Sea", Scott leaves the past behind and seeks to choose action over passivity, allowing the long-awaited change to arrive. For Mike Scott, this album represented the fulfillment of the purpose for which he had become a musician. He achieved what he had set out to accomplish with the Big Music sound, while the next album would already take a different direction, turning toward the Irish traditional influences that would shape "Fisherman’s Blues". For listening: Spotify, Apple Music "Face/Off" - Israel’s Rock Blog Follow us on Facebook / Instagram and/or subscribe to the website