"Marillion's" fourth and final album with singer Fish - "Clutching at Straws", was released on June 22, 1987. This is a concept album, similar to its predecessor "Misplaced Childhood", which we wrote about last week. Musically, this album is not much different from the previous three albums, only the general atmosphere here is much more melancholy and dark. Another change compared to previous albums is the fact that despite the frictions and quarrels that began to arise between the band members during the recordings, their playing is much more professional, cohesive, and mature, and this is probably the added value of this album, which is on a par with the previous album "Misplaced Childhood", Some say even surpasses it by points. Lyrically, the plot story focuses on the character of Torch, a 29-year-old unemployed singer with a not-so-simple life, who finds solace in alcohol to escape the sad reality in which he lives, a ruined marriage, a breakup, and a failed career. When Torch gets drunk he manages to write songs and "laments" about his life, but that doesn't help him get up and get out of the situation he is in. He always ends up drunk in bars or unconscious in hotel rooms, with no hope or regulation. Fish has managed to transcend himself here and write the deepest words in his career, which are based in one way or another on his personal life. The Jester from the album "Script For A Jester’s Tear", the boy from "Misplaced Childhood" and now also Torch of the current album, are all characters that are reflected in Fish's complex personality, and this fact only makes listening to this album a shaky journey in Fish's veins. Now add to that the melancholy melodies and darkest music that "Marillion" has created for you, and you have a masterpiece designed to shake and excite you. Interestingly, Fish referred in the accompanying booklet to the 1999 reissue of the album to the fact that part of his soul and being is within the concept story of the album, and so he said: "The concept was maybe too close to home", which proves that the lyrics were a kind of autobiography or, A self-fulfilling prophecy. Even the album cover hints that this is a kind of reflection on Fish's life. You can see the local pub and some of Fish's heroes there, including Jack Kerouac the writer who is even mentioned in the song "Torch Song", John Lennon, James Dean, and more. (Photo: Frans Schellekens) The album opens up with "Hotel Hobbies" by Mark Kelly's keyboard buzz and with what sounds like Peter Trewavas' bass improvisations aiming to put us in the mood for the first episode of the story of Torch, the failed singer who is a descendant of the Jester from "Marillion's" previous album covers. The song describes Torch's life in hotels, the cocaine on the mirror, the Happy Hour, the prostitutes at the bar, and the ticking of the pen that reminds him that he is alive during his attempts to write a song. A classic neo-prog song that just comes to life with the mighty entrance towards the second verse and accompanies almost the entire length with Steve Rothery's vibrato effect on the guitar, what a perfect playing and how much emotion this is is amazing guitarist can convey through. Torch's story progresses through "Warm Wet Circles" the song that shows us how Torch really deals with alcoholism. A song about the loss of innocence, a song that introduces us to situations in Torch's life in which the "hot and wet circles" likened to alcohol gives him momentary comfort, a warm and loving hug designed to dissipate. On the one hand, they are like his mother's warm hug ("it's like his mother's hug"), and on the other hand, he knows they will lead him to his death just like a bullet fired from a gun in Central Park ("like a bullet hole in central park"). The third track "That Time of the Night (The Short Straw)" opens quietly and dramatically with Mark Kelly's keyboards and Rothery's moaning guitar settling on Peter Trewavas' dominant bass. This song that introduces us to Torch's "Short Straw" - "Torch's Broken Barrel" that begs for help, gradually develops until Fish's amazing entrance at 2:37 that screams his soul and asks: "If you ask me how I feel on the inside ...", Without a doubt one of his best performances on the album and in general, a vocal performance that only intensifies towards the end with the backing vocals of Tessa Niles. We slow down a bit of pace with the atmospheric and quiet "Going Under" which is just the trigger for the bouncy section "Just For The Record" that follows. What a beauty of a Mosley drumming gives here and how beautiful Steve Rothery's guitar line and Mark Kelly's crazy solo that sends us like a cannon shell straight to the days of "Fugazi". The sixth track "White Russian" which seals the first side of the vinyl, is one of our favorites on the album. What amazing Fish words reminiscent of the burning of synagogues, the Holocaust, and the Uzi guns on the street corner. "Where are we going from here? ..." Fish asks, pointing an accusing finger at those who allowed the rise of neo-Nazism in Europe. And what an amazing turn this song gets at 3:55, just a brilliant segment with an ending on the epic frontier with Steve Rothery’s amazing solo. The other side of the vinyl opens up with the first single from the album - "Incommunicado" a song full of contrasts, on the one hand, a bouncy upbeat rhythm and "cheerful" keyboards, and on the other sharp words that refer to all the bad in the music industry, its shortcomings, and pressures on an artist to succeed. And from the general to the individual, in the specific case the pressures exerted by the American record company - Capitol Records on "Marillion". Fish mentioned the impact of "The Who" on the song and keyboardist Adam Wakeman (the son of) noted Mark Kelly's solo here as a great inspiration. Just like Torch's life in the concept story, we move from the party rhythm of "Incommunicado" to the melancholy rhythm of "Torch Song". The song, which refers to this character of the story, with the sounds of laughter and drinking in the pub that are heard far in the background, behind the jazzy and so special bass of Pete Trewavas, is accompanied by precise descriptions of the dismal 29-year-old Torch's condition. He stands on a stage like a superstar but feels like zero, the addiction to the "bitter drop" and the doctor's warning about his liver condition and that if he continues like this he will not reach the age of 30. We continue to the piano rhythm for an encounter with one of the most powerful songs on the album, which also opened the performances in the tour that accompanied it - "Slàinte Mhath" - which means "cheers" in Gaelic. The song is led by Ian Mosley's amazing and intelligent drumming and Steve Rothery's circular guitar sentence, while Fish gives us an "interim summary" and tries to explain to us what "the story has been until now". The next track - "Sugar Mice" is not only one of the highlights of the album but is one of the highlights of the band. A soft and caressing melodic composition in the first half of the song accompanies the moving words that tell us about the bitter fate of Torch who is doomed to live on the road, away from his children, a longing life and suffering of an artist who falls victim to the industry and finds himself comforted by the "bitter drop" arms. Fish is at his peak here in terms of writing, with sentences penetrating an armor: "If you're looking for my address, I'm at No. 1, at the end of the well sitting with the broken angels, clinging to a straw and licking the wounds ...", and when Torch (Fish) turns to his children and says they Can only blame him no one eye will stay dry. "Your daddy took a raincheck. Ain't no one in here that's left to blame but me, Blame it on me, blame it on me". From there we move on to the amazing ending of the story, with "The Last Straw". The song takes us back to the hotel corridors of "Hotel Hobbies" with which we opened the album and ends with the duet between Fish and Tessa Niles, who repeat like a mantra the phrase "we are still drowning", "holding on to a straw" .. as if trying to say what was is what will be. The wheel turns and the story of the failed singer who we met at the hotel, with the alcohol and cocaine on the mirror, despite everything and despite everything, is still drowning, clinging to a request ... still drowning .... Despite the seemingly dismal ending, "Marillion" insisted on ending the album with an ironic statement. An 8-second segment called "Happy Ending" in which Fish is heard shouting "No!" And then laughs and grins... The album "Clutching at Straws" is a tremendous end to the first period of "Marillion". A masterpiece album that is the band's "Swan Song" in a lineup with singer Fish. An ingenious and one-of-a-kind composition that had all the ingredients needed to leave history. The band that is largely responsible for bringing the progressive back to the world music map. No wonder this album has managed to enter Rolling Stone magazine's 50 greatest progressive albums of all time, as, beyond the creative climax expressed here, this album best expresses the bridge between the classic progressive and the new and up-to-date one. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 22, 1971, Joni Mitchell released her fourth album, "Blue". The album is the pinnacle of Johnny Mitchell's work and is considered by many to be one of the best albums ever released by a singer. Just to be clear, the album holds the 3rd and most respected place, out of the 500 greatest albums of all time updated list of the "Rolling Stone" magazine (before "The Dark Side Of The Moon", "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" and many more), The highest entry of a female singer on the list. This is an album that received a perfect score, by almost all the important critics, who also praised the singer's writing ability and composition. The genius of the album is in its minimalism. Almost all of the songs in it are accompanied exclusively by guitar and/or piano and yet they echo strongly for more than five decades to this day. Musically it is a folk, rock, and pop album, very melodic and with a lot of softness and emotion. In terms of lyrics, this is a very personal album, which refers mainly to the relationships that Mitchell had with her various spouses. The story of this album begins in January 1970, when Mitchell decides to stop performing for a year and focus on writing and painting. At the same time, Mitchell travels around Europe, a trip that will also be fertile ground for the classics she will write during his trip. While on the island of Crete, she writes the songs "Carey" and "California", the first being influenced by her relationship with Cary Raditz who is also mentioned in the "California" song as "Red-Neck from the Greek Island". The songs "My Old Man" and "River" were probably influenced by her relationship with Graham Nash and the songs "Blue" and "All I Want" were written about singer James Taylor. (Photo: Jim McCrary) The album was ready for marketing as early as March 1971, but at the last minute Mitchell decides to remove 2 of three old songs that did not get on her previous albums and replace them with two new songs: "All I Want", which opens up the album and "The Last Time I Saw Richard", Which is the last song on the album and was probably written about her first husband Chuck Mitchell. The only old song left on the album is "Little Green" written by the singer back in 1967. The album opens up with "All I Want" a folk/pop song with a beautiful melody, which includes the use of the string instrument "Appalachian Dulcimer". The song was probably written about the singer James Taylor with whom Mitchell was dating at the time and it includes reference to specific cases in the relationship, such as the sweater that Mitchell knitted for Taylor and which he proudly wore. Taylor who also plays guitar in the song denied in a 2008 interview that the song was written about him and claimed that the song was written before the two even met: "I want to knit you a sweater" says Mitchell, you will judge who is telling the truth. From there we continue to "My Old Man" which was probably written about Graham Nash, this is the first song on the album with only piano. "Little Green" is a pure folk song, perhaps the saddest on the album, referring to Mitchell's daughter - Kelly Dale whom she gave for adoption in 1965, because she was unable to raise her. Kelly and Mitchell reunited in 1997 but their relationship did not survive. It is the only "old" song written for the album back in 1967, but did not find its place on her previous albums. (Photo: Central Press) “Carey” is a rhythmic song relative to the rest of the album tracks and it also features richer arrangements than most of the songs. Mitchell's dulcimer and voice are backed by the bass playing of none other than Stephen Stills and Russ Kunkel's percussion. The song was written about Cary Raditz whom Mitchell met in the caves at Malta, south of Crete. The first side of the vinyl closes with the theme song, "Blue" a kind of sad lament led by a fluid and moving piano playing. Rumor has it that the song was written about David Blue, a musician who was an acquaintance of Mitchell's. The other side of the album opens up with "California" written during Mitchell's stay in France and tells of her longing for home. The song is backed by the acoustics of Mitchell and Taylor, the percussion of Russ Kunkel, and the still-pedal playing of Sneaky Pete Kleinow. The same Kerry from the previous song also appears in the second verse of the California song. "This Flight Tonight" was written about Mitchell's remorse as she boarded a flight and left her lover. The song received a cover version by the Scottish Hard Rock band "Nazareth" on the 1973 album "Loud 'n' Proud", which was produced by Roger Glover from "Deep Purple". By the way, Nancy Wilson from "Heart" admitted that the riff of "Nazareth" in this song, was the inspiration for the song "Barracuda". "River" is one of the most beautiful and moving on the album. Piano Ballad - almost a Christmas song, about longing for cold weather. The song received a famous cover version by the band "Travis", also Scottish (-: "A Case of You" was probably written about Mitchell's breakup from Graham Nash, but some argue that it was actually written about Leonard Cohen. The album is sealed with "The Last Time I Saw Richard", a piano ballad that tells of Mitchell's brief marriage to Chuck Mitchell and her struggle to survive as a folk singer in the mid - 60s. Unlike many masterpieces that were discovered by the audience and critics long after their release, "Blue" was commercially successful already at the time of its release. Thanks to this success Mitchell decided to return to the stage and live performances. The album also allowed her creative freedom and she did indeed continue to develop musically and later produce some of the most interesting works in her glorious career. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 22, 1979, "Queen" released their first official live album, "Live Killers". This double LP captured the band at the peak of their late-'70s live power—flamboyant, furious, and filled with the kind of theatricality only Freddie Mercury could deliver. The album was recorded across various European dates during their "Jazz" tour and reflects a band that had already become a dominant force on stage, but was still years away from the massive stadium spectacles of the '80s. "Queen" produced the album themselves, working on the mixes in Munich. Despite some editing and overdubbing, the album retained a raw, urgent live feel, with ambient crowd noise, Mercury’s spoken interludes, and guitar squeals all left intact. "Live Killers" captures the raw energy of "Queen" in their natural habitat—on stage. But it also drew mixed reactions from fans and critics alike. While the album highlights the band’s incredible musicianship and Mercury’s magnetic vocals, the sound production was often criticized as thin or distant. Some fans also questioned a few of the track selections. Still, despite these flaws, the album has endured as a fan favorite—an essential document of "Queen" during their peak touring years. The album opens with the fast version of "We Will Rock You", taken originally from "News of the World". Unlike the iconic slow stomp of the studio cut, this live rendition is explosive and punk-influenced—short, sharp, and defiant. From there, "Let Me Entertain You", which appeared in its original form on "Jazz", keeps the momentum high with a more guitar-driven edge in the live setting. Brian May shreds with abandon, Roger Taylor smash through the rhythm, while Mercury leads the charge with his usual swagger. "Death on Two Legs", the scathing opener from "A Night at the Opera", arrives with even more venom on stage. It begins with a famously censored line—Mercury’s furious intro referring to their fired manager: “This is about a dirty, nasty old man, we call him motherfucker, you know what motherfucker means?” is replaced with a series of beeps, adding both mystique and rebellious tension to the performance. It flows into a medley including "Killer Queen", "Bicycle Race", "I’m in Love with My Car" with Roger Taylor on lead vocals, and "Get Down, Make Love"—songs drawn respectively from "Sheer Heart Attack", "Jazz", and "News of the World". The medley format breathes new life into the tracks, with altered transitions and heavier instrumentation. "You're My Best Friend", taken from "A Night at the Opera", is a charming addition to the setlist and a rare live showcase for bassist John Deacon's songwriting. With Mercury handling the piano and lead vocals. "Now I’m Here", originally from "Sheer Heart Attack", is intensified live, its echo-heavy vocal sections and riffs hitting even harder in front of an audience. "Love of My Life" is a centerpiece of emotional power. Stripped of the lush studio arrangement from "A Night at the Opera", this version is presented with Brian May's acoustic 12-string and Freddie’s delicate delivery. But the real magic happens when the audience joins in—Freddie steps back and lets the crowd carry entire lines, transforming the song into a shared moment of beauty and unity. It’s not just a performance—it’s communion, and one of the most powerful examples of the bond between Queen and their fans. The acoustic line continues with "’39", which provides a surprising and heartfelt change of pace. Featuring Brian May on acoustic 12 string guitar and Roger Taylor on tambourine, the live version adds a storytelling charm that deepens the song’s time-traveling, folk-inspired character. "Don’t Stop Me Now", from "Jazz", comes across with a slightly rougher vocal edge, yet it retains its upbeat, irresistible spark. The extended version of "Brighton Rock", first heard on "Sheer Heart Attack", becomes a vehicle for Roger Taylor drumming and Brian May’s guitar wizardry. His solo is stretched into an atmospheric, multi-layered odyssey of delay effects, tapping, and harmony that transforms the track into something entirely its own. The final side of this double album delivers an unrelenting burst of energy. It begins with "Bohemian Rhapsody", dramatically reimagined for the stage with seamless transitions between the ballad, operatic, and rock sections. That flows into the thunderous "Tie Your Mother Down" and the frenetic "Sheer Heart Attack", both delivered with ferocious speed and volume. The set culminates in the slow-stomp anthem "We Will Rock You" and the majestic "We Are the Champions", wrapping up with Mercury’s iconic farewell and the ceremonial "God Save the Queen". "Live Killers" was a commercial success, reaching No. 3 on the UK Albums Chart and going double Platinum in the U.S. Although critics were mixed—some citing sound quality and editing—fans embraced it as an energetic snapshot of the band in their pure rock-centered glory. Over the years, it has been re-evaluated as a vital piece of "Queen" history, especially since many of the live arrangements differ significantly from the studio versions. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Although he is currently recognized as a member of "Deep Purple", his keyboards playing can be heard on over three hundred albums (!!!), which places him as one of the most recorded musicians of all time. (Photo: Flickr) Ladies and gentlemen today we are going to tell you about legendary keyboardist Don Airey, who was part of so many lineups and contributed his talent to a long line of masterpiece albums. Here are some interesting facts about him: 1. He was born in Sunderland England on June 21, 1948, as Donald Smith Airey. 2. He was greatly influenced by his father Norman Airey's love of music and began playing the piano at the age of 3. As a teenager, Airey switched to other keyboard instruments including the Hammond organ. 3. Although he studied classical music, he also specialized in other musical styles, performing in local clubs with rock and jazz ensembles. 4. He continued his musical education at the University of Nottingham, where he graduated with a degree in music and also received a diploma from The Royal Northern College of Music. 5. In 1971 he traveled the world playing on cruise ships, to Africa, the USA, and the Far East. 6. His first major appearance in a rock band was with Cozy Powell's band, whom he joined in 1974. 7. In 1976, Don joined the fusion band "Colosseum II" and recorded the albums "Strange New Flesh", "Electric Savage" and "Wardance" with them. 8. Don later briefly joined "Black Sabbath" and played keyboards on the album "Never Say Die!". 9. He will then respond to Cozy Powell's call and join "Rainbow". He was a member of the band for 3 years and took part in the albums "Down to Earth" and "Difficult to Cure". 10. At the end of his tour with "Rainbow", in 1980, Don played in Ozzy Osbourne's "Blizzard Of Ozz" album and among other things created the masterful intro to the song "Mr. Crowley". 11. Don will board Ozzy's "Crazy Train" and stay with him for another three years, during which he will play in the albums "Diary of a Madman", "Speak of the Devil" and "Bark At The Moon". 12. During the 80's Don became a sought-after session player for many artists and among other things participated in the albums "Out In The Fields" by Gary Moore and the album "1987" by "Whitesnake". 13. In 1987, Don joined "Jethro Tull" touring Europe and the United States. 14. He left "Jetro Tull" in January 1988 to compose his solo album "K2", recorded with Gary Moore and Cozy Powell. Since then Don has released 5 more studio albums as part of his solo career. 15. From 1989 to 1991, he returned to work with Gary Moore and among other things played keyboards and served as arranger on the album "Still Got the Blues", which became the best-selling blues album ever. 16. In 1991 he also participated in the "Painkiller" album of "Judas Priest" and later also in the albums "Demolition" and "Nostradamus". 17. In 1997 he adapted and conducted "Love Shine a Light" for "Katrina and the Waves" and helped them win the Eurovision Song Contest as representatives of the United Kingdom. 18. In 2001 came the opportunity to join "Deep Purple". Don managed - on a day's notice - to replace his friend Jon Lord ahead of "Deep Purple's" tour. 19. Since then Don has participated in all of "Deep Purple's" studio albums and he continues to perform with them to this day, around the world. 20. As we wrote at the beginning, Don has recorded hundreds of albums, including those of the following artists: "ELO", Brian May, Bernie Marsden, Graham Bonnet, "Wishbone Ash" Tony Iommi, Bruce Dickinson, Uli Jon Roth, "UFO" and more. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Incubus' very talented guitarist is Mike Einziger and he was born on June 21, 1976 !! So let's learn how talented, diverse, and educated the guy with whom we share the same nationality. = His full name is Michael Aaron Einziger and he was born in Los Angeles, California. = Until the second grade, he studied and was educated in a Jewish school called "Kadima". = He held his bar mitzvah party at "Valley Beth Shalom" and continued to attend a Jewish school three times a week in the afternoon. = His mother was a piano teacher and he grew up with music circling him at all hours of the day. (Photo: Incubus) = At the age of eight he started taking guitar lessons but quit very quickly because the teacher taught him children's songs and Mike wanted to learn to play rock songs. He returned to play the guitar at the age of 12 and taught himself to play by hearing. The first song he learned to play was the theme song from the James Bond movies. = In 1991, during his studies at Calabasas High School, he formed with his friends Brandon Boyd, José Pasillas II, and Alex Katunich the band "Incubus". (Photo: Con Keyes) = They started playing in clubs around Los Angeles as they formed themselves their very special musical identity. = In 1995 DJ Gavin Koppell joined the band and they released their first EP "Let Me Tell Ya 'Bout Root Beer" which included two songs. = The band's debut album "Fungus Amongus" was released in 1995. The album was heavily influenced by the punk metal style, they even wrote in the album booklet thank you note to the bands Red Hot Chili Peppers, Primus, and Mr. Bungle. They also gave themselves fake names like Happy Knappy, Salsa, Fabio, and Dirk Lance. = A year later, the band signed a seven-record contract with Epic Records. = In 1997 the band released their second EP called "Enjoy Incubus" which aimed to promote the band during their tour as an opening show for the band Korn. = Later that year Incubus released their second album (and the first on a major record label) called "S.C.I.E.N.C.E." Here the band began to change its direction to heavier sound with riffs from Nu Metal. The album was not a great success but sold relatively well for an album that did not receive airplay on radio or television. = After a short break, the band released their third album "Make Yourself" in October 1999. This is the breakthrough album with the hit single "Drive" which was played all over US radio stations. Here the band has already started to go more in the direction of alternative rock and Pop Rock. = In 2001 the band released their fourth album "Morning View" which was also a great success with the singles "Wish You Were Here" and "Nice to Know You". = That same year, Mike composed the soundtrack for a romantic comedy film called "Sol Goode" released in 2003. = In 2003, Mike and his friends founded an organization called "The Make Yourself Foundation" which aims to support and contribute to various charities and organizations for the benefit of the environment and society in the United States and around the world. = That same year, Mike formed the band "Time Lapse Consortium" which created psychedelic and funk jazz-style music. They have performed in several clubs and even released one album. = In the same year Mike participated in Ziggy Marley's debut album called "Dragonfly". = In 2004 the band released their fifth album "A Crow Left of the Murder..." (an album we unfortunately did not manage to review yet) and it continued the band's success with the previous two albums. = In 2006 the band released their sixth album "Light Grenades" which was their first album to reach number one on Billboard. = In 2007, Mike produced Coconut Records' "Nighttiming" album. A musical project by actor Jason Schwartzman that combines elements of rock, pop, and electronic. = Mike is a graduate of Harvard University where he studied the history and philosophy of physics (how to say... it's not rocket science... yes it is!). = And if that's not enough then he also went back to study music theory there !! This is what motivated him to write classical music. = In the early 2000s Mike began to develop a disease called "Carpal Tunnel Syndrome" which causes severe pain to the point of inaction on the palms of the hands. Around 2007 during a performance in Munich his condition deteriorated to the point that he could no longer play, out of frustration he began to break his guitar on stage and went down before the end of the show. That day he realized he needed surgery and indeed that year he underwent surgery and fully recovered. = During that period he was not allowed to use his hand and therefore also not play, so he invested in a project called “End.> Vacuum”. This is a composition project for an orchestra, classical music. The composition consists of four sections and its total length is 40 minutes and was performed by the Los Angeles Chamber Orchestra. = In 2009 the band released a compilation album called "Monuments and Melodies". = In the same year, Mike recorded the role of guitar on Thirty Seconds To Mars' album "This Is War". = In 2011 the band released their seventh album called "If Not Now, When?" Which is a completely different album from anything the band has released up to that time. = In 2012 he collaborated with musician Avicii and together they created the song "Wake Me Up!" Released on the album "True". = In 2017 the band released their eighth album called “8”. = Mike is known as a guitarist who likes to use analog effects. Between the guitar and the amplifier are connected a variety of instruments, some ancient and some modern, mostly analog, with which he creates the crazy sounds in the band's albums and especially in live performances. Listen to Incubus latest album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Editor's Choice... For those who are not familiar with the band Pierce The Veil, this is a great place to start, the second album of this talented, diverse, and dynamic band "Selfish Machines" was released on June 21, 2010 !! We became acquainted with the band following the song "King for a Day" from the band's third album "Collide with the Sky" which was released in 2012 and gained a lot of exposure on YouTube. But then we went back to their previous albums and this album grabbed us really hard, it is a kind of identity card of the band that is not afraid to use its talent to explore different and weird styles, dynamics, and rhythms including the use of the infamous tool - Autotune. Leading the band is mainly Vic Fuentes who is the lead singer, guitarist, and writer. Together with producer Mike Green they took the quartet material and created this excellent album that reached number one on the Billboard US Heatseekers albums chart. Vic wrote most of the songs on the album except for three songs he co-wrote with Tom Denney who was a member of the band "A Day to Remember". It's very difficult to define the style of the band, in our opinion it is so diverse, unpredictable, and out of the box in such a large and modern way that it's just amazing. The iTunes team defined it as follows: "blurs emo, prog rock, and post-hardcore" But Vic defined it as an album for the band's listeners and fans that is super fun and will go wild with live performances that the audience will sing along with the band. (Photo: Fearless Records) The album opens with "Bestios" which has a crazy Latin beat with roars and popping riffs that just throw you off the chair even before you reach the caressing chorus, less than a minute has passed and you have already been driven by a variety of different rhythms and vocals. The song describes a relationship that was written from the girl's point of view. The next track "Southern Constellations" is the opening section to the third song "The Boy Who Could Fly" which opens with a crazy rhythm of guitars and drums and returns the band to its punk roots. Note that in the band's music, it is very difficult to keep track of the sound of the guitar, it is very strongly mixed with other elements and especially with the drums (try to isolate and see), by the way, Mike Fuentes is Vic's brother and drummer of the band (as of today he is out of the band due to sexual harassment to one of the band's fan), playing this song and all songs with one bass pedal. What a beauty of dynamics there is to this song that breaks at once in the chorus with Vic’s screams, such fun to sing along with. Moving on to "Caraphernelia" which is also a song based on a relationship that Vic had with his ex-girlfriend. His friend Jeremy McKinnon from the band "A Day to Remember" gives his growling abilities here and turns this song into an interesting and winding combination of punk / metal and hard rock, a sheer pleasure... The fifth song on the album "Fast Times at Clairemont High" is an egoistic song by Vic that says that if "I can not have you then no one can". The name of the song is a tribute to the movie "Fast Times at Ridgemont High" but changed according to the name of the high school where the Fuentes brothers studied. Another Latin influence is felt in the song "The New National Anthem" which opens with a Spanish guitar fret. A kind of elastic love song, nice and not sticky! Where will you find a song that starts with a Spanish fret, continues to distortions, and even screams later, an amazing "fruit salad" !! We already understood that a relationship is a subject that Vic deals with a lot in songs, you can understand, he was still a teenager. In the song "Bulletproof Love" he combines his love for songs that have a happy dynamic and a fun rhythm with dark and difficult lyrics, there is a lot of that in the band's albums and it is very special. This song was written as a kind of suicide note about a guy who is obsessed with a girl he can't get... The next song was written as a sort of buffer on the album, "Stay Away from My Friends" is a quiet song based on keyboards and acoustic guitar. The band wanted to give the listener a moment of rest from the frenzy of the first part of the album and therefore created it in a completely different way from the songs before and after it. The ninth song on the album "I Don't Care If You're Contagious" which returns to the band's crazy/messy/diverse dynamics, is a song written by Vic following the story of a fan who lost her partner in a car accident. Vic wrote the song from a friend's point of view. What a beautiful opening to the song "Disasterology", a simply superb song !! Following the next song, "Million Dollar Houses (The Painter)", the band received a lot of fire and harsh reviews due to the use of Autotune which sounds obvious here, but for us it is ridiculous !! Use whatever you want and can to create your music, period! What a beauty of song structure, opening, verses, passages, and chorus, we just love this combination that so characterizes this quartet. The song that closes the album, "The Sky Under the Sea" returns once again to the band's punk origins with excellent drumming by Mike, one of our favorite drummers (not so much right now!!). Great ending to a great album !! Not many know this band and we set ourselves a goal to change that, so even if it sounds too messy to you, not classic, maybe even too "teen", we highly recommend you to give this band a chance. A very talented quartet with a very special style !! You are also welcome to read about their latest and all-too-fine album "Misadventures". 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 Sneak Peek... And this time, the song that became a huge hit not by its original writer and created a whole new musical genre. On January 20, 1965, "The Byrds" recorded their version of Bob Dylan's "Mr. Tambourine Man". It was later included on the band's first album, released later that year, on 21st of June 1965. Dylan released the song on his fifth album "Bringing It All Back Home", on March 22, 1965, meaning, two months after "The Byrds" recorded it. How did this happen you ask? The Byrds manager Jim Dickson, brought a demo version of the song to the studio. The demo was recorded by Bob Dylan during the sessions for his fourth album "Another Side of Bob Dylan" from 1964. "The Byrds" based their version on the demo version that did not find it's way to Dylan's fourth album. It turned out that the song was recorded by them before it was released by Dylan himself. The band members initially refused to record the song, as they thought it had no potential to succeed. Finally, the song was recorded after dropping some of the lyrics written by Dylan and with the addition of Roger McGuinn's iconic 12-string guitar, with the single itself being released on April 12, 1965. It is interesting to note that the band itself did not play the song, except for Jim McGuinn who sang and played guitar and Gene Clark and David Crosby who sang background vocals. The reason for this was that the band was then only at the beginning of its journey, and its managers thought they were not good enough yet to make the recording, therefore invited professional studio players to perform the craft. The first single from the band's first album became a hysterical hit that changed the face of rock forever and created a new folk-rock musical genre. This song also constituted the first worthy American response to the unchallenged control of British bands in the music world at the time. Another amazing statistic about this song, is that it is one of the only songs that has entered the list of the 500 greatest songs of all time by "Rolling Stone" magazine twice. once as performed by "The Byrds" and the second time performed by Bob Dylan. In this case "The Byrds" surpassed Dylan when they reached 79th place on the list, compared to Dylan's 107th place. To listen to a song: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 21, 1985, "Mötley Crüe" released their third studio album, "Theatre of Pain". This album marked a dramatic shift for the band—both musically and visually. Following the dark, aggressive tone of "Shout at the Devil" that made them "Satan-worshippers", the band took a turn toward glam metal, embracing a more theatrical image and sound. The change wasn’t just a stylistic pivot; it was a survival strategy. In the aftermath of Vince Neil’s tragic car accident that claimed the life of Hanoi Rocks’ drummer Nicholas "Razzle" Dingley, and with internal tensions and substance abuse rising, "Theatre of Pain" became a turning point for "Mötley Crüe". The album was recorded at "Cherokee Studios" in Hollywood with producer Tom Werman, who had also worked on the previous album. Nikki Sixx, who took a growing role as the band’s creative driver, channeled much of his inner turmoil into lyrics that were darker than the album’s glammy packaging suggested. Tommy Lee remained a powerhouse on drums, adding punch to even the most pop-oriented moments' and Mick Mars showed his versatility and talent, even though the band had been seriously considering replacing him. From a musical standpoint, "Theatre of Pain" softened the band’s earlier heavy-metal edge. The gritty riffs were still there, but the production polished them for MTV and radio. This was the album that helped launch glam metal into the mainstream, even as it drew criticism from hardcore fans for abandoning the band’s original ferocity. The album opens with "City Boy Blues", a swaggering track that nods to the band’s roots in sleaze and street rock with a slight twist enhanced by the slide guitar solo and cowbell. The raw energy here sets the tone for an album full of attitude, even if the riffs feel more polished than punchy. "Smokin’ in the Boys Room", a cover of the 1973 hit by "Brownsville Station", was the album’s breakthrough single. Its rebellious schoolyard theme and campy video made it a favorite on MTV and gave the band their first Top 20 hit. The change in style is noticeable not only by the choice to unclude a cover song from the 70s (they already did this on the previous album with "the Beatles'" "Helter Skelter"). However, this time the band shed all the dark atmosphere with the help of Mickey Raphael's harmonica solo, the slide solo and the claps part that scream mainstream. The song’s infectious, chant-along chorus made it a cultural bridge between 70s rock nostalgia and 80s glam excess. Interestingly, this rebellious spirit also found echoes across the globe—in Israel. In 1981 the legendary band "T-Slam" paid homage to this aesthetic in "רדיו חזק (Loud Radio)", a track that mirrored the same adolescent defiance and anthemic energy. The old and original "Mötley Crüe" steps in in the third song - "Louder Than Hell", that offers a heavier respite amid the glam. Originally written during the "Shout at the Devil" era (under the title "Hotter Than Hell"), the song brings back crunching guitars and sinister tones, and is one of the few tracks on the album that retains the band’s earlier intensity. "Keep Your Eye on the Money" rides a tight groove with sharp lyrics about fame and temptation, hinting at Nikki Sixx’s growing lyrical maturity. It's one of the album's underrated gems. But it was "Home Sweet Home" that became the album’s emotional centerpiece, although some that were present in the studio were unhappy with the band's decision to record a ballad and release it as a single. A piano-driven power ballad that exposed a softer side of the band, it became a template for the glam metal ballads that would dominate the second half of the decade. The song was written by Nikki Sixx and Tommy Lee which also plays the piano. At the time, the song underperformed on the charts, but its video was a fan favorite and it later became a staple in the band’s live shows and greatest hits collections. "Tonight (We Need a Lover)" and "Use It or Lose It" are straight-up glam rockers—fun, flamboyant, and built for arenas. They may not carry the depth of the band's later or earlier material, but they capture the spirit of mid-80s debauchery that defined the "Crüe" lifestyle. "Save Our Souls" is perhaps the darkest and most underrated track on the album, with Sixx addresses his heroin addiction. Driven by a haunting riff and slide guitar licks by Mick Mars, it stands out as one of the more interesting songs on the album. "Raise Your Hands to Rock" make a heavy use of acoustic guitars and nods toward Country music, but later it returns to the Glam metal slot with the catchy chorus that chants the word "Rock" just like "Twisted Sister" did a year before you with the hit "I Wanna Rock". The album closes with "Fight for Your Rights", an attempt at anthemic commentary that falls short lyrically but tries to channel the rebellious energy that the band built its name on. "Theatre of Pain" received mixed reviews upon release. Critics were divided, and even the band has expressed reservations about it in hindsight—Nikki Sixx once referred to it as a "pile of rubbish." Still, it achieved 4 time platinum status in the U.S., reached No. 6 on the Billboard 200, and helped solidify the "Crüe’s" place in the glam metal pantheon. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Okay, so after yesterday's post about the sale of David Gilmour's guitar collection on June 20, 2019, we felt we must tell you that the Guinness record for that sale for a single guitar was broken on 21 June 2020. (Photo: Frank Micoletta) This record has been held for a year by the Black Strat guitar - Fender Stratocaster 1969, on which Gilmour played from the album The Dark Side of the Moon to the album The Final Cut, and which we told you about only yesterday, here. So on June 21, 2020, the guitar played by Kurt Cobain was sold during the famous 1993 MTV Unplugged show, was sold for a fantastic $ 6,010,000, compared to the $ 3,975,000 paid for David Gilmour's Black Strat. This is a 1959 Martin D-18E acoustic guitar in which Australian businessman Peter Freedman, president of Rode Microphones, won an auction with an initial amount of $ 1,000,000. The guitar came with its original case bearing a sticker that Kurt Cobain pasted on it. (Photo: AFP) Friedman noted that the purchase of the guitar was for him a "once-in-a-lifetime opportunity" and that he intends to present it at exhibitions around the world. The auction house "Julien" noted that during the sale 5 Guinness records were broken, among them the one we mentioned as well as the highest price paid for an item for one Memorabilia. If you're wondering how this item got to auction at all, when it's clearly the farthest step from what Cobain himself represents, then in May 2018 Cobain's daughter Frances Bean Cobain lost the guitar in her divorce lawsuit to her partner Isaiah Silva. He claimed at trial that Frances gave him the guitar as a gift and therefore it should be his property, Frances, of course, denied the claim but it did not help her, the judge gave Silva the famous guitar. The divorce saga was dirty, long, and famous, at one point Silva accused Frances of planning to murder him and steal the guitar back !! "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"Deep Purple's" self-titled third album was released on June 21, 1969. This is the band's last album in its first lineup also known as MKI, which included lead singer Rod Evans and bassist Nick Simper, who will later be fired from the band in favor of a different sound and style change. The musical style of the album ranges from progressive rock and psychedelia to heavy rock and classical music, with the general trend being beyond a heavier sound and greater presence of guitar roles, than on the previous two albums. The change in sound was mainly due to the increasing involvement of guitarist Ritchie Blackmore in the writing process. At the end of 1968, the band went on tour in the United States to promote their second album, "The Book of Taliesyn". The band returned to England on January 3, 1969, and immediately began working on material for their third album, But the materials the band worked with were far too complex to serve as a 3-minute "hit". To satisfy the record company, the band entered the studio on January 7 and recorded the song "Emmaretta", which was written about Emmaretta Marks who was part of the show "Hair" and which Evans met during the US tour. The song was released as a single in February 1969. The song did not match the style and spirit of the emerging album, so it remained as a single and was not included in the album. During those sessions, the band also recorded the heavier and more experimental "The Bird Has Flown" and this song will find its way to the album. After letting the record company what it wanted with the single "Emmaretta", the band was free to continue writing the material for the third album. The band's management managed to arrange a window for the recordings during February and March of 1969. The pressure on the band was heavy. It was the third album in less than 18 months of activity, while during the writing of the materials and recordings, the band had to go on tours. Despite this pressure and the short time they had left to write and make the recordings, the band managed to write 7 new tracks, more than the number of original tracks the band put into each of their two previous albums. The pressure positively acted on the band members apparently, because the original materials they managed to produce were not only more in terms of quantity but certainly also in terms of quality. (Photo: John Minihan) The album opens up with "Chasing Shadows" written by Jon Lord and Ian Paice and is led by the rolling drumming and African rhythms that Ian Paice brought to the song. "Blind" was written by Jon Lord about one of his nightmares. Lord's harpsichord playing in this song is no less wonderful. Immediately after that comes the ballad "Lalena" - the only non-original song on the album, written by Donovan. The band gave the song its own interpretation with drumming on the edge of swing and a somewhat jazzy playing by Lord with one of his beautiful and melodic solos. The song will of course become a familiar "hit" of the band, here in Israel as well. The short instrumental piece "Fault Line" was influenced by the earthquakes the band experienced in Los Angeles during their last tour there, and it features a psychedelic and interesting effect in the form of a backward recording of Ian Paice's drum moves. "The Painter" is a classic 12-box blues, written by the band to satisfy the growing demand of British audiences for blues-rock-based pieces. The song was recorded in a live studio without any editing and features a powerful and beautiful "electrifying" bluesy guitar solo. It is worth mentioning, that until the time of recording the album, Ritchie Blackmore used a Gibson guitar, during the recordings Blackmore gradually switched to a Fender Stratocaster guitar, which was used by the guitarists he admired. This guitar will become Blackmore's hallmark during the band's heyday and beyond, and in fact to this day. By the way, according to various sources, Blackmore bought his first Stratocaster guitar from Eric Clapton, but it was an engineered version of the Stratocaster that made it difficult for Blackmore to play, because it's neck was a Fender Telecaster guitar, with a Stratocaster body and pickups. Opens the other side of the vinyl is another blues-rock track "Why Didn't Rosemary?", Which was influenced by Roman Polanski's classic film starring Mia Farrow "Rosemary's Baby", and which the band members watched together at the cinema. The band admitted that the song was influenced by American blues artist Otis Spann. Although this is a blues song, it is not a blues in the classical structure as in the previous song, as it includes 14 bars in the verses and 17 bars during Blackmore's guitar solo. Then comes the wonderful 12-minute piece "April". This is the longest track to be included on the band's studio album, written primarily by guitarist Ritchie Blackmore about the month he was born in. The piece consists of 3 parts with the main part being an instrumental in the style of classical music composed by Jon Lord and performed by a classical orchestra. The first piece is played exclusively by Lord and Blackmore, with Ritchie Blackmore playing guitars, acoustic and electric, and Jon Lord on organ and piano. The second section is, as mentioned, the orchestrated and classical section composed by Lord and includes, among other things, the use of instruments, flute, clarinet, and strings. The third and final section also includes singing by Rod Evans. The band wrote on the album cover that they "hope the April piece will convey a message of reliving personal memories from a beautiful but sad (for us) month". The album did not receive satisfactory sales at the time of its release, partly due to the criticism that the album's cover drew. The cover is an excerpt from a 15th-century painting "The Garden of Earthly Delights" by the German-Dutch artist Hieronymus Bosch. The painting, which shows what hell looks like, was perceived by the American public as an anti-religious and immoral painting, which also includes nude figures. It is interesting to note that the same painting, only in its colorful version, adorned the cover of the album "One Nation Underground" of The psychedelic folk band "Pearls Before Swine" two years earlier, but in that case, the cover was not criticized at all. By the way, the fact that Deep Purple's album has a black and white version of the painting is not intentional and accidentally originated. The sharp-eyed among you will surely notice that the band's miniature figures was inserted Into Bush's painting. This album is actually the "Swan Song" of the band MKI's lineup. After the album's release, the band went on a US tour, during which keyboardist Jon Lord guitarist Ritchie Blackmore and drummer Ian Paice met to discuss the band's future. The three unanimously expressed a desire to make a significant change in the band's musical direction. It was clear to the three of them that singer Rod Evans and bassist Nick Simper would not fit the new style the band is going in, so it was decided to replace them. As we know, in June 1969 (the month of the album we are reviewing was out). Ian Gillan and Roger Glover were chosen to replace Simper and Evans, but at this point, their identity was still kept secret as well as the intention to fire them. As already written in the pages of the history of rock, the said change in the band's composition and style, will soon lead it to worldwide success and the writing of tremendous works that will form one of the pillars of the hard rock and metal genre. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Joey Kramer is an American musician best known as the drummer of the rock band "Aerosmith". Here are some facts about Joey Kramer: (Photo: Mauricio Santana) = Joey Kramer was born on June 21, 1950, in The Bronx, New York City, United States. His birth name is Joseph Michael Kramer. = He is Jewish and celebrated his "Bar Mitzvah" at the age of 13. = Kramer started playing drums at the age of 14. = Kramer has cited drummers like Ginger Baker, Gene Krupa, Buddy Rich, and Ringo Starr as his early influences. Their playing styles helped shape his drumming technique and musicality. = In the early 1970s, Kramer was a member of "The Institution" a "New Jersey" garage band founded by Philip Rubin, J. Howard Duff, Richie Lester, and Marv Coopersmith. = Joey Kramer, along with Steven Tyler, Joe Perry, Tom Hamilton, and Ray Tabano, formed "Aerosmith" in 1970. The band went on to become one of the most successful rock bands in America. = "Aerosmith" 1st Gig was held on November 6, 1970. = Kramer is credited with originating the name "Aerosmith". In his memoir, Kramer revealed that he idly conceived the name "Aerosmith" while listening to Harry Nilsson's album "Aerial Ballet" in 1968, two years before the band was formed. = Kramer's drumming style is characterized by his powerful grooves and precise rhythms. He incorporates elements of blues, rock, and funk into his drumming, creating a unique sound for "Aerosmith". = As a member of "Aerosmith", Kramer has been part of numerous chart-topping albums and hit songs. Some of their most popular songs include "Dream On," "Walk This Way," "Sweet Emotion," and "I Don't Want to Miss a Thing". = Kramer was a part of all 15 "Aerosmith" studio albums. = One of Kramer’s most iconic drum intros can be heard in "Aerosmith’s" hit song “Walk This Way”, which remains a classic rock anthem to this day. = In recent years, Joey Kramer has faced some health challenges. In 2019, he suffered an injury that led to him being unable to perform with "Aerosmith" for some time. = Kramer made a guest appearance in the 22nd season (2010–11) of "The Simpsons", in the episode "The Ned-Liest Catch", as a former partner of Bart's teacher Mrs. Krabappel = Kramer's son's Jessey also plays drums. He filled in for Joey in 2005 at several "Aerosmith" shows while Joey was recovering from strained muscles. = Outside of his music career, Joey Kramer has ventured into entrepreneurship. He owns a coffee business called "Rockin' & Roastin'", which offers organic and fair-trade coffee blends. = In 2010 he released "Joey Kramer Hit Hard," also known as "Hit Hard," a music game for iOS. It is the first game in its series and shares its name with Kramer’s memoir, "Hit Hard: A Story of Hitting Rock Bottom at the Top," which was published in June 2009. = "Aerosmith", with Joey Kramer as a member, has been inducted into the "Rock and Roll Hall of Fame" and the "Songwriters Hall of Fame". They have also received multiple Grammy Awards throughout their career. = Joey Kramer has been married twice. His first marriage was to April Kramer, and they had two children together. After their divorce, he married Linda Kramer in 2009. = In 2020, Joey Kramer made headlines when he sued his bandmates over a dispute regarding his return to "Aerosmith" after recovering from his health issues. The legal matter was eventually resolved, abut he did not continue to perform with the band. = In May 2023, the band announced a farewell tour called "Peace Out: The Farewell Tour" that will not include original drummer Joey Kramer. The tour was rescheduled to begin in September 2024 due to Steven Tyler injury in his vocal cords. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 20, 2019, David Gilmour broke several Guinness World Records when he put his collection of guitars up for sale. This is a huge collection of 127 guitars that Gilmour has played over the years, including the guitars he has played on "Pink Floyd" masterpieces albums. The sale was made through the famous Christie's auction house in New York and in the end, a fantastic and inconceivable sum of $ 21,490,750 was raised. Among the guitars sold was the Black Strat guitar - Fender Stratocaster 1969, on which Gilmour played on the albums "The Dark Side Of The Moon" through "The Final Cut". This guitar sold for a whopping $ 3,975,000 and broke the record for the highest sum a guitar ever sold. Another record broken that day is the highest amount in which a Gibson Les Paul guitar was sold. This was a 1955 gold-colored Les Paul guitar on which Gilmour played the song "Another Brick in the Wall, Part 2" and it sold for $ 447,000. Gilmour donated all the money from the sale of his guitar collection to ClientEarth - a green organization that engraved on its banner the protection of the planet. For a partial list of the guitars sold that day go to the link: Click Here "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website