"Linkin Park's" fourth album, "A Thousand Suns", was released on September 14, 2010. A project that started out as a concept album, found itself down the road as one of the band's most eclectic and experimental albums. A little over eight months after the release of the band's third album "Minutes to Midnight" which came out in 2007 and was a fundamental change in the band's style, the members of "Linkin Park" gathered to work on their next album. Reinforced by producer Rick Rubin, armed with lots of ideas and creativity, in an unstoppable free state of mind the band members decided they wanted to do something different once again. They wanted to create freely, without limitations, and without clinging to one style or another. They agreed that if some song would not seem right to them, they would just throw it away and move on, without trying to work on it, change it or improve it. The one who took things into his own hands in addition to Rubin was Mike Shinoda. He bravely decided to create a concept album, an album that has one narrative leading from start to finish. The initial idea was to use the narrative of nuclear war as a concept—the cause of such war, the implications, and the effects on the future of humanity. A burst of creativity from all the band members brought many varied materials to the table. The first songs really stuck to the narrative but over time the members felt that exactly the opposite of what they intended was happening. The narrative forced them to change, improve and rewrite material when the initial intention was to create freely. Several months into the recordings they found themselves fighting to keep the narrative and change things just to fit the main theme. At one point Mike and Chester Bennington decided that they had enough and in a joint decision with the rest of the band members that this is OK to go out of the concept theme and write freely. This album has a lot of everything, but unlike the previous album, there is no polishing here, no varnish, and no smooth continuance. It was as if the band tried to force the connection between the songs and used link sections which are primarily recordings of prominent people in American history, to do so. We really like this album, although you will not likely find here a decent guitar riff or a snare sound, or even a bass line. The electronics here are very dominant but are made with industrial roughness that is sometimes reminiscent of "Nine Inch Nails". There is something about this album that takes you on a crazy journey between protests, passion, love, compassion, and armageddon that threatens to destroy our world. The singles "The Catalyst", "Waiting for the End", "Burning The Skies" and "Iridescent" came out of the album and of course flew straight to number one on the Billboard 200. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"August and Everything After", released on September 14, 1993, is "Counting Crows" debut album which marked the band entry into the musical mainstream, and its success was nothing short of remarkable. "Counting Crows" began as a collaboration between lead singer Adam Duritz and guitarist David Bryson in the early 1990s. The two musicians, based in Berkeley and San Francisco, initially performed as an acoustic duo, focusing on folk-influenced rock songs. Their music was introspective and lyrically rich, reflecting Duritz's personal struggles with identity and belonging, themes that would become central to the band’s later work. Duritz, had been in several bands before forming "Counting Crows". One of his early projects, "The Himalayans", wrote early versions of what would become notable "Counting Crows" songs, including "Round Here." Meanwhile, Bryson was working as a producer and engineer in the San Francisco music scene. When the two began collaborating in 1991, they developed a chemistry that would form the basis of "Counting Crows". (Photo: Dave Tonge) Their early performances around the Bay Area drew attention from other musicians, leading to the recruitment of keyboardist Charlie Gillingham, bassist Matt Malley, and drummer Steve Bowman, solidifying the band’s lineup by 1993. This group quickly gained a following, and their demos attracted the attention of major labels, culminating in a bidding war for the band’s first album. Geffen Records eventually signed them, and they entered the studio to record *August and Everything After* with T Bone Burnett as their producer. "Counting Crows" made their national debut in 1993, filling in for Van Morrison at the Rock and Roll Hall of Fame ceremony. This performance helped the band gain wider exposure before the release of their album, which would catapult them to fame later that year. Their sound stood out against the dominant grunge movement of the time, instead drawing inspiration from the '60s and '70s, with comparisons often made to Van Morrison. This blend of styles helped the album stand out, even amidst heavy hype leading up to its release. The album's lead single, “Mr. Jones,” catapulted "Counting Crows" to fame. Its infectious melody and Duritz’s confessional lyrics about fame and insecurity struck a chord with listeners, and it became a radio staple. The song peaked at number 5 on the Billboard US Radio Songs Chart and number 2 on several genre-specific Billboard charts. Songs like “Round Here” and “Rain King” further cemented the band’s appeal, showcasing Duritz’s lyrical depth and ability to create atmospheres that were both melancholic and hopeful​. The album’s success was also reflected commercially, selling over seven million copies worldwide, reaching multi-platinum status in several countries including U.S. where it peaked at number 4 on the Billboard 200 and earning critical acclaim for its authenticity and emotional resonance. Tracks like “Anna Begins,” “Omaha,” and “Sullivan Street” reflect the album's core themes of self-discovery, unfulfilled desires, and the often harsh realities of adulthood. Producer T Bone Burnett’s touch gave the album a raw, analog feel, balancing the band's more somber moments with a textured, earthy sound​. The album cover depicts handwritten lyrics to a song called "August and Everything After", but the band decided against featuring the song on the album; it was not until over a decade later that it was played as part of one of their live concerts. The song "August and Everything After" was released on January 24, 2019, as an Amazon Original. "Counting Crows"' journey from a small acoustic duo to international success is a testament to their unique blend of introspective songwriting and rich musicality, making them one of the most memorable bands of the 1990s. Rolling Stone listed the album as 67 in their list "100 Best Albums of the ’90s". For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 14, 1993, the "Judgment Night" soundtrack was released. The "Judgment Night" soundtrack stands as one of the most innovative and genre-defying releases of the early '90s. Released in 1993, it was the result of a groundbreaking fusion between the rock and metal genres to the rap and hip-hop world. The project began with the simple idea of pairing rap and hip-hop artists with rock and metal bands. The soundtrack’s producers sought to create something entirely fresh, capturing the energy of both genres while tapping into the rebellious, countercultural spirit they shared. This cross-genre collaboration was largely inspired by the success of "Run-D.M.C." and "Aerosmith’s" “Walk This Way,” but with a heavier, more experimental edge. The collaboration process was orchestrated by soundtrack producer Happy Walters, who envisioned an album that would bring together the biggest names in both rock and hip-hop to create something explosive. Walters reached out to a wide variety of artists, some of the best acts in both genres, many of whom had never worked together before, but were eager to take part in this unprecedented musical experiment. The enthusiasm from both sides was palpable, and what started as a risky concept turned into a creative and aggressive blend of styles. The collaborations in this soundtrack are very interesting and includes: "Slayer" and ICE-T, "Pearl Jam" and "Cypress Hill", "Faith No More" and "Boo-Yaa T.R.I.B.E.", "Living Colour" and "Run-DMC", "Therapy?" and "Fatal", "Sonic Youth" and "Cypress Hill", "Dinosaur Jr." and Del the Funky Homosapien, "Biohazard" and "Onyx", "Mudhoney" and Sir Mix-A-Lot and more. What's beautiful in these collaborations, is that the artists did not fall into the "Run-D.M.C." - "Aerosmith" formula, and rather than covering existing songs, created new songs sharing themes of injustice and violence that would fit the movie theme. Of course, the collaborations feel more natural with acts that already lean toward both genres, like "House of Pain" and ICE-T, "Faith No More" and "Living Colour", but these are not the only cases where this album shines. The album kicks off with "Helmet" and "House of Pain’s" "Just Another Victim," a track that sets the tone for the record's relentless intensity. "Helmet’s" driving, distorted guitar riffs paired perfectly with "House of Pain's" rugged flow, blending rock and rap in an aggressive, head-banging anthem. The success of this track mirrors the overall creative success of the soundtrack—one where two seemingly disparate genres find common ground. We are sure that this track's sound and style will remind you of what "Korn" would do a few years later. Another standout collaboration is "Teenage Fanclub" and "De La Soul's" in "Fallin'." The gentle, melodic guitars of "Teenage Fanclub" create a dreamy backdrop for "De La Soul's" relaxed, introspective rhymes. This track shows the diversity of the album, where not every song needs to be aggressive; instead, it finds moments of emotional resonance through thoughtful lyricism and subtle musicality. "Judgment Night," the explosive title track from "Biohazard" and "Onyx", encapsulates the album’s intensity. The aggressive fusion of "Biohazard’s" hardcore punk sound and "Onyx's" in-your-face rap style is a chaotic, adrenaline-fueled ride that captures the raw energy the project sought to embody. Another brutal track, “Disorder” by ICE-T and "Slayer", pushes the boundaries even further, combining thrash metal’s speed and aggression with ICE-T's gritty, confrontational rhymes, resulting in one of the album’s heaviest moments. "Cypress Hill" and "Sonic Youth" team up for "I Love You Mary Jane," a perfect blend of "Sonic Youth's" experimental noise rock and "Cypress Hill’s" signature laid-back flow. This collaboration shows the depth of experimentation on the soundtrack, as it merges stoner vibes with an avant-garde edge, creating a hazy, psychedelic soundscape that stands out in the album’s mix of frenetic energy. Many of the collaborations were done in-studio together, allowing for organic creation and a genuine merging of styles. This hands-on approach ensured that the songs were not just gimmicky mashups but true collaborations that pushed the boundaries of what both rock and rap could achieve together. The "Judgment Night" soundtrack was a precursor to the nu-metal movement that would explode later in the decade, influencing artists like "Limp Bizkit", and "Korn". It also highlighted the untapped potential of merging seemingly opposing musical genres. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 14, 2004, "Megadeth" released its tenth studio album, "The System Has Failed". Just yesterday we celebrated his birthday, and today one of his albums - "The System Has Failed", released in 2004, is also celebrating a birthday. No, it was not a mistake, the album does bear the name of the band "Megadeth" but it can be said that it is a solo album by Dave Mustaine. Beyond the fact that Dave wrote and composed all the songs on the album without exception, this is the only "Megadeth" album in which Mustaine participates as the only band member, with all the other musicians being session players, who are not official members of the band. Although Chris Poland plays the lead guitar here, he does so as an "employee" and not as an official member of the band. This is Mustaine's return album after his 2002 hand injury. As you may recall, in 2002 Mustaine suffered a very strange injury when he fell asleep in an unusual position on his arm in a way that almost caused him necrosis. In a statement he released in early 2002, he announced that he was disbanding "Megadeth" in the face of a hand injury that prevented him from playing. Dave noted that doctors believe it will take him a year to recover from the injury and even then it was unclear whether he will be able to continue playing. Eventually, Mustaine recovered faster than expected and even returned to satisfactory playing ability. Immediately after Dave returned to play he began writing the material for a new album that he intended to release as a solo album. However, a contractual commitment to the record company forced him to release the album under the name of "Megadeth" and that is the only reason this album did not come out as his solo album. Dave contacted his bandmate and one of "Megadeth" founders, bassist David Ellefson, to play on the album, but Ellefson refused due to financial disputes. Ellefson will return to the band only two albums later, in 2010. In a sense, this Mustaine's album is his attempt to "go back to roots", after a few commercial albums "Megadeth" released in the '90s, and is also probably Megadeth's most thrash album since "Rust In Peace". Three singles were released from the album: "Die Dead Enough" which was written for the soundtrack of the movie "Tomb Raider II", but did not end up there due to budget issues, "Of Mice and Men" in which Mustaine talks about adolescence, his great ambitions and about being Fired From Metallica when he was 25 and "The Scorpion" in which Mustaine even plays his first solo after recovering from injury. The album features two instrumental tracks: "Shadow of Deth" which has a quote from chapter 23 of the Book of Psalms and the short "I Know Jack" which includes a quote from Senator Lloyd Bentsen's response to Senator Dan Quayle during a 1988 election campaign. And there's also "Back in the Day" which includes some riffs that reminded us of "Iron Maiden" and refers to the days of the beginning of the metal scene in Los Angeles (see a clip from the period), "Blackmail The Universe" which begins with the new headlines announcing the allegedly shot down of "Air Force One" in the Middle East, "Something That I'm Not" which also refers to Dave's feelings following him being Fired From Metallica, feelings he still struggles with at the time of writing and "Tears in a Vial" that Mustaine wrote Shortly after he disbanded "Megadeth" in 2002 and his thoughts of replacing "success" with "happiness". The album cover also broadcasts "Back to the Roots" as it is reminiscent in style of the band's first albums, especially "Rust In Peace", which also featured pictures of world leaders, in this case, senior US administration President G. George W. Bush, President Clinton and his wife Hillary, Donald Rumsfeld, John Ashcroft and Vice President Dick Cheney. Mustaine noted that the work on the album was "liberating", he felt freer in the creation and recording process and with much more control over the result, something he claimed had not happened since the band's first two albums. And the result was accordingly. The album received mostly positive reviews and went straight to 18th place on the Billboard 200 list. After its release, Mustaine built a new lineup of the band and went on a tour to promote the album. During the tour, the double and successful live album "That One Night: Live in Buenos Aires" was also recorded, it was also released in 2007 as a DVD. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 13, 1984, "Kiss" released "Animalize", its twelfth studio album. Just one year after "Lick It Up", the album on which "Kiss" revealed the faces behind the makeup and got back on track, "Animalize" arrived to prove that the comeback was not a passing moment. It is a short, fast, glossy and more aggressive album that pushes the band deep into the sound of the mid-1980s, while also documenting a lineup that was once again in constant motion. The road to it began with another lineup change. After the tensions surrounding "Lick It Up", guitarist Vinnie Vincent left, and in April 1984 Mark St. John replaced him. St. John was an exceptionally technical and fast guitarist, exactly what the metal scene of the period demanded, and "Animalize" became the only "Kiss" studio album on which he appeared as an official member. Production was led by Paul Stanley, with Gene Simmons credited as co-producer and Michael James Jackson handling the drum production. Recording took place at "Right Track" studios in New York between May and July 1984. Behind the credits, however, the division of labor was far less balanced. Simmons was devoting much of his time and energy to his acting career and the film "Runaway", leaving Stanley to carry much of the album's day-to-day work. Stanley later described it sharply: "I felt abandoned when it came time to do Animalize." According to him, Simmons told him without warning or prior discussion that he would not be around to work on the album, came into the studio, quickly recorded a few demos and then left to shoot the film. In practice, Stanley became the unofficial leader of "Kiss" during that period and carried the main responsibility for managing the writing, production and musical direction. In that sense, "Animalize" is very much the album on which Stanley was almost single-handedly holding the band's steering wheel. Even in the studio, the lineup was less fixed than the photo on the back cover might suggest. Jean Beauvoir played bass on several tracks, Bruce Kulick guested on guitar before becoming an official member of the band, Mitch Weissman added guitars and Desmond Child returned as a songwriting collaborator. The result is an album that belongs to "Kiss", but was built with quite a few additional hands. Musically, "Animalize" keeps its foot on the gas. If "Creatures of the Night" was heavy and menacing and "Lick It Up" restored the band's confidence, here "Kiss" sounds as if it is trying to keep pace with a new generation of guitarists and metal bands. Eric Carr's drums are huge and powerful, St. John's solos race at dizzying speed, and Stanley's production keeps the songs short and direct. "I've Had Enough (Into the Fire)" opens the album without any introduction. Stanley sings high and almost on the edge, the pace races forward and St. John's guitar immediately sends a clear message: "Kiss" in 1984 has no intention of sounding like the band of 1977. It is one of the most aggressive opening tracks of this era, and the collaboration with Desmond Child gives the chorus exactly the melodic hook it needs to balance the speed. "Heaven's on Fire" is the moment when all the ingredients come together into a perfect hit. The riff is simple, the chorus sticks from the first listen and the production leaves enough room for Stanley's voice to lead the song. It reached No. 49 on the U.S. singles chart and No. 11 on the rock chart, quickly becoming the song most closely identified with the album and one of the few tracks from the band's no-makeup era to remain a regular part of its repertoire. "Burn Bitch Burn" returns the microphone to Simmons and brings "Kiss" back to its dirty, provocative side. There is a heavier, slower riff, lower vocals and a threatening atmosphere, but also lyrics that have aged far less gracefully than the music. This is Simmons without filters, for better or worse, and on such a fast album its heavier pace actually provides a welcome change. "Get All You Can Take" is one of the less discussed tracks on the album, which is a shame. Stanley wrote it with Mitch Weissman, and Jean Beauvoir plays bass on the track. Its big chorus sits right between American hard rock and the glam metal that was increasingly taking over the era. It is not trying to reinvent anything, but it captures the band sounding aggressive, confident and precise. "Lonely Is the Hunter" is one of Simmons' darker moments on the album. The pace is less frantic, the bass and riff work together with more weight, and over them comes a solo by Bruce Kulick. In hindsight, it is hard not to hear this as a kind of preview of the future. Kulick was not yet a member of "Kiss", but within a few months he would become one of the most stable figures in its constantly changing lineup. "Under the Gun", written by Stanley, Eric Carr and Desmond Child, may be the heaviest and fastest moment on the album. Carr drives the pace relentlessly forward, the guitars almost seem to compete with each other, and the chorus is thrown out like a battle cry. If you are looking for the point where "Kiss" connects most clearly with mid-1980s heavy metal, this is one of the most obvious places to find it. "Thrills in the Night" eases the speed slightly and raises the melodic level. Stanley wrote it with Jean Beauvoir, and its nocturnal, dramatic atmosphere gives the album a depth that some of the other tracks lack. It was chosen as the second single, and although it did not repeat the success of "Heaven's on Fire", it remains one of the most mature and complete songs on the album. "While the City Sleeps" brings Simmons back to center stage with a heavier groove and a slightly darker feel. He wrote it with Mitch Weissman, and its strength lies less in a huge chorus than in its atmosphere. On an album that repeatedly aims for speed and peaks, this is a track that prefers to crawl and apply pressure. "Murder in High-Heels" closes the album with everything Simmons loved at the time: a dirty riff, lyrics full of innuendo and a rhythm that connects hard rock with glam. Bruce Kulick appears here on guitar as well, another hint of the man who would enter the picture permanently immediately afterward. It is not the strongest ending of the band's career, but it fits the hedonistic, colorful world of "Animalize" very well. The cover also became one of the most recognizable symbols of the era. Instead of a band photo on the front, "Animalize" presents a mix of zebra, leopard and other animal fur patterns, with the "Kiss" logo and the album title in red. It says almost nothing about the lineup, but everything about the instinct, color and flamboyance the album wanted to project. Commercially, the gamble worked. "Animalize" reached No. 19 on the U.S. album chart and No. 11 in the UK. By December 1984 it had already been certified Gold in the United States, and in 1990 it was officially certified Platinum. The success of the album, and especially of "Heaven's on Fire", proved that the no-makeup era was not merely an exercise in survival, but a genuine commercial chapter in the career of "Kiss". But the man who was supposed to become the new face of the guitar position did not get to enjoy that success for long. During rehearsals and the tour, Mark St. John began suffering from a medical condition that affected his hands and made it difficult for him to play. He managed to take part in only a limited number of shows, while Bruce Kulick gradually stepped in as his replacement and became an official member in December 1984. The Detroit performance from that period was later documented on the video "Kiss: Animalize Live Uncensored", becoming an excellent document of the new lineup in action. "Animalize" is not the most balanced album in the "Kiss" catalog, nor is it the band's heaviest. Stanley's side feels more focused and powerful, while some of Simmons' material is less consistent. But that imbalance also tells the story of the band at that point in time remarkably well: a veteran group forced to reinvent itself, embrace the rules of 1984 and somehow sound hungry again. When it hits, especially with the trio "I've Had Enough (Into the Fire)", "Heaven's on Fire" and "Under the Gun", it reminds us just how well "Kiss" knew how to turn change and chaos into fuel. For Listening: Spotify, Apple Music "FaceOff" - Israel's Rock Blog You're invited to follow us on Facebook / Instagram and/or subscribe to the website

On September 8, 1972, "Yes" released "Close to the Edge" in the United Kingdom, the band's fifth studio album. The album was release On September 13, 1972 in the United States. This is the album where everything "Yes" had built up to that point came together into an almost perfect work, where virtuosity, melody, complexity, spirituality and adventurousness sound as if there had never been any contradiction between them. For many, it is not only one of the band's peaks, but one of the high points of progressive rock as a whole. A year earlier, it was already clear that something very special was happening with "Yes". "The Yes Album" effectively saved the band's career, while "Fragile" introduced the classic lineup of Jon Anderson, Chris Squire, Steve Howe, Rick Wakeman and Bill Bruford, and established "Yes" as one of the most important bands in progressive rock. After the "Fragile" tour, the five musicians arrived at "Advision" Studios in London with enormous confidence and the sense that they no longer had to prove that complex music could work in front of an audience. Now they wanted to see just how far they could take it. The recording sessions, together with producer and engineer Eddy Offord, became an almost engineering exercise. The band did not simply record pieces from beginning to end. Sections were recorded separately, tape was physically cut and spliced, loops were built by hand, and ideas went through countless changes until they found the right place. This was an era before a computer could fix an edit with a mouse click. Moving a section meant taking a blade to the tape and trusting that you were not ruining music you had spent days building. The process also came at a cost. Bruford felt that by the end of it he had already given the band everything he could. Even before the album was released, he announced his departure for "King Crimson". In hindsight, it is hard to imagine a more fitting album for a farewell. Bruford left at the exact moment this lineup reached its peak. The album opens with "Close to the Edge". This is not simply a long composition, but an entire world compressed into almost 19 minutes and four sections. The sounds of water, birds and nature gradually move closer until they are swallowed by a musical storm. Howe's guitar is thrown forward, Bruford's drums refuse to settle into a simple path, Squire's bass almost functions as another guitar, and Wakeman fills every space with organ, Mellotron and Moog. Instead of an introduction that prepares the listener, "Yes" simply throws us into deep water. Anderson and Howe began developing the piece toward the end of the "Fragile" tour. Anderson was deeply influenced at the time by Hermann Hesse's "Siddhartha", and the book's spiritual journey seeped into the lyrics. That is why looking for a conventional story here is difficult. The words work more like a sequence of images, ideas and states of consciousness, while the music moves between chaos, calm, transcendence and a return to the starting point. The high point arrives in the section "I Get Up I Get Down". After the instrumental assault, everything almost comes to a halt. The vocal harmonies float in the air, and Wakeman's huge church organ turns the studio into a cathedral. He recorded the organ separately at "St Giles-without-Cripplegate" in London, after which the recording had to be integrated into the master. When Wakeman's Moog breaks out of the silence and returns the piece to "Seasons of Man", it feels like emerging from darkness into light. After a journey like that, it is almost impossible to open the second side of the record without sounding smaller. Then "And You and I" arrives and proves that "Yes" had more than one way to reach the summit at the time. The piece began as a much simpler idea, almost an acoustic folk song, but gradually grew into four sections and a symphonic work of more than ten minutes. The opening on Howe's 12-string guitar is one of the most beautiful moments recorded in progressive rock. Even the opening harmonics he plays were originally an improvisation before the take, but Offord liked the moment and kept it in the recording. From there the piece keeps opening up, while Wakeman's keyboards lift the simple melody into something almost orchestral. This is precisely where it becomes clear that the album is great not because of its complexity, but because of what the band does with it. "And You and I" does not try to impress us with the number of time-signature changes. It simply moves us. The acoustic and electric guitars move alongside each other, the bass and drums know when to disappear and when to bring the piece back to earth, and Anderson's voice sounds as if it rises a little higher above the band each time. It is one of those moments when the band's enormous technical ability stops being the point, and only the music remains. The album closes with "Siberian Khatru", the shortest track on the album, if an almost nine-minute piece can be called "short". After the two large-scale works before it, "Yes" sounds more direct, heavier and above all more rhythmic here. The jagged guitar riff drives the piece forward, Bruford and Squire turn the rhythm into a playground, and Wakeman adds Mellotron and a harpsichord solo that brings an almost Baroque color into progressive rock. Roger Dean also reached a turning point here in his work with the band. The front cover is almost minimalist, a gradual fade from green to black, but opening the record sleeve reveals a world of cliffs, islands, water and imaginary landscapes. Just as importantly, "Close to the Edge" was the first album to feature the famous "Yes" logo, and from that moment it became difficult to separate Dean's visual world from the band's music. The inner gatefold artwork of "Close to the Edge", designed by Roger Dean Bruford's departure could have broken the band apart at its greatest moment, but Alan White stepped in and the band set out on a major tour to promote the album. Commercially, the risk paid off. "Close to the Edge" reached No. 3 in the United States and No. 4 in the United Kingdom, and later went platinum in the US. An album with only three tracks, with no real attempt to tailor itself to radio, became one of the band's most successful and important records. In 2025, the album was given new life with a Super Deluxe edition that included a new remaster, rarities and previously unreleased recordings, alongside new Steven Wilson mixes in stereo, 5.1 and Dolby Atmos. The fact that, more than five decades after the sessions, new layers are still being opened up within these three pieces says a great deal about the depth they contain. Ultimately, "Close to the Edge" is not simply one of the great albums by "Yes". It is one of those records that explains why progressive rock came into being in the first place. Not to write longer pieces, and not to show how fast musicians could play, but to take everything rock, classical music, jazz, technology and imagination could offer and build something that had not existed before. Three tracks, less than 38 minutes and almost no wasted moment. "Yes" came so "close to the edge" here that for years afterward almost every prog band tried to understand how it managed not to fall over it. 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Here are some interesting facts about Vinny Appice - American drummer best known for his work with the bands "Dio", "Black Sabbath", and "Heaven & Hell": (Photo: thevinylguide.com) = He was born Vincent Samson Appice on September 13, 1957, in Brooklyn, New York. = He is the younger brother of drummer Carmine Appice. = Appice started drumming at age 9, learning from the same teacher as his brother. = At 16, he and his band "BOMF" met John Lennon, who used them as a backing band in several performances, including his final public performance. = He also contributed handclaps to Lennon's 1974 recording of "Whatever Gets You Thru the Night", released on the album "Walls and Bridges". = Appice recorded with Rick Derringer on "Derringer" in 1976, "Sweet Evil" and "Derringer Live" both in 1977. = Appice Formed "Axis" with "BOMF" members and released "It’s A Circus World" in 1978. = Joined "Black Sabbath" in 1980 during the "Heaven And Hell" tour, replacing Bill Ward. His first show with "Black Sabbath" was at the "Aloha Stadium" in Hawaii. = Appice played on "Black Sabbath's" albums "Mob Rules" from 1981 and "Live Evil" from 1982. = He left "Black Sabbath" in late 1982 to form "Dio" with Ronnie James Dio. = In the years 1983-1987 Appice recorded masterpiece albums with "Dio": "Holy Diver" released 1983, "The Last In Line" from 1984, "Sacred Heart" released in 1985, "Intermission" from 1986, and "Dream Evil" from 1987. = In 1985, Vinny Appice participated in the "Hear 'n Aid" project, a heavy metal collaboration to raise money for famine relief in Africa. = Appice Left "Dio" in December 1989 and briefly joined "Flesh & Blood" with Jeff Pilson. = Vinny was part of the German singer Mandy Lion's "World War III" project, along with bassist Jimmy Bain. They released their debut album in 1990. = He rejoined "Black Sabbath" in 1992 to record "Dehumanizer". = Appice returned to "Dio", recording "Strange Highways" from 1994 and "Angry Machines" released in 1996. = He played on "Circle of Tyrants’" a 2005 rap recording with Alex Skolnick. = Appice played two shows in Las Vegas with the "Sin City Sinners" in October 2009. = Reunited with "Black Sabbath" members as "Heaven & Hell" in 2006, releasing "Live from Radio City Music Hall" in 2007 and "The Devil You Know" in 2009. = Recorded "Dinosaurs" with "Power Project" (with Carl Sentance, Carlos Cavazo and Jeff Pilson) in 2006, blending classic hard rock and heavy metal styles. He will continue to release the album "Revolution" with them, in 2014. = Appice co-founded the band "3 Legged Dogg" in 2006. The band included notable musicians like guitarist Brian Young, bassist Jimmy Bain, and vocalist Chas West. "3 Legged Dogg", released "Frozen Summer" the same year. = He co-founded "Kill Devil Hill" in 2011 with former "Pantera" bassist Rex Brown, blending elements of hard rock, heavy metal, and southern rock. They released their self-titled debut album in 2012 and "Revolution Rise" in 2013. = Appice formed "WAMI" in 2013 with Doogie White and Marco Mendoza and released "Kill the King" (2014). = He was featured in "Martiria's" album "Revolution" released in 2014. = Appice played on "Toehider’s" "Mainly Songs About Robots" album, released in 2015. = He contributed to "Dunsmuir’s" self-titled album "Dunsmuir" (2016). = Appice worked with "Ian Ray Logan & Serpent's Ride" on "Between Lights and Shadows" released in 2016 and "Reaching Dreams" from 2017. = He formed "Joel Hoekstra’s 13" with "Night Ranger's\, guitarist Joel Hoekstra (Also "Whitesnake") and released "Dying to Live" in 2015 and "Running Games" in 2021. = Appice contributed to "Stonehand’s" "When the Devil Comes", released in 2015. = He played on "Resurrection Kings’" self-titled album from 2016. = In 2011, Appice formed "Last in Line", reuniting with original "Dio" members. He recorded "Heavy Crown" from 2016, "II" from 2019 and "Jericho" from 2023 with them. = Appice played on Adrian Raso’s "Frozen in Time" album released in 2017. = Contributed to "The One Man Electrical Band’s" "Symptom of the Universe" album from 2017 and "Dark Things" from 2018. = In 2017 he released the album "Sinister" under the name "Appice" collaborating with his brother Carmine Appice. = Appice recorded with "Stagma" on their self-titled album "Stagma" from 2018. = He played on "Concreto’s" (Brazilian Band) EP "Lama" released in 2018. = Appice worked with "Leviathan Project" in 2018 and released the album "MCMLXXXII" in 2024. = He Formed "Sabbath Knights" in 2023, performing music from "Black Sabbath" and "Dio". "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 13, 2011 "The Sea Of Memories" was released which is "Bush's" fifth album, almost a whole decade has passed since the previous album !! In 2002, after four studio albums, the band went on hiatus, their first two albums "Sixteen Stone" and "Razorblade Suitcase" were huge successes. Despite many comparisons and criticisms from grunge loyalists about such and such imitations of the band, there was no doubt that singer and lead singer Gavin Rossdale is an extraordinary talent and apart from his mesmerizing voice (there is no other way to define it) his writing and processing ability is also amazing. But let's dwell on Gavin's voice for a moment... Some say he imitates Eddie Vedder, some say the range of sounds he produces is very limited, and some say he does not vary his singing style on albums but there is no denying that Gavin is one of the singers whose voice touches you in a magical way. There is something about the frequency, the hoarseness, or maybe the tone that is just mesmerizing and addictive. By listening to the band's songs no matter what song, you can find yourself drowning in his voice without remembering what the guitar or drums played, his voice is so dominant that it affects every listening experience in a crazy way! Ten years had passed since the previous "Bush" studio album, and to tell the truth apart from the first two albums and maybe a little from the third, the band has lost a bit of its power. After the fourth album failed at the box office the band decided to break up and everyone went their separate ways, in Gavin's case he was busy marrying Gwen Stefani from No Doubt. But beyond that, he also formed a band called Institute which released one album and after its dissolution, he also released a solo album. Photo: vinylmeplease.com In June 2010, 8 years later Gavin decided to go back to making music again and he tried to reunite the band again together, the other two members besides drummer Robin Goodridge decided not to "reunite" and the bass and guitar players were replaced by Corey Britz and Chris Traynor respectively. In order to warm up the atmosphere and create chemistry before creating the album, the band members went on a hasty tour of 10 performances, playing songs from the band's previous albums. In September 2011 we had the pleasure again to indulge in the voice of Gavin, who wanted to release an excellent rock album with a sound reminiscent of the band's first two albums but with new and refreshing elements. He also wanted this album to be successful and bring Bush back to its great glory days, maybe not quite like then but at least half, and for that, he recruited one of the famous producers Bob Rock (Metallica's black album and more...) and indeed an excellent album came out here !! There are many beautiful things on this album, songs that are fun to sing with, ballads that you can cry with, and also ones that will make you jump with your hands in the air as if you are performing. The album opens with "The Mirror of the Signs" which is an amazing opening to this album, a dramatic opening accompanied by a guitar that prepares us for the mesmerizing combination of Gavin's voice with the bass and the amazing Chinese effect that is just exciting, increase it now and get addicted. Continuing with "The Sound of Winter" which was also the second single released from the album and is literally the musical reversal of the previous song, here Gavin begins to give more energy. The next song "All My Life" begins with a contorted and shrill riff that is a refreshing change in the band's sound with a chorus that makes you want to sing out loud. It is followed by "The Afterlife" which is a particularly bouncy and fun performance song, an experience that does not prepare us at all or may even have been done on purpose to smash us in the next song. The song "All Night Doctors" is a smashing song, it touches precisely this point that is somewhere inside the heart and it does not matter if you lost someone as a result of an illness, lost the love of your life, or anything else that could not be saved. You drown in a sea of emotions that flood you every time Gavin sings: "All night doctors All night preachers All night girls to get you through Lost and wasted Hope is fading And I'm waiting here For You" Take a handkerchief, it's okay to shed a tear... take a deep breath and move on. We will understand if you want to pause for a moment and listen to the song again. So we wiped... we drank a glass of water and now you can imagine what a huge festival in the middle of torrential rain and everyone loses themselves knowing when the band plays "Baby Come Home" a bouncy and fun song, even if it is a song of longing. The next "Red Light" continues a bit of the previous and fun line with guitars that accompany a continuous rhythm and Gavin occasionally hits some highs. We will continue to "She's a Stallion" which opens with jarring guitar sounds and continues to a slightly industrial riff with fickle lyrics that also make you want to sing. The next three songs do not represent anything special and are a bit reminiscent of works by other bands like Placebo, Bad Company, and the like but Gavin's voice gives them the Bush stamp. The album ends with a heartwarming ballad called "Be Still My Love" and how cliché it sounds you believe love will win, especially when the violins accompany Gavin's guitars and voice and the mesmerizing drumming work here. Although the album did not bring the band the success it had on the first two albums, it undoubtedly brought them back to the headlines in a big way. The album reached No. 18 on the Billboard 200, No. 5 on Top Alternative Albums and No. 8 on Top Rock Albums. Since then, "Bush" have released five more studio albums: "Man on the Run" (2014), "Black and White Rainbows" (2017), "The Kingdom" (2020), "The Art of Survival" (2022), and "I Beat Loneliness" (2025), their tenth studio album. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

This dreaded redhead Dave Mustaine is celebrating his birthday today and we wish him many more years of health and metal !!! (Photo: Amy Harris) Let's tell you about 20 interesting facts: 1. His mother was a Jew from Germany, but he grew up as a "Jehovah's Witness". 2. The name of his first band was "Panic". 3. In 1981 he responded to an ad Lars Ulrich had placed in a local newspaper for a band looking for a lead guitarist and left "Panic" to join "Metallica". 4. He was fired from "Metallica" in complete surprise, even before the band's first album "Kill 'Em All" was released in 1983, due to drug, alcohol, and violence issues he took against the band members. 5. Before leaving "Metallica", he managed to record a demo tape from 1982 called "No Life 'Til Leather". In 2015 Lars Ulrich announced that the tape would be released soon, but due to legal issues, it has not been released to this day. 6. Despite being fired from the band he received credit as a songwriter on "Metallica's" first and second albums. 7. He claimed credit for the song "Leper Messiah" from "Metallica's" third album and said it was based on an old "Metallica" song "The Hills Ran Red". 8. After being fired from "Metallica" he worked in telemarketing. At the same time he set up a band called "Fallen Angels" but it did not last long. 9. He met Dave Ellefson and Greg Handevidt by chance. They lived in the apartment below him and played the song "Runnin 'with the Devil" by "Van Halen". After a night of conversations about music, they decided to form a band together, this was "Megadeth". 10. Mustaine and his friends received $ 8,000 from "Combat Records" to produce and release their first album. The members spent most of the money on drugs and alcohol, which meant that they had not enough to pay the producer so they had to produce the album themselves. 11. In 2002 he almost lost his ability to play the guitar due to a strange accident when he fell asleep in an unusual position on his hand. It took him four months to recover from the bizarre accident and during this time he was very close to breaking up "Megadeth". 12. He is highly ranked in three different martial arts, including taekwondo and a black belt in karate. 13. Mustaine believed in "black magic" and even claimed to have used magic. Some of the band's songs were inspired by these beliefs, most notably on the second album "Peace Sells... but Who's Buying". Mustaine does not play these songs today due to a change in his spiritual faith. 14. He got the idea for the album "Rust In Peace" from a sticker that read "May all your warheads rust in peace". 15. In 1998 he "failed" to audition for the comedy show "The Drew Carey Show", see here: 16. After the release of "So Far, So Good... So What!" Following the departure of guitarist Jeff Young, Mustaine auditioned Jeff Loomis as a guitarist. He would later become known for his membership in the bands "Nevermore" and "Arch Enemy". Mustaine did not get him into the band even though he was very impressed with his performance, due to the fact he was only 16 years old. 17. In 1988 he offered none other than Dimebag Darrell the role of "Megadeth's" guitarist. Darrell agreed on one condition, that his brother Vinnie Paul Abbott also join "Megadeth". Mustaine did not agree because he just hired Nick Menza. Mustaine later stated that he should have complied with Dimebag's request and then he had the best band in the world. 18. In 2001 he played a small role in the series "Black Scorpion", see here: 19. In 2014, he and his bandmate Marty Friedman were ranked 19th on "Guitar World" Magazine's 100 Greatest Guitarists list. 20. In January 2026, "Megadeth" released their 17th and final studio album, "Megadeth", which became the band's first No. 1 album on the Billboard 200. Mustaine also released an album with "MD.45" and co-produced and co-wrote lyrics for Red Lamb's debut album. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 12, 1995 the "Red Hot Chili Peppers" released their 6th studio album "One Hot Minute": After the monumental success of "Blood Sugar Sex Magic", "Red Hot Chili Peppers" faced a pivotal moment in their career. John Frusciante, who had become a major creative force within the band, unexpectedly exited in 1992, overwhelmed by the band’s sudden rise to fame. Following a turbulent period of touring with temporary guitarists, the group finally found a new member in Dave Navarro, the former "Jane’s Addiction" guitarist, who joined the band on the recommendation of Chad Smith after things did not work out with Jesse Tobias - "Mother Tongue's" guitarist. His arrival signaled a shift in sound and tone for their next album, "One Hot Minute", released in 1995. Navarro brought a darker, heavier, and more psychedelic edge to the "Chili Peppers'" signature blend of funk-rock. This stylistic shift is evident right from the opening track, "Warped," which reflects lead singer Anthony Kiedis’s struggles with addiction. Kiedis’s vulnerability is palpable as he sings, "My tendency for dependency is offending me / It’s upending me." The song sets a raw, introspective tone for the album, driven by Navarro’s intricate, metal-tinged guitar work. This heavier approach can also be heard on tracks like "Shallow Be Thy Game" and the chaotic "Coffee Shop." While the album took on a more brooding and complex sound, there are moments where the "Chili Peppers" return to their funky roots. The lead single, "Aeroplane," which was inspired by the blues song "Jesus Is My Air-O-Plane" by Mother McCollum, provides an upbeat groove, even as it delves into darker lyrical themes. Flea’s bass is front and center, and his daughter Clara and her classmates contribute a choral vocal, bringing a playful touch to the song. The band shifts to a softer side on songs like "Tearjerker" which is a tribute to "Nirvana's" lead singer Kurt Cobain, and, "My Friends," - Another standout that topped the charts with its contemplative, melodic tone, showcasing the band’s ability to balance their characteristic energy with more introspective moments. Despite these high points, the recording of "One Hot Minute" was fraught with difficulties. Kiedis had relapsed into drug addiction during the sessions, and there was an adjustment period as the band learned to work with Navarro. While Navarro’s guitar work brought a new dimension, his style did not fully mesh with the band’s funk-based ethos, as he admitted to Guitar World: "It doesn't really speak to me, but when I'm playing with three other guys who I love, it's enjoyable." Flea stepped up as a key creative force during the recording, contributing tracks like "Transcending," a tribute to his friend River Phoenix, taking on lead vocals in "Pea", and co-lead vocals on "Deep Kick". However, the chemistry between the band members wasn’t always seamless. Kiedis later admitted that the songwriting process with Navarro wasn’t as intuitive as it had been with Frusciante. "One Hot Minute" was produced by Rick Rubin, who continued to push the band into new territory. Rubin helped the "Chili Peppers" craft a sound that blended Navarro’s metallic guitar riffs with psychedelic flourishes, while still retaining some of the funky rhythms the band was known for. The result was a more experimental and ambitious record than its predecessor, though not as cohesive. Commercially, "One Hot Minute" achieved moderate success, reaching double platinum status. However, it sold less than half as many copies as "Blood Sugar Sex Magic" and failed to make the same cultural impact. The accompanying tour was riddled with challenges, including injuries to Kiedis and his ongoing struggles with addiction, which led to delays and cancellations. By 1998, Navarro’s tenure with the band had ended, and the "Chili Peppers" began a new chapter on their way to another masterpiece album with John Frusciante released only one year later - "Californication". While "One Hot Minute" is often overlooked in the band’s discography and rarely revisited in live performances, it remains a fascinating snapshot of a band in transition. Defined by personal and creative turbulence, the album stands out for its bold experimentation, darker themes, and Navarro’s distinctive influence. Though it may lack the cohesion of earlier and later works, "One Hot Minute" offers a unique perspective on the "Chili Peppers’" evolution, revealing both the band’s resilience and their willingness to take risks. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 12, 1980, Ozzy Osbourne released his first solo album "Blizzard Of Ozz". Let's tell you some interesting facts about the debut album of the "Prince of Darkness" 1. The album was released about a year after Ozzy was fired from "Black Sabbath". 2. Ozzy was very hurt following his dismissal from the band, especially after seeing his band move on and have great success with the album "Heaven And Hell" with lead singer Ronnie James Dio. 3. The first song Ozzy Osbourne wrote for the album was "Goodbye to Romance", this was his way of saying goodbye to his mother band. 4. Ozzy knew that if he wanted to pursue a solo career he must first and foremost find a gifted guitarist to step into Tony Iommi's shoes and know how to play "Black Sabbath" style riffs. 5. He auditioned for Randy Rhoads in his room at a hotel where he was staying. Randy Rhoads came in with Gibson for a spool and a guitar amp and started playing, and Ozzy just dropped his jaw from Rhodes' sound and playing technique, which of course got the role on the spot. 6. As bassist for an emerging band, Ozzy Osbourne recruited Bob Daisley who had previously played in "Rainbow". 7. Also Don Airey - the keyboardist who played on the album played with "Rainbow". He also played on the album "Never Say Die!" Of the mother band "Black Sabbath". 8. Ozzy, Randy Rhoads, and Bob Daisley wrote most of the material for the album. 9. Drummer Lee Kerslake from "Uriah Heep" was the last to join the band, after most of the songs for the album had already been written. He was a special drummer who was both a writer of supreme grace and a not bad singer at all. (Photo: Fin Costello) 10. The song "No Bone Movies" was the last song written for the album. Lee Kerslake also contributed to its writing. The intention was to release the song as a b-side, but in the end, it was decided that it would enter the album to give Lee Kerslake credit for writing at least one song. 11. Another song was written In the same sessions - "You Said It All". But this song was not recorded and wasn't included in the album either. You can hear a live recorded version of the song in the "Ozzy Osbourne Live EP" here: 12. The lineup was to be incorporated as an independent band and not as a solo project of Ozzy Osborne. Randy Rhoads and friends were very disappointed with the fact that the album was eventually released as Ozzy Osbourne's solo album, especially given the fact that they were full partners in writing the vast majority of the material. 13. In 1986, Bob Daisley and Lee Kerslake sued Ozzy for non-payment of royalties for their part in writing the songs on his first two albums. In response, Ozzy Osbourne re-recorded the bass and drum parts on these albums, along with drummer Mike Bordin from "Faith No More" and bassist Robert Trujillo of "Metallica". 14. The intro to the song "Mr. Crowley" and excerpts from the song "Revelation (Mother Earth)" was written by keyboardist Don Airey. Airey did not receive credit for his writing, too. 15. The song "Mr. Crowley" was written about Aleister Crowley the English mystic and founder of the religious philosophy Thelma whom Ozzy Osbourne adored. 16. The first single released from the album was "Crazy Train" with the legendary riff and amazing guitar work of Randy Rhoads. The song immediately became the anthem and soundtrack of Randy Rhoads and Ozzy. The song was performed as part of the 2005 Randy Rhoads Tribute Album by a one-time "supergroup" that included Serj Tankian, Tom Morello, Rudy Sarzo, and Vinny Appice. 17. "Crazy Train" was chosen as the 9th place in the VH1 list of the greatest metal songs of all time and is also the "entrance" song of the baseball team "Atlanta Braves". 18. The song "Suicide Solution" was the cause for the 1984 lawsuit against Ozzy. A family of a teenager who allegedly committed suicide while listening to the album "Blizzard Of Ozz", filed a lawsuit against him. The unfortunate parents claimed that the boy "pulled the trigger" after being persuaded by the lyrics of "Suicide Solution" to do so. In 1986 another lawsuit was filed against Ozzy Osbourne for a similar case. Both lawsuits were dismissed in favor of Ozzy's freedom of expression. 19. "Suicide Solution" was written by Ozzy and Bob Daisley about the death of Ozzy Osbourne's friend and AC/DC's singer - Bon Scott, who died after drinking alcohol in February 1980. 20. In the end, Ozzy Osbourne's hand was on top in the competition with his previous band. The album "Blizzard Of Ozz" sold more copies than the successful album of the mother band "Paranoid" which we reviewed the day before yesterday. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On September 12, 2008, "Metallica" released its ninth studio album "Death Magnetic". An album that opened a new chapter of "Metallica" in the modern era, an album that came after the divisive album "St. Anger". So here are 30 interesting facts: 1. After 4 consecutive albums, this is the first album not produced by Bob Rock, which has garnered a lot of criticism and accusations due to "Metallica's" "new direction" on "the Black album". 2. The album was produced by the famous producer Rick Rubin who according to the band gave them complete freedom in the creation and writing of the songs, which sounds a bit strange when it comes to the four metal veterans and especially James Hetfield and Lars Ulrich 3. Indeed, Rubin did not give the band the opportunity to enter the recording studio until each song was 100% ready. Only after all the songs were fully prepared did he allow them to enter the studio. So they would move from concentrating on the creative side to concentrating on the technical side of the recording. 4. This is the debut album of bassist Robert Trujillo who joined Metallica in 2003, two years after the departure of Jason Newsted from the band. 5. Work on "Death Magnetic" began in early 2004, shortly after "St. Anger" was released. 6. By October 2004, Metallica had 50 hours of jam sessions with hundreds of riffs and bass lines. 7. In March 2006, the band had six to seven songs ready from those jam session tapes. and By May 2006, "Metallica" had written 15 songs for the album. 8. "Metallica" recorded 11 songs, but only 10 made the final cut due to CD constraints. 9. The unused track "Shine" was later renamed "Just a Bullet Away." 10. Other unused songs included “Hell and Back,” “Hate Train,” and “Rebel of Babylon.” 11. "Metallica" performed all four unreleased tracks at their 30th anniversary concerts. 12. "The Day That Never Comes" had the working title "Casper." Lars Ulrich said the song's lyrics were inspired by a father-son relationship. 13. James Hetfield and Lars Ulrich had disagreements over the title of "Broken, Beat & Scarred." 14. "All Nightmare Long" was influenced by H.P. Lovecraft’s concept of "The Hound". 15. "The Unforgiven III" is part of a trilogy exploring sin, forgiveness, and consequence. 16. "The Judas Kiss" references the Biblical betrayal of Jesus by Judas Iscariot. 17. This is only the second album where all the band members got credit for writing and creating as opposed to the other albums where Lars and James got credit for most of the songs. 18. After the infamous "St. Anger" album in which the band made scandalous decisions to many, regarding the musical nature of certain instruments, this album is a return to the style before "the Black album", with long, complex songs, long solos, and for the first time since the album "And Justice For All" has an instrumental track "Suicide & Redemption". 19. The album went straight to number one on the Billboard 200 and became the band's fifth consecutive album to take first place. In addition, it won 10 different charts in first place and starred at the top of the charts of 33 different countries. 20. Thanks to this album, the band received six Grammy nominees and won three of them, including for Best Metal Performance for "My Apocalypse." 21. Rick Rubin also won a Grammy for Producer of the Year for his work on the album. 22. The album debuted at number one on the Billboard 200, selling 490,000 copies in three days. 23. "Death Magnetic" was "Metallica's" fifth consecutive album to debut at No. 1, setting a record. 24. The album has been certified two-times platinum for selling over two million copies. 25. One of the studios where the album was recorded was the famous Sound City Studios. 26. Four songs that were recorded during the work on the album, did not enter the album and were released three years later under the name - "Beyond Magnetic". 27. The album's name is inspired by Layne Staley. James said that a picture of Layne is hanging on their HQ for many years and when they thought of an album name something in the picture spoke to them strongly. James said the name of the album is a tribute to the talented people in the music industry who have passed away, people who have been “magnetized” to death and have not been able to escape it at such a young age. 28. The album was almost titled "Songs of Suicide and Forgiveness". 29. A French record store leaked the album ten days before its release. 30. In October 2008, the band members went on a worldwide tour that lasted more than two years and included the band's last performance in Israel in May 2010 in front of 25,000 devoted fans. Feel free to watch a documentary documenting the work on the album: For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website