The Israeli punk rock band "The City Revival", which we discovered in the last performance of "Useless ID", is releasing its debut album today, June 24, 2022. The band "The City Revival" was formed in 2019 when in the same year they released their first EP "No Skin Just Bones" which contained 5 songs. The band consists of Lior Babani Guitars and vocals, Hemi Keren Guitars and backing vocals, Guy Gorlan Bass and Oz Yitzhak on drums. The album, entitled "On Display", which the band worked on for a year, was created under the production and guidance of the famous punk anchor, Yishai Berger, who most of you know from the band "Useless ID" and the project "Tabarnak" (by the way, he also maintains a solo career) and you can even meet him in the Ozen record store. The band releases this album under the label "White Russian Records" (named after the drink), which is a Dutch label specializing in punk rock, hardcore, and everything around. Holds quite a number of bands from the genre and he attests that it is not big but loves what it does and supports their bands all the way! The first single from the album "War Inside" was released in April this year. The album called "On Display" showcases the band's entire arsenal of tools - from mowing punk to sweet and caressing rock, with lyrics that are not afraid to touch the really painful places and still come out optimistic from the whole story. This album has everything that should be in punk rock and even what's a bit around, cool riffs that catch you fast, melodic vocals that are fun to rave with, and drums that hit you like you hit the floor to the sounds of music. An album that is one big fun !!! Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

He is best known as the drummer, co-founder, and leader of the rock band "Fleetwood Mac", here are some facts about Mick Fleetwood: (Photo: Dia Dipasupi) 1. He was born in Redruth, Cornwall, England as Michael John Kells Fleetwood, on June 24, 1947. 2. He spent his early years living in Egypt and Norway due to his father's military service. He attended school in Norway and became fluent in Norwegian. 3. He performed poorly in school, which he attributed to his inability to memorize facts being dislectic, but he nevertheless enjoyed acting during school, often in drag, and was a competent fencer. 4. Fleetwood stands at an imposing height of 6 ft 6 in (1.98 m) and was known for his beard and long hair. 5. His parents recognized his musical talent and bought him a drum kit when he was thirteen. 6. Fleetwood was a self-taught drummer from his early childhood. 7. Fleetwood dropped out of school at 15 and moved to London in 1963 to pursue a career as a drummer. 8. He initially stayed with his sister in Notting Hill and found his first opportunity in music through keyboard player Peter Bardens, later known as "Camel's" keybordist. 9. Bardens gave Fleetwood his first gig in the band "The Cheynes" in July 1963, leading to further musical opportunities. 10. Later in 1966 Fleetwood joined "the Peter Bs" which expanded to "Shotgun Express" (with Rod Stewart). 11. Peter Green and Mick Fleetwood went to join "John Mayall & the Bluesbreakers", in April 1967. The band also featured John McVie. 12. Green became a supportive bandmate who helped Fleetwood develop his drumming skills. 13. Fleetwood and John McVie were heavy drinkers during their time with "the Bluesbreakers", causing strain in the band. 14. In the end, Green who left the "the Bluesbreakers" invited Fleetwood to join his new band, which eventually became "Fleetwood Mac". 15. Bassist Bob Brunning was replaced by John McVie, solidifying the first fixed lineup of Fleetwood Mac. 16. The initial lineup of "Fleetwood Mac", including Fleetwood, McVie, Green, and Spencer, performed their first gig in August 1967. 17. The name "Fleetwood Mac" was derived by merging Fleetwood's surname with that of the group's bassist, John "Mac" McVie. 18. The band released their first album, "Peter Green's Fleetwood Mac," in 1968. 19. The band recorded their second album released in 1968, "Mr. Wonderful," under the name Fleetwood Mac, dropping Peter Green's name. 20. Christine Perfect, who would later marry John McVie and known as Christine McVie, became a guest musician and later a permanent member, beginning in "Fleetwood Mac's" third album, "Then Play On," released in 1969. The album also marked a shift in musical style toward a more psychedelic sound. 21. Peter Green's mental health declined, and he left the band in 1970, leaving Fleetwood and McVie to carry on. The departure of Green led to a period of instability and lineup changes within "Fleetwood Mac". 22. In 1974, "Fleetwood Mac" relocated to Los Angeles, seeking new opportunities and a change of scenery. 23. In Los Angeles, Mick Fleetwood discovered Buckingham-Nicks, a duo featuring Lindsey Buckingham and Stevie Nicks, and invited them to join the band in 1974. (Photo: Fanart.TV) 24. Buckingham and Nicks brought fresh songwriting and vocal talents to "Fleetwood Mac", revitalizing the band's sound. 25. The self-titled album "Fleetwood Mac" released in 1975 became a breakthrough hit for the band, reaching No. 1 on the US charts. 26. "Rumours" released in 1977, became one of the best-selling albums of all time, with hits like "Go Your Own Way" and "Don't Stop". 27. Fleetwood Mac's album "Tusk" (1979) showcased a more experimental direction led by Buckingham, incorporating elements of punk and new wave. 28. Mick Fleetwood often sang filled pauses along to songs to help keep the beat. 29. Mick Fleetwood had his rack of tom drums arranged back to front. 30. Mick Fleetwood hit his drums very hard, except for his kick drum. 31. Mick Fleetwood has played drums on many of his bandmates' solo records, including Lindsey Buckingham's "Law and Order", where he played on the album's biggest hit, "Trouble". 32. Fleetwood released his first solo album "The Visitor" in 1981 and his second solo album "Something Big" in 2004. 33. in 1983 he released the album "I'm Not Me" under the band name "Mick Fleetwood's Zoo". The band's second album "Shakin' the Cage" was released under the name "The Zoo" in 2004. 34. Together with John McVie Mick Fleetwood is the only member of "Fleetwood Mac" to feature in all of the band's 18 studio albums. 35. Mick Fleetwood has a secondary career as a TV and film actor, usually in minor parts like on of the episodes in "Star Trek: The Next Generation". 36. Mick Fleetwood co-hosted the 1989 BRIT Awards. 37. In 1998, Mick Fleetwood was inducted into the Rock and Roll Hall of Fame as a member of "Fleetwood Mac". 38. Mick Fleetwood has been married to three women and has four children. His first wife was Jenny Boyd - sister of Pattie Boyd the wife of George Harrison and later Eric Clapton. 39. Mick Fleetwood and Stevie Nicks discovered they were more than just bandmates in 1977, they had a short love affair. Jenny Boyd had also been having an ongoing affair with "Fleetwood Mac" member Bob Weston. Weston was ultimately fired from the band. 40. Mick Fleetwood became a US citizen only on 22 November 2006 in Los Angeles. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Editor's Choice... And this time on "Marillion's" "Holidays in Eden" album released today in 1991. This is the band's sixth album and second with singer Steve Hogarth replacing Fish on the previous album - "Seasons End" released June 24, 1989. This album combines "Marillion's" familiar progressive tracks with more accessible and commercial tracks. If Hogarth came to the previous album after most of the material had been written, then this album is the first time the band has written as a complete piece, with Hogarth's contribution being very noticeable. How noticeable is it? The music for three of the album's songs - "You Don't Need Anyone", "Cover My Eyes" and "Dry Land" was already recorded by Hogarth as part of his previous band "How We Live" in 1987, when the song "Cover My Eyes” was with a slightly different chorus and was called“ Simon’s Car ”. After the song "Easter" from the previous album showed relative success, the record company got an "appetite" and asked the band to work with producer Chris Neil, who among others produced bands like "A-Ha". Chris knew how to strip the songs from the layers of instruments and the sound barrier and make some of them accessible in a more "poppy" way, aimed at a larger audience and the mainstream. Marillion's music suddenly got the sound of bands like "U2" (listen to Steve Rothery's guitar that opens the song "Cover My Eyes"), or sounded for moments like "Bon Jovi's" ballads (listen to "Dry Land" or "No One Can" and imagine Jon Bon Jovi singing them). But along with the "commercial" hits, you can also find some moments that are reminiscent of the good old "Marillion", in this album. Listen to the dramatic opening of "Splintering Heart" and the divine entrance of Steve Rothery at 2:36 and say that it does not throw you straight to 1983. Listen to the gloom and melancholy of "The Party" and you will understand its complexity, especially in the amazing bridge section, with syncopations and rhythm changes Starting at 3:20. What a great song it is! Mark Kelly's beautiful keyboards, the pounding bass work by Pete Trewavas, and the clever drumming by Ian Mosley and that's even before we mentioned Steve Rothery's crazy guitar solo. Even the three songs that seal the album "This Town", "The Rakes Progress", and "100 Nights" are arranged as a trilogy, in a kind of medley that deals with the impact that the big city has on two people. Indeed, it's not quite the good old "Marillion", but we really like this album, even its more commercial parts. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 24, 1995, "Marillion" released their eighth studio album, "Afraid of Sunlight". This album arrived at a transitional moment in the band's career—their last under EMI and one of the most emotionally and thematically unified works of the Steve Hogarth era. Though not officially labeled a concept album, "Afraid of Sunlight" flows like one. It revolves around the destructive nature of fame and the emotional fallout that trails behind public adoration. The writing process came swiftly after touring in support of "Brave", with most of the album created in a tight, immersive setting. The band crafted a poignant, sometimes unsettling atmosphere, shaped by characters like Mike Tyson, O.J. Simpson, Donald Campbell, Elvis Presley, Kurt Cobain, and Michael Jackson. These figures serve as avatars for society's obsession with building icons only to watch them burn out. The album opener "Gazpacho" lampoons the Hollywood lifestyle and seems to refer to O. J. Simpson. opens the album with ambient TV and boxing audio, juxtaposing upbeat melodies with biting lyrics about media exploitation and violent celebrity arcs. "Cannibal Surf Babe" is a "Beach Boys" influenced track, inspired by late-night horror movies. It acts as a satirical homage to surf music, smuggling in dark subtext beneath its jangly guitars and Mark Kelly's strange keyboards, which correspond with the soundtrack of American '60s B-movie aesthetic. And listen to Pete Trewavas' bass work in the opening minutes, how much it corresponds with that of Geddy Lee. "Beautiful", the album’s only single, and one of the "Beautiful" and melodic songs written in the Hogarth era of the band. It is a tender plea for authenticity and compassion in a world that punishes vulnerability. It reached No. 29 in the UK charts and remains a staple of the band’s live shows. "Afraid of Sunrise" and "Afraid of Sunlight" together form the emotional center of the album. The former is soft and calm like the morning, while the latter bursts into shimmering melancholy and refers to self-destructive thrill-seekers such as James Dean. In between them we cab find "Out of This World" - arguably one of "Marillion"'s most transcendent tracks—a deeply emotional tribute to speedboat racer Donald Campbell, whose fatal 1967 crash haunted the British psyche. This song give us chills and penetrates our bones. Such a beautiful a melody, such brilliant performance by the whole band and divine presentation of Steve Hogarth. Steve Rothery solo in 2:30 is mind blowing and the melody that comes right after is absolute perfection. The song later inspired diver Bill Smith to look for the actual wreckage, with the main part of the fuselage of Campbell's Bluebird K7 hydroplane being recovered from Coniston Water on March 8, 2001. Both Steve Hogarth and Steve Rothery were present at the raising, and Rothery produced a photographic record of the event. "Beyond You" pays homage to Phil Spector’s wall-of-sound technique, productions and, in homage, was mixed in mono. "King" closes the album in majestic, sorrowful form—a soaring elegy to artists like Elvis Presley, Kurt Cobain, and Michael Jackson. It embodies the album’s message: we crown our icons and then crucify them. Despite modest commercial performance, "Afraid of Sunlight" has become a fan favorite and a critical high point of "Marillion"'s post-"Brave" catalog. In 2019, it received a deluxe reissue featuring a new stereo remix, surround sound version, demos, new cover and a full live set from Rotterdam in 1995—underscoring its lasting legacy. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Today we will tell you about guitar legend Jeff Beck. (Photo: David Redfern) 1. He was born in Wellington, England on June 24, 1944, as Geoffrey Arnold Beck. 2. At the age of 6 he first heard Les Paul playing the electric guitar with the song "How High the Moon" on the radio. He immediately knew that was what he wanted to do with his life. 3. At the age of 10 he began to sing in the church choir. 4. As a teenager he started playing on a borrowed guitar and at the same time made several attempts to build a guitar himself. 5. It was his sister Annetta who introduced him to Jimmy Page when they were both young boys. 6. After high school, he attended Wimbledon College of Art and worked in casual jobs among other things as a painter. 7. During his college years he played in various bands including "Screaming Lord Sutch and the Savages". 8. In 1963 he formed "the Nightshift" R&B band with which he played at "the 100 Club" Pub on Oxford Street. 9. Later that year Beck switched different bands, when in 1964 he became a sessions player in recordings for "Parlophone" record company. 10. On March 10, 1965, Beck joins "The Yardbirds" on the recommendation of his friend Jimmy Page and replaces Eric Clapton. Beck made his first appearance with "The Yardbirds" just two days after Clapton's departure. 11. The Yardbirds recorded most of their hits at the time Beck was a member of the band, but during his tenure, he was privileged to record only one studio album with them - "Roger the Engineer" from 1966. 12. As The Yardbirds' guitarist Beck uses innovative playing techniques and effects, while influencing younger musicians. 13. Beck was known as a perfectionist and had a hot temper that erupted a lot when he was not happy with his performance. 14. In May 1966 Jeff Beck entered the studio and recorded the instrumental piece "Beck's Bolero", which would be issued 10 months later as part of his solo career. Jimmy Page, Keith Moon, and John Paul Jones are present in the studio during the recordings. 15. A few months later Jimmy Page joins the band as a bass player. Page later became the band's second guitarist alongside Jeff Beck. Beck was officially fired from the band in November 1966, largely due to his perfectionism and warm temperament. 16. In 1967 Beck releases two singles, On one of them - "Tallyman" he also sang. 17. That same year the Pink Floyd band considered recruiting Beck as Syd Barrett's replacement, but Nick Mason noted years later that none of them dared to approach him and ask him to join. 18. That same year he formed the band "The Jeff Beck Group" along with Rod Stewart on vocals, Ron Wood on bass, Nicki Hopkins on keyboards, and Mickey Waller on drums. 19. Along with this band, Beck will release two masterful albums - "Truth" from 1968 which was released as a solo album, and "Beck-Ola". 20. In 1969, after the death of Brian Jones, Beck was asked by the "Rolling Stones" to be his replacement. 21. This is not the only offer Beck received to join a great band. The members of "Pink Floyd" also wanted him to join their band before turning to David Gilmour. 22. In September 1969 Beck tried to create another band with Stewart, bassist Tim Bogert, and drummer Carmine Appice, both from the band Vanilla Fudge, but after a recent accident that caused a crack in his skull the project was shelved and meanwhile, Bogart and Appice joined the band Cactus. (Photo: Ivan Keeman) 23. Beck returns to the music scene after recovering and in 1971 reassembles "The Jeff Beck Group" only with various band members, including drummer Cozy Powell. 24. Together with this band he releases the third album "Rough and Ready" which was released in 1971. The album differs in style from the other two and combines soul, R&B music, and even jazz. 25. In 1972 Beck releases with the band the fourth studio album - "Jeff Beck Group". On this album, Beck deepens his grip on soul music and even performs a cover of Stevie Wonder's song "I Got to Have a Song". 26. That same year he was also featured on Stevie Wonder's song "Lookin' for Another Pure Love" from the masterpiece "Talking Book." 27. After the dissolution of the band Cactus in 1972, Carmine Appice and Tim Bogert become available and they join Beck. The three together form the power trio "Beck, Bogert & Appice" which releases their first and only album in 1973. The band disbanded in 1974 before they had time to release their second album. 28. In 1974 Beck returns to his solo career with the album "Blow by Blow". An instrumental jazz fusion album produced by George Martin. The album features Stevie Wonder. 29. Beck continues the momentum on another album produced by George Martin - "Wired" from 1976. On this album, Beck continues more or less with the musical formula from the previous album, with the addition of influences of funk. 30. In 1980 Beck released the album "There & Back". On this album, he deepens his collaboration with keyboardist Jan Hammer from the "Jan Hammer Group". 31. In 1981, Beck appeared alongside Eric Clapton in a charity show by Amnesty International. 32. In 1983 Beck participates in the charity show "ARMS Concert for Multiple Sclerosis" and plays on stage alongside Eric Clapton and Jimmy Page. This is the first time the three guitarists of "The Yardbirds" are together on the same stage. 33. In 1984 Beck played guitar in the song "Private Dancer" by Tina Turner. 34. In 1985 Beck releases the album "Flash" in which Rod Stewart and Carmine Appice return to collaborate with him. 35. That same year he played on Mick Jagger's solo album "She's the Boss". Beck will also collaborate with Jagger on the 1987 album "Primitive Cool". 36. In 1989 Beck released the album "Jeff Beck's Guitar Shop". In this album, he plays the electric guitar with his fingers without a guitar pick. 37. In 1990 Beck is featured in Jon Bon Jovi's "Blaze of Glory" song. 38. In 1992 he participated in Roger Waters' solo album - "Amused to Death". 39. That same year he rehearsed with "Guns N 'Roses" ahead of the band's performance in Paris. However, due to ear damage caused by drummer Matt Sorum's cymbals, he became temporarily deaf and did not eventually take the stage at the show. 40. Back in the same year, Beck entered the "Rock Hall of Fame" along with "The Yardbirds". 41. In 1993 he played on Kate Bush's album "The Red Shoes". 42. Back in the same year, he participated in Paul Rodgers' tribute album to Muddy Waters - "Muddy Water Blues: A Tribute to Muddy Waters". 43. In 1998 he played the song "The Guv'nor" from Brian May's "Another World" album. 44. In 1999 he released the album "Who Else!", where he experiences electronics and techno. 45. In 2001, Beck released the album "You Had It Coming" in which the effects of electronics continue. 46. In 2008 Beck plays the piece "Where Were You?" From his album "Jeff Beck's Guitar Shop" at the funeral of keyboardist Rick Wright who really liked his playing, at Wright's own request. 47. In 2009 Beck entered the "Rock Hall of Fame" as a solo artist. 48. That year he hosts David Gilmour on stage in his performance at the Royal Albert Hall. The two play "Jerusalem" and end the show with a performance of "Hi Ho Silver Lining". 49. ​​That same year he plays the song "Black Cloud" from Morrissey's "Years of Refusal" album. 50. In 2010 he releases his album "Emotion & Commotion" The album wins Beck two Grammy Awards. 51. In the same year he comes to Israel for two performances. 52. In 2013 Beck was featured on Roger Taylor's album "Fun on Earth". 53. In 2021, two songs were hosted, including the theme song from the album "Patient Number 9" by Ozzy Osbourne. 54. Beck was a collector of American "Hot Rod" vehicles and has the largest collection of them in the entire UK. 55. Jeff Beck, passed away on January 10, 2023 in a hospital near his home in the south of England and he is 78 years old. The cause of death was meningitis. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written By: Noam Asulin Release date - 24/6/2022 Sharpen your swords, open a bottle of rum, and put on your wooden leg, because we're going to talk about pirates. grrrr... This time, the review is of the new and seventh album by the Scottish pirate band "Alestorm", named "Seventh Rum Of A Seventh Rum", and as you can see this is a paraphrase of the legendary seventh album of "Iron Maiden" - "Seventh Son of a Seventh Son" from 1988 The Scottish band "Alestorm" has five members: Christopher Bowes on vocals and keyboards, Gareth Murdock on bass guitar and background vocals, Peter Alcorn on drums, and Elliot Vernon on keyboards and vocals, and Máté Bodor on guitar and background vocals. The band was formed in 2004 and was called "Battleheart", until 2007 when it changed its name to "Alestorm". that year, the band signed a record deal with "Naplam records" and released their debut album "Captain Morgan's Revenge" and have since released six more albums, including the reviewed album. The band is defined as "Pirate Metal" because the theme of the songs revolves around the theme of pirates. Those of you who know the band knows that its members like to laugh and give quite angular performances. The show at Reading 3 on July 5, 2022, has already sold out. The new album is a triple album. The first record includes 11 tracks, while the second record includes the same tracks in an acoustic version and the third record also includes the same songs, please note, in the dog version. Yes, instead of the lyrics you hear the barking of dogs. We already said this band like to laugh? The review will refer to the album in the regular version. The first song "Magellan's Expedition" does not waste time and already makes you bounce. Alestorm's songs always give a sense of a "party" and fun and are characterized by instruments that are common in this genre like the accordion. Although the band loves to fool around, it also maintains professionalism and a polished and high-quality sound. Christopher, the lead singer not only sings about pirates but also sounds like a pirate. And tries to emphasize this in every song, both by using "rrrrr…" and in his accent. The album continues in the same direction, with the fourth track being called "P. A. R. T. Y", so if you did not understand what's the band members' aim and purpose, this song will definitely not leave any doubt. The sixth track "Magyarország" is especially interesting because the band members sing in Hungarian during the chorus. The song itself talks about Budapest. Although it did not surprise me personally (and I guess everyone who knows the band), I still keep my mouth open every time some of the members are so beautifully changing languages ​​on the band's albums, and more on that later. As on the previous album "Curse of the Crystal Coconut", on this album to the band collaborates with some of their favorite artists, such as Patty Gurdy who plays hurdy-gurdy (a traditional instrument that produces sound by manual rotation of Manuela and includes strings like on guitar) and Ally Storch on violin. The ninth track "Return to Tortuga" is a slightly different version of the song "Tortuga" from the band's previous album. The latest track "Wooden Leg Part III" is also a slightly different version of the song from the previous album "Wooden Leg Part II". In addition to this song they also sing in Spanish and Japanese (languages, remember?) In conclusion, this is a super fun album to listen to. Quite a few songs have contagious solos that make me swing my imaginary Air Guitar. You can not miss the talent and fun of the band members to create together. Still, there were two little things I didn't like so much. I was happy to get new songs instead of two different versions of two songs from the previous album and still, these are different versions enough to interest me. Plus, I think the third record called "Dog Version" is redundant. It's a nice and funny gimmick for one song but not beyond, certainly not for all the songs on the album. For Listening: Spotify, Apple Music, Deezer "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 23, 1992 "Killers" released their debut album "Murder One". "Killers" (not to be confused with the Alternative rock American band "The Killers"), is a British Heavy metal band formed in 1990 by ex-"Iron Maiden" frontman Paul Di'Anno. Before forming "Killers", Paul Di'Anno had a notable career in the heavy metal scene. As well known, he rose to fame as the lead vocalist for "Iron Maiden" from 1977 to 1981. Di'Anno's powerful and gritty voice contributed to "Iron Maiden's" early success, and their debut album "Iron Maiden" and the follow-up "Killers" are considered classics in the genre. However, due to Di'Anno's personal issues and conflicts within the band, he departed from "Iron Maiden" in 1981. Following his departure, Di'Anno embarked on various musical endeavors. He formed the band "Di'Anno", which released one album and toured extensively. The group showcased a sound different from the traditional New Wave of British Heavy Metal, leaning towards a more Americanized rock sound. After Di'Anno, he joined "Gogmagog", a supergroup project assembled by Jonathan King, including bassist Neil Murray, guitarists Pete Willis and Janick Gers and drummer Clive Burr. Di'Anno then formed "Battlezone", another heavy metal band that released several albums. However, conflicts within the band and issues with drugs and infighting led to its eventual dissolution. Following the breakup of Battlezone, Di'Anno joined "Praying Mantis" for a tour of Japan before forming "Killers" in 1990 along with guitarist Cliff Evans, drummer Steve Hopgood, and bassist John Gallagher. In the beginning they played only "Iron Maiden" songs because they had not written any material, but apparently, that was enough for major record BMG which gave the band a $250,000 contract. Once signed, Killers began writing their debut album, "Murder One," with renowned producer Rob Fraboni. The band relocated to Binghamton, where they worked on the album and developed their own material. "Murder One" showcased the band's musical prowess, blending heavy riffs, melodic hooks, and Di'Anno's distinctive vocals. The album marked a new chapter in Di'Anno's career, as he continued to evolve as a frontman and songwriter. "Murder One" is a sonic journey that immerses listeners in the essence of classic heavy metal, reminiscent of the golden era of the 1980s. The album kicks off with a thunderous opener, the hammer-esque horror-themed "Impaler", channeling heaviness and setting the stage for the exhilarating ride that awaits. Di'Anno's signature raspy vocals instantly transport you back to the early days of "Iron Maiden", evoking a sense of nostalgia and familiarity. The album continues with "The Beast Arises" which opening riff and Di'anno's vocals will remind you of "Accept". Then comes the first cover "Children of the Revolution" which turns T-Rex's hit into a classic 80's heavy metal tune injecting infectious energy into the choruses and adding two blistering guitar solos. "S & M" features a great bass-drum pattern, melodic guitar lines and powerful Di'anno vocals. "Takin' No Prisoners" brings forth shades of "Queensrÿche" both in Di'anno vocal color and melody, with modified elements from "I Don't Believe in Love". "Marshall Lockjaw" is a fast-paced rocker about a futuristic bounty-hunter whose character is featured on the inside booklet of the album. "Protector" drumming intro threw us back to "The Ides Of March" the opening track of "Killers", while the power ballad "Dream Keeper" captivates us with its heartfelt lyrics and showcases one of Di'Anno's most compelling performances on the album. As the album progresses, DiAnno continues to show his vocals diversity, yet again sometimes sounding like Geoff Tate in "Awakening". The album ends with a rendition of the classic epochal power "Iron Maiden's" ballad "Remember Tomorrow". While the cover may not surpass the original, it still adds to the album's charm. The remastered version of the album includes bonus rehearsal recordings of "Impaler", "The Beast Arises", "Marshall Lockjaw", and "Children of the Revolution", along with an acoustic version of "Dream Keeper". These recordings offer a glimpse into the band's preparation process, adds context and enhances the overall experience. "Murder One" represents a pivotal and transitional chapter in Paul Di'Anno's career. It may not possess the cohesive identity of his previous endeavors, but it showcases Di'Anno's relentless spirit to evolve and explore new musical avenues. With its amalgamation of various metal influences and Di'Anno's distinctive vocal prowess, "Murder One" remains an intriguing testament to an artist's journey of self-discovery. Despite its fragmented nature and the shadows it casts on Di'Anno's future trajectory, "Murder One" stands as a testament to his resilience and determination to forge ahead. While it may not be a groundbreaking or genre-defining release, the album offers a glimpse into the artistic evolution of a charismatic frontman, serving as a reminder of his contributions to the metal landscape. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Benjamin is back... Breaking Benjamin's "Dark Before Dawn" album was issued on June 23rd, 2015. So in 2015, Benjamin Burnley made a comeback, he came back all alone, without anyone, after a very difficult period of legal disputes and illness, but he came back big time and for the band's fans, it was the best thing that could have happened. In April 2010 during the band's tour in the US, Burnley started to get sick, he suffered from a combined phenomenon of hangover and flu. The feeling was not foreign to him since he was a very heavy drinker for the past 10 years, but that feeling did not pass after a day or two as usual but lasted longer. Burnley said that after 3 consecutive days of drinking the hangover feeling did not go away and he also started to have symptoms of the flu, headaches, weakness, and fever. He did not even manage to get up and perform. (Photo: billboard.com) At first, he went for tests at his family doctor (he has no supplementary insurance) and the "genius" could not identify what he was sick of, Benjamin tried to check the matter with another doctor but still got no answers. In light of this, he decided to stop everything, take a break from the band and embark on a journey to identify and solve the disease. Well, we did not come here to tell you about Burnley's medical history but there is a reason for it. As a result, he announced that he was taking a break and so was the band until he will found a solution to his medical problem. A year and a bit later the two members of the band, guitarist Aaron Fink and bassist Mark Klepaski received an offer from the band's record company Hollywood Record to release a collection of hits and a remix to their famous single "Blow Me Away" and for that they will each receive $ 100,000. The two members decided to take the offer and the record company did release in August 2011 the album "Shallow Bay: The Best of Breaking Benjamin" as well as a remix of the song in question. When Burnley heard about it, he decided to fire the two members (he fired them via email, they should be thankful there was no WhatsApp then) and sue them for illegal conduct and decision-making without the consent of the band members. Burnley vehemently opposed releasing a completion album and the remix made to the song was his private property only. On the other hand, the two members claimed that Burnley was on a break from the band and had no authority to make decisions or oppose the activities of the other band members. The long conflicts in courts and long complicated arbitration ended in April 2013, it was settled that Burnley gets all the rights to the band name and the two unemployed members can look for their way elsewhere! By the way, three days after Burnley announced the end of the saga, drummer Chad Szeliga announced he was retiring from the band due to disagreements. In parallel with the legal proceedings during the period, Burnley lost his advice and was unable to get answers from the doctors. He visited dozens of doctors and no one was able to identify the problem he had. He said that at one point he was already so frustrated that he took the thick medical folder and slammed it on the floor. Broken and exhausted he decided to turn it all over to create the band's next album in the hopes that it would cure him. He started writing the album while at the same time recruiting a completely new band members: Jasen Rauch guitarist who was in the band RED and contributed to the writing of the album, "Dear Agony", another guitarist who also sings, Keith Wallen from Adelitas Way, a bassist who also sings Aaron Bruch and drummer Shaun Foist who was in the band Picture Me Broken. Apart from the drummer, he knew each member during the band's tour in the past, so he chose them one by one... and to test the dynamics they went on a short tour in 2014, which also included several acoustic performances. (Photo: spotify.com) After a short tour, the members of the new band slightly rubbed in performances together, entered the studio to record the album. The album of course was already written for the most part, except for the opening section and the closing section which Jason wrote. The new members only added their share to the adaptation and lyrics that Burnley had already written on his own. Burnley said in one of the interviews that working with the new lineup was much more fun and creative than with the previous lineup, "So, everyone came to do their job, he knew his role and was goal-oriented and audience-oriented. Here we do everything together with great fun." Burnley is also the one who produced the album, which has happened on previous albums but he never got credit for it. The name of the album is exactly what Burnley went through during the break, from the darkness to the dawn of a new day, with a new lineup he came to prove to himself and especially to fans that the band's all-too-familiar sound was not lost, only improved. Indeed, the album sounds just like the band's previous albums, some would even say that there are songs that are reminiscent of specific performances from previous albums. Breaking Benjamin has its sound, true it sounds or sounds like other bands, but it is still special and consistent throughout all of her albums. Burnley claimed they were not interested in changing that on this album, he did not want to reinvent the wheel or explore new areas. He wanted to put the familiar sound of the band with the power of the new lineup, and we must say that in our opinion he was hugely successful. - Footnote: In the next album you do hear some changes in the sound but it only makes it better !! The album opens with an instrumental opening track that leads to the opening song, which was both the album's first single and the band's most successful - "Failure". The opening explosion in the chorus put you right into the muse of the album. The second single from the album "Angels Fall" brings Burnley's volume with a slightly gloomier style. In general, the strength of the guitars, Burnley's voice, and the style of the drums are the hallmarks of the band that is well felt in "Breaking the Silence", "Close to Heaven", "Bury Me Alive", "The Great Divide". The song "Ashes Of Eden" is slightly different and deviates from the band's familiar style, but gives an extraordinary experience and a new definition to the concept of a rock ballad. The song "Dawn" closes the album optimistically and gives a feeling of incredible satisfaction for the whole experience we went through now. By the way, the song combines the voices of Burnley and his wife with the sounds of their eldest child's heartbeat immediately after he is born. As fans of the band this album was a groundbreaking moment for us. The fear that the band had broken up, that it would not be as it was, and waiting to see what would happen were nerve-racking mortals. When the album came out already on the first listen, we breathed a sigh of relief. As if someone took the ice cream from us, but just added hot chocolate to it from above and gave it back to us tastier and more upgraded. On this occasion, we must commend the great tribute show to the band that took place several years ago in the country and hope it will return again. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

The second studio album "Significant Other" by "Limp Bizkit", was released on June 22, 1999. This is one of the top Nu-Metal explosions accrued at the beginning of 2000. A crazy red-capped singer with a heavy guitar player, heavy beats drummer and bassist accompanied by a "lethal" DJ dropped their music on the world. Their debut album, "Three Dollar Bill, Y'all," released in 1997, didn't create much buzz or attention for the emerging group, despite their close association with "Korn" and their involvement in the Nu-Metal movement. However, there was one song on the album that stood out amidst the sea of mediocrity. Their cover of George Michael's "Faith" quickly gained momentum, receiving extensive airplay on radio stations, clubs, and becoming a massive hit on MTV. After this breakthrough, "Limp Bizkit" became a household name, and the anticipation for their next album reached a fever pitch. On one hand, expectations were high, but on the other hand, many believed that the band was destined to be a "one hit wonder." People anticipated a lackluster album since nothing else from their first album had resonated with audiences except for "Faith." However, these doubts only fueled Fred and his friends to create their best-selling album. "Limp Bizkit" aspired to be rock stars, longing for fame and success. They were determined to turn their dreams into reality. The band aimed to combine strong heavy metal riffs with hip-hop, powerful beats, and effects. Following the success of the renowned "Family Values Tour" organized by "Korn," Bizkit was eager to hit the recording studio. Despite their label's advice to take a break, they enlisted producer Terry Date, known for his work with "Pantera," "White Zombie," and "Deftones," to enhance their sound and dive into the studio. The album's creativity, as the spirit of the band, was led by the two characters... Fred Durst had a turbulent upbringing, often feeling like an outsider and seeking solace in alternative music. Rebelling against authority, he made a surprising decision to join the army but soon dropped out, finding himself homeless and living on the streets. Recognizing his strengths as a vocal and relatable figure with a pouty, angsty demeanor, he knew he would fit perfectly in a high school detention hall anywhere in the Western world. With this in mind, he formed the band around those qualities. On the flip side, there was another significant figure in the band who embodied a completely different persona. This individual was a flamboyant and eccentric individual, often donning body paint and wearing black eye contacts. Despite this striking appearance, they possessed the intelligence and creative vision that drove the band's success. Wes Borland, the creative force behind the band, bore the weight of crafting their music and carrying the artistic burden. Growing up in Nashville, Tennessee, he faced the challenge of not succumbing to the influence of country music and eventually found his musical calling when he relocated to Jacksonville. Wes served as the mastermind behind the band's melodies and overall sound, skillfully blending elements from various genres of rock music. His powerful riffs provided the necessary backbone to support the frontman's at times outrageous and absurd lyrics. Without Wes's instrumental contributions, which evoked the sensation of one's face being slammed into a windshield with the relentless force of countless car wrecks, the lyrical content would not have resonated as effectively. Furthermore, Wes was renowned for his extravagant stage presence, taking charge of all the costumes and makeup preparations himself. While acknowledging the contributions of drummer John Otto, turntablist DJ Lethal, and bassist Sam Rivers, it was the symbiotic relationship between Wes and Fred that kept things running smoothly for the band. This synergy became evident during Wes's temporary departure from the group, but fortunately, he eventually returned, ensuring the band's continued success. Led by these two charismatic individuals, the band found themselves at the forefront of the musical revolution of 2000. They took the well-known formula of sludgy, loud-quiet-loud dynamics popularized by Nirvana, infused it with infectious hip-hop beats, and added a touch of raw, confrontational lyrics addressing disloyal friends, lovers, and sprinkled with provocative sexual and crude humor. Setting the tone for their album, they kicked things off with the opening line, "You wanted the worst, you got the worst." As the summer vacation approached and teenagers eagerly anticipated their break, on June 16, 1999, "Nookie" was released as the first single from the album. Inspired by Fred's own breakup with his girlfriend, the song was a potent blend of sexy and powerful rap-rock hybrid. It struck a chord with the overwhelmed and hormone-fueled bodies of young, wild teenagers, delivering exactly what they were craving. There's no need to feel embarrassed; it resonated with you too! Six days later the album came out and sold 643,874 copies in its first week. In its second week of release, the album sold an additional 335,000 copies. Very quickly it reached the top and conquered the number-one spot on the Billboard 200 chart. The band collaborated with "Korn" vocalist Jonathan Davis and Scott Weiland of "Stone Temple Pilots" on "Nobody Like You". Weiland would frequently visit NRG studios and help Fred with the vocals. "Staind" singer Aaron Lewis provided backup vocals on the song "No Sex", while Scott Borland, Wes' brother, played keyboards on "Just Like This", "Nookie", "Re-Arranged", "I'm Broke", "9 Teen 90 Nine" and "A Lesson Learned". The band allowed Durst and DJ Lethal to explore their hip hop influences by recording with Method Man. DJ Premier of Gang Starr was brought in to produce the collaboration on the song "N 2 Gether Now". Listen to the album on: Spotify, Apple Music. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A few words about Vinnie Paul who is best known as the drummer of "Pantera". (Photo: Mike Pont) He was born in Texas on March 11, 1964 as Vincent Paul Abbott. His father was a producer and writer of country music. In his youth, he learned to play for Tuba, but very quickly made a switch to drums under the influence of his father who explained to him that there is not much of a career for Tuba players. He is the older brother of guitarist Dimebag Darrell, who was born on August 20, 1966. The two formed "Pantera" in 1981. Initially, the band's style ranged from Heavy Metal to Glam Metal, but after singer Phil Anselmo joined the band in 1987, they began to gradually change its style towards Thrash Metal and what would later be defined as Groove Metal. For more on the band's significant transformation process, read two of the four episodes we wrote in the "Transformers of Metal" series here: 1. The Rise of the Transformers 2. Revenge of the Metal Transformers - Revenge of the Fallen After the disbandment of "Pantera", Vinnie Paul and Dimebag Darrell formed "Damageplan", in 2003. In December 2004, during a band performance, Vinnie's brother - Dimebag Darrell was shot dead by one of the spectators, in an incident that shocked the metal world. Following his brother's death, Vinnie Paul was already thinking of giving up on music. He eventually joined the "Hellyeah" supergroup in 2006. Vinnie Paul was found dead at his home in Las Vegas, on June 22, 2018. He had a heart attack on his sleep. He was buried next to Dimebag Darrell in Arlington Texas. On his tombstone, there is a quote from a "Hellyeah" song. During his musical career, Vinnie Paul released 9 studio albums along with "Pantera", one album with "Damageplan" and another 6 albums with "Hellyeah", the last of which was released in September 2019, after his death. Vinnie Paul also collaborated with quite a few artists, one of the most notable collaborations was with David Allan Coe, as part of the album "Rebel Meets Rebel", which also featured his brother Dimebag Darrell and bassist Rex Brown from "Pantera". "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 22, 1979, "Rust Never Sleeps", one of Neil Young's biggest and most influential albums, was released. Neil is accompanied here by his backup band "Crazy Horse". It's an album that defined the sound of rock music and the guitar sound of future generations, an album that was responsible for quite a bit of how alternative and grunge bands will sound in the 1990s, an album that earned Neil Young the title "Godfather of the Grunge". So true, the roots of the rough sound and the dirty distortion sounds are not new for Young. They were planted 10 years earlier, in the album "Everybody Knows This Is Nowhere" released by Neil Young in 1969. At the same time, what was small touches a decade earlier, has already become Young's trademark here, which aims to educate the younger generation And show them what a powerful, rooted, and real "rock" is. It should be remembered that in those years Neil Young's career was not at its peak. Albums like "American Stars' N Bars" (1977) and "Comes a Time" (1978) did not succeed. It was a time when the disco was at high, rock was fading and punk was raising its head. Those same punk bands disliked everything artists such as Neil Young and his friends represented, and were not afraid to express their opinions in public, even in the songs they wrote. For example, in the "Clash" song "1977" the lyrics include the phrase: "No Elvis, Beatles, or The Rolling Stones" - a blatant and direct statement that expresses the mindset of the punk generation who believe that dinosaurs on which rock music is based on are no longer relevant and even extinct. That statement even intensified after Elvis Presley, one of Neil Young's idols, passed away that same year. This was enough for Young who decided to teach the younger generation a lesson while reminding the older generation, who may have forgotten, how to make rock. Although the album includes new songs, it is not considered a studio album in Young's catalog, but rather a live album. A particularly strange statement because the production did everything possible to erase any signs of live performance. Audience voices were almost completely erased, production tricks were performed on the recordings, fade-in and out manipulations were performed on the songs, and space was inserted between the tracks, to give the audience the feeling that this is a studio album for. Interesting that two of the album's songs were not recorded at all during the shows that make the album. The song "Pocahontas" was recorded in the mid-seventies as part of the sessions for the planned unreleased album "Chrome Dreams" and the song "Sail Away" is an outtake from the previous album "Comes a Time". The first half of the album is acoustic, while the second half is electric and rough. Just like the tour that preceded the release of the album and was named after the it - "Rust Never Sleeps". The idea for the album and the tour came from Mark Mothersbaugh, singer of the electro-punk band "Devo". In 1977 Young invited the band members to participate in the comedy film "Human Highway", which he directed. As they go through the recorded material for the project, Young encounters the phrase "Rust Never Sleeps" which Mark Mothersbaugh and the band used. He called them to find out what the sentence meant and they noted that it came from a slogan of a product called Rust-Oleum. This was enough for Young, the sentence stuck in his head and became the name of one of the most remembered and talked about tours in the history of rock 'n' roll and later it was also the name of the album. Young saw the sentence as describing the rust that had caught in his faltering career. The album opens with a streak of three songs recorded at the Boarding House in San Francisco. The opening track "My My, Hey Hey (Out of the Blue)" is simply an acoustic atom bomb. The guitar line played on the bass strings of the acoustic guitar is so simple yet so ingenious! The credit for writing the song along with Young goes to Jeff Blackburn from "The Ducks" - the band formed by Neil Young in 1977 and whose song was written during his friendship in which the song addresses exactly the feelings that accompanied Young before the album was recorded - dealing with his and his friends' declining popularity, passing fame and relevance. The falls in the age of punk and disco. The lyrics include an explicit reference to Elvis Presley and the Sex Pistols in the sentence: "The king is gone but he's not forgotten / This is the story of a Johnny Rotten". This song also features one of rock's most iconic lines ever written: "it's better to burn out than to fade away" - a sentence that signed Kurt Cobain's suicide note from 1994, set Neil Young's title as the grunge godfather in concrete, and sent Him writing an entire album in Cobain's memory - "Sleeps With Angels". This is the quiet version of the electric, the dirty, and rough track "Hey Hey, My My (Into the Black)" that seals the album. The initial performance of this electric version can be found in Young's 12 - minute duet with the Devo band appearing in the movie "Human Highway". "Thrasher" mimics the conceptual line of the first song and also talks about the decline and death of rock 'n' roll. The "dinosaurs" mentioned in the song, according to Young, are Crosby, Stills & Nash who "died" and were forgotten. The song also opens with Young's harmonica exhale reminding us of the opening with the same harmonica sound in the song "Southbound Train" from Crosby & Nash's excellent debut album. A classic folk song that is more focused on recitation and lyrics than on a melody very similar to Bob Dylan. "Ride My Llama" is a short melodic and delicate piece. A ballad that takes us back in time to the "Zuma" days of the mid-1970s. "Pocahontas" reflects Young's preoccupation with Native American culture in America while combining a time travel to the present and an encounter with characters like Marlon Brando. This is a dark fuller song recorded on August 11, 1976, in what was supposed to be the album "Chrome Dreams". The recording of the original version was released only in 2017 as part of the album "Hitchhiker". "Sail Away" ends the acoustic side of the album with a section on the country border which was written and recorded as part of the sessions for Young's previous album - "Comes a Time". The song features Nicolette Larson's wonderfully harmonious and delicate background sounds and it could no doubt have fit perfectly as an excerpt from CSNY's album. We are flipping the vinyl's side, and the music and sound just change from end to end. The acoustic becomes electric, clean and clear becomes noisy and dirty, and we are introduced to "Powderfinger" Which tells the story of a young man trying to protect his family from rioters (apparently during the American Civil War). He realizes that all the older men are unavailable, leaving him to "do the work." After some hesitation, he decides to act, but is eventually killed. The song combines immature riffs with the harmonious background vocals of the Crazy Horse members, and how beautiful the combination of Frank Sampedro and Neil Young is in the harmonic solos. Young initially offered the song to "Lynyrd Skynyrd", but they were not interested. This song was also first recorded in August 1976 and was probably intended to be part of the album "Zuma". The riffs in the song "Welfare Mothers" sound like they were influenced by hard rock, while the song "Sedan Delivery" corresponds with punk a bit. This song was also written and recorded for the first time during the recordings of the album "Zuma" and it was also originally intended for "Lynyrd Skynyrd", but this time Lynyrd preferred not to take the song. The album "Rust Never Sleeps" was acclaimed and also commercially successful. It entered "Rolling Stone" Magazines of the top 500 Albums of All Time and even Colin Larkin's Top 100 Albums List. Needless to say, the album won a maximum rating of 5 stars in almost every possible music magazine. Later in 1979 Neil Young and the Crazy Horse will release the complementary live album "Live Rust" and at the same time a live video of the album under the same title, which perhaps proves that the current album was supposed to be a studio album, otherwise why the duplication on another live album immediately afterward. Along the way, with the start of the next decade, Young will continue to experiment and take new and extreme musical twists, which will include a techno album, an electronic album, and a rockabilly album. About this in the following reviews ... For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Okay, so after our review on "The Black Sheep of the Black Sabbath" earlier this week, we felt we owed you compensation. A review of a "Bomb" album by this great band. And this time it is not just a "bomb", it is a 10-ton bunker penetrating bomb, because it's the Ronnie James Dio lineup reunion album, which is also considered Black Sabbath's heaviest album released June 22, 1992. So here is our review on "Dehumanizer"... Like any good story, our story begins with a great quarrel. In November 1982, after two huge and successful albums, Ronnie James Dio leaves the band, taking drummer Vinny Appice with him to form the band "Dio". The reason for leaving the band is in one word "ego". During the mixes for the live album "Live Evil", a "Black Cat" walked between members of "Black Sabbath", with Tony and Geezer accusing Dio of sneaking into the production room at night to increase the volume of singing relative to the rest of the instruments. In addition, Dio did not like the picture that was meant to be on the front cover. Bassist Geezer Butler also accused Dio and Vinny of secretly working on a solo project without updating the rest of the members. Add to that we'll add the fact that Dio asked to be more involved in the mixes and production of the album and the other two refused, and you get an "Egotrip" salad in antagonism sauce, and believe us, it was not tasty. Dio's departure was so full of negative emotions that it was clear to everyone that the chance of these four returning to play together was almost as good as the chance of true peace in the Middle East. And what did we do? We were saddened, and overwhelmed, mourning the loss of a mighty and meteoric lineup that was expected to be greatness. But as in any other mourning process, after the denial, came the anger, followed by the depression, and finally the acceptance. The acceptance that we probably could not do anything to save this relationship, because after all these are musicians at the highest level who each have a more inflated ego than a hot air balloon. And after the reception came to the consolation. Comfort in the form of the masterful debut album, "Holy Diver", the masterpiece of the band Dio which came out in 1983 followed by another album and another album of this great band and we forgot, and we forgave. Then a miraculous thing happened, apparently the four friends also forgot and forgave, because during the tour of Dio's album "Lock Up the Wolves", he invited Geezer Butler to take the stage with him and perform the song "Neon Nights". At the end of the show, Geezer contacted Dio and asked him if he would be interested in making another album with the band. Dio jumped at the chance to create another masterpiece with Black Sabbath, and the two met up with Tony Iommi and began to conduct what was going to be the album that Dio himself would consider one of the best albums he was ever part of. (Photo by John Harrell) The first sessions for the album were held with legendary drummer Cozy Powell playing with Sabbath on the latest album "Tyr" from 1990, but a strange accident took Powell out of the equation. His horse died and fell on Powell as he crushed his pelvis, in a way that did not allow him to be part of the album. Recordings of songs from the album in which Cozy Powell's drums, exist in bootleg albums from the period. Dio was quick to offer drummer Simon Wright, who played with him and with "AC/DC", among others, to replace Powell, but Iommi and Butler turned down the offer. Finally recruited Vinny Appice who played with the band on its latest album with Dio from 1982 - "Mob Rules", and was also part of Dio's band in its early years. The choice of Appice greatly influenced the album musically. Although in fact, it is exactly the same band that was part of the album "Mob Rules", the music is fundamentally different from it. This is one of Sabbath's heavy albums, whose heaviness is attributed, among other things, to Appice's powerful and aggressive drumming. The style on this album is more similar to the music of Dio's band on his next two albums - "Strange Highways" and "Angry Machines", than to the two masterpieces with "Black Sabbath" from the early 80s. Interestingly, the renewed idyll between Dio and Iommi and Butler was not entirely perfect, because at one point during the recordings, Iommi and Butler considered replacing Dio with singer Tony Martin, again due to professional disagreements. After several attempts to record with Martin, Iommi and Butler decided that it would be better for them to "smooth things over" with Dio, in favor of the project. And how lucky that the quartet managed to solve the chemistry problems between them, because as we said at the beginning of the review, this is literally a "bomb" of an album !!! The album opens with "Computer God", which immediately after the short intro designed to put the listener in the mood, explodes right inside us with the powerful and aggressive drumming of Appice that shakes all the bones in your body. Iommi enters exactly eight bars behind him with a riff that flips you directly to the "God of the Computers" and when Dio starts singing that he is "waiting for a revolution" you want to dive headlong into the speakers and shout with him "The revolution is here !!!". Then, 1:10 into the song after Dio finishes the sentence "Touch tomorrow, ENERGIZE", Butler's "energy bomb" lands on your head with an amplified bass line playing ping pong in your gut. This mini piece consists of 3 main parts, when at 3:00 into the song all this power that has exploded before us since the opening is reduced, refined, and drained into one minute of softness, calm, and serenity, a kind of mini ballad, melodic and moving, straight from Ronnie James Dio who proves that his sonic range stretches from the depths of the "Midnight Sea" of the "Holy Diver" to the summit of the "technological paradise" of the "Computer God". And just then, when you have already allowed yourself to relax a bit and lower all the defenses, suddenly out of nowhere the Appice firing machine shoots you a bundle directly from the snare drum (4:00 min) and when you're sure it's the end and it could not be more powerful, suddenly the tempo doubles (Min 4:20) Just to company Iommi with another immortal solo in the dark corridor leading straight into the arms of the "Computer God" waiting for you at the end of the song. Then, "After All (The Dead)" opens with Iommi's moaning guitar that sounds like a cello connected to distortion, and we enter the cemetery gates to a dark and gloomy song on the verge of Doom, which for a few small moments had It sparks from the theme song from the band's first album (especially at 1:03 minutes). The third track "TV Crimes" actually completes the trilogy of different styles that can be found on this album and proves the diversity it has, which ranges from the speed metal of "TV Crimes" and "Time Machine", through the classic heavy metal of "Master of Insanity" And "Computer God" to the doomed tracks like "Letters From Earth" and "After All (The Dead)". Other notable tracks on the album that you must not miss in any way are "I" and "Too Late". Very unfortunate this little union of the Dio lineup survived only a few months because our story ended just as it began, in a quarrel rooted in a testosterone-wrapped ego. In November 1992 just five months after the album was launched Dio leaves the band slamming the door again, after his friends asked to go on a joint tour with Ozzy Osbourne and serve as the latter's warm-up show, as part of what was to be his last tour. The plan was that during the show, Ozzy would go on stage and sing 4 songs with the band, but that was already too much for Dio's ego, who simply left the tour. The one who eventually replaced Dio in several shows, was none other than Metal God, Rob Halford. And just like the wheel of life that revolves around life and death, 14 years later Dio reunited with the other three members again in the band "Heaven & Hell", released a good album named "The Devil You Know" and went on a long tour with them that included "Black Sabbath" songs from Dio era, which was documented Also on two different live albums. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website