On October 18, 1988, "Daydream Nation", the fifth studio album by the band "Sonic Youth", was released. In the late 1980s, American independent music was simmering beneath the surface, but it still needed a monumental work that would bridge the gap between New York's underground avant-garde and the broad-based power of rock. The New York quartet "Sonic Youth", consisting of guitarists and vocalists Thurston Moore and Lee Ranaldo, bassist and vocalist Kim Gordon, and drummer Steve Shelley, had already established a respectable position for itself in the noise rock and no-wave scene with groundbreaking albums like 1986's "EVOL" and 1987's "Sister." But in the summer of 1988, after parting ways with the independent punk label SST Records due to management differences and signing with Enigma Records, the band decided to go all-in and create an ambitious, uncompromising double album that would forever change the face of alternative rock. In July and August 1988, the band entered Greene St. Recording Studios in the SoHo neighborhood of Manhattan, a studio that was at the time associated with hip-hop pioneers such as Public Enemy and Run-D.M.C. Alongside sound engineer and co-producer Nicholas Sansano, who came from the world of hip-hop and brought with him a fresh approach of acoustic depth, sharp frequency separation, and powerful drum emphasis, "Sonic Youth" managed to capture the full physical power of their live performances for the first time. With a budget of only thirty thousand dollars, high by the band's independent standards up to that time, Moore and Ranaldo composed mesmerizing guitar symphonies based on dozens of unconventional alternate tunings, controlled feedback, and the use of screwdrivers and drumsticks on the strings, while Shelley and Gordon provided a driving and dynamic rhythmic anchor that transformed the pure noise into an addictive melody. The album opens with one of the greatest and most recognizable anthems of alternative rock ever, "Teen Age Riot." The song begins with a dreamy, hypnotic opening section where Kim Gordon recites stream-of-consciousness lines in her bewitching, indifferent voice, before Thurston Moore and Lee Ranaldo's melodic, dizzying guitar riffs burst forth at an unstoppable gallop. Moore's lyrics imagine an alternate reality in which indie hero and guitarist J Mascis of Dinosaur Jr. is elected President of the United States and leads a cultural youth rebellion against the conservatism of the late Reagan era. Immediately after the euphoric opening, the album changes direction sharply with "Silver Rocket," a dizzying, lightning-fast punk-noise attack in which Moore screams over a spiky guitar riff, only to disintegrate mid-song into a storm of feedback and chaotic white noise that miraculously re-forms in the final verse. In contrast, "The Sprawl" the long, dark, taking its name and inspiration from author William Gibson's cyberpunk books and Denis Johnson's suspense novel, showcases Gordon at her best as she paints a bleak portrait of the disintegration of American suburbia over a slow groove and wailing guitars that last for more than seven minutes of intoxication. The album's second side continues to deepen the tension between melodic beauty and avant-garde sloppiness. The song "'Cross the Breeze" features one of Kim Gordon's most powerful and charged vocal performances, ranging from an intimate whisper to a strangled scream over sharp, alternating riffs. It is followed by "Eric's Trip", where Lee Ranaldo takes the vocal reins and poetically recounts a psychedelic journey inspired by an Andy Warhol film, and immediately follows "Total Trash", a seven-and-a-half-minute epic of endless guitar groove that demonstrates how the band can take a simple melodic motif and transform it into a sweeping electric trance journey. The third part of the double album features "Hey Joni", an energetic and stormy tribute performed by Ranaldo that combines the rock and roll spirit of Bo Diddley with the beatnik writing of William Burroughs and Joni Mitchell, and the strange collage piece "Providence", which consists of a real voice message recording left on Moore's answering machine by their legendary bassist friend Mike Watt, against a backdrop of a distant piano and an overheating guitar amplifier. Immediately following comes "Candle", one of the most sensitive, melodic and accessible songs on the album, featuring delicate and precise guitar playing between Moore and Ranaldo and melancholic vocals that balance the intensity of the piece, alongside the sweeping "Rain King" in which Ranaldo returns to the forefront. The fourth and final side opens with Gordon's short and cheeky "Kissability," which takes a cynical and exploitative look at the entertainment and film industries, and leads to the album's signature highlight, a monumental fourteen-minute trilogy consisting of three connected chapters, "The Wonder," "Hyperstation," and "Eliminator Jr.". This piece embodies all the elements that made "Sonic Youth" a one-of-a-kind band, from the gradual build-up of nocturnal urban tension, through a hypnotic psychedelic levitation in the darkened studio, to the violent and thunderous final outburst that draws inspiration from "ZZ Top" and brings down the studio walls. The album cover has also become a cultural icon in its own right. The band chose the famous 1983 oil painting "Kerze," German for candle, by the esteemed German artist Gerhard Richter. The realistic, minimalist painting of a lone candle burning in the darkness gave the album an aura of high art and perfectly reflected the fragile light that shimmers from the darkness of urban distortion and alienation. Upon its release, "Daydream Nation" received overwhelming acclaim from music critics around the world, was voted album of the year and ranked at the top of the most important magazines' decade charts. Although its initial release suffered from logistical difficulties with Enigma, the album paved the way for the band to be signed to the major record company "Geffen" under the sub-label "DGC", a historic move thanks to which "Sonic Youth" convinced the record company to sign a young band from Seattle called "Nirvana" and release "Nevermind". In 2006, the album was selected by the United States Library of Congress for preservation in the National Recording Registry for its cultural and historical significance. In the face of the test of time, "Daydream Nation" remains the absolute pinnacle of American alternative rock in the 1980s, a spectacular roadmap that proved that noise, experimentation and avant-garde art could become the timeless anthem of an entire generation. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written by: Moti Kupfer Release date - 18.10.1974 "I did have a falling out with Mick Jagger over some songs I should have been credited with co-writing on \"It's Only Rock 'n Roll\". We were quite close friends and co-operated quite closely on getting that album made. By that time Mick and Keith weren't really working together as a team so I'd spend a lot of time in the studio." The speaker is Mick Taylor, who joined "The Rolling Stones" in June 1969 and made his live debut with the band at the famous free concert in Hyde Park on July 5, 1969, before an estimated crowd of 250,000. Taylor maintained that he had worked closely with Jagger on the songwriting for their twelfth British studio album, "It's Only Rock 'n Roll", released on October 18, 1974. A little over a decade after their formation, "The Rolling Stones" were beginning to look like a band that had grown comfortable, and they seemed ready for a change. It started with a shift in atmosphere from their previous album, "Goats Head Soup", recorded mainly in Kingston, Jamaica. Leaving that Caribbean setting behind, they moved into a cooler European environment at "Musicland" studios, established by Giorgio Moroder in Munich. They thanked longtime producer Jimmy Miller, who had produced their previous five studio albums, and began producing themselves under the pseudonym "The Glimmer Twins". Keith Richards explained that Miller's contribution had diminished as producing an annual Stones album became a routine, almost a way of life. He and Mick felt ready to try it themselves, having learned more about recording techniques and developed their own ideas. It was clear to them that this part of the record-making process needed a change. After once again receiving no credit for his songwriting contributions, Taylor announced in December 1974 that he was leaving the band after five and a half years. That was not his only reason for leaving. He later spoke about needing to escape the drugs that surrounded life in the band. His eventual replacement was Ronnie Wood, who had participated in the recording of the title track, "It's Only Rock 'n Roll (But I Like It)". David Bowie also took part in the original session, contributing backing vocals. Although Taylor's departure from "The Stones" struck a sour note, his connections with the band members endured, and he was occasionally invited to join them onstage. The song was promoted with a video directed by Michael Lindsay-Hogg, showing the band dressed in sailor suits and playing inside a tent that gradually fills with bubbles. It was one of Taylor's last filmed appearances as a member of the band. The foam was detergent, and according to Richards, the sailor suits were a last-minute idea because none of the musicians wanted to ruin their own clothes. Jagger said the filming was difficult and unusually time-consuming. The cameras and lights had to remain outside the tent because of the risk of electrocution, and the band took out insurance. Richards recalled that poor Charlie Watts almost drowned because they had forgotten he was sitting down. The title track set the tone for the album's reception as a renewed commitment to the pure rock 'n' roll of "The Rolling Stones". It took shape with considerable help and inspiration from "Faces" guitarist Ron Wood, who had let Richards stay at his house for a while. That friendship eventually paved the way for Wood to replace Taylor. Although it did not match the success of some of their earlier records, "It's Only Rock 'n Roll" was an important transitional album for "The Rolling Stones". Taylor, bassist Bill Wyman and drummer Charlie Watts played on most of the tracks, while Ian Stewart, Nicky Hopkins and Billy Preston added their distinctive touches. It also marked percussionist Ray Cooper's first appearance on a band album. He would continue working with "The Rolling Stones" into the 1980s. The record was initially conceived as a half-live, half-studio project. One side would feature performances from "The Stones"' European tour, while the other would contain newly recorded covers of their favorite R&B songs. The covers recorded included "Drift Away", popularized by Dobie Gray, Jimmy Reed's "Shame, Shame, Shame", and "Ain't Too Proud to Beg" by "The Temptations", which ultimately became the album's only cover. Before long, the band began working on riffs from Richards and new ideas from Jagger, abandoning the original concept in favor of an album made up almost entirely of original material. The Philadelphia sound had a considerable influence on both "The Rolling Stones" and Bowie, who would explore that connection further on "Young Americans". Among the groups working in that style was "Blue Magic", which recorded sweet soul music for "Atlantic". Other acts in a similar vein included "The Delfonics" and "The Stylistics". Members of "Blue Magic" contributed backing vocals to "If You Really Want to Be My Friend", which can be heard as Jagger asking his wife Bianca to give him some freedom. The album's first three songs expose the band's vulnerable side, but much of the record also reveals a sexist, misogynistic streak. That hostility toward women surfaces bluntly in a passing line in "Time Waits for No One", about time destroying a building or a woman's face, or across an entire song such as "Short and Curlies". Jagger's tendency to treat women and work as extensions of the same burden turns up in the strangest places and in the funniest ways. On "Luxury", he plays a Jamaican factory worker with two monkeys on his back. He works hard for the company and works hard to keep his partner living in luxury. If one song captures the band's state of mind at the time, it is "Time Waits for No One", a meditation on the value of time. Before reconvening to record, the musicians had taken some time off and gone their separate ways. Taylor traveled to Brazil, and a Latin influence echoes through his playing on the track. The percussion is played by Cooper, who also worked with Elton John. The album closes with "Fingerprint File", a song that can be heard against the backdrop of American politics, the Watergate scandal and John Lennon's difficulties obtaining a U.S. green card. Its sense of "Big Brother is watching you" emerges almost in parallel with Bowie's "Diamond Dogs", which explored related themes roughly six months earlier. It is one of "The Stones"' clearest moves toward funk with an electronic edge, with a strong resemblance to the style of "Sly and the Family Stone". Key ingredients include Jagger's rhythm guitar, colored by the prominent phaser effect of an MXR Phase 100 pedal, and Taylor's jazz- and funk-oriented bass playing. Richards uses a wah-wah pedal on his guitar. Wyman plays synthesizer, Watts drums, Preston clavinet and Hopkins piano. Belgian artist Guy Peellaert, a painter, illustrator, comic artist and photographer, created the album cover. He also produced the rock-star portraits that make up the beautiful book "Rock Dreams". For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram and/or subscribe to our website

On October 18, 2024, Jerry Cantrell released his fourth studio album "I Want Blood". Jerry Cantrell's "I Want Blood" marks a return to the dark, brooding atmosphere that made him a vital force in "Alice in Chains". Released as the follow-up to 2021’s "Brighten", this album serves as its antithesis-a dive into shadowy, haunting themes that feel deeply rooted in Cantrell’s musical identity. The album captures the very essence of his songwriting and guitar mastery, bringing fans back to the bleak, sludgy soundscapes reminiscent of his iconic band, yet with a fresh, solo twist. Cantrell, known for assembling stellar supporting casts, and like in "Brighten" he has done it again here. The album features powerhouse collaborators like "Guns N’ Roses" bassist Duff McKagan and "Metallica’s" Robert Trujillo on bass, along with "Faith No More’s" Mike Bordin and Gil Sharone from "Team Sleep" on drums, with backing vocals from Lola Colette and Greg Puciato (ex-"Dillinger Escape Plan") Where "Brighten" ventured into more uplifting, melodic territory, "I Want Blood" drags listeners down into the depths of Cantrell’s signature heavy, riff-laden world. From the drum intro and the first riff on "Vilified", you can feel the tension building. The track kicks off the album with a hard-hitting rock assault, featuring Cantrell’s gritty vocals and snarling guitar lines that immediately recall the "Alice in Chains" era. You can feel that Cantrell moved away from "Brighten" in songs like "Off the Rails" that tap directly into the band’s dissonant harmonies, sounding as though they could have come straight from the early 1990s Layne Staley days in "Facelift". Another example is the theme track "I Want Blood" which has a lot of galloping reminiscent of "Queens Of The Stone Age". But, the album is filled with dynamic shifts. The melodic “Afterglow” where we can even hear some keyboards, the acoustic “Echoes of Laughter,” and the heavy “Throw Me a Line” take on slower, more reflective tempos, creating a slow burn that contrasts the heavier moments. "Throw Me a Line" even introduces a Southern twang in the guitar work, offering a surprising stylistic detour while maintaining the album’s murky atmosphere. One of the highlights, "Let It Lie," stands out for its doomy, sludgy, dense aura, where Cantrell implores the listener to "let it lie," hinting at themes of surrender and emotional weight. The closing track, "It Comes," takes a more atmospheric approach, layering guitars and vocals offering a reflective and haunting finale. Cantrell co-produced the album with Joe Barresi, who also recorded and mixed it. A digital deluxe edition followed on January 31, 2025, pairing the nine original songs with nine spoken-word versions set to new musical scores. These are new interpretations of the album’s songs, not a new studio album. For Listening: Spotify, Apple Music Follow us on Facebook or Subscribe to our website "Face/Off" - Israel's Rock Blog & Podcast

On October 17, 1973, "Montrose", the debut album of the band "Montrose", was released. In the early 1970s, the world of heavy rock and proto-metal was almost entirely dominated by the British "Empire", with giants like "Led Zeppelin", "Black Sabbath" and "Deep Purple" setting the global tone. In the United States, heavy and rough bands like "Blue Cheer", "Grand Funk Railroad", "Mountain" and "Alice Cooper" stood out, but the American sound remained largely rooted in the roots of psychedelic blues, southern rock or garage rock. The historical turning point that changed the balance of power and laid the cornerstone for modern American metal occurred in the fall of 1973 in San Francisco, when virtuoso guitarist Ronnie "Montrose" decided to form his own band and record one of the most influential masterpieces in the history of heavy music. Even before forming his eponymous band, Ronnie "Montrose" had built an impressive reputation as a sought-after session player and lead guitarist. He played on Van Morrison's 1971 masterpiece "Tupelo Honey," where he met bassist Bill Church, and later joined Edgar Winter's band and played on the platinum-selling 1972 album "They Only Come Out at Night," which included the legendary instrumental hit "Frankenstein" and "Free Ride." Despite his enormous commercial success alongside Winter, "Montrose" felt that his creativity and aggression needed an independent, uncompromising stage. In 1973, he left the band, rejoined bassist Bill Church, and recruited the powerful drummer Denny Carmassi. The final piece of the puzzle was found at a local club in San Francisco, where "Montrose" discovered a young, charismatic, and completely unknown singer named Sammy Hagar, who was endowed with a tremendous vocal range, an endless hunger, and an explosive stage presence. The new quartet was signed to "Warner Bros. Records", which entrusted the production task to the young producer Ted Templeman and the brilliant sound engineer Donn Landee. The two recorded the album at Warner Bros. Studios and Sunset Sound Studios in Hollywood, with guitar accompaniment at Wally Heider Studios in San Francisco. The combination of "Montrose"'s electric playing, which used a Gibson Les Paul guitar connected to a Fender amplifier and a "Big Muff" distortion pedal, and Landee and Templeman's innovative recording technique, created a sharp, polished, fast, and aggressive guitar and drum sound that had never been heard before in the United States. Five years later, Templeman and Landee would use the same revolutionary sound formula to record Van Halen's historic debut album. The album opens with a bang and zero delays with "Rock the Nation," a rhythmic, kick-ass statement of intent that immediately makes it clear that this is a new breed of American heavy rock. Ronnie "Montrose"'s sawing riff and Denny Carmassi's racing drumming set the stage for Sammy Hagar's entrance, who shouts with the confidence of a veteran rock star and leads the song with explosive energy. It's immediately followed by "Bad Motor Scooter," the first song Sammy Hagar ever wrote, which has become one of the band's biggest signatures. The song opens with one of the most famous effects in rock history, as "Montrose" uses a metal slide on the guitar strings to perfectly mimic the growl of a motorcycle engine revving up to full speed, before the band bursts into a heavy, infectious hard rock groove. The third track, "Space Station#5", takes the listener into darker, more psychedelic and progressive realms, showcasing the album's heaviest, most metallic side. The song, co-written by Garrett and "Montrose", is built around a monumental riff, dramatic tempo changes and space effects that give it a Star Trek feel. The track left a deep mark on the British metal scene and was later covered famously by the band "Iron Maiden". The first side is closed by the short, fast and edgy "I Don't Want It", which demonstrates the tight chemistry of the rhythm section. The second side of the record opens with a salute to the roots of rock and roll with an electrifying and fast cover version of Roy Brown's rhythm and blues classic "Good Rockin' Tonight", made famous by Elvis Presley. Here, the band transforms the 1940s song into a muscular and modern hard rock show. Immediately after comes the album's ultimate climax and one of the greatest anthems in the history of heavy rock, "Rock Candy". The song opens with Denny Carmassi's iconic, heavy drum beat, born in the studio after producer Ted Templeman asked him to play a slow, crushing rhythm in the spirit of John Bonham of the band "Led Zeppelin". Over the drums comes one of the most unforgettable riffs of the 1970s, with Sammy Hagar delivering a powerful vocal performance that combines bluesy roughness with pure metal power. Towards the end, the band continues to maintain a high energy level with the catchy and rhythmic "One Thing on My Mind", before closing the album with the moving and epic piece "Make It Last". The final song, written entirely by Sammy Hagar and lasting over five minutes, is built in two dynamic parts and combines a melancholic atmosphere with virtuoso guitar bursts by Ronnie "Montrose", who demonstrates phenomenal control over melody and rhythm and closes the album with a sense of musical completeness. In reality, upon its release in the fall of 1973, "Montrose" did not enjoy immediate commercial success and only reached number 133 on the American Billboard charts, mainly due to limited public relations and the fact that American radio did not yet know how to digest such a heavy and uncompromising sound. The internal tensions between the two big egos of the band, Ronnie "Montrose" and Sammy Hagar, led to Hagar's departure after the second album, "Paper Money" from 1974, in favor of an extremely successful solo career, which culminated in his historic joining of the band "Van Halen" in 1985 and recording masterpiece albums such as "5150". Drummer Denny Carmassi also became one of the most sought-after drummers in the world and later played with "Heart", "Whitesnake" and the giant duo Coverdale-Page. But as the years passed, "Montrose"'s debut album became a cultural phenomenon and a magnet for an entire generation of musicians. The album sold steadily over the decades until it reached platinum status in the United States with sales of over a million copies. Many music critics and historians have hailed it as the first American heavy metal album and its connecting blues that bridged the heavy blues rock of the early 1970s with the speed and sharpness of the 1980s. In the UK, the album became a bible for the pioneers of the new wave of British heavy metal, with Steve Harris of "Iron Maiden", members of "Def Leppard" and "Saxon" all citing it as one of the most significant influences on shaping their sound. More than five decades after its release, and years after the tragic passing of Ronnie "Montrose" in 2012, this debut album remains a masterclass in pure energy, thirty-two minutes without a single dull moment that catapulted American metal into the future. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

He was born on October 16, 1962, a happy birthday to legendary bassist Michael Peter Balzary, aka "Flea", and we have 31 interesting facts to tell you about him. (Photo: Rich Polk) 1. He was born in Australia to parents of Hungarian and Irish descent. 2. The nickname "Flea" stuck with him in his youth due to his hyperactivity. 3. In his youth Flea did not like rock music at all. He loved jazz and admired well-known jazz artists like Miles Davis and Louis Armstrong. 4. The musical influences on Flea as a child came mainly from his stepfather who was a jazz artist. 5. The first instrument he played was the trumpet. 6. Flea grew up in a very violent environment. He was terrified of his parents, especially of his stepfather who was a violent alcoholic. 7. As part of dealing with the situation, Flea started smoking cannabis when he was only 13 years old. 8. He met Anthony Kiedis, a member of the band "Red Hot Chili Peppers", in high school. They were both outcasts and the common denominator brought them closer together and made them best friends. By the way, Jack Irons and Hillel Slovak who will be part of the "Red Hot Chili Peppers", as well as Slash, Rob Gardner, Tracy Ganz, Lenny Kravitz ,and other celebrities also studied at the same high school. 9. The person who taught Flea to play the bass guitar was none other than guitarist Hillel Slovak. He did this because he thought the bassist of his band at the time, "Anthym", was not good enough and he decided to teach Flea to play bass to replace him. 10. Flea soon became "Anthym's" bassist who changed its name to "What Is This", where he also played with drummer Jack Irons. 11. In 1982 Flea left "What Is This" and moved on to play bass for the punk rock band "Fear". 12. During his time with "Fear", he was invited to a one-time performance with Slovak, Kiedis, and Irons under the name "Tony Flow and the Miraculously Majestic Masters of Mayhem", at the Rhythm Lounge Club in Los Angeles. (Photo: Gie Knaeps) 13. The reviews from the show were so good that the club owner invited them to play there again a week later and even went on to more shows, not before changing the band name to "Red Hot Chili Peppers". 14. Flea has developed a very unique playing technique on bass guitar and is primarily responsible for the all-too-unique sound of the "Red Hot Chili Peppers". 15. In 1990, Flea and drummer Chad Smith were arrested following an incident involving a woman in the audience at an MTV show in Daytona Beach, Florida. They later pleaded guilty. 16. In 1993 he was invited by "Nirvana" to play the trumpet during a performance of the song "Smells Like Teen Spirit". 17. He was a good friend of actor River Phoenix who died of an overdose in 1993. Flea was with him the night he passed away at the Viper Room in Hollywood where they were scheduled to perform and also boarded an ambulance with him on his way to the hospital. 18. The song "Transcending" which seals the album "One Hot Minute" was written by Flea in honor of River Phoenix. 19. He worked with Alanis Morissette while playing bass in the song "You Oughta Know". The one who played guitar on that song was none other than Dave Navarro who that year was a member of the band Red Hot Chili Peppers. (Photo: Warner Music) 20. Later Dave Navarro will attract Flea to his mother band "Jane's Addiction". Flea played bass and trumpet with the band in 1997. 21. Together with "Jane's Addiction's" drummer Stephen Perkins and his Chili Peppers friend John Frusciante, he formed The "Three Amoebas". 22. In 1999 Flea performed at the Woodstock Festival completely naked. He repeated this at the Reading and Leeds festivals that year. (Photo: Unknown) 23. Flea ran the Los Angeles Marathon in 2011 to raise funds for his existing music school. 24. In 2001, Flea and fellow musician Keith "Tree" Barry founded the Silverlake Conservatory of Music. The school offers music lessons and scholarships for students whose families cannot afford them. 25. Flea is also an actor who has appeared in no less than 30 films and TV series, among them, Back to the Future 2, Back to the Future 3 ,and Big Lebowski. 26. Flea is active in assisting the bee population. He owns 3 hives numbering over 200,000 items in the backyard of his home. 27. In 2008, Flea began studying music at the University of Southern California. He is quoted as saying there are many things in music that he does not know and wants to learn. 28. In 2009, Flea together with Thom Yorke formed the supergroup "Atoms for Peace". 29. Flea has collaborated with many other artists like The Mars Volta, Tom Waits Johnny Cash, and more. 30. Flea placed second in the "Rolling Stone" readers’ poll of the greatest bassists published in March 2011. This was a readers’ poll, not the magazine’s current editorial ranking. 31. On March 27, 2026, Flea released "Honora", his first full-length solo album, through Nonesuch. He played trumpet and bass alongside a jazz ensemble, with saxophonist Josh Johnson producing. The album comprises six original compositions and four interpretations of other writers’ songs. Guest vocalists include Thom Yorke and Nick Cave. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On October 17, 2014, "Slipknot's" fifth album was released. An album that marked the band's "restart" after the dismissal of drummer Joey Jordison and the death of the band's bassist Paul Gray after whom the album is named. You're probably wondering why we say "restart", there's no hiatus here or any break or a band that broke up and suddenly decided to make a comeback. "Slipknot" is also a band that takes its time and does not release album after album at a crazy pace, so what exactly are we talking about ??? This album marks a new beginning. A reboot of a band that lost one of its important members and in addition fired another member who was also very important to the band. Both together were the founders of the band and the core that moved it forward. The bassist, Paul Gray, was found dead two years after the release of the band's fourth album "All Hope Is Gone". He was found lifeless in a hotel in IOWA after an overdose of morphine. His death severely affected the band members as he was a very dominant figure in terms of writing, creativity, and dynamics among the band members. If you remember, in this album, Paul is the one who drove the creation of the album and tried to unite all the band members who were completely detached from each other. He was the sane and embracing character who managed to connect the band members together. (Photo: Jay West) The song that opens the album "XIX" is a lament that Corey Taylor wrote and opens with the sentence: "This song is not for the living 'This song is for the dead." Shawn Crahan who lost his parents said that losing Paul was even harder, the song made all the band members fall apart especially when the below sentence appeared: “Walk with me, just like we should have done right from the start…. Walk with me, do not let this fucking world tear you apart. ” The unclear dismissals, to this day of Joey who also passed away in 2021, were also a not-so-simple blow to the band. Joey, who is also one of the band's founders, also took a significant part in the creation and writing, and under his hands came out a considerable number of the band's hits. Joey is also a drummer with a rare talent, technique, speed, and combination of rhythms and fillers that are phenomenal. He was one of the standout musicians in the band that gave it its very special sound. Jordison said he was dismissed by email in 2013. In 2016 he disclosed that transverse myelitis, a neurological condition, had affected his ability to play. His later return to drumming does not contradict the illness or its severity. After Paul's death the band members who were still committed to touring continued without him while recruiting a new bassist. Since it was difficult for them to have someone else take Paul's place, the new bassist played behind the stage when Paul's suit and mask were lying on the stage. After the tour it was clear to everyone that there would be no new album soon, they were too painful and distant and this time there was also no one to unite this extreme band. Only after a few years did they manage to communicate with each other and come up with ideas for the album. Taylor said they were very distant from each other but the relationships were spontaneously renewed at once. They started sharing materials and cosmically everyone flowed with the same idea, which doesn't happen much in "Slipknot" but we know tragedy is uniting. The group entered the studio but did not immediately start working, they had a very hard time letting go and feeling free in the studio. The same unbridled, unobtrusive group suddenly looked like a group of "yeshiva students" waiting for a "rabb"i to arrive. Taylor said it took a while for them to feel comfortable enough to create in light of Paul's loss. Shawn decided that in order to be inspired but also to show respect he puts Paul's Ibanez guitar in the recording studio with part of his mask hanging on it as if he is creating and present with them. (Photo: Slipknot) This album has all the powerful and familiar elements of "Slipknot", from the old to the new. Murderous drums with brutal guitars, deafening roars, and screams, electronic elements that give a dramatic atmosphere as well as a melody, clean singing, and exciting and disjointed ballads. An album consisting of 14 strong and intense tracks, both musically and emotionally. Songs like the first single from the album "The Negative One" which came to introduce the attack of the riffs, the crazy rhythm, and the power. The complex and slow "The Devil in I" that takes you through dramatic passages to synchronized and focused explosions. "Custer" is simply a pile of 5 kg hammers that are thrown to your head without mercy. And "Killpop" that starts slowly and intensifies with dramatic keyboards and clean singing by Taylor until everything goes into a blender and gets a shredded and decomposing devilish mixture... and more... and more... We owe a little story about the "new" drummer Jay Weinberg that we didn't know before "Slipknot" and we've just adored him ever since. Regardless of being the son of Max Weinberg the famous drummer of "Bruce Springsteen's E Street Band" and a regular drummer on Conan O'Brien's famous show is a huge talent. It's really not easy to get into Joey's huge shoes but when you've been a fan of the band since you were a teenager when your dad took you to gigs and put you in a meeting with the band members behind the scenes and you've crazy talent !! You do it smoothly and perfectly. We will not make comparisons here but he became a significant, influential, and prominent part of the band during this era. When Weinberg just joined the band, Shawn decided to do a baptism of fire for him, after all, "Slipknot" is no normal rock band, it is a collection of talented psychopaths. He flew with him to Paul's grave in IOWA and had him stand in front of the grave for long minutes to pay his respects and recognize Paul's value and contribution to the band. From there they flew together to the recording studio in Los Angeles and for several consecutive weeks, Shawn and Chris Fehn (Shawn's friend of percussion) did him an accelerated "Slipknot Course", tough mentors. They stood in front of him and screamed at him for hours every day, trying to challenge him, get him into a frenzy, make him step out of his comfort zone, and hone his talent and abilities. Taylor said that only in retrospect did he realize that this was also something they had to do for themselves, deal with leaving a friend and making a new friend. Update: The band parted ways with Jay Weinberg in November 2023 and confirmed Eloy Casagrande as its new drummer in April 2024. So now you do not have many choices, put on headphones (so as not to disturb the neighbors) and bombard yourself with: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Writer: Moti Kupfer Release date - 17.10.2005 Before their eighth album, "Songs of Faith and Devotion", Martin Gore admitted that "Violator" had been the last album the band had enjoyed making together. Success had turned them into a stadium band, but the distance between them onstage was mirrored in the studio. Dave Gahan's move to the United States, his addictions and his brushes with death had changed something in him. Gore also struggled with alcoholism, while Andrew Fletcher battled crippling anxiety. In 1993, Gahan suffered a drug-related heart attack, Gore experienced at least three stress-induced seizures, and Fletcher took several breaks from the band to look after his mental health. In 1995, the same year Gahan attempted suicide, Alan Wilder left the band, and "Depeche Mode" seemed perilously close to the end. But as the 1990s drew to a close, Gahan got clean and became a different person, more grounded and focused on the here and now. He suddenly realized that he, too, could write songs, and in early summer 2003 he released his first solo album, "Paper Monsters". For Martin Gore, recovery was slower than it was for Gahan. In the meantime, their tenth album, "Exciter", had taken a half-step away from their established sound and drawn mixed reactions. Although it reached the top ten in both Britain and the United States, "Exciter" sounded like a band desperately in need of a break. As mentioned, Gahan released an album during that break, while in April 2003 Martin Gore released his first full-length solo album, "Counterfeit²", following the 1989 EP "Counterfeit". As if that were not enough, in a series of interviews in 2004 Gahan appeared to mock Andy Fletcher's lack of musical input, telling one interviewer that the band no longer worked, just like the drugs. Meanwhile, in an interview with "Rolling Stone", he seemed to issue Martin Gore an ultimatum: unless Gore was willing to let them both bring songs into the studio and support one another, Gahan saw no point in making another "Depeche Mode" album. At that point, he said, he no longer really cared. Gahan was eager to gain a foothold in writing the lyrics, an area that had been almost entirely under Martin Gore's control. Gore, meanwhile, denied that he was some kind of totalitarian dictator and admitted, with a certain sadness, that Dave was talking to the press rather than to him. It was therefore something of a surprise when the trio finally reunited in late 2004, agreeing that Gahan would contribute songs to the next album. Fletcher said that Dave's songs were now really good, perhaps in an effort to reassure him. In any case, if fans had feared the end, by early 2005 it was clear: "Depeche Mode" were heading toward their eleventh album, "Playing the Angel", released on October 17, 2005. Recording began in early 2005 at "Sound Design" studios in Santa Barbara, with Ben Hillier appointed as producer. His previous work included "Think Tank" by "Blur", "People Are Expensive" by "Echobelly" and "Cast of Thousands" by "Elbow". Unlike Mark Bell, the producer of "Exciter", Hillier was less interested in technology for its own sake and wanted a more organic sound. He explained that the previous album had been made on laptops, whereas he wanted the human element of a live performance, which led to the use of many analog instruments. For him, that human quality was what had been missing from the previous record. Three songs on the album were written by Dave Gahan together with Christian Eigner and Andrew Phillpott, making this the first "Depeche Mode" album to feature his songwriting contributions, outside his solo career. It was also the first album since 1984's "Some Great Reward" on which Martin Gore had not written every song. Lyrically, faith, sin, pain and suffering recur throughout the album. Gore explained that "John The Revelator" addresses faith while also condemning the idea of a God who punishes and damns. The song draws on a traditional song of the same name recorded in the 1930s. In an interview with a French magazine, Martin Gore explained that the song questions unquestioning religious belief and the image of a punitive God. He referred to the Book of Revelation, with its seven angels sounding their trumpets and unleashing plagues and floods that gradually destroy much of humanity, leaving only the true believers. Gore made it clear that he did not share that belief. Gahan explained that "Suffer Well" grew out of a moment when a friend told him to suffer well, probably during his struggles with addiction in the 1990s. The phrase stayed with him. At first, Gahan had not understood what this older, more experienced man meant. Why would anyone tell him to suffer well? Eventually he realized that the advice was about facing suffering and working through it: if he could do that, he could move on. Another subject Gore addressed was his divorce. "Precious" was written about the way his children were coping with their parents' separation. The song is a message to Gore's children, who were aware of the divorce. He felt guilty that they had to witness the process. Recognizing their fragile state, Gore offers them sympathy but also acknowledges that things break, asking them to keep faith in both parents. Although it is a deeply personal song for Martin Gore, it was sung by the band's lead vocalist, Dave Gahan, as was standard practice for the group. The second single, "A Pain That I'm Used To", is one of the relatively few "Depeche Mode" songs to feature a real bass guitar, played here by Andy Fletcher. Martin Gore recalled that getting the analog bass sound in the introduction right had been particularly difficult. The album closes with "The Darkest Star", which contains the phrase that became the album's title, "Playing the Angel". Designed by Anton Corbijn, the album cover is a black-and-white, sepia-toned image of a stylized bird with outstretched wings, recalling the artwork for the band's single "Personal Jesus". The back cover carries the phrase "Pain and suffering in various tempos". The imagery and title seem to reflect the album's themes of personal struggle and emotional maturity, shaped by Martin Gore's experiences at the time. The album reached number six on the UK Albums Chart and number seven on the US Billboard 200. P.S. The album's tour began on October 28, 2005, in New York and ended on August 1, 2006, in Athens, Greece. Its final show was supposed to take place on August 3 at "Hayarkon Park" in Israel, but the technical crew refused to travel there during the Second Lebanon War, leading to its cancellation. The announcement came just two days before the scheduled show. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On October 17, 1980, Bruce Springsteen released his fifth studio album, "The River". This is one of "the boss" greatest and deepest musical works, both in terms of scope and content. A double album that includes 20 songs spread over almost 90 minutes, which is considered by many to be the last part in a trilogy of three albums that deal with the character of Bruce Springsteen at crucial times in his life. "Born to Run" from 1975, "Darkness on the Edge of Town" from 1978, and "The River" from 1980. This double album features an eclectic collection of songs written in different periods, from the early years of Springsteen's career to new material drawn from various projects and recent tour dates. For example, the songs "Independence Day", "Point Blank", "The Ties That Bind", "Ramrod", and "Sherry Darling" were outtakes from the sessions for the album "Darkness on the Edge of Town". This album was originally intended to be released as a single LP called "The Ties That Bind" (as the name of the first song on the album) and was intended to be released in late 1979. However, while writing the theme song "The River" Springsteen decided to add more melancholic folk songs and compose another collection of songs From diverse genres and make this a double album. This is why the recording of the album took about 18 months, with director and producer Jon Landau, as well as Steven Van Zandt, joining Springsteen as co-producers. During the sessions, a large number of songs were written and recorded but eventually did not included in the album, such as "Be True", "Held Up Without a Gun" and "Roulette" which were eventually released as b-sides, as well as songs that Springsteen gave to other artists such as Warren Zevon And songs released as part of Springsteen's boxes and collections later in his career. In terms of sound, this album was aimed at a "live" sound, probably because a significant portion of the album's songs was already featured in Springsteen's live shows, even before its release. Lyrically, the songs are mostly personal and moving with themes ranging from hope to disillusionment. 8 singles have been released from the album and it includes some of the boss' beautiful and exciting works, among them: The theme song "The River" is based on conversations Springsteen had with his brother-in-law after he lost his job in the building. A hard-working man who worked hard to support his wife and young child, but never complained. Springsteen wrote "Hungry Heart" following a meeting with Joey Ramone intending to give it to the "Ramones", but eventually decided it was too good of a track to give away. The moving "Independence Day" is written about Springsteen's relationship with his father, who worked at the "Nescafé" factory. They did not get along, but later in life, Bruce realized that his father was working very hard to support his family and began to appreciate him. "Cadillac Ranch" is one of a variety of songs Springsteen wrote about cars, which refers to a collection of 10 Cadillac cars to which visitors may add graffiti, in a wheat field near Amarillo, Texas. "I Wanna Marry You" - is a mature song that is a departure from many of Springsteen's previous songs about wild and free life. "Out in the Street" is one of the few songs that sits on the border between the two styles in the album ranging from bouncy and energetic songs versus working class melancholy. And of course, the amazing "Point Blank" which was the last song recorded for the album, and its title was borrowed from a 1967 film of the same name starring Lee Marvin, one of Springsteen's first "story" songs to be perfected later in his career in ballads like "Nebraska" and "The Ghost Of Tom Joad". "The River" became Springsteen's first album to reach number one on the Billboard 200, where it stayed for four consecutive weeks. Springsteen called this album a "gateway" to his future writing, with the albums "Nebraska" and "Tunnel of Love" directly drawing stories and themes that originated on this album. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On October 17, 2008, "AC/DC" released "Black Ice" in Europe, ahead of its international release on October 20. Eight years after "Stiff Upper Lip", the opening riff of "Rock N Roll Train" sounds like an iron door swinging open again. Behind it wait the same two guitars, the same economical drumming and that unmistakable rasp, but this time there is also a hunger you can feel between the chords. "Black Ice" brought the band back to center stage with new songs capable of standing alongside its classics. In hindsight, it also became the final studio album to feature Malcolm Young's rhythm guitar. When the band entered "The Warehouse" studios in Vancouver in the spring of 2008, a long stretch without a new album had passed, but its identity remained intact. Angus Young and Malcolm had continued developing ideas, and the lineup featured Brian Johnson on vocals, Cliff Williams on bass and Phil Rudd on drums. Their chemistry is the heart of the story. While Angus catches the eye and the ear, Malcolm gives every chord weight, and Cliff and Phil determine exactly how much space surrounds it. More clearly than on many densely packed rock records, you can hear how much power comes from what the musicians choose to leave out. Producer Brendan O'Brien helped steer the band back toward big choruses and strong melodies. All 15 songs carry writing credits for the Young brothers. Working alongside recording and mixing engineer Mike Fraser, O'Brien gave the guitars clarity without smoothing away their rough edges. Compared with the loose, bluesy character of "Stiff Upper Lip", this music reaches further toward the crowd at the far end of the stadium. The choruses open up, the backing vocals make their presence felt, and every riff knows where it wants to go. The most significant change can be heard in Brian Johnson. O'Brien encouraged him to explore the melodic and soulful shades of his voice rather than push every phrase toward a scream. The result is one of his finest vocal performances from the band's later years. The rasp still burns, but underneath it there is more movement, more playfulness and more personality. He sounds as though he enjoys singing these songs, and that enjoyment is infectious. "Rock N Roll Train" opens with a riff whose pieces are already locked in place before the drums arrive. Angus's guitar cuts across the top, Malcolm keeps the "rails" steady, and Brian enters with his familiar swagger. The lyrics move between attraction, danger and a train running out of control, but the chorus is the main event. The call and response of the backing vocals instantly turns it into something you want to shout with thousands of other people. It needs neither a lengthy introduction nor an explanation. In four minutes, the band renews its contract with its audience. Moving into "Skies on Fire", the rhythm grows heavier and broader, with a gritty delivery backing up the burning imagery. Then comes "Big Jack", complete with a larger-than-life character, sexual innuendo and locker-room humor. In other hands, this material could easily sound forced, but the backing vocals and the swing of the guitars turn it into a convincing rock 'n' roll party. Phil gives the guitars a solid foundation to crash against. "Anything Goes" is the album's cheerful surprise. Beneath the familiar sound lies an almost pop melody, delivered with a lightness that reminds us just how well this band can write a catchy song. The riff bounces rather than bulldozes, and Brian rides it freely. The lyrics keep romance on its wild, uncommitted side, but what stays with us is the chorus and the feeling that the band has opened a window in a room full of amplifiers. It expands the palette without knocking down a single wall. By contrast, "War Machine" rolls in like a heavy vehicle taking to the road. A low, threatening riff, bass that adds mass and measured drumming create a force that advances without hurrying. The military imagery gives the lyrics a darker presence, even if the band does not develop a complex political statement here. Brian serves as master of ceremonies, and the chorus sounds like an order. Further along, "Smash N Grab", "Spoilin' for a Fight" and "Wheels" take us back to the street, with snatching, provocation, motion and appetite. The first benefits from a spacious chorus, the second from its confrontational attitude, and the third from its forward drive. "Decibel" eases the pressure slightly with a swaying groove, while "She Likes Rock N Roll" keeps celebrating the bond between desire and music. The playing is excellent, although some songs seem content to sound exactly as we expect them to. "Stormy May Day" breaks the pattern with one of the album's best choices, Angus's slide guitar. Its slippery sound adds blues grit and a threatening atmosphere that suits the imagery of storms and distress. On an album built around precise chord attacks, that movement along the strings feels almost unstable. It reminds us how deeply the band's roots run into the blues, and how a small change in texture can make a short song one of the record's most memorable moments. On "Money Made", the guitars twist around a stubborn groove while the lyrics turn toward the hunger for money. It is followed by "Rock N Roll Dream", one of the album's most interesting tracks, which begins in a restrained mood and makes room for a more vulnerable side of Brian's voice. You can hear a fear of falling and losing one's grip, alongside the desire to keep living the dream. In the final stretch, "Rocking All the Way" brings back the mischief and boogie, before the title track "Black Ice" closes the album with a winding riff and a sense of danger underfoot. The name refers to transparent ice that is difficult to spot on the road, and the image of slipping fits the groove nicely. Tough on the surface, it is slightly sly in its movement. The ending brings us back to the simple pleasure of the two guitars working together, without trying to turn the farewell into a grand occasion. Still, 55 minutes and 15 songs make a substantial serving for a band whose strength depends on focus. Not every track has a chorus on the level of the opener, and at times familiarity with the formula becomes a little too predictable. Tougher editing could have turned a very good album into a tighter, sharper one. On the other hand, the variety in the guitar sounds and the work with Brian give the listening experience enough air to keep it from becoming an extended exercise in nostalgia. The audience had been waiting, and the response was enormous. The album reached No. 1 in 29 countries and sold approximately 784,000 copies in its first week in the United States. There, it was sold exclusively through "Walmart", "Sam's Club" and the band's website, while the group still opposed selling individual tracks on "iTunes". Its determination to protect the album as a complete work received impressive commercial backing. In 2010, "War Machine" won the Grammy for Best Hard Rock Performance, the band's first Grammy win. The huge tour brought a locomotive onto the stage to give "Rock N Roll Train" a physical presence, and the Buenos Aires shows were later documented on "Live at River Plate". On the album cover, designed by Joshua Marc Levy, the red logo stands within a dark tangle of ornamentation. It is a busy sleeve for the direct music inside, but the contrast between red and black gives this comeback a presence that is hard to miss. Looking back, knowing that this was the last studio album Malcolm played on gives every struck chord a different weight. At the time, it felt like a return to life. Today, it also offers another chance to hear how essential he was to this machine. "Black Ice" is uneven, but at its best it delivers worthy additions to the band's repertoire and performances full of life. After eight years of waiting, this train was well worth the ticket. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

And Then There Were Three... No, that's not a mistake. Do not think we were confused with the masterpiece album "..And Then There Were Three..." of "Genesis", it's just that in the case of "Making Movies", the third album by "Dire Straits", the band also became a trio. In December 1979, after completing the "Communiqué Tour" to promote the band's second album "Communiqué", Mark Knopfler began writing the material for the band's next album. These were materials that dealt with Knopfler's personal life and were wrapped in complex arrangements and melodies that went a long way from the root rock that the band presented on their debut album, combining genres such as jazz, folk, and country. This masterful album will become a milestone in the band's excellent career, but at the same time, it will also mark the first serious crisis, which triggered the stopwatch which calculated the band's end. In August 1980, while recording the album, Mark Knopfler's brother David Knopfler would leave the band, following heated arguments with Mark. The crisis between the brothers was so great that all of David Knopfler's guitar roles, which were almost complete, would be re-recorded by Mark Knopfler. This is not a trivial matter, since beyond the fact that they are "brothers in blood", it was David who co-founded "Café Racers" with Mark, in the mid - 1970s, the first band which would later become "Dire Straits". Although this album deepened the band's worldwide success on their way to the top, it would also in some sense mark the "beginning of the end" of "Dire Straits", which had already been dominated by Mark Knopfler, with his phenomenal talent. Before recording the album, Mark Knopfler decided to hire the services of producer Jimmy Iovine, who worked on Bruce Springsteen's classics "Born to Run" and "Darkness on the Edge of Town". Lavine brought keyboardist Roy Bittan who was part of Springsteen's backing band - the "E-Street Band". This contributed a lot to the sound and theatrical atmosphere of the album, which in some places does remind us of "The Boss" himself. The album opens up with "Tunnel of Love", which 7 years later will become the theme song and album of Bruce Springsteen, and here you have the required closer of Knopfler's with "The Boss". It's one of the band's three songs that did not give full writing credit to Mark Knopfler. The other two are: "Money for Nothing" and "What's The Matter Baby?". But do not think for a moment that someone helped Knopfler write this masterpiece. He simply gave the credit for the keyboards intro to Rodgers and Hammerstein for the inspiration from the "Carousel Waltz" they wrote. This intro puts us in the mood of the story at the heart of the song. The "Spanish City" Fair and Amusement Park in "Whitley Bay". As a teenager, Knopfler lived in Newcastle-Upon-Tyne, about ten miles away. This fair probably made Knopfler choose a musical career, as he has repeatedly noted that this is the first place he has heard rock 'n' roll play at high volume. If you will, this wonderful piece is kind of a nod to where it all started for Knopfler. Immediately after the short keyboard's intro, Knopfler's guitar simply takes over the song and envelops it from all directions with mesmerizing magic. From the precise rhythm of the chords, through the short guitar sentences, and to the amazing solo that starts to warm up engines, modest and small, starting at about 6:00 and only getting stronger and bigger, accompanying us until the end of the song. Despite Knopfler's unquestionable dominance, keyboardist Roy Bittan's incredible contribution to the song cannot be ignored, whether it's in the organ intro that determines the atmosphere of the song, the small piano touches during the verses, or the short solo at the end. Drummer Pick Withers also deserves a good word for the smart and wonderful drumming in this dynamic song. He knew exactly when to fill in the gaps between Knopfler's guitar sentences, when to take a step back leaning on cymbals and beatings on the drum rim, and when to storm forward, as in the bridge section starting at 3:35. The second track "Romeo and Juliet" is perhaps the most beautiful song on the album and one of the great songs of the band and Knopfler in general. An amazing combination of magnificent melody, perfect playing, and witty and clever lyrics. One of the most beautiful love songs ever written. This is the first part of the trilogy, written by Knopfler following the breakup with his girlfriend Holly Vincent, who dumped him during a phone call in the middle of the band's tour in America. This part tells how the woman leaves the man, but still, he has the hope to return to her, even though she is no longer interested in him. The second part of the trilogy is the song "Love Over Gold", the theme song from the band's next album, in which the man loses hope of returning to the girl and he realizes that she used him to advance herself and her career. The third part is the last song on the album "Love Over Gold" - "It Never Rains", which includes blunt and direct lyrics by Knopfler, who closes a circle with his girlfriend, after discovering how fate has avenged her since she left him. The song is led by the sound of National's "Style O" guitar, the same guitar that appears on the cover of the band's "Brothers in Arms" album, but it also enjoys Roy Bittan's piano melody that adds so much to it. It follows Shakespeare's story of young lovers, in a certain twist, to the sounds of sweeping music that softens and intensifies as the story progresses. In this song, Knopfler proves that not only is he a great composer and performer, but he is a poet that writes with supreme grace! He manages to express so much in sharp and short sentences that just pierce the heart. One of the good moments on the album comes at the end of the first side with "Skateaway". An amazing song that focuses on a young Hollywood star who goes against conventions and tries to become a "free spirit". She skates on the bustling city streets, listening to the radio in her headphones. There is a kind of rebellion in her skating as she slides against the direction of the bustling traffic, like a contrast between her perception of life and reality. The song, whose lyrics include the name of the album "Making Movies", expands and fades, ascends and descends, like a roller coaster, leaning on the shoulders of bassist John Illsley and drummer Pick Withers leaving enough improvisation space for Knopfler's guitar and voice that conveys the story to the listener. The other side of the album features four shorter and less complex songs. "Expresso Love" is a rock 'n' roll song with a strong guitar riff that is actually a love song about the sad life of a glamorous (maybe prostitute) woman who is getting ready to go out onto town. The song corresponds with the song "Wild West End" from the band's debut album, with the phrase "Hey mister, you wanna take a walk in the wild west end sometime?". It is followed by the quiet "Hand in Hand". A delicate ballad that opens to the piano sounds of Roy Bittan accompanied by Knopfler's guitar. A song that is a kind of looking back and bringing up memories from a relationship between him and her, and how this has changed from a simple state of going "hand in hand" to something more complex. We return to rock 'n' roll in the third track "Solid Rock" with the kind of bouncy rhythm that excites the audience in live performances. Interestingly, the video clip released for the song includes David Knopfler, as it was filmed before he left the band. The album ends in cabaret style with "Les Boys", perhaps the most "different song" in the "Dire Straits" catalog. "Making Movies" was a worldwide success and even gained platinum status in the US and double platinum in the UK. After which, the band will thicken its ranks and turn from a band of three musicians into a band of five members. It will continue to build its success with "Love Over Gold" from 1982 and especially with "Brothers in Arms" from 1985, which became one of the best-selling albums in the world, ever. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On October 17, 1977 "Lynyrd Skynyrd" released their fifth studio album "Street Survivors". This is the album that was supposed to make this band great, even more than it already was. A year before the album was released, the band introduced guitarist Steve Gaines, who also wrote material and sang. The band sharpens their sound, polishes their playing, and manages to create their best material to date, which was supposed to break the glass ceiling that floated above them. But in a very unfortunate and chilling way, just three days after the release of the album, on 20/10/1977, a plane leased by the band crashes and suddenly cuts off its musical career, while at its peak. This happened during the grandiose tour that was planned to promote the album, to be exact at the end of the fifth show, when the plane with the band members was on its way from "Greenville" in South Carolina to "Baton Rouge" in Louisiana. Singer Ronnie Van Zant, lead guitarist Steve Gaines, and his backing vocals sister Cassie Gaines were killed on the spot, while the rest of the band suffered serious injuries. Keyboardist Billy Powell's nose was almost torn from his face, guitarist Gary Rossington broke his leg in several places, guitarist Allen Collins was badly injured in the hand and his cervical vertebrae were fractured, bassist Leon Wilkeson broke six ribs, one of which punctured his lung and he also suffered fractures in his arms and legs. Drummer Artimus Pyle, who suffered broken ribs, escaped the wreckage and went to seek help. Pyle later said that a farmer fired at him and wounded his shoulder; the farmer disputed the claim. The shooting should therefore be presented as Pyle's account rather than an established fact. The accident was caused after the plane simply ran out of gas. It turns out that the pilots did not calculate the amount of fuel they needed to reach the destination. But that does not all and there are more disturbing facts about this horrific accident. It turns out that the management of "Aerosmith" was interested in leasing the same "Convair CV-240" aircraft for the band, but after being inspected by them, they decided that it was not suitable due to poor maintenance. What reinforced the band members' decision not to lease the same plane, was the fact that they saw the pilot and co-pilot pass a bottle of Jack Daniels between them during the plaint pre-check. Another disturbing fact was that just 48 hours earlier, during the band's flight with the same plane from the Lakeland Florida show to Greenville, South Carolina, some of the band members saw sparks coming out of the plane's right engine. The band members refused to continue the tour with the same plane and backing vocalist Cassie Gaines even said she had already found herself an alternative private flight, but singer Ronnie Van Zant pressured everyone to board the fateful flight, for fear of canceling their next show. Survivor band members later noted that before boarding the plane Ronnie was heard saying to Cassie Gains: "If your time is up, your time is up." Creepily, one of the great songs from the album "That Smell" includes the phrase: "The smell of death surrounds you!" The song was written by singer Ronnie Van Zant and guitarist Allen Collins about guitarist Gary Rossington and his drinking and drug problems. Rossington bought a new Ford Torino, got drunk, crashed into a tree, and then into a house. The accident caused an injury that delayed the band's tour and hence the song. Also, the original cover of the album shows the band surrounded by fire, with Steve Gaines' face partially covered by flames. After Gaines' death and at the request of his wife Teresa Gaines, the MCA record company decided to replace the album cover with the band's picture on a black background. Years later in the reissue of the album, the original cover was returned. The album cover along with the name "Street Survivors" created a conspiracy theory that anyone who was not touched by the fire "survived" the crash, but a close look at the cover shows that basically, the fire touches all members of the band in one way or another. "Street Survivors" became one of the band's defining albums and features classic songs like "What's Your Name" based on a real case in which the band members were expelled from a bar after being involved in a brawl and "You Got That Right" written by Gaines Van Zant, who also share singing, both as aforesaid died in the plane crash. This remained the last studio album by the original band. The group reunited for a tribute tour in 1987, with Johnny Van Zant on vocals and Ed King returning on guitar, and released its next studio album, "Lynyrd Skynyrd 1991", fourteen years after "Street Survivors". The story of the album and the disaster even won a Hollywood version of the film was released in 2020 and bears the name of the album. Drummer Artimus Pyle gave direct testimony to what happened on that fateful day and allows us to experience up close the circumstances that led to one of the greatest disasters in the history of music. Watch the trailer here: For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On October 17, 2000, guitarist Tony Iommi released his first solo album simply called "Iommi". It's an album featuring an "All-Star" lineup of singers and musicians like: Ozzy Osbourne, Henry Rollins, Dave Grohl, Phil Anselmo, Bill Ward, Billy Idol, Billy Corgan, Brian May, Matt Cameron, Serj Tankian, Skin and more. It took Tony Iommi almost 5 years to create the album. He began the writing process immediately after the release of "Black Sabbath's" "Forbidden" album in 1995, when the first recordings were made beginning of 1996. It should be said that Iommi managed to adapt the style of each and every song on the album to the artist who was hosted on it, without losing the identity and signature sound so identified with him. Each of the ten songs on the album was written by Iommi in collaboration with the artist performing it. During the work, additional songs were written that did not find their way to the album. For example, Iommi recorded three songs with singer Phil Anselmo, but only one of them - "Time is Mine" entered the album, while the song "Inversion of the Saviors" and another song were left out. Also, two songs were written with Billy Idol and two with Billy Corgan, but again this time only one song from each singer entered the album. In addition, Iommi recorded with Scooter Ward the frontman of the band "Cold" a song called "Something Wicked This Way Comes", which did not enter the album in the end. The track "Who's Fooling Who" reunites Tony Iommi, Bill Ward and Ozzy Osbourne. It follows the original lineup's reunion and the new studio recording "Psycho Man" on "Reunion" in 1998. One of the interesting collaborations on this album is on the song "Goodbye Lament", which features Dave Grohl on vocals and drums and Brian May on guitar. A kind of combination of metal, industrial, and post-grunge. Other songs worth noting are: "Black Oblivion" with Billy Corgan on vocals, guitar, and bass, "Patterns" with Serj Tankian on vocals, "Laughing Man (In the Devil Mask)" with Henry Rollins, and more. Since the album cannot be found in the various streaming apps, we have made a playlist for you on Youtube "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website