On August 16, 1970, Eric Clapton released his first solo album. Let's tell you a few facts about it: 1. The album was released by Eric Clapton when he is only 25 years old. 2. He was already a superstar at the time, having starred in bands like "The Yardbirds", "John Mayall & the Bluesbreakers", "Cream", "Blind Faith" and more. 3. The album was produced by Delaney Bramlett from the duo "Delaney & Bonnie" who were a warm-up show for "Blind Faith". 4. Delaney also played guitar, sang background vocals and participated in writing some of the songs. 5. Delaney's partner, Bonnie Bramlett, is also a guest on the album with background vocals and also participated in writing some of the songs, including the hit "Let It Rain". 6. Another guest on the album is none other than Stephen Stills on guitar and background vocals. 7. The melody in the song "Let It Rain" which Stephen Stills plays in is very similar to another Stills song from "the Buffalo Springfield" era - "Questions". Photo: Barry Feinstein 8. The song "Let It Rain" was originally called "She Rides" and included alternate lyrics. 9. Other notable guests on the album are Leon Russell who plays piano and co-wrote two songs, organist Bobby Whitlock and drummer Jim Gordon. 10. 10 days after the release of the album, on August 26, 1970, Gordon Whitlock will enter the studio with Clapton as part of the band "Derek and the Dominos", to record the masterful album "Layla and Other Assorted Love Songs". 11. The album features a cover version of the song "After Midnight", originally by J. J. Cale. who will love Clapton's version of his song. This will start a friendship between the two that will collaborate in the future. 12. Clapton has good memories from the recordings of the album and he really likes the result, except for his voice which he claims sounds too thin and young. He wanted to sound like the old blues heroes he grew up on. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

When the godfather of grunge laments the king of grunge !! On August 16, 1994, Neil Young released his 20th album "Sleeps With Angels". On November 8, 1993, Neil Young entered the studio with his backing band "Crazy Horse" to record his 20th album. Neil Young intended to try and recreate the atmosphere and music from the period of his 1970 album "After the Gold Rush". Amid the recordings, Young receives the news of Kurt Cobain's death. What's more, Young reveals that Cobain signed his suicide note with words from the song "Hey Hey, My My (Into the Black)" from the album "Rust Never Sleeps", and so Cobain wrote before his death: "I do not have the passion anymore ... And so remember, it's better to burn out than to fade away" If you remember the review we wrote on the album "Tonight’s The Night" you probably know that Neil Young was greatly influenced by the deaths of two of his friends Danny Whitten, guitarist of "Crazy Horse" and Bruce Berry who was the stage worker of "Crosby, Stills, Nash & Young", Together and separately. This time, too, Young did not remain indifferent to the tragic event. The atmosphere in the studio changes immediately and this is reflected in new songs written by Neil Young following the death of Kurt Cobain and in the melancholy atmosphere that hovers over all the songs on the album, just like in "Tonight’s The Night" album, Only Without Alcohol ... Because some of the songs were written before the difficult event, the musical diversity on this album ranges from the broken piano of "My Heart", to the acoustics of "Train of Love" and to the ruff guitars of "Change Your Mind" which crosses the 14-minute mark. But what all the pieces have in common is the dark and melancholy atmosphere, except for "Piece of Crap" which features some punk touches. Two songs on the album "Western Hero" and "Train of Love" share the same music only with different lyrics. We talked about new songs written following the death of Kurt Cobain, so there is also one excerpt omitted from the album. The song "Gone To Hell" that young feared would link to Cobain's death found it's way out of the album. This song was supposed to be a complementary track to the song "A Dream That Can Last" whose original name was "Gone To Heaven" and whose name was changed following the omission of the song "Gone To Hell". This album is a respectful and worthy obituary for Kurt Cobain who admired the grunge godfather so much. Neil Young summed up what was going on on this album perfectly as part of his autobiography "Waging Heavy Peace". "I, coincidentally, had been trying to reach him, I wanted to talk to him. Tell him only to play when he felt like it..." And now you have to listen to this beautiful album: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Here are some interesting facts about Pete Way co-founder and original bassist of the rock band "UFO": (Photo: Gus Stewart) = He was born on August 7, 1950 in Enfield, London, England. His birth name was Peter Frederick Way. = He began playing bass guitar in several local bands with high school friends, including guitarist Mick Bolton. = After high school, Way left home at 17 and worked at a maritime insurance company and as a civil servant in the Ministry of Defence. = In 1968 he co-founded "UFO" with Phil Mogg, Andy Parker, and Mick Bolton. = The band was initially named "The Boyfriends", then after Phil Mogg joined changed its name to "Hocus Pocus" before settling on "UFO". = In 1971 "UFO" released their debut album "UFO 1". Initially, the band was defined under the genre of Space Rock and Boogie, but later the style changed to Hard Rock and Heavy Metal. In 1973 Michael Schenker joined "UFO" as the lead guitarist. Immediately upon Michael Schenker's entry to "UFO" the band started to change its style and sound to a more hard rock-oriented sound. = In 1975 "UFO" Released "Force It", one of it’s successful albums featuring Schenker. = In 1976 "UFO" released the classic album "No Heavy Petting" - their first record as a five-piece band with keyboardist Danny Peyronel. = In 1977 "UFO's" breakthrough album, "Lights Out", was released. "Kerrang!" magazine listed the album at No. 28 among the "100 Greatest Heavy Metal Albums of All Time". = In 1978 they Released "Obsession", another successful album. It was the final studio album to feature Michael Schenker on lead guitar until he returned to the band in 1993 = In 1979 "UFO" released the live album "Strangers in the Night", considered one of the greatest live rock albums of all times. = During "UFO's" heyday, Pete Way used a Fender Precision bass and was known for his trademark striped trousers, which significantly influenced the stage appearance of "Iron Maiden's" Steve Harris. = In 1982 Way left "UFO" due to dissatisfaction with the band's more commercial direction.. = The same year he formed "Fastway" with former "Motörhead" guitarist "Fast" Eddie Clarke. = Way left "Fastway" immediately after due to contractual issues, and joined Ozzy Osbourne for the "Diary of a Madman" tour. = In 1983 he founded "Waysted" with Fin Muir, Paul Raymond, Frank Noon, and Ronnie Kayfield. They released their debut album "Vices" the same year. = In 1985 he released "Save Your Prayers" with "Waysted", featuring "Tyketto" vocalist Danny Vaughn. = Way will release 6 more albums with "Waysted" until 2007. = Way rejoined "UFO" full-time in 1991, recording six more albums with the band over the next 17 years. = He released 3 albums as a solo artist, the first was "Amphetamine", released in 2000. = In 2003 he released the album "The Plot" under the name "The Plot". It featured Michael Schenker on guitar. = He was a guest in two Michael Schenker albums "Tales of Rock'n'Roll" in 2006 and "Temple of Rock" in 2011. = In 2004 he released another "Waysted" album, "Back from the Dead". = In 2007 he released two albums under the "Damage Control" project. = Way left "UFO" in 2008 due to health issues. = In 2010 he published his autobiography "A Fast Ride Out of Here: Confessions of Rock's Most = Dangerous Man". = In 2013 Way was Diagnosed with prostate cancer and underwent intense radiotherapy. = His health issues continued when in 2016 he suffered a heart attack, his third overall. = In 2018 Way formed the "Pete Way Band" with Kamil Woj and Jason Poole, later replaced by Tym Scopes and Clive Edwards. = In 2020 he recorded guest bass on the "Warfare" song "Misanthropy" with Evo and "Fast" Eddie Clarke. = On August 14, 2020 Way passed away at the age of 70 from injuries sustained in an accident two months earlier, where he fell down stairs at his home. = He passed away ten weeks after former "UFO" bandmate Paul Chapman and a year after Paul Raymond, leaving Phil Mogg and Andy Parker as the only surviving members of the "No Place to Run" lineup. = Way had been married six times. = He Influenced prominent musicians such as "Iron Maiden’s" Steve Harris, "Mötley Crüe’s" Nikki Sixx, and "Rage Against the Machine" guitarist Tom Morello, all of whom credited Pete Way as a major inspiration. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 15, 1969, the mythical Woodstock Festival began, probably the most influential event in the history of music. 3 days of music, love, and freedom, which became the formative social event of an entire generation. Photo: Burk Uzzle The festival took place on a 600-acre farm (about 2,400 dunams) owned by the Jewish farmer Max Yasgur. The farm was located in Bethel, about 80 miles north of New York City. The festival was attended by more than 400,000 spectators. It featured the best artists of the era, including Jimi Hendrix, "Crosby Stills Nash & Young", "Santana", "The Who", "Creedence Clearwater Revival", "The Grateful Dead", Janis Joplin, "The Band", "Jefferson Airplane", "Blood Sweat and Tears", Joe Cocker and more. During the festival, there were 3 deaths, 2 births, and four miscarriages. This founding event began on the initiative of several people with a vision. Michael Lang (who organized the biggest East Coast festival at the time, the Miami Pop Festival), John Roberts, Joel Rosenman, and Artie Kornfeld. Roberts and Rosenman were the ones who brought the money. They placed an advertisement in the New York Times and the Wall Street Journal that read: "Young men with unlimited capital" looking for "legitimate and interesting...business proposals". Lang and Kornfeld responded and the four came together and began rolling out an idea to set up a recording studio in the Upstate New York area, where many folk and rock artists lived. In order to promote the studio's publicity, they decided to organize a concert in the area, and from here it all started. They began inviting renowned bands to the festival, and once those bands agreed, there was a demand from many other artists to attend the event as well. This created a list of musicians who filled three days of performances. The name "Woodstock Festival" stemmed from the fact that the organizers intended to hold it in Woodstock, New York, but when authorities learned the scope and nature of the planned festival, they revoked the permits required for its existence, and organizers were forced to transfer it to Max Yasgur's farm. Photo: Bettmann The four organizers targeted an audience of 50,000 to 100,000 people, but already two days before the festival, it was clear that a much larger audience was expected than planned. Huge traffic jams began to form in the area as many people abandoned their vehicles on the side of the road and made a pilgrimage of many kilometers to the festival area. Eventually close to 500,000 people attended the event. The huge traffic jams also affected some of the artists who were supposed to perform at the festival and the organizers were forced to fly a large part of them by helicopter to the festival grounds. The weather also did not help the festival goers. Heavy rains fell on the site and forced the suspension or postponement of some of the performances, as well as the disconnection of the amplification and lighting systems to prevent a disaster. The infrastructure and services were also insufficient and did not suit such a huge crowd, and in the end, helicopters dropped water and food into the heart of the festival. Despite the above, the festival passed without any special incidents, with love, peace, and brotherhood between the participants. No fights broke out and no crimes were recorded. The one who got to finish the series of performances at the festival was Jimi Hendrix who, among other things, was responsible for the alternative and mythological performance of the American anthem. The list of artists who didn't perform at the festival included some big names such as "the Rolling Stone" who could not perform because Mick Jagger shot a film in Australia, "the Beatles" whose inner relations were not good at the time, "the Doors" that performed at the Monterey Festival two years earlier and feared the current festival would not surpass the previous one. And more. Johnny Mitchell wrote a song about the festival called "Woodstock" even though she did not perform at it. The song was released with a performance of "Crosby, Stills and Nash" at the festival. Mitchell, who was scheduled to be hosted that weekend on a TV show, preferred not to enter the congested area for fear of not being able to get to the TV show on time. Over the years several attempts have been made to recreate the festival, among others, in 1994 on the 25th anniversary, but none of the attempts succeeded in reaching the climax of the original event. In 2019, an event was to be held on the occasion of the 50th anniversary of the festival, but in light of a sparse and "thin" list of artists who agreed to perform, it was canceled. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Few films have blurred the lines between cinema, theatre and rock ‘n’ roll spectacle quite like "The Rocky Horror Picture Show". Released in 1975, it did not immediately conquer the box office and was even considered a flop in its first run. But over the years it transformed into a phenomenon that transcends the screen, becoming a midnight movie ritual, a counterculture celebration and a musical rebellion that refuses to age. Watching it today feels like stepping into a decadent time capsule where rock, glam and sexual liberation collide in an unashamed explosion of sound and colour. Born from the imagination of Richard O’Brien, who wrote the original stage musical, "The Rocky Horror Picture Show" is steeped in the spirit of early seventies glam rock. It channels the theatricality of David Bowie’s Ziggy Stardust era, the campy defiance of Lou Reed and the flamboyant provocation of Alice Cooper, while paying tribute to 1950s B movies and the rebellious pulse of early rock ‘n’ roll. Director Jim Sharman did more than adapt the stage show, he amplified it and turned the cinema screen into a glitter covered altar for misfits, dreamers and outsiders. At its heart, the plot begins with the seemingly innocent journey of Brad Majors (Barry Bostwick) and Janet Weiss (Susan Sarandon), a newly engaged couple whose car breaks down on a stormy night. Seeking help, they stumble upon a looming Gothic mansion and step inside, unaware that they are about to be pulled into a surreal world far from their small town norms. What they encounter is the bizarre and magnetic Frank N Furter (Tim Curry), a self proclaimed “sweet transvestite from Transsexual, Transylvania,” who is hosting a gathering of his eccentric entourage. Within minutes, Brad and Janet are swept into an escalating whirlwind of music, seduction and unapologetic indulgence. Frank’s main event for the night is the unveiling of Rocky (Peter Hinwood), his artificially created “perfect man,” born from a laboratory experiment in a parody of both Frankenstein and glam rock fantasies. As the night unfolds, loyalties shift, desires awaken and secrets spill into the open. Brad and Janet’s relationship is tested and transformed as they are each drawn into intimate encounters that push the boundaries of their identities. The film builds toward chaos with the arrival of Dr. Everett Scott (Jonathan Adams), a rival with his own agenda, and the growing tension between Frank and his followers. By the end, the wild party turns into a spectacle of betrayal, rebellion and tragedy... From a music perspective the film is a masterpiece of genre fusion. It opens with "Science Fiction/Double Feature", a tender and nostalgic ode to pulp cinema that sets a bittersweet tone before the madness begins. "Dammit Janet" follows with playful innocence, parodying the sweetness of bubblegum pop, before the pulse quickens and we are thrown into the iconic "Time Warp". This is the rock ‘n’ roll baptism, built on a pounding piano riff, a stomping beat and a chorus that demands the audience’s physical participation. When Tim Curry’s Frank N Furter makes his grand entrance with "Sweet Transvestite", the film dives deep into glam rock swagger, mixing bluesy guitar lines with vocals charged with charisma and unapologetic seduction. The rest of the soundtrack unfolds like an alternate history of rock musicals. "Hot Patootie – Bless My Soul", sung by Meat Loaf in his cinematic debut, is pure 50s rock revival with its sax driven energy and nostalgic warmth. "Touch-a, Touch-a, Touch Me" offers playful pop wrapped in themes of sexual awakening, while "I’m Going Home" strips away the camp to reveal a raw and heartfelt moment, exposing the human vulnerability behind the glitter. Richard Hartley’s band delivers each track with the punch and precision of a live rock act, giving the score a power and authenticity rarely matched in musical cinema. The Rocky Horror Picture Show original soundtrack, released alongside the film in 1975, has become as iconic as the movie itself. Featuring performances by the film’s cast, including Tim Curry, Susan Sarandon, Barry Bostwick, Meat Loaf and Richard O’Brien, it captures the raw theatrical energy of the production while functioning as a standalone listening experience. The soundtrack quickly became a collector’s item among fans, especially after the film’s cult following took off. Unlike many film musicals of the era, these recordings maintain the grit and edge of a live rock performance rather than being overly polished for the studio, which is part of why the music still feels immediate and alive decades later. What sets The Rocky Horror Picture Show apart in music history is the way it shattered the wall between performer and audience. Fans transformed screenings into live events, adding call backs, costumes and dance routines. It became the closest thing a film has ever come to replicating the communal energy of a rock concert, where each showing becomes a unique and unpredictable celebration. From a cinematic viewpoint it is a glorious embrace of excess, with sets that feel pulled from the wildest dreams of a psychedelic theatre troupe, lighting that moves from shadowy noir to vibrant bursts of colour and editing that flows like an improvised jam session. Beneath the outrageous humour and surreal imagery lies a message familiar to rock’s greatest anthems, be yourself without apology and never be afraid to take up space. Nearly fifty years after its release, The Rocky Horror Picture Show remains as bold and subversive as ever. It is not simply a film with music and not simply a musical with rock. It has become a cultural movement that outlived many of the rock bands that inspired it. Like a legendary album that grows in legend with each passing decade, it continues to evolve, each screening breathing new life into its songs, characters and spirit. And every time the lights go down, the audience still shouts together, "let’s do the Time Warp again". For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 15, 1978, "Scorpions" released (in Japan) their first live album "Tokyo Tapes". We do not often review live albums, but when it comes to masterful ones that have been tattooed deep in our hearts, we deviate from the practice and review them. This is one of those live albums that we have in the "Exceptions" category. This album was recorded during the band's performance at Nakano Sun Plaza in Tokyo, Japan, during two shows on April 24 and 27, 1978. These performances were part of the band's tour in Japan that was part of the world tour that accompanied the album "Taken By Force", From 1977. This album marked the end of the psychedelic era of "Scorpions". At that time there was great friction between Rudolf Schenker and Klaus Meine who wanted to incite the band's musical style more toward hard rock / melodic metal, on one hand, and Uli Jon Roth who was interested in continuing the same style on the other hand. These frictions led Uli Jon Roth to decide he wanted to leave the band, but Klaus Meine's persuasions led him to stay for the tour that accompanied the "Taken By Force" album, and so we fans earned big time from this amazing live album. When we say "big time" we mean that Uli Jon Roth simply surpasses everyone else on this album, which serves as a final testament to his greatness and the guitar playing within the band. Although Klaus Meine gives an extraordinary performance on this album and although the other members and especially Rudolf Schenker also simply surpass themselves, the MVP here is without a doubt, Uli Jon Roth. His playing simply pushes the songs forward and makes them better than the studio versions and thus his added value that makes this album one of our live favorites. Photo: Scorpions This album is actually a kind of "Greatest Hits" album that sums up the band's first era, plus some "reality-bound" tracks, which the band apparently performed at the request of the local production, such as the cover versions of the songs "Hound Dog" and "Long Tall Sally" And the rendition of the Japanese folk song "Kojo no Tsuki". The album opens with no unnecessary introductions, straight and to the point, with "All Night Long". A song written by Klaus Meine and Uli Jon Roth and not included on any of the band's albums. It was originally performed in the tour that accompanied the album "In Trance" in the years 1975-1976 and later in the tour designed to promote the album "Virgin Killer" in the years 1976-1977. Finally, the band decided to record it for "Tokyo Tapes" and later released it as part of an EP. Next comes a huge sequence of hits - "Pictured Life", "Backstage Queen" which overshadowed the studio version, and "Polar Nights" with an extra long opening, all from the album "Virgin Killer", the immortal song "In Trance" performed amazingly vocally showing the abilities of Klaus Meine and of course "We'll Burn the Sky" whose lyrics were written by Monika Dannemann, who was Jimi Hendrix's last girlfriend and later was involved in a relationship with Uli Jon Roth, who was, of course, a devout fan of Hendrix. This song is of course insanely performed with amazing guitar work by Uli. Other unforgettable moments in the show can be found in the excellent performance of "In Search of the Peace of Mind", in the mesmerizing guitars of Rudolf Schenker and Uli Jon Roth in the song "Fly to the Rainbow", in the sweeping performance of the song "Top of the Bill" which also includes an interesting drum solo by Herman Rarebell, in the special tribute of the band performing "Kojo no Tsuki" - a Japanese folk song with the participation of the audience and at the psychic end of the show with a twice as long version of "Robot Man", compared to the studio album. In 2015, the album was released in an expanded edition to mark the band's 50th anniversary. This version includes 6 bonus tracks that were not part of the original album, including: "Hell Cat", "Catch Your Train" and the "Kimi Ga Yo" track performed as a tribute to the local audience. At the end of the tour, Uli Jon Roth left the band and formed "Electric Sun". Guitarist Matthias Jabs was chosen in his place, from 150 guitarists who auditioned for the band. Matthias' entry into the band was not smooth, he was forced to share the guitar roles on the album "Lovedrive" with "Superstar" Michael Schenker, who returned to "Scorpions" for a short time. However, later on, from the early 1980s, Matthias will bring a new, fresh, and young style to the band, with an updated sound that will bring "Scorpions" meteoric success. The album "Tokyo Tapes" is still considered one of the best live recordings of all time, in hard rock and in general. It was a beautiful time for the "Scorpions" in the classic lineup of the seventies and this album marks the end of the band's psychedelic era, as it is also celebrating the arrival of a new and exciting era. For listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 15, 1983, the album "Flick Of The Switch" was released, the ninth studio album by the band "AC/DC". This is the band's third album with singer Brian Johnson and the band's last with drummer Phil Rudd, which will return to "AC/DC" only 11 years later. After three albums with legendary producer Robert John "Mutt" Lange, the band decided they wanted to get back to their roots, back to the beginning, to the immature and rough sound they had at the beginning of their journey. As you may recall, Matt Lang raised the band to world fame with the polished production of the album "Highway To Hell" and broke with it every possible record with the greatest comeback album of all time "Back In Black". But the production on the album "For Those About to Rock (We Salute You)" surpassed even the previous two albums brushed and polished the band's sound, until the Young Brothers felt they wanted to go back to the origins, to the initial and immature sound they had. They decided to produce the album themselves this time. The idea was to undress the songs, clear them of any production prank, peel off any effect layer and return to the sound they had in their early days. The Young Brothers wanted to record the songs as authentically and directly as possible with as little studio time as possible on production works. Even the album cover was minimalist. As if drawn in a thin pencil, in black and white, shows Angus Young flicking the switch and in fact, there is a strong statement here that also fits in with the name of the album, that the band "turns off" Lang's perfectionist production here and returns to base. They went into the same recording studio where the legendary album "Back In Black" was recorded, but they failed to replicate the success of the previous albums. The main problem was not the production, because as we know "AC/DC" can sound great even without dramatic productions. The problem with this album was the material that the band brought to the recordings. It was not strong enough compared to previous albums. And for the record ... except for the theme song and the excellent "Guns for Hire" none of the songs have survived over the years in the band's setlists during live shows. True, the band has not lost it and songs like "This House is on Fire" and "Landslide" are songs with great riffs that remind us of the good old "AC/DC", but they still stand in the shadow of "The Giants" from the previous three albums. Apparently, in the end, the problem with this album was the fact that it came after three consecutive masterpieces. Had this album been released in a different era and cut off from its three older brothers, it would probably have been much better received and won much more praise. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Today We will tell you about Singer and songwriter David Crosby!! (Photo: Michael Ochs Archives) Crosby is the founding member of two huge bands: "the Byrds" and "Crosby, Stills & Nash", with each of them entering the Rock 'n' Roll Hall of Fame, separately. He joined "the Byrds" in 1964 and appeared on it's first five albums, in which he sang, played guitar and participated in writing timeless songs such as "Eight Miles High". Crosby was fired from the band in late 1967 after much disagreement with its members. One of the things that infuriated the rest of the band members was the fact that he was invited by Stephen Stills to fill in Neil Young's place during a "Buffalo Springfield" performance at the Monterey Festival. Crosby's connection with Stephen Stills and Graham Nash began after Crosby was fired from the Byrds. Graham Nash who was a member of "The Hollies" met Crosby during the Byrds' tour in England, and after the "Buffalo Springfield" split in July 1968, the three meet during a private party at the home of Joni Mitchell (or Mama Cass from "The Mamas & the Papas"). In May 1969, the supergroup's first album, named after the band "Crosby, Stills & Nash", was released and became a huge success. Three months later "CSN" is already performing at the legendary "Woodstock" Festival. It was only their second appearance ever. Neil Young will take the stage and join the trio in the second and more "electric" part of the show. This moment will be the trigger that will turn the trio into a "CSNY" quartet when Neil Young joins them as a full member. The trio returned to perform at the "Woodstock" Festival 25 years later, in 1994. In "CSNY", too, Crosby turns out to be an integral part of the writing process, contributing his talent in songs such as: "Almost Cut My Hair", "Long Time Gone", "Wooden Ships" and more. He wrote the theme song from the band's most successful and best-selling album "Déjà Vu" from 1969. He will later release with the band 9 studio albums. In parallel with his membership at "CSN", Crosby formed a wonderful relationship with Graham Nash, releasing four studio albums with him under the "Crosby & Nash" brand, including the magical debut album from 1972 - "Graham Nash David Crosby". Crosby is also a member of the jazz-rock band "CPR" consisting of Crosby, Pevar & Raymond. He also released 8 solo albums including the excellent album "If I Could Only Remember My Name" from 1971. Crosby is known as a pacifist and was one of the protesters against the Vietnam War, on which he wrote some of his songs such as "Wooden Ships". Crosby is also no small criminal. In 1982 he was jailed for drug and weapons offenses, in 1985 he was arrested for drunk driving and illegal possession of a weapon and in 2004 he was arrested again for similar offenses. In 1985 he preformed with CSNY at the Philadelphia Live Aid Justice Show. (Photo: Michael Ochs Archives) In the early '70s he was a member of the band "David & the Dorks" along with Mickey Hart, Phil Lesh and Jerry Garcia from "the Grateful Dead". In 1962 his son James Raymond was given up for adoption. In 1997 he reunited with him and since then they have been performing and recording together, among other things the highly recommended album "Croz". Throughout his life he has repeatedly struggled with drug and alcohol addictions. He is among those seeking legalization of the cannabis plant in the United States. In 1994 he successfully underwent a liver transplant. (Photo: Fanart.TV) He has starred in a number of films and series, including the movie "Hook" alongside Robbie Williams. He co-starred with Graham Nash on David Gilmour's "On an Island" album. He donated his semen twice to singer Melissa Etheridge and her partner, who gave birth to two children. Crosby Passed away on January 18, 2023 and he was 81 years old. We invite you to listen to "Croz" - one of his late and excellent solo albums: Spotify "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 15, 1979, "Led Zeppelin" released their eighth and final studio album "In Through The Out Door". This album was born out of a tragedy that befell Robert Plant two years earlier. On July 26, 1977, while Led Zeppelin was in the middle of a US tour, Plant received a phone call from his then-wife in England. She informed him that their five-year-old son Karac was in critical condition due to an unclear stomach infection. Two hours later another phone call came, and Plant received the bitter news, that his wife told him that his son Karac was dead. The news hit Plant very hard. Beyond the fact that he felt his world was destroyed, he could not stand the fact that he was at that horrible moment so far away from his family with no ability to do anything. The rest of the tour was stopped immediately and the ten remaining performances for the band in the US were canceled. Plant immediately returned home and asked to be alone with his family. He lost his desire to continue with "Led Zeppelin", he has already made up his mind that he is going to end his musical career. At one point he even considered becoming a teacher at the "Rudolf Steiner Waldorf" school. The three band members gave Plant all the time he needed to recover from the heavy blow that fell on him. They showed true friendship, and supported and encouraged him to return to the world of music, but only when he felt ready. (Photo: Ledzeppelin.com) After more than a year of hiatus, Robert Plant decided to return to the band. In November 1978, they entered the "Polar" studio in Stockholm, owned by "ABBA", to record the album. At that time disco, punk, and new wave dominated the music world, and "Led Zeppelin" knew they needed to update their sound in order to be relevant This is one of the reasons this album differs in its musical style in a very substantial way from the rest of the band's albums. Another reason for the fundamental change in sound and style stemmed from the fact that at the time Jimmy Page was heavily addicted to heroin while John Bonham was deeply immersed in alcohol. They were sometimes late for the studio and some cases did not appear at all. Under these circumstances, the craft of writing fell mainly on the shoulders of Robert Plant and John Paul Jones, who co-wrote 6 of the 7 songs on the album, the largest number of songs he has written for "Led Zeppelin's" album. Jones was experimenting at the time with the "Yamaha GX-1" synthesizer he had purchased just before the recordings, which is another reason why on this album the keyboards took over the guitar riffs. The album opens up with the "Gizmotron" effect that Page used on the guitar, which slowly puts us on the gates of "In the Evening", which is without a doubt one of the best songs on the album and a great choice to open it up. Plant wrote the words about the rich and famous who are not immune to pain and suffering but exposed to them like any other person. A kind of allusion to the situation he is in. The second track "South Bound Saurez" includes a spelling mistake when the band's intention was for the word "Suarez" which means "party". It's a song that John Paul Jones was the main writer and it revolved around his piano playing. Page noted that he made some playing mistakes during the recording, but he preferred to be spontaneous and left it in the final mix. It's one of the band's few songs to which Page has no contribution in terms of writing. In the song "Fool in the Rain" there was an intention to combine samba with rock and as a result, it is one of Zeppelin's most special songs in terms of rhythm. It combines two different rhythms that intersect. The band members who watched the 78 World Cup held in Argentina, heard a lot of samba rhythms and decided to combine them into a song. Page uses here a special effect called "Blue Box" a kind of Fuzz effect that lowers the tone by two octaves. The song that seals the first side of the album - "Hot Dog" is a rockabilly piece influenced by Elvis and Ricky Nelson. During rehearsals in the studio, the band members played songs from the two artists and the jam session evolved into a song. The other side of the vinyl opens up with one of the band's most complex and unique pieces - "Carouselambra", a more than 10-minute piece dominated mainly by John Paul Jones' playing, which covers several musical styles, even disco. Jimmy Page uses his famous double-neck guitar "Gibson EDS-1275" here. The lyrics were written by Plant about the band's condition and the relationship between its members at the time. From here we move on to the most exciting section of the album, perhaps even the most emotional of the band in all of its diverse and rich repertoire. "All My Love" is the first song Jimmy Page and John Paul Jones wrote when they first entered the studio. Contrary to many people's beliefs, this is not a love song but a song of longing and parting from Robert Plant from his eldest son Karac, who passed away two years earlier. Plant noted that this is a tribute to the happiness that Karac has given to the family. It is interesting to note that Robert Plant's song "I Believe" from 1993 is also dedicated to his son Karac. The album is sealed with the excellent blues ballad "I'm Gonna Crawl", the last song on the last album that drummer John Bonham played before his death. Robert Plant was influenced here by Wilson Pickett's solo music. During the sessions for the album, the band recorded four more songs - "Wearing and Tearing", "Ozone Baby", "Walter's Walk" and "Darlene" which were not included in the album due to space constraints. The songs will appear later on the album "CODA". There are several interpretations regarding the name chosen for the album "In Through The Out Door". The first, apparently refers to the fundamental change in the music world that the band members had to deal with while recording the album. Something that felt to them like "going against the flow" - "In Through The Out Door". The second, argues that Robert Plant toyed with the idea of ​​assigning himself to a gay image, when the name of the album could be an ironic interpretation of anal sex. The third, attributed to the area where the band members grew up - "Out Door" was the name of liquor stores that lined up next to pubs. The fourth, refers to the feelings Robert Plant went through after the death of his son and his return to the world of music, just like coming out of grief and coming back to life. Before concluding, a few words on the album cover. As you know, almost every "Led Zeppelin" album cover is special and unique, and so is this case. The album had six different covers that featured a pair of different images from each side of the album. All the pairs of photos showed the same "scene" that was filmed in a bar and showed a man dressed in white sitting on the bar, only that it was shot from different angles, Seemingly from the angle of each of the other characters in the photo. To prevent buyers from knowing which cover they would receive, the album was wrapped on the outside in brown paper reminiscent of simple wrapping paper. But that's not all, because the inner cover of the album also includes an interesting "trick". If you wet the inner cardboard cover that includes a black and white drawing, it becomes colorful, just like a drawing book for a child. This trick, apparently, was also dedicated to the memory of Karac, the son of Robert Plant. With the release of the album, it jumped straight to number one on the Billboard 200 where it stayed for 7 weeks. The release of the album led to an unprecedented achievement for the band, as in October and November 1979 the entire "Led Zeppelin" catalog re-entered the charts, apparently following acquisitions of the old albums following the release of the current album. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 14, 2015, "Bullet for My Valentine" released their fifth studio album "Venom". By 2015, "Bullet for My Valentine" had something to prove. Two years earlier, "Temper Temper" had pushed the Welsh band toward a cleaner and more accessible version of their sound, but its streamlined writing also removed some of the danger that had made their early records compelling. Lead guitarist Michael "Padge" Paget later described the objective behind "Venom" in uncomplicated terms: after "Temper Temper", they wanted a no holds barred heavy metal record, written without radio considerations dictating the outcome. There was also instability inside the band. Longtime bassist Jason "Jay" James departed while the album was being made, with his exit announced in February 2015. Jamie Mathias was subsequently recruited and announced in May, although he did not actually play bass on the finished record. Vocalist and guitarist Matt Tuck handled the studio bass parts himself. "Venom" would also become the final "Bullet for My Valentine" album featuring founding drummer Michael "Moose" Thomas. The writing process was more deliberate than usual. Tuck explained that riffs and lyrical ideas had accumulated during touring for "Temper Temper", before the band returned to the studio and began assembling them properly. Instead of taking six or seven finished songs into recording sessions and completing the rest along the way, they spent roughly six months longer on the material than they normally would, living with songs, rewriting them and discarding ideas that failed to hold up. That extra scrutiny matters because "Venom" rarely sounds like a collection of first impulses. It is aggressive, but the aggression has been engineered into compact songs with clear destinations. Production reunited the band with Colin Richardson, working alongside Carl Bown. The album was recorded during 2014 and 2015 at Metropolis Studios in London, with Richardson and Bown also handling the mix at Treehouse Studio in Derbyshire. Their presence gives the record much of its physical force. The guitars are enormous without becoming shapeless, Thomas's drums retain their attack, and Tuck's clean vocals sit above the distortion without draining it of weight. More importantly, Tuck had decided to dig back into darker lyrical territory. He described revisiting difficult places while writing the record and suggested that once he became comfortable putting those emotions into the songs, the material opened up dramatically. That decision is the real dividing line between "Venom" and its predecessor. This is not simply "Bullet for My Valentine" turning the distortion back up. It is a record built around confrontation, resentment, psychological pressure and release, and the heavier music gives those subjects an appropriate physical language. Photo: RCA Records The brief instrumental "V" functions less as a song than the sound of machinery starting. Then "No Way Out" arrives with exactly the violence the album needs. The riffing is clipped and muscular, Thomas drives the verses with restless momentum, and Tuck switches between screamed desperation and a huge melodic chorus. The structure is classic "Bullet for My Valentine": tension, eruption, melodic release, then back into the riff. What separates it from weaker examples of that formula is urgency. Nothing feels decorative. "Army of Noise" makes the album's intentions even clearer. Paget and Tuck attack the main riff with a thrash informed precision, while Thomas pushes beneath them rather than merely keeping time. The chorus is deliberately oversized, but the guitars surrounding it remain abrasive enough to stop the track becoming arena metal by numbers. "Venom" repeatedly works because melody and aggression are treated as competing forces instead of mutually exclusive choices. That balance is sharper on "Worthless". Its central riff has a blunt, percussive quality, and Tuck's vocal performance sounds genuinely hostile before the chorus opens into something cleaner and more immediately memorable. The transition should be predictable, and structurally it is, but the conviction sells it. "Bullet for My Valentine" have always lived on that fault line between metalcore violence and enormous choruses. Here they stop apologising for either side. "You Want a Battle? (Here's a War)" is the album's most obvious crowd weapon, but it is also one of its smartest arrangements. The marching opening and group vocals establish scale before the guitars enter, then the song keeps moving between militant rhythm work and a chorus designed for thousands of voices. Its riff is simple compared with some of Paget's more technical playing, yet simplicity is the point. The song is about collective resistance, and everything in the arrangement is designed to sound larger than the individual musicians playing it. The title track changes the temperature. "Venom" is more restrained and melodic, allowing Tuck's clean voice to carry the emotional weight while the guitars create pressure around him. Its subject, the lingering damage of a toxic relationship, gives the album title a meaning beyond simple metal imagery. The song's effectiveness comes from refusing to compete with the speed of the surrounding material. Instead, it tightens gradually, making the chorus feel wounded rather than merely catchy. The second half is less immediate but contains some of the record's strongest musicianship. "The Harder the Heart (The Harder It Breaks)" uses a more spacious melodic approach before pushing into a muscular chorus, while "Skin" finds a particularly effective middle ground between the band's metalcore instincts and their polished songwriting. The guitars remain detailed without turning every transition into a technical exhibition. Then "Hell or High Water" restores the record's sharper edge. The riffs have greater movement, the rhythm section feels less constrained by the verse and chorus template, and Paget's lead work reminds you that virtuosity has always been one of this band's advantages when it serves the song rather than interrupts it. "Pariah" closes the standard album with an appropriately hostile final surge, giving "Venom" an ending that feels like a conclusion rather than an exhausted collection of leftover riffs. There are limitations. "Venom" is not a radical reinvention, despite Tuck's language at the time about reinventing the band. Its architecture remains recognisably "Bullet for My Valentine": precision riff, screamed verse, melodic chorus, breakdown, lead guitar release. At several points you can anticipate the shape of a song before it gets there. But predictability is less damaging when the execution is this committed. The band understood that their problem after "Temper Temper" was not an inability to write hooks. It was that those hooks had begun to arrive without sufficient danger around them. "Venom" restores that danger. It does not attempt to recreate the youthful volatility of the band's earliest work, nor does it need to. Instead, it takes the melodic discipline accumulated over four albums and reconnects it with faster riffs, harsher vocals and a rhythm section allowed to hit with genuine force. Richardson and Bown give the record a modern, controlled surface, but underneath that polish the performances remain aggressive. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 14, 1971, "The Who" released one of the greatest rock albums of all time - "Who's Next". How do you surpass a masterpiece like "Tommy"? If you ask Pete Townshend, the answer is straightforward: crafting a larger, more ambitious, and wild rock opera on every level. And he indeed wrote it: "Lifehouse" was a project inspired by Pete Townshend's experiences during the tour for the album "Tommy". He observed the audience during performances and noted that the sound and vibration produced by the band had become so pure and unifying that he believed the entire audience was in a state of ecstasy. This concept of a connection between sound and spirituality was linked to the ideas of Inayat Khan and Meher Baba, whom Townshend admires. He was keen to use music as a means of communication and wanted to broaden the band's horizons and reach audiences through other forms of communication, including film. Townshend aimed to create a rock opera that would be recorded live and incorporated into a pre-written film script. The storyline of this futuristic rock opera was set in a time when rock and roll did not exist, human culture had collapsed, and experiences were only programmed through TV screens. The villains were those who infiltrated the masses with "intravenous" entertainment, while the heroes were those who preserved the primitive rock and roll culture. However, Pete Townshend's ambitious concept was too overwhelming for the rest of the band and their management, who didn't fully comprehend his vision. This led to crises, tensions, and even a nervous breakdown for Townshend, who later admitted he had contemplated suicide. After abandoning "Lifehouse" in New York, the band returned to London to start anew with a different producer, Glyn Johns. Nonetheless, several elements from the "Lifehouse" project were retained on the "Who's Next" album, notably Townshend's extensive use of synthesizers. Although the expansive project was set aside, some of its songs made their way onto the acclaimed "Who's Next" album, albeit without the unifying theme. In fact, eight of the nine tracks on the album were intended for "Lifehouse" and were penned by Pete Townshend, with only "My Wife" being written by bassist John Entwistle. The profound influence of "Lifehouse" is evident from the opening notes of "Baba O'Riley." Consider the boldness required for one of the era's most significant and influential rock bands to start their album with organ sounds transmitted through the VCS3 synthesizer, played by Pete Townshend. The song's title combines the names of Townshend's two philosophical and musical inspirations: Meher Baba and Terry Riley. It stands as one of the most significant and impactful songs ever, making it onto the list of the 500 greatest songs of all time, as well as the Rock and Roll Hall of Fame's list of the 500 songs that shaped rock 'n' roll. This remarkable anthem, centered on the theme of "Teenage Wasteland," evolves and builds up to Dave Arbus's violin solo with a "Hassidic" touch from the band "East of Eden," culminating in a climactic, abrupt ending. The second track, "Bargain," is another song written by Pete Townshend about his guru Meher Baba, who was a spiritual advisor to Mahatma Gandhi and a significant spiritual figure. The song explores the theme of detaching from materialism to achieve a higher spiritual state, similar to the practice during Yom Kippur. This is the favorable "Bargain" Townshend refers to in the song. Townshend plays the ARP 2500 synthesizer and a 1959 "Gretsch" guitar, which he received from Joe Walsh, who would later join the "Eagles." Townshend also performs a solo with lyrics beginning with "sit looking 'round, I look at my face in the mirror...". The third track, "Love Ain't for Keeping," is the shortest song on the album and one of the few not featuring synthesizer sounds. The original version was more rock-oriented and can be found on the 1974 album "Odds & Sods". Next is "My Wife," written and sung by John Entwistle, who also plays brass. Entwistle narrates a night of drunkenness that leads to a conflict with his wife. He also recorded the song for his third solo album, "Rigor Mortis Sets In". (Photo: Michael Putland) The song that closes the first side of the vinyl, "The Song Is Over," stands out as one of the most intriguing tracks on the album. This is largely due to the alternating vocals of Pete Townshend and Roger Daltrey, with Townshend delivering the verses in a gentle ballad style and Daltrey bringing his powerful voice to the chorus. Originally intended to accompany the credits of the rock opera "Lifehouse," the song features guest keyboardist Nicky Hopkins. The flip side of the vinyl kicks off with "Getting in Tune," a magical song celebrating the immense power of music. The creation of this track began with improvisation by guest keyboardist Nicky Hopkins, followed by John Entwistle on bass. This is another album track that does not utilize synthesizers. Next is "Going Mobile," a lighthearted and cheerful song sung by Pete Townshend that describes life in the futuristic world of "Lifehouse" with a mobile home on wheels. Notably, the unique sound of the guitar solo in the song was achieved by Townshend using an effect called "Envelope Follower," which gives the guitar an underwater sound. The album then moves to the captivating ballad "Behind Blue Eyes," penned by Townshend after the band's performance in Denver, Colorado, on June 6, 1970. Inspired by a spiritual encounter with his guru Meher Baba, Townshend resisted temptation from a band groupie, returned to his hotel room, and began writing the song from the perspective of "Jumbo," a villainous character in the rock opera "Lifehouse." The album reaches its peak with "Won't Get Fooled Again," also intended as the closing track for "Lifehouse." This eight-minute anthem features synthesizers, Pete Townshend's guitar riffs, and Keith Moon's dynamic drumming. The song explores themes of revolution, with the first verse depicting an uprising and a subsequent coup, only for the new regime to mirror the old one ("Meet the new boss, same as the old boss"). Roger Daltrey's iconic scream at 7:44, following Keith Moon's intense drumming, is a highlight of the track, cementing its status as a rock classic. Regarding the album cover, the image depicts the band members, seemingly just after they have finished urinating on a large concrete structure situated in a coal mine in Durham County, England. This concrete structure was inspired by the monolith featured on the moon in the 1968 film "2001: A Space Odyssey." In 2003, the "VH1" channel ranked the album cover second on the list of "Greatest Album Covers." For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Here are some interesting facts about drummer Tommy Aldridge, known for his work with numerous artists such as Ozzy Osbourne, Gary Moore, "Whitesnake", Ted Nugent, "Thin Lizzy", Yngwie Malmsteen and more: (Photo: Llann Wé²) = Tommy Aldridge was born on August 15, 1950, in Jackson, Mississippi, USA. = Aldridge taught himself to play drums, building a kit with money earned delivering newspapers and other jobs. = He was initially inspired by "Cream", "the Beatles", Jimi Hendrix and "Led Zeppelin" and Drummers like Joe Morello, Ginger Baker, John Bonham and Mitch Mitchell. = Inspired by drummers such as Louis Bellson and Sam Woodyard, Aldridge started using a double-bass drum setup and became an early pioneer of the hard rock double kick drum style of drumming. = After playing with the southern rock band "David and the Giants" in 1972, Aldridge joined "Black Oak Arkansas", gaining recognition for his powerful drumming style. = The same year he was part of their album "If an Angel Came to See You, Would You Make Her Feel at Home?". In 1973 he played on "Black Oak Arkansas'" most successful album, "High on the Hog", which included the hit "Jim Dandy." Aldridge left "Black Oak Arkansas" in 1976 after recording 9 albums with the band. In 1978 he joined the band "Pat Travers Band", contributing to the album "Heat in the Street". In 1980 he recorded "Crash and Burn" with "Pat Travers Band", which became a significant release in his career. He left "Pat Travers Band" after recording 4 studio albums in 1981, and joined Ozzy Osbourne's band during the "Blizzard Of Ozz" tour. He played on Ozzy Osbourne's live album "Speak of the Devil" and contributed to the "Diary of a Madman" tour. = Aldridge also played in Ozzy Osbourne's "Tribute" album, dedicated to Randy Rhoads. = In 1983 he played in Ozzy Osbourne's the iconic "Bark At The Moon" album. The same year he joined Gary Moore's band and recorded "Victims of the Future". = He is also part of Gary Moore's live album "Live at the Marquee" released the same year. = Aldridge left Ozzy Osbourne in 1984 and along with bassist and former Ozzy Osbourne-bandmate Rudy Sarzo, joined forces with guitar/keyboard Tony MacAlpine and vocalist Rob Rock to form a project called "M.A.R.S.". They released the album "Project: Driver" in 1986. = In 1986 Aldridge was part of the "Hear 'n Aid" project contributing vocals on the song "Stars". = Aldridge and Sarzo both joined "Whitesnake" in 1987 as the band prepared to tour in support of the "Whitesnake" album released the same year. = Aldridge and Sarzo were also part of the band's follow-up album, "Slip of the Tongue", released in 1989, solidifying his reputation as a top rock drummer. After "Whitesnake" was put in hiatus in 1990, Aldridge played in the band "Manic Eden", with his former "Whitesnake" bandmates Adrian Vandenberg and Sarzo. The line-up also included former "Little Caesar" vocalist Ron Young. In the early 1990s Aldridge worked as a session drummer, toured and played with various artists, including "Motörhead" (on "March ör Die" album from 1992), "House of Lords", Yngwie Malmsteen, John Sykes, Vinnie Moore and Ted Nugent (On the "Full Bluntal Nugity" album). = From 1997 to 2001 and again from 2007 to 2009, Aldridge was touring with the John Sykes version of "Thin Lizzy" alongside Scott Gorham, Darren Wharton and Marco Mendoza. = From 2002 to 2007 Aldridge toured with "Whitesnake" alongside David Coverdale (vocals), Doug Aldrich (guitar), Reb Beach (guitar), Marco Mendoza/Uriah Duffy (bass) and Timothy Drury (keyboards). On January 25, 2013, it was announced that Aldridge had rejoined "Whitesnake" for the third time for the band's upcoming "Year of the Snake" tour. Photo: Whitesnake Since then he recorded "The Purple Album" and "Flesh & Blood" with the band. In 2022 Aldridge joined a supergroup called "Iconic" featuring Michael Sweet (guitars), Joel Hoekstra (guitars), Marco Mendoza (bass), and Nathan James (vocals), releasing an album called "Second Skin" the same year. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website