Legendary bassist Chris Squire was one of the founders of the progressive rock band "Yes", and was known for his dynamic and aggressive playing. He used the bass guitar as a solo instrument as opposed to an accompaniment instrument that is part of the rhythm section. (Photo: Richard E. Aaron) Let's tell you 20 important facts about him: 1. He was born on 4 March 1948 in north-west London as Christopher Russell Edward Squire. 2. His initial involvement in music began when he was a child, when he sang in the local church choir. 3. When he was 16 he was suspended from school due to the fact that he grew long hair. The school administration gave him money for a haircut, but he took the money and did not get a haircut, since he has not returned to school. 4. The inspiration to be a musician he got from "the Beatles". 5. During the 1960s Squire was "a friend" of the drug LSD. In one of the cases in which he took the drug, he was hospitalized and recovery lasted several more months. During that time Squire practiced playing his bass guitar, developing his all-too-unique style that influenced many after him. 6. His first band was "the Selfs". It was formed in the early 1960s and played rhythm and blues music. 7. In 1965 he formed another band - "the Syn", a band that operated until 1967 and one of its highlights was the warm up of "The Jimi Hendrix Experience". 8. This band reunited with Squire during the 2000s and released two albums with him - "Original Syn" from 2004 and "Syndestructible" from 2005. 9. He formed the band "Yes" together with the singer Jon Anderson in 1968. 10. They added Peter Banks, Bill Broford and Tony Kay and released their first album in 1969. 11. Squire is the only member of the band to have played on all 21 of their studio albums. 12. He also played an essential and important part in creating the band's melodies and vocal harmonies. 13. Squire began his solo career in 1975 with the excellent album "Fish Out of Water". 14. This album as well as the song "The Fish Schindleria Praematurus" from "Fregile" (1971), earned Squire the nickname "Fish". 15. In 1981, Squire joined the "XYZ" project that included "Led Zeppelin's" Jimmy Page, Squire and Alan White drummer of "Yes". The band recorded several demos, but in the end the project did not last due to the fact that Robert Plant refused to join it. Two of Yes' songs "Mind Drive" and "Can You Imagine?" Born while working on the project. 16. Squire was the one who connected Trevor Rabin to the reunion of the Yes band which started as the band "Cinema" and eventually released the album "90125". 17. Squire has collaborations with a number of artists, the most significant of which is with Steve Hackett - guitarist of "Genesis" who has been featured on some of his albums. Squire's latest recording with the Hackett was released as part of the act's 2015 album - "Wolflight". 18. The two also released in 2012 the amazing album "A Life Within a Day" under the name "Squackett". 19. On May 19, 2015, "Yes" issued a notice stating that Squire was diagnosed with leukemia cancer. On June 27, 2015, Squire passed away at the age of 67. 20. Squire's very unique style of playing, inspired many good bass players and even significantly influenced the way this instrument was perceived by musicians. Among the artists that Squire influenced in his playing are Geddy Lee, Billy Sheehan, Steve Di Giorgio, Steve Harris, Les Claypool, John Myung, Robert DeLeo, John Deacon and more ... "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

How much we love this album ... "Queensrÿche's" "Rage for Order", released on June 27, 1986. This is the band's second studio album, which was released before the move to prog-metal and before the big breakthrough that will come two years later, with the concept album "Operation: Mindcrime". This is probably also the reason why fans tend to skip it. We are here to tell you that this is a great album that does not have even one unnecessary moment, and that for us it is even at the same level as the masterpiece that will come two years later. This album is very different from the rest of the band's repertoire and that is also its uniqueness. This album has a "New Wave" production, a bit "Dark", which is expressed, among other things, in echo and reverb, in transferring the sound of the drums and guitars through effects and bringing the keyboards forward in the mix. It has a dark atmosphere, and we do not know why, but when we listen to it we immediately run through our minds images from science fiction movies about futuristic dystopian worlds. It is possible that the band members' picture on the inner cover looks like taken from a science fiction movie. What undoubtedly contributes to the feeling that this is a complete work that accompanies a story that can be used as a soundtrack to a futuristic film, is the fact that many of the album's songs connect in a cross fade in a way that gives the listener the feeling of listening to a concept album. An excellent example of understanding how different this album is from the rest of the band's mighty catalog, we should note that the band even did a cover here for singer Dabello - a Canadian pop artist who released "Gonna Get Close to You". Not only did the band members choose to perform a cover version of the song, but they even chose to release it as the first single from the album. Anyone who listens to the band's excellent cover and great performance will immediately understand what we mean, the keyboards, the bold bass, the twisted drum sound, the vocals, the guitars, and the effects, all of which are not entirely reminiscent of a metal band but a New Wave or post-punk band from the 1980s. The band has even released a 12-inch version of this song with a long remix, which amplifies the electronics and effects, just like a New Wave band. As we said, this album does not sound like anything else this band has released during its almost 40 years of activity, but it's good, it's great, it's awesome and we really like it. Starting with the opening track "Walk in the Shadows" we are embarking on a journey forward in time, because as we said this album can serve as the perfect soundtrack for a film about a futuristic world. This song with the rhythmic and dominant guitar riff, Geoff Tate's blatant screams, and vocal harmonies a-la "Queen", was written by guitarist Chris DeGarmo in collaboration with Tate and Wilton, inspired by vampire movies and books, including "Vampire Chronicles". Immediately after that comes "I Dream in Infrared" written by Tate and the second guitarist Michael Wilton. The song opens calmly with Eddie Jackson's bass beats and the guitar's broken chords, evolving into a mesmerizing and dynamic piece that ranges from rough riffs to soft, clean acoustics, and from Geoff Tate's screams of pain to his caressing, delicate voice. The song definitely demonstrates Tate's vocal abilities and his tremendous vocal range. The guitar solo in this song is played by Michael Wilton who also wrote it. This song received an acoustic and interesting remix version in the expanded edition of the album released in 1991. The third track "The Whisper" connects to the fade-out of the previous song and opens with the East-style doubled guitar sentences by Chris DeGarmo and Michael Wilton. After the short intro, the song just explodes with a bouncy and catchy rhythm and with a catchy and sweeping riff. Tate's singing is skyrocketing, how high it reaches in the transition to the chorus. Just an amazing voice control. We skip "Gonna Get Close to You" which we referred to above, and move on to "The Killing Words", the first pure ballad on this album. And again the amazing combination of the acoustics and the electric, the keyboards, and the effects, the melodic and quiet vocals, and Tate's whistling screams, all of these just blow our minds. And what a melodic and beautiful solo Chris DeGarmo gives here that shows how much emotion he has in his playing. The song that seals the first side of the vinyl "Surgical Strike" and was written by the two guitarists, is also one of the fastest on the album. Amazing guitar work combined with Scott Rockenfield's thunderous and rolling drums that also lead the houses. In the transition sections, we double the rhythm that only gets louder during Michael Wilton's amazing solo, with the effects combined during it only intensifying the enjoyment from it. The other side of the vinyl opens up with "Neue Regel" and a synth sound that reminds us of the synthesized guitar sound that opens the song "Out in the Cold" by "Judas Priest" from the album "Turbo". The title "Neue Regel" means "New Rule" or "New Order" in free translation from German. This song is replete with squeaky guitars, weird sounds, and amazing effects that just make it a monstrous piece. These effects dominate all the instruments and even the voice of Geoff Tate who sang the whole first verse through a kind of megaphone, until the break at 1:45 with the shout "Now!" It is also one of the most beautiful passages in the song that we can hear over and over again. We highly recommend that you put on a headphone and listen to this song at high volume, to the climax end in the roar of Tate and the effects that come after it, just sheer pleasure that sounds with relevant and up-to-date production and amazing sound even today over thirty years later. "Chemical Youth (We Are Rebellion)" was born as a result of another collaboration between Tate and Wilton. How beautiful the guitar work is here, without a doubt one of the best on the album, which at times reminds us of the playing of Akira Takasaki from the band "Loudness". "London" is probably one of the reasons that make us feel that this album is a soundtrack to a futuristic film. When we listen to the dark keyboards that open the song, the guitars that pop up in Fade In, and the synthesized bass sound that gives the rhythm to the song, we can not help but imagine London in a futuristic world, under ashes and post-nuclear war ruins. Although the lyrics of the song do not place this song in time (except for the date of November 4th), we have no doubt that DeGarmo, Tate & Wilington who wrote it aimed for the futuristic London. "Screaming in Digital" connects again in cross-fade with the previous song, and again it opens with futuristic effects that blend well with the digital name of the song written in an analog age. What a sweeping rhythm with Scott Rockenfield's double bass drum and what a beautiful combination of the "carpet" of keyboards and guitars in the solo, and Tate's voice and the background voices of the other members that create an amazing vocal celebration here. The song ends with an explosion with Tate's scream and the silence that follows connects to the silence of the next song which is without a doubt one of the pearls on the album. The ballad "I Will Remember" that seals the album, is one of the most beautiful songs on it. The short electric guitar line accompanied by the acoustic at the opening of the song reminded us a bit of the "scorpions" (and maybe also Tate's whistle at the end of the first chorus). How much emotion is conveyed through Tate's singing, how much talent in de Garmo's amazing playing, who also wrote the song. It is interesting to note that during the recordings of the album the band recorded another song - "Prophecy", which was released as a side note to the first single "Gonna Get Close to You". The band also worked on demos of two more songs "From the Darkside" and "The Dream", which remained on the editing table. The band also wrote during the recordings the theme song "Rage for Order" which did not enter the album. The music from the song eventually rolled into the song "Anarchy-X" from the album "Operation: Mindcrime" which came out two years later. Before concluding we will note that the album cover "Rage for Order" is the first to display the band's logo that will accompany it down the road. And now let's listen to the album but only with a headset and at high volume: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

We also have no idea about the identity of the murderer or who "Agantha" is, why on earth did this band not continue beyond one album, and how is it related to "Mashina's" "Monsters of Glory" album??? Therefore, we will attempt to provide some information about one of the albums that contributed to Israeli rock in the 90s and became a significant mile stone. Similar to many Israeli (and international) bands from the 1990s, the members of "Hat Bearers" ("Nosei Hamigbaat") were a unique mix. Their music was not mainstream or overly commercial (though some may label it as "pop"), and through their one and only album released in June 1991, we gain insight into this band that briefly enjoyed success in 1991. There are key and intriguing details that are essential to comprehend the album's narrative. An important and intriguing personality is Kobi Or, who was not only a journalist, poet, and publisher, but primarily a rock philosopher. This title intrigued us, and perhaps one day we will see it in Wikipedia under "rock philosophers." Let's not forget the essence of this story... Kobe gained significant recognition in the realm of alternative music. At the age of 31, he initiated the production of an independent publication named "Khamor," commonly known as a "fanzine," which delved into the topics of music and literature. Kobe was responsible for writing, editing, and even physically printing the issues. The publication, "Hard," was not released on a regular schedule but was distributed for free in select record stores. The initial ten editions, spanning from 1979 to 1983, are highly regarded as valuable collectibles. Yoav Kutner was the first to highlight Kobe's exceptional writing skills, leading to increased visibility for him. Kobe's writing style was known for its abstract and associative nature, with a focus on quotes and references related to religion, death, history, and philosophy. His work left a lasting impact on a whole generation of artists and critics, such as Yossi Babeliky, Boaz Cohen, Ehad Fishoff, Gilad Kahane, and numerous others. If you didn't catch the name mentioned in the previous sentence, you might be wondering, with all due respect, and there is respect (at least we hope so), what is the connection to the coverage? But before we delve into that, let's share another interesting fact... In 1984, the Charles A. Smith High School of Arts was founded in the community center of the Mosrara neighborhood in Jerusalem. At its inception, the school had around 90 students and offered three art majors. It resided in the Mosrara neighborhood for approximately three years before expanding and relocating near the bell garden in the city. In the inaugural class of this small artistic school in Jerusalem in 1984, Ehad Fishoff, Alon Cohen, and Yashi Ader were students. At just 14 years old, the trio formed "Kobi Or's Cap Themes" (yes, the same Kobi Or mentioned in the third paragraph). They performed together during breaks, with Ahed as the vocalist and guitarist, Alon on drums, and Yshi Ader on keyboard. A year later, Tamir Albert joined the band as the lead guitarist and an additional vocalist, prompting the group to change its name to "Nosei Hamigbaat". (Photo: Moti Rozitsky) From the same school, everyone dropped out except for Yishai Adar, and the band held their rehearsals at Pishoff's parents' house in Motsah Ilit. Fischoff, Cohen, and Adar moved in together in Jerusalem and would travel to Tel Aviv weekly to explore record stores and draw inspiration from new music for their evolving work. Initially, the band mainly performed in Jerusalem at the "Pargod" theater and the "Amadeus" club in Zion Square (known as "the underground club"). They were known for their unconventional music, creative performances, and avant-garde style. Fishoff recalls, "At our first show, we adorned the stage with toilet paper and rag dolls featuring a large penis. People thought we were crazy, but fortunately, our audience, mostly friends, embraced and enthusiastically supported our wild ideas." During those early days, the band received a boost on the radio from Yossi Kassif, a renowned radio host, who featured them on his show "Kut Other" on the C channel. In 1987, Tel Aviv producer-promoter Moti Shahrabani took over managing the band and arranging performances for them beyond Jerusalem. Their shows were titled "Live in Beit Shemesh," and they independently produced a demo tape under the same name, featuring cover versions. Shahrabani described the band's performances as captivating, mentioning, "Ahad had an electrifying charisma, Albert would sometimes perform in his underwear, and he'd even play wild solos with just two strings. It was a magical experience that defied explanation." In 1988, the band members gathered at Hezi Davidian's home studio in Tel Aviv. Hezi, a member of the band "Maatz" who acted as a mentor to them, produced their recording "The Cassette," which was later released under the label "The Third Ear." This "cassette", which became a rare cult item, sold approximately 1,500 copies and featured the tracks "Voice of Another God," "Visit to the Mountain," and "Nosei Hamigbaat." "Tired," written by Amir Zeidner, a friend of Pishof's elite background, was also included. Sadly, Amir lost his life in a tank due to a roadside bomb explosion in southern Lebanon in 1988. The song "Visit to the Mountain" was dedicated to his memory. The band's concert tour during that period was named "Don't worry about the government." (Photo: Eran Bendhaim) As you are aware, the early 90s marked a significant golden era for Israeli rock, not only in the US but also in Israel. A wave of new young bands emerged, each with their unique style, some gaining mainstream success while others carved out their own niche. Acts such as "Avtipus", "Dr. Kasper's Rabbit Show", "Eyfo Hayeled?", "Zikney Tsfat", "Taarovet Ascot", "Hayehudim", "Rockfour", and many others rose to prominence during this period. It is gratifying to see this young band finally receiving the recognition it deserves... Simultaneously, the band also had gigs in Tel Aviv, primarily at the renowned "Penguin" club. During one of their performances, Shlomi Bracha from the "Mashina" band was present. He was struck by the fact that what he witnessed and heard was unlike anything he had encountered in Israel, leaving him impressed. Recognizing their potential, Bracha took it upon himself to introduce the band to the record company Hed Artzi for the production of an album. However, this process was not swift. It took a year of relentless efforts from Shlomi and Moti, along with arduous negotiations, before the young underground group finally signed with the prominent label of that era, "Hed Artzi" – known for representing various rock bands. Concurrently, in the same year, Yishai Ader departed from the band due to military enlistment, leading to Adam Horowitz taking over on bass and later welcoming guitarist Ram Orion into the group. Later on, the band members will admit that their decision to sign with "Hed Artzi" was a major misstep, ultimately leading to the disbandment of the group. Upon signing with the major label, the band embarks on the creation of their debut album, with Shlomi Bracha taking on the role of music producer. Shlomi, who hails directly from "Mashina's" record, had just released the successful album "Mortality Research Association" in the same year. The collaboration on the album was a two-way process, with Shlomi working to shape the unique material of the young band into refined songs that could be performed, while the band members introduced him to an unpolished, raw, and distinctive sound unlike anything he had encountered before. Shlomi acknowledged that working with the band members broadened his musical horizons, inspiring him to explore a variety of genres. This experience ultimately led to the creation of the "Glory Monsters" album, a departure from his previous work on mortality studies but perfectly aligned with the musical trends of the time. It wasn't a straightforward process; in fact, it could be described as a continuous nightmare!! In January 1991, amidst Saddam Hussein's threats to destroy Israel, the band, with Shlomi Bracha as their music producer and support from a major Israeli label, began working on their debut album at the Hamon recording studio in Ramat Gan. According to a fan in an interview, the studio experience was dreadful. The band members were described as loud and opinionated, with Tamir noting that Jacob Moreno, the technician, was not accustomed to their working style and was not fully supportive of their artistic direction, causing frequent tension that Shlomi had to manage. The band members felt a lack of creative harmony, constant conflict, and a sense of losing control over their artistry. Despite the chaos, the album was completed in just two days. The band had prepared their materials beforehand and spent most of the studio time, around three-and-a-half hours per song, in heated discussions with Shlomi and Moreno, who aimed for a grandiose sound while the band insisted on maintaining their original style. Indeed, the debut album "Who Killed Agnetha Falskog" was released on June 27, 1991. Agnetha Plaskov is a play on the name "Anita Platskog", who is the renowned Swedish singer from the band "ABBA", the most successful Swedish pop band ever. The album features revamped versions of the band's old songs that had been previously released on tapes (such as "Live in Beit Shemesh" and "Holiday Gift"), along with new songs. Most of the album's tracks were penned by Ehad Fishoff, with "Boom and Trouble" and "Fiction" written by Adam Horowitz, and "Am I a political text?" co-written by Ehad Fishoff and Ruti Ashouri. The music was a collaborative effort among all band members. Prior to the album's release, four singles were put out: "Next in line is a horse", a new version of "Live in Beit Shemesh" (also included on the cassette), "Ish, Kupa and Masha's", and a new version of "Am I a political text?". Subsequently, four more singles were released ("Bristles", "Boom and Trouble", "Holiday Gift", and "Fiction"). The album spawned several hits, including "Next in line is a horse", "I am a political text", "Holiday Gift", and "In the direction of the stubble", leading the band to embark on a nationwide concert tour, culminating with a performance on the main stage at the "Arad Festival" in the summer of 1991. Despite the successful tour and significant radio airplay, the album did not achieve commercial success and was even deemed a failure. While other emerging bands were selling tens of thousands of copies, Flaskog managed to sell only five thousand. The album eventually gained recognition and became a milestone in Israeli rock only in the early 2000s when it attained gold album status. The beginning of the end had already started... By the end of 1991, as the band members began working on their next album, disagreements arose among them regarding the musical direction. What had made their sound and lyrics unique and special also led to their breakup. Each band member brought their own unconventional ideas, but this time they struggled to blend them together. Fishoff revealed in an interview that this disharmony was at the core of the band: "The whole story was discordant, with a perpetual lack of understanding and communication, always dissonant and conflicting." Muti suggested that success was their downfall, as egos clashed and hindered their collaboration: "Everyone was talented, but the pursuit of fame, coupled with egos, blinded them." The band's final performance took place at the "Liquid" club in Tel Aviv on November 22, 1991. Following the split, the band divided into two factions: the first group named "Next in Line is Nothing" consisted of Pishoff, Ram Orion, and Vichy Ader (who rejoined the group). They performed a series of farewell shows under this name, offering electronic-industrial renditions of the band's songs. Pishoff and Orion remained part of the band "Hefa and Telefiim," committing to releasing an album every six years according to their self-imposed "code." The other faction retained the original band name and collaborated with Zvika Pick on a "comeback" album. They embarked on a successful concert tour with Pick, known as "Zvika Pick and the Hat Bearers," lasting about a year and a half. The tour featured the addition of the drummer from "Dorlaks Sadlaks" and Inbal Perlmutter. During this period, the band members re-recorded some of their songs with Pick, releasing three tracks as radio singles, including the popular "Living with Him" and the "Frecha Song." (Photo: Yitzhak Elharar) The album "Nosei Hamigbaat" was released in 1996 by Moti Shahrabani, who faced financial difficulties after the band's breakup. It featured songs from various periods of the band, many of which were previously only available on tapes. While three songs from the album were also included in "Who Killed Agatha Falskog," they were presented in a different version. Additionally, seven songs were selected from the "cassette". The first two tracks of the album, along with "New Material," were recorded during the band's final concert tour in 1992. The song "Radio" was captured live at "Roxanne" in August 1991. On December 26, 2013, the original band members reunited to celebrate the reissue of their first "cassette" on the Anova label in digital format. In December 2015, the "cassette" was officially released as a vinyl record with the band's authorization, after an unauthorized release prompted a public warning against purchasing it. In 2018, Albert and Orion, joined by other musicians, embarked on a special tour commemorating the 30th anniversary of the "cassette's" release. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Not every day do we tell you about a meteoric connection between two great artists, from two different generations and both ends of the musical spectrum. It is also rare for such a connection, until it already happens, to be fruitful and give birth to a full album, a double single, and even a joint tour. This is the story of the album "Mirror Ball", Neil Young's 21st studio album released on June 27, 1995, in which members of the Pearl Jam band collaborated with Neil Young. Our story begins in 1993, when "Pearl Jam" was in the midst of touring the "Vs.". During that time "Pearl Jam" also served as Neil Young's opening act in his shows. "Pearl Jam" members' admiration for Neil Young was well known. It’s no secret that bands in the grunge scene have been influenced and adored by him, but it turns out that this admiration was mutual. Neil Young known as the "Godfather of Grunge" used to bring "Pearl Jam" members on stage during the encores to perform the song "Rockin' in the Free World" with him. It worked so well that it was clear to everyone that this mutual admiration would eventually yield a joint creation, but it did not work out with the busy schedule of both parties. Eventually, a narrow window of opportunity opened up for the artists in early 1995 and they decided to make the most of it. Eleven days after performing with "Pearl Jam" members in a charity show in Washington, Neil Young flew to Seattle and settled in the famous recording studio "Bad Animals", where albums such as "Soundgarden's" "Superunknown", "Mad Season" "Above" and "Vitalogy" of "Pearl Jam" were recorded. The recordings were held for only four days, at the end of January 1995 and the beginning of February. Young wrote all the songs during those four days of recordings except the two "Act of Love" and "Song X". All of the songs on the album were written by Young except for "Peace and Love" co-written with Eddie Vedder, so this is actually Young's album with "Pearl Jam" which serves as his backing band, similar to "Crazy Horse". At the same time, it is impossible to ignore the fact that the members of the band "Pearl Jam" were the ones who were responsible for the sound, the musical style, and the general atmosphere of the album, and thus contributed quite a bit to the result. The album was recorded almost entirely live and without special production tricks. The sound is very immature and rough, with quite a bit of guitar feedback and friends' talk before and after the songs, really a sense of performance and not of an album. Eddie was almost absent from all the recordings because at the time he was under the surveillance of a serial harasser, and hardly left his home. During the sessions for recording, two more songs were written by Eddie, who did not find their way to the album: "I Got Id" and "Long Road". These songs eventually came out as a "Pearl Jam" double single of the season called "Merkin Ball", which was also released in 1995. The reason these two songs were not included in the album is probably because it is Neil Young's album and not a joint work, hence the separation between the songs was a commitment to reality. However, just as "Pearl Jam" served as Young's backing band on the album, Neil Young returns a favor here and accompanies "Pearl Jam" on both of these songs, so all 13 songs from the album and the double single can be treated as one piece. After the release of the album, Neil Young and Pearl Jam (minus Eddie Vedder and plus album producer Brendan O'Brien who played keyboards) went on a short tour in Europe. During that tour, we were privileged to see them here in Israel, at the "Sultan's Pool", and in Caesarea. We were there in Jerusalem that hot summer night, a day after the horrific attack on Line 26 in Jerusalem, and after a really unrelated warm-up show by Ronit Shachar. We have witnessed this special connection between two generations, the veteran in the plaid shirt and the young men in Bermuda shorts, sharing one stage in the name of music. By the way, this special connection continued even after the tour, as the partnership with Young influenced Pearl Jam's sound later on. Parts of this can already be found on the band's next album "No Code" which was released in 1996. Listen to the songs "Red Mosquito" and "Smile" for example and you will hear in them the clear effects of Young, especially in playing the harmonica in the last song. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 26, 2007, "Pierce The Veil" released their debut album, "A Flair for the Dramatic", through Equal Vision Records. But the story of this album begins long before the first note was recorded... It starts in San Diego, California, where brothers Vic Fuentes and Mike Fuentes began crafting music long before they had a name or a direction. The two had grown up in a musical household, Vic had studied graphic design at San Diego State, Mike was a powerhouse on drums even as a teenager, and together they formed the nucleus of what would eventually become "Before Today", a band that flirted with the boundaries of post-hardcore but never quite found its identity. In 2006, after "Before Today" disbanded following the release of "A Celebration of an Ending", the Fuentes brothers made a choice. Instead of auditioning new lineups or starting from scratch, they doubled down, recording music on their own terms. Vic took over guitars, bass, keyboards, and all vocals while Mike handled drums and percussion. The songs they were writing were personal, volatile, and operatic. And they needed a new name to match. "Pierce The Veil" was born from a phrase Vic had written during his college years, describing the need to "pierce the veil" of superficiality and get to the core of things. It wasn’t just a band name, it was a philosophy. As the demos began to take shape, the duo attracted the attention of Equal Vision Records. With the help of producer Casey Bates, known for his work with "Chiodos" and "Fear Before the March of Flames", they entered the studio in Seattle and started to craft what would become "A Flair for the Dramatic". But the album wasn’t a team effort in the traditional sense, it was Vic and Mike in a creative bunker, building every layer themselves, taking turns refining melodies, screams, beats, and breakdowns. Every moment was intensely personal. Photo: Reybee Productions It was only after the album’s completion that the full band lineup was solidified. Tony Perry joined as lead guitarist, bringing a clean and melodic playing style that would complement Vic’s chaotic energy in future records. Jaime Preciado, a friend from the local scene and former bassist of Trigger My Nightmare, brought groove and charisma to the rhythm section. Though neither contributed to the recording of this debut, their arrival solidified Pierce The Veil as a full-fledged live band and completed the circle. The chaos begins with "Chemical Kids and Mechanical Brides", a tight, emotionally wired burst of heartbreak and fury. Vic’s vocals climb the walls, collapsing into themselves and then erupting again. "Currents Convulsive" thrashes and sways like an ocean storm—Mike’s drums splashing down like thunder, while Vic draws blood from every lyric. an then comes "Yeah Boy and Doll Face" is the album’s most theatrical moment—part experimental spoken-word, part scorched-earth breakdown, stitched together with heartache and poetic rage. "Falling Asleep on a Stranger" is the sigh that follows the scream. The stripped-down arrangement pulls you inward, Vic’s voice cracking not with volume, but with pain. It’s intimate, fragile, and unforgettable. "Drella", "I'd Rather Die Than Be Famous", and "The Balcony Scene" push into new emotional terrain—mixing punk urgency with emo confession and Latin-flavored rhythm changes. It’s not just post-hardcore. It’s a genre swirl that only made sense through the lens of the Fuentes brothers' eclectic upbringing. The final stretch—"Diamonds and Why Men Buy Them" and "The Cheap Bouquet"—wraps the record in a dark, romantic veil. These songs are bruised and grandiose, tragic and triumphant. And when the hidden reprise of "Currents Convulsive" drifts in, you realize the drama never ends—it just fades behind the curtain. But there's one more surprise for fans who picked up the iTunes edition of the album: a blazing cover of "Beat It" by Michael Jackson. Pierce The Veil strip away the pop polish and reimagine the song with screaming vocals, double-kick drumming, and jagged guitars. It’s not a gimmick—it’s a tribute filtered through their lens, a defiant nod to a pop icon reinterpreted by a band still defining themselves. In 2017, to celebrate the album’s tenth anniversary, Equal Vision released a special limited edition vinyl pressing of "A Flair for the Dramatic". It came in multiple color variants—including red/black marble and clear gold—and quickly sold out. The reissue was more than nostalgic packaging; it was a reaffirmation of the album’s enduring legacy. In retrospect, this album wasn’t meant to fit neatly into a scene. It was meant to rip through it. "A Flair for the Dramatic" is messy in the best way, ambitious, unfiltered, full of heart and risk. It introduced "Pierce The Veil" not with a whisper, but with a scream wrapped in poetry. Fifteen years later, it still feels like a diary read out loud under stage lights. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 26, 1990, "Sonic Youth" released their sixth album, "Goo". The album included a change in the band's sound and a certain departure from the No Wave style that characterized it. This is perhaps the band's most accessible album, with a cleaner and more processed sound than the band has had so far. The album combined genres like Noise, Pop, Psychedelia, and a bit of rap, (Chuck D from "Public Enemy" is featured on the song "Kool Thing"). The album also features artists such as J. Mascis from "Dinosaur Jr." and Don Fleming. Following the success of the 1988 album "Daydream Nation", Sonic Youth embarked on a major tour with "Nirvana" (who was then just in their initial steps) and Neil Young. This tour brought the band the long-awaited recording contract with Geffen that will help it break out into global success. Despite making the band's sound more accessible (with the help of the record company), "Sonic Youth" was able to maintain its identity. The influences of post-punk and sometimes also the "avant-garde", which corresponds with the "Velvet Underground" (even on the album cover), also exist on this album, despite the "friendly" production. The rough and immature sound from previous albums is still heard in songs like "Cinderella's Big Score" and "Mary-Chris". The familiar Dark touches stand out in the song "Song For Karen", a song about Karen Carpenter from "the Carpenters" who died of anorexia, and the innovation and experimentation that were the band's hallmark are found in the song "Scooter And Jinx". By the way, It is interesting to note that a few years later "Sonic Youth" will complete the tribute to Karen Carpenter with a cover version of the song "Superstar", included in the soundtrack of the movie "Juno". There is no doubt that this album was an essential part of the breakthrough of alternative music towards the mainstream, a move that will erupt in full force a year later. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 26, 1970, "Free" released "Fire and Water" !! This is the band's third album and its breakthrough album which was a huge commercial success. The album that managed to put them on the top list of artists who performed at the "Isle of Wight Festival" in August of that year, in front of over 600,000 people. Who does not know the video clip of the mega-hit "All Right Now" shot in the same mythological show. So for those unfamiliar with "Free", this is a hard rock/blues rock band formed in 1968 by guitarist Paul Kossoff who came from the band "Black Cat Bones" and singer Paul Rodgers. The two added drummer Simon Kirke and bassist Andy Fraser from "John Mayall's Bluesbreakers", whom he joined when he was only 15 years old. They recorded their first album - "Tons of Sobs" in late 1968 and it was released in March 1969. They were really young and inexperienced, all under the age of 20, when Andy Fraser was then only 16, which is noticeable in the results. The album failed to elicit a response from audiences and critics. Although the second album bearing the band's name - "Free" was released only a few months later, one could already feel the difference, especially in Paul Rodgers' voice which sounded like a combination of James Brown's voice with Robert Plant's depth and Rod Stewart's hoarseness. Another significant change was in the quality of the material, which was written almost entirely by Rogers and bassist Fraser, who studied classical music and also knew how to play the piano. At the same time, this album also did not arouse any significant interest, nor did it enter the charts. In January 1970, "Free" opened the decade at the Trident recording studio in London, where they entered to record their third album. They decide to make a change and for the first time produce the album themselves. They knew they had to have a "hit" this time. After two albums that failed to take off, it was clear to them that if they failed to produce a serious hit, their fate was doomed and no record company would be interested in continuing to fund them. The opportunity to produce the "hit" they so longed for, came precisely after the band's failed performance in Durham England. Drummer Simon Kirk recalls that they got off the stage at the sound of their footsteps because the audience did not even clap. They went into the locker room and realized they desperately needed a good rock track with which they could end their performances. And so all of a sudden, the inspiration fell on young bassist Andy Fraser and he started dancing while singing the phrase "All Right Now". Kirk noted that the entire song was written in the same locker room within 10 minutes. This song was a meteoric success and jumped straight to number one on the charts in over 20 different countries. It is one of the greatest rock anthems of all time, which has a place of honor next to other great anthems like "Smoke On The Water", "Satisfaction", "Whole Lotta Love", and more. In 2006 the American Artists' Rights Organization BMI announced that the song had been played over 3,000,000 times on radio stations since its release. Do the math yourself, it means this song was played 10 times an hour, every day, every month, for 26 years !!! This song of course saved "Free" from doom, but it is the one that also eventually led to its end. The band failed to recreate such a big hit which would eventually lead to their disbandment after two years and another two studio albums. Even today, more than 50 years after its release, you can hear in "Fire and Water" the boldness and innovation that the band brought with it. Unlike the English blues-rock / hard-rock bands that performed at the time, such as "Cream", "Blind Faith", and "Derek and the Dominos", "Free" knew how to incorporate soul and groove, into their music, while the other bands were missing. Listen to the theme song "Fire and Water" that Paul Rodgers noted he wrote with the thought that a soul singer would have to sing it. He said that when he wrote it during the band's US tour in which they warmed up "Blind Faith", he felt that Sly Stone and James Brown were present in the room, but it is clear that the song is closest to Wilson Pickett, who even performed a cover version of it a year later. The guitar playing in this song, is a genius of simplicity, just pure gold. "Mr. Big" was written by all four members of the band. A great track that showcases the talent of each of the band members. Kosoff's amazing solo that almost sounds like feedback and Fraser's cruel bass with Kirk's precise drumming - a-la Charlie Watts, prove how talented these guys are. The song inspired the name of the American hard rock band "Mr. Big", which even performed a cover version of it in their third self-titled album from 1993. "Remember" could easily have been part of Rod Stewart and the Faces' repertoire. A song of longing, written by Rodgers and Fraser in Fraser's apartment after Paul moved in. This is a remake of Outtake from the band's first album called "Woman by the Sea". And how is it possible not to mention the blues-soul ballads “Heavy Load” with Fraser’s piano playing, the mesmerizing “Don’t Say You Love Me” and the “Oh I Wept” that guitarist Paul Kossoff led its writing. For Listening: Spotify, Apple Music Follow us on Facebook or Subscribe to our website "Face/Off" - Israel's Rock Blog & Podcast

On June 25, 2002, Ozzy Osbourne released "Live at Budokan" album. The album was recorded during Ozzy Osbourne's performance at the legendary "Nippon" Budokan Hall on February 15, 2002, during his "Down to Earth" Tour, this album showcases Ozzy and his formidable band—longtime guitarist Zakk Wylde, bassist Robert Trujillo (soon to join "Metallica"), drummer Mike Bordin ("Faith No More"), and keyboardist John Sinclair. However, despite its high-energy performance, the crazy Japanese crowd and solid production, "Live at Budokan" feels like an unnecessary addition to Ozzy’s discography. The album kicks off with "I Don’t Know", a classic from his debut album "Blizzard Of Ozz" that immediately sets the stage for the live Ozzy experience. Although Zakk Wylde’s is out of this world he is not always sticking to Randy Rhoads’ original composition, which sometimes feels like an overkill. The setlist continues with "That I Never Had" from "Down to Earth" failing to leave a lasting impression with Ozzy's voice sounding a bit strained and out of tune, while Zakk’s backing is more solid. "Believer" on the other hand, stands out as a highlight, with Wylde capturing the essence of Randy Rhoads’ original style, making it one of the better tracks on the album. The setlist continues as a mix of old and new songs with another track from "Down to Earth" - "Junkie. Zakks playing is as amazing as the studio album's version, but Robert Trujillo's bass playing is pure perfection. Then comes "Mr. Crowley" letting John Sinclair to step into the spotlight with the classic intro. The album includes four tracks from the "No More Tears" album, with the title track and "Road to Nowhere" faring particularly well. "Mama I’m Coming Home" and "I Don’t Want to Change the World" receive enthusiastic responses from the crowd, though the latter remains a less exciting part of the setlist. "Crazy Train" and "Bark at the Moon" staples of Ozzy’s live shows, don’t sound quite right with the down-tuned arrangements, and their energy seems diminished as a result, despite Mike Bordin’s drumming that usually brings a fresh, energetic style. The album ends up with a "Black Sabbath" classic "Paranoid" which in our opinion got a weak version. Zakk, again, is trying to push the boundaries of this classic track with too much improvisations, in our opinion. More than that, the double-tracked Ozzy vocals sound very artificial. The Japanese crowd at Budokan adds an interesting dynamic to the recording. Known for their respect and attentiveness, they provide a loud and enthusiastic backdrop not seen in a typical Western concert. Production-wise, the album is decent, and the rhythm section of Mike Bordin and Robert Trujillo positively impacts the sound. Trujillo's bass is prominent in the mix, and Bordin’s drumming is consistently engaging. Despite this, Wylde's guitar work, characterized by excessive pinch harmonics and flashy solos, sometimes overshadows the rest of the band. It is interesting to note that a DVD of the concert was also released along with the album, including the song "Suicide Solution" and Zakk Wylde's guitar solo, which spanned over 13 minutes. These sections were cut from the CD version due to time limitations. For those interested, you can watch the full performance here: Despite its moments, "Live at Budokan" feels like an unessential of Ozzy’s live releases. The setlist, lacks the depth and variety that might have made this recording stand out, with the absence of tracks from albums like "The Ultimate Sin", "No Rest for the Wicked" and "Ozzmosis". Except of the addition of the unique Japanese crowd and the "Superstars" lineup, this album fails to overshadow live albums like "Tribute" and "Live & Loud". For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 25, 1967, the first live broadcast in the history of satellite television called "Our World" took place. This was the first international production of satellite TV. Various artists were asked to appear on the same broadcast as opera singer Maria Callas, painter Pablo Picasso and another band you may have heard of called "The Beatles". ( Photo: The Beatles Bible) "The Beatles" were asked to provide a song with a message that could be easily understood by many people from different countries and cultures. Two songs were suggested by the band "Your Mother Should Know" written by Paul McCartney and "All You Need Is Love" written by John Lennon. In the end, Lennon's song was chosen because of its contemporary social significance. About a week before the broadcast the BBC Announced that "The Beatles" are expected to present a new live song to the world and that this would take place in a special and preliminary broadcast. On June 14, "The Beatles" entered the studio and began recording the song that opened with "La Marseillaise" - the French national anthem, at the request of producer George Martin. The Fabulous Four returned to the studios to add instruments a few days later, when on June 23rd the orchestral accompaniment that is heard throughout the entire song was also recorded. On the day of the broadcast, Studio No. 1 of "Abbey Road" Studios was converted into a television studio from which the song was broadcast live to the whole world. Prominent artists in British culture came to attend the special and historic event, including Mick Jagger, Eric Clapton, Keith Richards, Pattie Boyd, Keith Moon, Marianne Faithfull, Graham Nash, and Jane Asher, and more. Everyone, including "The Beatles", was dressed in colorful clothes, and the studio was decorated in the spirit of the "Flower Children" and the "Summer of Love". The song was broadcast live to 25 different countries and was watched by more than 400 million viewers. The song was played as playback from the Beatles' early recordings, except for Lennon's vocal roles, George Harrison's guitar solo, and a few other instruments. The "Rolling Stone" magazine ranked the song 362nd out of the 500 best songs of all time. This special day was so significant in the history of "The Beatles", so this is the reason why it was decided to hold the "Global Beatles Day" every year on June 25!!! "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Today we're going to tell you about the Israeli guitarist Hillel Slovak who became famous mainly as a founding member of the band "Red Hot Chili Peppers". (Photo: John Coffey) Here are some facts we know about the man: 1. He was born in Haifa, Israel on April 13, 1962. He is the son of Holocaust survivors who left Israel for the United States in 1967. 2. He attended "Fairfax High School" where he met Jack Irons, Anthony Kiedis, and Michael "Flea" Balzary. 3. He received his first guitar as a Bar Mitzvah gift and played it for long hours, mostly influenced by "Led Zeppelin", Jimi Hendrix, and "KISS". 4. His first band was "Chain Reaction", which soon changed its name to "Anthem". Hillel was then only in high school 5. At one of the band's shows, Hillel met Anthony Kiedis who was in the audience, and the two became good friends. Flea along with Kiedis and Hillel used to spend a lot of time together and became good friends but what united them was mostly drugs, they used heroin, cocaine, and LSD. 6. The members of "Anthem", especially Hillel, were not happy with the performance of their bassist so Slovak decided to teach his good friend Flea to play bass to replace him. Flea connected to the instrument very quickly and beyond his great talent, an amazing musical chemistry was created between him and Hillel. Flea of ​​course joined a band that continued to perform in small clubs. 7. After graduating from high school, the band changed its name to "What is this?" Later Flea left the band and they continue without him to perform across California. 8. In 1980, after discovering that they had a common fondness for punk and the band "Defunkt", the other three together with drummer Jack Irons started playing together and formed the band with the short and catchy name "Tony Flow and the Miraculously Majestic Masters of Mayhem". The first song the four wrote was a riff written by Hillel on which Kiedis added the rap and called it "Out in L.A." 9. After they wrote a few more songs and started performing in clubs around Los Angeles they changed their name to "Red Hot Chili Peppers". The band gained momentum and for six months became an underground hit among clubs in Los Angeles. (Photo: NME) 10. Three years later, the band managed to obtain a record contract with EMI, while at the same time Hillel's other band - "What is This?" Also manages to get a record deal with MCA Records. Since Hillel and Jack saw "RHCP" as a side project, they decided to leave and focus on their first band. Kiedis and Flea recruited a new drummer and guitarist to replace them. 11. In 1984 RHCP released their first EP called "Squeezed" and a year later the debut album bearing the band name. 12. In 1985 Hillel felt he was no longer finding his place in "What is This?" and contacted Kiedis and Flea who at that time felt dissatisfied with their guitarist and started looking for other solutions. The perfect timing reconnected Hillel with the RHCP. 13. In August 1985, RHCP released their second album, but the first with Hillel. The album was produced by George Clinton, a musician and a colorful personality known for his virtuosity in the punk world. Although the album was unsuccessful, Hillel considered it an ingenious album and really liked the work and creation process of the album with his band members. 14. In addition to him being a talented musician, Clinton also had a knack for instilling a party atmosphere during the band recordings. He contributed greatly to the intensification of the drug use of his two friends, Kiedis and Hillel. During the recordings, the band members moved in with Clinton, which further increased the drug use of the band members and especially of Hillel and Kiedis. 15. After the release of the album, the band went on a tour to promote it. During the tour, Hillel's health condition began to deteriorate as a result of the drug use, it came to the point when he was unable to hold himself properly or wrestle with Flea on stage, as they did at every other performance. As a result of increased drug use and the tension created, drummer Martinez left the band and Jack whose band disbanded returned to RHCP, so the original lineup that formed RHCP was back in full operation. 16. For their third album the band members tried to recruit producer Rick Rubin, but in light of the band's use of drugs he refused and the band took Michael Beinhorn as producer instead. Work on the album was difficult and often stopped due to Kiedis and Hillel's severe drug addiction, Hillel was still able to function while Kiedis often disappeared and was unable to record. 17. In September 1987 the band released their third album "The Uplift Mofo Party Plan" which is also the last album in which Hillel participated. The album was a greater success than the previous album and was the band's first album to enter the Billboard charts. 18. After the release of the album, the band went on a tour to promote it. Before embarking on a tour, Kiedis and Hillel decided to stop using drugs to produce a successful tour. The two began to develop symptoms of drug withdrawal as Hillel became extremely unstable. The rehab process severely affected Hillel until he became incapable of playing the guitar. During one of the performances, Hillel, who was unable to play the guitar, experienced a severe nervous breakdown and left the band to perform an entire show without a guitar. 19. After the event the band did not agree to let Hillel perform and recruited DeWayne McKnight instead for several performances. Hillel then returned and continued touring with the band. At the end of the tour, Kiedis tried to take Hillel to a rehab facility but the attempt was unsuccessful, with Hillel denying his difficult condition. 20. Several weeks after the end of the tour, on June 27, 1988, Hillel was found dead in his Hollywood home by the police. A post-mortem revealed that Hillel had died two days earlier as a result of a heroin overdose. (Photo: Monumentsusa.com) 21. A little about the rest of the band members ... Although throughout their time together, Kiedis and Hillel used drugs, Kiedis is the one who saw serious consequences and failed to function properly over time. Hillel managed to perform much better than Kiedis but he is the one who eventually collapsed. Jack, who became severely depressed after Hillel's death, refused to continue with the band that "caused" his friend to die and left. The guitarist who replaced Hillel, John Frusciante, was a young fan of Hillel who went his way and was greatly influenced by his playing. 22. Hillel greatly influenced the other members of the band who saw him as the source of creativity and inspiration. Some of the songs were written about him such as: "Feasting On The Flowers", "Dosed, This Is The Place", "My Lovely Man" and more ... The album "Mother's Milk" which was released a year after his death was entirely dedicated to praise. 23. Despite Anthony Kiedis' intense love and admiration for Hillel Slovak he was not present at his funeral, the situation was too difficult for him. 24. On March 24, 2026, Netflix released a documentary film about Hillel and the early days of Red Hot Chili Peppers. This is an emotional documentary journey into the band’s roots, focusing on Hillel, who was the beating heart of the group in its early years. The film sheds light on the deep bond between the young band members in 1980s Los Angeles, their musical breakthrough that fused funk and rock, and the tragedy that struck with Slovak’s untimely death. Through rare interviews and archival footage, the film successfully shows how Hillel’s spirit continued to accompany the band over the decades, shaping the identity and sound that would turn them into global icons. For Listening to the last RHCP With Hillel: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Today we'll tell you about Ian McDonald, a musician and multi-instrumentalist, one of the founding members of "King Crimson" and "Foreigner": (Photo: Paul Natkin) 1. Ian was born on June 25, 1946 in Middlesex, England. 2. The first instrument he played in his youth was the guitar. 3. He received his substantial musical training in the army, where he served for five years. 4. He joined the army when he was in his teens, There he learned to read music, play the clarinet and later the saxophone and flute. 5. After his release from the army, he joined the band "Giles, Giles & Fripp", which consisted of Michael Giles (drums, vocals), Peter Giles (bass, vocals) and Robert Fripp (guitar). 6. McDonald participated in the recording of one song from their album "The Cheerful Insanity of Giles, Giles and Fripp". He played brass instruments, keyboards, acoustic guitar and vocals in the song "Under the Sky", which was only included in the later releases of the album. 7. In 1969 he co-founded "King Crimson" with Robert Fripp. He was one of those responsible for the band's all-too-special sound as the one who played mellotron, flute, saxophone, clarinet, piano, organ and sang background vocals. He was also responsible for the production and for all of the band's arrangements on the debut album "In The Court Of The Crimson King". 8. After the release of King Crimson's debut album, McDonald's left the band with drummer Michael Giles. The two formed the band "McDonald and Giles" with Michael's brother - Peter Giles who played bass. 9. The band released their only album "McDonald and Giles" in 1970. Also this case McDonald was responsible for playing a wide variety of instruments, singing and musical processing. The album also featured Steve Winwood. 10. In 1971, McDonald participated in the recording of the song "Get It On (Bang a Gong)" by "T. Rex". 11. In 1974, McDonald returned to collaborate with Robert Fripp as a guest on the recording of the album "Red". McDonald's had plans to return as a permanent member of "King Crimson", but Robert Fripp had other plans and he chose to disband it. 12. In 1976, McDonald's, together with guitarist Mick Jones and singer and songwriter Lou Gramm formed the band "Foreigner". 13. "Foreigner"'s first album was released in 1977 and was an immediate huge success. It included hits like "Cold as Ice", "Feels Like the First Time", "Long, Long Way from Home", "Starrider and more, which soon made it one of the best-selling debut albums in the US. 14. McDonald plays on "Foreigner" debut album on keyboards, guitar, saxophone and flute, he sings background vocals and this time too he co-produced and wrote one of the hits on the album - "Long, Long Way from Home". 15. McDonald will continue with "Foreigner" in the next two albums "Double Vision" from 1978, which includes the only instrumental track of the band "Tramontane" which was co-written with McDonald and "Head Games" from 1979. 16. In 1980 McDonald left "Foreigner" after friction with Mick Jones. 17. In 1996 he joined Steve Hackett's backing band. As a result he co-recorded the album "Genesis Revisited" and the live album "The Tokyo Tapes", which also included a mini-reunion with John Wetton ex-"King Crimson" bassist and singer. 18. In 1999 McDonald released the solo album "Drivers Eyes", which featured guest appearances by John Wetton, Lou Gramm, John Waite and Gary Brooker. 19. In 2017, McDonald's formed the band "Honey Wes", together with guitarist and singer Ted Zurkowski. They released their only album "Bad Old World" the same year. 20. On February 9, 2022, McDonald passed away at the age of 75. He died of cancer alongside his family at his home in New York. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 24, 1988 "Pantera" released their fourth album "Power Metal". This is a historically significant album that serves as a bridge between the band's earlier glam metal sound and their heavier thrash-influenced style that would come to define their later releases. This album marked a turning point for "Pantera" as it introduced Phil Anselmo as their lead vocalist, solidifying the lineup that would remain intact until their breakup in 2003. The album's backstory adds depth to its significance. After parting ways with vocalist Terry Glaze, "Pantera" held auditions for a replacement singer and began working on songs with various candidates. The tension between the band and Glaze led them to search for a heavier vocalist, which led to the introduction of Phil Anselmo. Anselmo's first appearance with the band was recorded on November 25, 1986, and he brought a new energy and aggression to the group. "Power Metal" showcases "Pantera's" musical evolution and the band's determination to shed their glam metal roots. The album's songwriting and musicianship demonstrate a balanced fusion of their earlier flamboyant prowess and the street grit that would become characteristic of their later releases. The influences of glam acts like "KISS" and "Def Leppard" have given way to heavier inspiration from "Judas Priest" and "Metallica", with hints of the groove metal sound that would define their later work. Phil Anselmo's vocal performance on "Power Metal" is a standout element. His mix of Rob Halford falsettos and David Lee Roth swagger, while lacking some of the quirks that would later become his signatures as a vocalist, exudes confidence and captivates the listener. His techniques may make him nearly unrecognizable in compered to "Cowboys from Hell" for example, but his delivery is compelling and enjoyable, showcasing a range that would come to define his future work. It is worth noting that the lyrics underwent significant changes from their original versions, with Anselmo altering most of them to suit the band's evolving direction. The instrumental prowess of the band is evident throughout the album. The Abbott brothers, Dimebag Darrell on guitar (then credited as Diamond Darrell) and Vinnie Paul on drums, display their growing strength as musicians, with Dimebag's guitar work combining southern crunch with tight chugs and acrobatic soloing. Dimebag was working at the time with "Slayer's" Kerry King and there is no doubt that this was affecting the outcome on this album and on his future playing style. Vinnie Paul's drumming injects hard rock beats with faster patterns, adding dynamism to the songs. Bassist Rex Brown's presence on "Power Metal" is more pronounced compared to previous albums, laying the foundation for the role he would come to play in the band's sound during the nineties. (Photo: Revolver Magazine) The songwriting on "Power Metal" is more consistent than on any other "Pantera" album. The album largely avoids the pitfalls of their earlier glam releases while steering clear of the experimental tendencies of their groove metal era. The album has a perfect balance between the past and future of the band's musical styles. Tracks like "Rock the World" go more toward the glam metal roots of the band, while tracks like "Power Metal" with the double bass-driven onslaught showing their thrash metal influences. The rollercoaster continues with the glam of "We'll Meet Again" against the fast-pace of "Over and Out", the stomping beats and catchy choruses "Proud to be Loud" (written and produced by "Keel's" Marc Ferrari who also plays guitar) vs. the thrash metal riffs of "Down Below" and Rob Halford's-like vocal of Phil Anselmo. "Death Trap" sounds like a very early "Queensrych" song while "Hard Ride" adds a touch of AOR flair and a chorus reminiscent of "Judas Priest's" "Rock Hard, Ride Free". The album ends with the speed metal track "Burnnn!" and "P*S*T*88" featuring non-other than Dimebag Darrell on vocals. Despite limited promotion and the absence of major label support, "Power Metal" has garnered a dedicated following over the years. While initial critical reception was mixed, with some acknowledging its transitional nature, the album has since been recognized as an intriguing early effort from one of the most important metal bands of the '90s. While "Power Metal" may not have achieved mainstream success or received the same level of acclaim as "Pantera's" later releases, it remains a hidden gem for fans of the band. Its role as a transitional album, combining elements of the band's earlier glam metal sound with their evolving heaviness, makes it a worthy addition to "Pantera's" catalog. The album serves as a testament to the band's musical growth and showcases the talents of its members, particularly the emerging vocal prowess of Phil Anselmo and Dimebag Darrell's guitar skills. In conclusion, "Power Metal" deserves a second look and appreciation for its place in "Pantera's" history. It might not be one of their best, but its importance in the band's progression cannot be overlooked. It stands as a testament to "Pantera's" resilience and determination to carve their unique path in the world of metal. For Listening: Youtube "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website