Here are some interesting facts about guitar virtuoso Tony MacAlpine: (Photo: Masquerade Atlanta) = Tony MacAlpine was born on August 29, 1960, in Springfield, Massachusetts, USA. = He began playing piano at age 5 and guitar at 12. He studied classical piano and violin at the Springfield Conservatory of Music in Massachusetts. = During the early 1980s MacAlpine attended the University of Hartford in Connecticut, where he focused on classical piano. His influences included Frédéric Chopin, whose études he frequently interpreted on his albums. = In 1986 MacAlpine released his debut album, "Edge of Insanity", which showcased his virtuoso guitar skills, but also his keyboards and bass skills. Bassist Billy Sheehan played on all tracks of the album except three. = In 1986, MacAlpine joined forces with drummer Tommy Aldridge, vocalist Rob Rock and bassist Rudy Sarzo in the project "M.A.R.S.", whose name was formed from the initials of MacAlpine, Aldridge, Rock and Sarzo. The supergroup released its only album, "Project: Driver", that same year, with MacAlpine handling both guitar and keyboard duties. = Also in 1986, MacAlpine played keyboards on Vinnie Moore's debut album, "Mind's Eye". = In 1987, MacAlpine released his second solo album, "Maximum Security". The album reached No. 146 on the Billboard 200 and remained on the chart for 11 weeks, making it his only solo album to enter the chart. It also featured guest appearances by George Lynch, who played guitar solos on "Tears of Sahara" and "The Vision", and "Night Ranger" guitarist Jeff Watson, who appeared on "The King's Cup". = In 1987 he contributed keyboards to Joey Tafolla's debut album, "Out of the Sun". = In 1990 he released "Eyes of the World" under the band name "MacAlpine," aiming for a more commercial hard rock sound. = In 1992 MacAlpine returned to instrumental work with the album "Freedom to Fly". = In the years 1993-1996 MacAlpine released a series of instrumental albums on Shrapnel Records: "Madness" (1993), "Premonition" (1994), "Evolution" (1995), and "Violent Machine" (1996). = In 1997 he released "Live Insanity", his first solo live album. = In 1999 MacAlpine experimented with vocals on "Master of Paradise", where he took on singing duties. = The same year he played guitar on Vinnie Moore’s album "The Maze". = In the years 2000-2006 MacAlpine was part of the progressive metal supergroup "Planet X" including keyboardist Derek Sherinian and drummer Virgil Donati, contributing to their albums "Universe" (2000), "Live from Oz" (2002), and "MoonBabies" (2002). = In 2000, MacAlpine became a member of the jazz fusion supergroup "CAB", alongside bassist Bunny Brunel and drummer Dennis Chambers. He played guitar and keyboards on "CAB" (2000), "CAB 2" (2001), "CAB 4" (2003), "Theatre de Marionnettes" (2009) and "CAB Live at the Baked Potato" (2011). "CAB 2" earned a Grammy Award nomination for Best Contemporary Jazz Album in 2002, giving MacAlpine the first and only Grammy nomination of his career. = In 2000 he was featured in Mark Boals' album "Ring of Fire". MacAlpine will continue to collaborate with Boals on his next solo album "Edge of the World". = In 2001 MacAlpine released "Chromaticity", a blend of metal, classical, and jazz elements. = In the early 2000s, MacAlpine joined Steve Vai's touring band, "The Breed", playing both guitar and keyboards alongside musicians including Billy Sheehan and Dave Weiner. During this period, he appeared on Vai's "Live at the Astoria London" DVD, as well as "G3: Live in Denver" and "G3: Live in Tokyo", demonstrating his remarkable ability to handle demanding guitar and keyboard parts within the same performance. = In 2002 he joined the neoclassical/progressive/power metal supergroup "Ring of Fire" with Mark Boals, Virgil Donati and Philip Bynoe. He released two albums with them - "Dreamtower" from 2002 and Lapse of Reality from 2004 as well as a live album, "Burning Live In Tokyo" in 2002. = After disbanding "Ring of Fire", Boals, MacAlpine, and Donati later formed The Progressive Metal act "Seven the Hardway". They released their self-titled album in 2010. = And that's where the Israeli side comes in. In 2011, guitarist Nili Brosh (sister of guitarist Eitan Brosh) joined the band "Seven the Hardway" along with guitarist Tony MacAlpine. Nili then went on to join McAlpine on tour with his band in Europe and the United States, and again in 2014 for the "Maximum Security tour". = In 2007 he Contributed to the album "Clinophobia" by "Devil's Slingshot", with Virgil Donati and Billy Sheehan. = In 2009 MacAlpine rejoined "Planet X" for live performances. = In 2010 MacAlpine contributed to Dave Weiner's album "On Revolute". = In 2011 he released his self-titled eleventh studio album "Tony MacAlpine" through Steve Vai’s Favored Nations label. It was his first solo release in ten years, and the first to feature his extensive use of seven- and eight-string guitars, which began in the days he spent with "Planet X". = The same year he guest appeared on Derek Sherinian's album "Oceana". = In 2012 Tony MacAlpine Toured Europe and Asia with the instrumental supergroup "PSMS"(Portnoy/Sheehan/MacAlpine/Sherinian). Their live material was released as the DVD "Instrumental Inspirations". = In 2013, MacAlpine joined Mike Portnoy, Billy Sheehan and Derek Sherinian for a tour by the instrumental supergroup commonly known as "PSMS". Their performance at Zepp Tokyo was recorded and released later that year as "Live in Tokyo", featuring material from the individual careers of all four musicians, including songs by "Dream Theater", "Mr. Big", "Planet X" and MacAlpine's solo catalog. = In 2014 MacAlpine played on "Ring of Fire's" album "Battle of Leningrad". = In 2015 he released his twelfth studio album, "Concrete Gardens", featuring guest appearances from guitarists like Jeff Loomis. = In 2015, MacAlpine was diagnosed with colon cancer and was forced to cancel his scheduled tour dates while undergoing treatment. In December, a benefit concert was held for him at the Wiltern in Los Angeles, bringing together an extraordinary group of friends and fellow musicians including Steve Vai, Zakk Wylde, John 5, Mike Portnoy, Billy Sheehan and Derek Sherinian. = In August 2016, MacAlpine announced that he was feeling back to normal and that his medical tests showed that everything was clear following his battle with colon cancer. He subsequently returned to touring and performing, including reuniting onstage with his longtime friend and former bandleader Steve Vai. = In 2017 he Released "Death of Roses", the first part of a planned two-part album series. = In 2018 he released "Twelve Twelve", the second part of the "Death of Roses" series. = MacAlpine also developed a long-running collaboration with French music icon Michel Polnareff. He joined Polnareff's major comeback tour in 2007, returned to perform with him again in 2016, and later played guitar on Polnareff's 2018 studio album "Enfin!". = In 2021, MacAlpine released "Equilibrium", his fifteenth solo studio album. The instrumental album once again showcased his combination of technically demanding guitar work, progressive rock and metal influences, and the keyboard skills that have remained an integral part of his musical identity throughout his career. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

We shared the story of the remarkable supergroup "Mad Season," known for releasing just one studio album, a distinctive and exceptional album titled "Above". This extraordinary band has also released another album, not a studio album, but a live performance album!! The album "Live at The Moore" was released on August 29, 1995, capturing the band's performance at the Moore Theater in Seattle on April 29, 1995. Initially, the album was available only as a live performance on VHS tape. It wasn't until 2013 that the album was released on CD, along with a DVD re-release of the show and a vinyl re-release of the album "Above." This incredible band played all ten tracks from the album along with a cover of John Lennon's "I Don't Wanna Be a Soldier". This marked the band's final appearance!! What distinguishes this album from the studio version is the absence of both external and internal influences. Being separated from their main bands, they faced no pressure or limitations. They were unconcerned with record companies, the audience, or even themselves, focusing solely on creating, recording, and performing for the sheer joy of music!! This is what makes the show so genuine, authentic, straightforward, and uniquely special!! This is a distinctive and exceptional gift from the band, an almost flawless tribute by Mad Season, a group that has accomplished more in five years than many other bands have in thirty. It is worth noting that on January 30, 2015, a tribute show titled "Sonic Evolution" was held to honor Mad Season and Temple Of The Dog. This event took place at Benaroya Hall in Seattle, featuring members of Pearl Jam (excluding Vedder) along with Chris Cornell and several other talented musicians, all supported by the Seattle Symphony Orchestra. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 29, 2011, the "Red Hot Chili Peppers" released their 10th studio album "I'm With You". "I'm With You" represents a pivotal moment in the "Red Hot Chili Peppers'" career, marking their tenth studio album and the first without long-time guitarist John Frusciante since his second departure from the band in 2009. The album emerged after a period of reflection and transformation for the band, following a world tour in support of "Stadium Arcadium" (2006) and an extended hiatus that lasted over two years. The decision to take a break came after the band members found themselves emotionally and mentally drained from years of relentless touring and recording. Flea, the band’s bassist, spearheaded the hiatus, believing it was crucial to step back and reassess whether the "Red Hot Chili Peppers" should continue. During this time, Flea pursued music theory studies at the University of Southern California, drummer Chad Smith joined the hard rock supergroup "Chickenfoot", and Frusciante recorded his 10th solo album, "The Empyrean". Frusciante’s departure was amicable, driven by his desire to explore new musical directions without the constraints of being in a band. His decision to leave was met with understanding and support from his bandmates, who recognized his need to pursue what made him happy. Enter Josh Klinghoffer, a familiar figure who had previously toured with the "Chili Peppers" as a supporting musician and collaborated with Frusciante on various projects. His addition to the band introduced a new dynamic, bringing a fresh perspective to their sound while honoring the band’s legacy. "I'm With You" showcases a band in transition, blending the "Red Hot Chili Peppers'" signature funk-rock style with a more subdued and textured approach. Klinghoffer’s guitar work is less overtly flashy than Frusciante’s but adds a subtle complexity that complements the band’s evolving sound. This shift allows Flea's bass lines and Anthony Kiedis' vocals to take center stage in a way that feels both familiar and new. The album’s themes explore life, death, love, and renewal, reflecting the band’s experiences during their hiatus and the changes they’ve undergone. "Brendan's Death Song" is a poignant tribute to a close friend of the band, while "The Adventures of Rain Dance Maggie" captures the playful, energetic spirit that has always been a hallmark of the "Chili Peppers". The album moves fluidly between introspective moments and high-energy tracks, mirroring the band's journey through uncertainty and reinvention. Standout Tracks: "Monarchy of Roses": The album opens with a darker, more intense sound that immediately sets the tone for the "Chili Peppers'" exploration of new musical territory. The moaning guitar, the galloping bass line, the rolling drums, and Kiedis' distorted vocal, create a compelling introduction and reveal that this time the "Peppers" are going to do it a bit differently. But then, on 0:45 everything changes and the familiar sounds and vibes breaks out and proves that the band's DNA didn't change. "The Adventures of Rain Dance Maggie": This track, one of the album’s lead singles, epitomizes the band’s ability to craft catchy, funk-infused rock songs. With its infectious bass groove and upbeat energy, it’s a song that’s made for live performances. The song originated from a bass line that Flea intentionally crafted to be a "classic," which led to an hour-long instrumental jam. The song's meaning, according to Kiedis, is a mix of memories and people from his past. "Brendan's Death Song": A deeply emotional track that begins with gentle acoustic guitar and gradually builds into a powerful anthem. It stands out as one of the album’s most heartfelt moments, with lyrics that touch on loss and the celebration of life. The song was written about Brendan Mullen, who was also a longtime friend of the "Chili Peppers" and one of the first music promoters to give the band their start. He was also the founder of "The Masque", a small punk rock club that was an important part of the early Los Angeles punk scene. "Look Around": A lively, fast-paced song that blends the band’s funky roots with a modern rock edge. It’s a fun and energetic track that highlights the "Chili Peppers'" ability to balance complexity with accessibility. This funky, festive tune is set in a strip club, and finds vocalist Anthony Kiedis falling in love with a stripper... "Did I Let You Know" finds the band experimenting with some Afro-pop styles that were inspired by a trip that bassist Flea and guitarist Josh Klinghoffer took to "Ethiopia" (which is another great song funk jam track on this album which was inspired by a life-changing trip of Flea and Klinghoffer). The song features the trumpet playing of Flea with Mike Bolger. "I'm With You" is an album that bridges the "Red Hot Chili Peppers'" past with their future. While it may not have the immediate impact of some of their earlier work, it reveals its depth and complexity over time. Josh Klinghoffer’s contributions bring a fresh, textured sound that allows the band to explore new directions without losing their core identity. The album is a mix of introspection and exuberance, reflecting the band’s growth and evolution after decades of making music. Though some fans may miss the fiery intensity of Frusciante’s guitar, Klinghoffer’s more nuanced approach offers a different, equally compelling take on the band’s sound. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 29, 1994, "Definitely Maybe", the debut album of "Oasis", was released. Beyond being one of the standout debut albums of the 1990s (and there were certainly many), this album holds great historical importance as it was instrumental in the resurgence of English bands, whose influence had begun to wane in the latter half of the 1980s. It's important to note that from the late '80s, and particularly in the early '90s, Alternative and Grunge dominated the music scene, spearheading a musical revolution that brought alternative and underground music into the mainstream. This movement was primarily centered in North America, which was then a fertile ground for producing a series of landmark albums by bands that had previously been considered outsiders by mainstream media. The modern history of music demonstrates that control in the music industry has oscillated over the years between the two sides of the Atlantic, with dominance shifting periodically. The blues that originated in America and influenced British rock bands in the '60s, the British invasion of the US that inspired new American rock bands, the "Beach Boys" who influenced "The Beatles" and vice versa, and American proto-punk that impacted the punk revolution in Britain, Heavy Metal born in England and Thrash Metal that emerged across the ocean. An examination of influence and control over the years reveals that during the three decades from the 1960s onward, it was quite balanced, with perhaps a slight edge to the English market, at least in our view. However, by the latter half of the '80s, the British were losing ground while the North American influence on the music market was growing significantly, reaching near-total dominance by the early 1990s. In our humble opinion, the album under review transformed the landscape and emerged as a leading force in the revival of British bands. Upon its release, it soared to the top of the UK charts, becoming one of the best-selling debut albums in the country. It propelled "Oasis" to the zenith of British Rock music, sparking a nationwide frenzy reminiscent of "the Beatles" era. Beyond that, this album not only initiated a UK revolution but also sold over 8 million copies globally, successfully breaking into the US market. This marked the beginning of "Oasis's" remarkable success across the Atlantic. For comparison, Suede's debut album, released about a year earlier and regarded as one of the first Britpop albums, sold just 100,000 copies in the UK. Frankly, Noel Gallagher, Liam Gallagher, and their friends didn't originate the Britpop movement that took over Britain and the world in the 90s, but they certainly achieved success where others didn't. The revolution that started in the late 1980s in Manchester with "The Stone Roses" and "Inspiral Carpets" (the band where Noel Gallagher worked as a technician and stagehand at 21) spread across the kingdom with debut albums from bands like "Blur," "Manic Street Preachers," and "Suede." Despite their relative success, these bands didn't break through as significantly as "Oasis" did with their debut album. This British wave that propelled "Oasis" into the American market in the 90s also brought a shift in the music world's atmosphere and style. While Alternative and particularly Grunge were genres that often expressed anger, frustration, sadness, fear, and depression, the music that "Oasis" introduced was much more optimistic in terms of dynamics, rhythm, and lyrical themes. This change is evident even in the song titles themselves. The opening track "Rock 'n' Roll Star" became a self-fulfilling prophecy, the first single from the album, "Supersonic," which Noel Gallagher claimed took as long to write as it does to listen to, "Shakermaker," the second single that was even more successful than the first, or "Live Forever," influenced by "The Rolling Stones'" "Shine a Light." All these and more leave no doubt that a fresh and new spirit began to blow through the music market of the '90s, not necessarily driven by sadness, anger, or depression. This rugged and straightforward album has generated a series of consecutive hits that have elevated "Oasis" to the pinnacle of global music. It ranks highly on numerous polls and music rating lists, including a 2006 survey of NME readers, where it was voted the best album of all time, surpassing "The Beatles'" "Sgt. Pepper's Lonely Hearts Club Band" which came in second. However, putting aside rankings and sales figures, this album will be chiefly remembered as a revolutionary work that defined an era and captured the sentiments of an entire generation of young people in the UK during the 90s. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 29, 1988 "Helloween" released their third album "Keeper of the Seven Keys: Part II" and established their position as one of the most important and influential Power Metal bands in the world. Few power metal or symphonic metal bands have escaped the influence of "Helloween," particularly their album "Keeper of the Seven Keys: Part II". This album embodies all the classic elements of Power Metal. It features high-speed metal, energetic double bass, neo-classical and melodic guitar work, epic compositions, symphonic influences, and lyrics inspired by fairy tales and fantasy. The band was formed in 1984 in Hamburg by singer and guitarist Kai Hansen, bassist Markus Grosskopf, guitarist Michael Weikath, and drummer Ingo Schwichtenberg. Initially a Speed Metal band, they released their first EP "Helloween" in 1985, followed by their debut album "Walls of Jericho" the same year, with Kai Hansen also handling lead vocals. In 1986, the band underwent a lineup change that also impacted their style. Kai Hansen realized that being the lead singer limited his guitar playing during live performances. This led the band to seek a new vocalist, allowing Hansen to focus on his guitar skills and songwriting. Michael Kiske, an 18-year-old with an impressive four-octave vocal range, was chosen for the role, adding a new dimension to the band's sound and musical style. (Photo: Krasner/Trebitz) Helloween's decision proved successful when, in 1987, they released their second album, "Keeper of the Seven Keys: Part I." This album was primarily composed by guitarist Kai Hansen, who also contributed to the design of its distinctive cover. The album signified a shift in their musical direction, becoming slightly slower and more melodic with classical and symphonic influences. This laid the groundwork for the European Power Metal genre, heavily relying on Michael Kiske's dramatic vocal style, reminiscent of a blend of Geoff Tate, Bruce Dickinson, and Rob Halford. Indeed, it's accurate that some of you might correctly point out that these foundations were established by "Rainbow" in 1976, with legendary tracks like "Stargazer" or "A Light in the Black" from the album "Rising", or with the fast pace and double bass of "Kill the King" from the album "Long Live Rock 'n' Roll" released two years afterward. Some argue that it was Rob Halford's vocal style and the "twin guitar" sound of his bandmates in "Judas Priest" that shaped the subgenre. This is indeed true! However, "Helloween" succeeded in taking these influences, pushing them to their limits, and elevating them to new heights, particularly with their album "Keeper of the Seven Keys: Part II". This album became one of the genre's most influential works and propelled the band to the forefront of the metal scene. It's noteworthy that all this success occurred precisely when guitarist Kai Hansen began losing interest in the band. This shift allowed guitarist Michael Weikath to step up and take charge of the writing process for this album, as well as the cover design, much like his friend Kai Hansen did for the previous album. This change was likely essential for creating such a masterful album. True to the epic nature of a Power Metal album, "Keeper of the Seven Keys: Part II" starts with a brief symphonic intro titled "Invitation" designed to "invite" us into the enchanting world of "Keeper of the Seven Keys." Following this is the timeless track "Eagle Fly Free," which encapsulates the essence of the Power Metal subgenre in just five minutes. It features fast and powerful double bass drumming by Ingo Schwichtenberg, an incredible melody with virtuosic and clear high vocals by Michael Kiske, stunning neo-classical twin guitar work by Kai Hansen and Michael Weikath, and explosive, pulsating bass by Markus Grosskopf, who even takes the lead momentarily. With violins, choir, and trumpets, what more could you ask for in this mind-blowing song that many others have tried to emulate? The album progresses with "You Always Walk Alone", whose introduction brings to mind "Iron Maiden", another band that clearly influenced "Helloween". As the song advances, Michael Kiske delivers outstanding vocals, reaching impressive heights with a voice that somewhat echoes Geoff Tate. The album shifts with a humorous anthem titled "Rise and Fall", written by Michael Weikath, who also added quirky sound effects. It's worth noting that the lyrics, particularly the story of Romeo's inability to consummate his love for Juliet due to impotence, remind us of "Alestorm", a band likely inspired by "Helloween's" humor and style. This comedic tone continues with "Dr. Stein", the amusing hit single dedicated to Frankenstein. This track is among the band's most popular, frequently played at concerts. In 2010, the band released an entertaining video for the jazz-style remake of the song, featured on the album "Unarmed – Best of 25th Anniversary". The first side of the vinyl concludes with the outstanding and dynamic "We Got the Right," which slightly reduces the tempo. This track serves as an ideal contrast to the two preceding songs, providing a "more serious" counterbalance to the band's signature "Happy Metal" style, effectively balancing the first side. The song was honored with an operatic-symphonic tribute version featuring several renowned musicians, including Arjen Lucassen, Blaze Bayley, Tim Ripper Owens, and others. The second side of the vinyl begins with an epic introduction featuring the piano and guitar sounds of "March of Time". This rhythmic track boasts a sweeping and melodic chorus, making it undoubtedly one of the album's highlights. It showcases an impressive display of the "Power Metal" style. Weikath and Hansen's guitar work aims for perfection, the rhythm section is at its peak, and once again, Michael Kiske's incredible vocals manage to stand out, even amidst the thunderous drums and intense guitar riffs. Next comes "I Want Out", arguably the band's most famous hit and one of the greatest metal singles ever, which even received some airplay on MTV. We stand by this claim, as the song features an irresistibly catchy guitar "hook" and chorus that can lodge in your mind after just one listen. Hansen penned the song out of frustration with the pressures and stress of live performances and the band's disputes with the record label, feelings that eventually led him to lose interest in the group. The album concludes with the masterpiece and theme song "Keeper of the Seven Keys." This track is Michael Weikath's grand and enhanced response to "Halloween," a song written by guitarist Kai Hansen for the previous album, serving as the saga's first part. It's an extraordinary piece that surpasses the thirteen-minute mark, featuring frequent shifts in rhythms and styles, intense solos, impressive vocal harmonies, classical instrumental sections with symphonic support, and operatic vocals. This intense metal theater acts as a mini rock opera, narrating the story of the "keeper of the seven keys," whose task is to lock the seven days of the week. The "keeper of the keys" is destined to defeat Lucifer, a feat he can achieve only by casting the keys into the sea, as directed by the old prophet who accompanies and guides him. Thus, the keeper sets off on a voyage to distant oceans to cast the keys into the sea of hatred and sin, the sea of fear, the sea of senselessness, the sea of greed, and the sea of ignorance... It is worth mentioning that the extended version of the album includes several bonus tracks, such as "Save Us", "Savage", "Livin' Ain't No Crime", and "Don't Run for Cover", some of which hold up to the quality of the other songs on the album. In conclusion, there is no doubt about the impact of "Keeper of the Seven Keys: Part II" on the metal world in general and the subgenres of Power and Symphonic metal in particular. The virtuosic playing, dynamic energy, classical and symphonic influences, epic vocals, and even the distinctive German humor elevated the Power Metal style in this album, creating a legacy of bands striving to emulate and recreate this unique magic. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

He is a Tasmanian devil, a talented musician, an amazing actor, and a comedian who will make you cry!! Please welcome... (Photo: Kevin Winter) = Jack Black, was born as Thomas Jacob Black on August 28, 1969, son of satellite engineers Thomas William Black and Judith Love Cohen. He grew up in Santa Monica, California. = Black was raised Jewish, attending Hebrew school and having a bar mitzvah. He attended Poseidon School, a private elementary school known for its progressive education, and later went to Crossroads School for Arts & Sciences in Santa Monica. = Black's parents divorced when he was 10, and his father then stopped practicing Judaism. He moved to Culver City with his father and frequently visited his mother's home. = In 1987, Black joined the "Actors' Gang", a theater troupe founded by UCLA students, and appeared in a variety of stage productions. During an acting class, Jack Black met Kyle Gass, a fellow actor and musician. = They formed the comedy rock duo "Tenacious D" in 1994, showcasing their musical and comedic talents through a mix of music and sketches. But we will come back to that later... = Black gained recognition for his roles in various films, often bringing his unique comedic style to the characters he portrayed. His breakout film role came with "High Fidelity" (2000), in which he played a memorable supporting role. = In 1995 and 1996, he gained recurring roles in the HBO sketch comedy series "Mr. Show". Which will later be the basis for the "Tenacious D" sketches. = The movie "School of Rock" (2003) marked a significant milestone in his career, as he portrayed a musician who poses as a substitute teacher and forms a rock band with his students. = He continued to star in a mix of comedy and adventure films, such as "Nacho Libre" (2006), "Tropic Thunder" (2008), "Gulliver's Travels" (2010), "Jumanji" (2017), and many, many more!! = Black was nominated for two Golden Globes, and on September 18, 2018, Black was inducted into Hollywood's Walk of Fame. = He lent his voice to the character "Po" in the successful "Kung Fu Panda" film series (2008-2016). = Going back to "Actors' Gang", Black and Gass began working together and initiated several sketches together which very quickly made them the comic duo of the group. They also found out that they have a common and strong love for music and in 1994 they formed "Tenacious D", a comedic rock duo known for their humorous and often explicit lyrics. = The name is derived from "tenacious defense", a phrase used by NBA basketball sportscasters Walt Frazier and Marv Albert to describe robust defensive positioning in basketball. = In the early 1990s the two began writing music of their own. They eventually wrote their first song after Black had been dumped by his girlfriend, Melissa, and it was a non-comedic song. = Their second song came about when Black was listening to the Metallica song "One" and told Gass that it was "the best song in the world". Gass told Black that they couldn't write the best song in the world, but Black put a twist on it and said they could "write a tribute". When the song was done, they "knew they had something". The song made the duo realize their comedic and musical potential. = The duo started performing in local bars, in the "Actor's Gang" and the famous "AI's Bar", gaining momentum in the Los Angeles music scene. = Black stated he didn't learn guitar until he was "around twenty-three years old", so would regularly visit Gass's Cochran Avenue studio apartment. They made a deal that Gass would teach Black to play guitar in return for food, mainly from the fast-food chain "Jack in the Box". = Their first big shows were as an opening act for the band "Tool" in 1995 when Maynard James Keenan saw the duo in "Mr. Show" and invited them to open for their shows in California. = In 1997, while a popular act on the Los Angeles music scene they performed residencies at The Viper Room. Pete Stahl, the vocalist of the band "Scream", worked at The Viper Room at the time and became a fan of Black and Gass. Stahl invited his friend Dave Grohl to come and see Tenacious D, and this was the beginning of a beautiful friendship between Grohl, Black, and Gass. = This led to their cameo in the Foo Fighters' "Learn to Fly" music video. = In the same year they recorded their first songs "Tribute", "Kyle Quit the Band", "Krishna" and "History" and released them in a demo tape called "Tenacious Demo", distributing it to various record companies, until HBO offered them a TV show based upon the tape and Black's work on Mr. Show. It was a three-episode TV series broadcasting between 1997 and 2000. = The popularity of Tenacious D further increased in the late 1990s as they began to open for high-profile acts, including Beck, Pearl Jam, and Foo Fighters. = In May 2000, "Tenacious D" signed to Epic Records. As Black's profile increased due to his roles in films the band worked on recording their first album with producers the Dust Brothers. = In 2001, they released their debut album "Tenacious D". "Wonderboy" was the first single released from the album, followed by "Tribute". For the album they enlisted the help of drummer Dave Grohl, keyboardist Page McConnell of Phish, guitarist Warren Fitzgerald, and bass player Steven Shane McDonald. = From the beginning, making a "Tenacious D" movie, was a dream of both Black and Gass. They started working on the script in late 2000 and in 2003 they signed with "New Line Cinema" to produce the movie. The filming began in 2004 and was directed by Liam Lynch, the band's music videos director. The movie "Tenacious D in the Pick of Destiny" came out in November 2006 and included many guest and cameo appearances by Ronnie James Dio, Dave Grohl, Ben Stiller, and Meat Loaf. = The movie was a huge "box office bomb" (huge commercial failure), it grossed $8M in the US and Canada and a total of $13M worldwide, falling well short of its $20M production budget and $40M in estimated marketing costs. But it later became a cult movie among rock and metal music lovers. = The duo released their second album which was the movie's soundtrack "The Pick of Destiny" in 2006. The album was produced by the Dust Brothers' John King, and includes appearances by Meat Loaf, Ronnie James Dio, and Dave Grohl and debuted at number 8 on the Billboard 200. = Tenacious D embarked on "The Pick of Destiny Tour", in the US, Canada, UK, Australia, and New Zealand. Following years of performing acoustic concerts featuring only Black and Gass with their acoustic guitars, this tour marked the inception of the now renowned and highly prosperous live show featuring a whole band on stage. This expanded setup incorporated costumes, lighting, fire, and smoke effects, as well as humorous sketches involving band members that were interwoven between songs. BTW, we also have in Israel an amazing group that knows how to do it, go in: Bring Tenacious D to Israel (Photo: musikexpress.de) = In November 2008 the band released the video album "The Complete Master Works 2". It features footage from the band's performances at the Paramount Theatre in Seattle, Washington, during The Pick of Destiny Tour. The release also features numerous bonus videos and "D Tour: A Tenacious Documentary". = In May 2015 the band released its third studio album "Rize of the Fenix". The album marks the return of John Konesky (electric guitar), John Spiker (bass), and Dave Grohl (drums). The album was nominated for a Grammy Award for Best Comedy Album in 2013. = In September 2018 the duo released the "Tenacious D in Post-Apocalypto" animated show. It is an animatic 6-episode series released through the band's YouTube channel. The project was assembled by Black physically drawing each frame with markers and notepads, with longtime Tenacious D bassist and producer John Spiker scanning and digitalizing the images. Michael Molina would add color later on in the process. = In November 2018 "Tenacious D" released their fourth album "Post-Apocalypto" which accompanied the animated episodes. Additionally, this album saw the participation of members from their earlier albums who contributed to the recordings. = In December 2018, Black created a YouTube channel called "Jablinski Games". In just seven days following its debut, the channel garnered a subscription base exceeding one million. The content featured on this channel generally encompasses unscripted vlogs featuring Black and his two sons, as well as gaming-related material. The primary motivation behind Jack's creation of the channel was to foster a stronger connection with his son, who actively contributes as the channel's videographer and editor. = In 2023 Black voiced Bowser in "The Super Mario Bros. Movie" movie and performed the song "Peaches" which became one of the movie's cameos. = In July 2024 during a "Tenacious D" show in Australia, Gass celebrated his 64th birthday on stage. When Jack handed him the cake to blow out the candles, Gass made a wish and said "Don't miss Trump next time", in reference to the assassination attempt on Donald Trump, the day before. The video of the event went viral very quickly and led to harsh criticism towards Gass who was described as encouraging violence And killing. A few days later, Jack announced on Twitter that all of the duo's plans were on hold immediately, including the tour that had just begun. = In April 2025, the film "A Minecraft Movie," based on the famous video game "Minecraft," was released. Jack plays the role of "Steve," a former door handles salesman who has been living in the "Overworld" for years. Together with the film’s director Jared Hess, Jack co-wrote the song "Steve's Lava Chicken" for the movie’s soundtrack. The song is used as a jingle in a scene where Steve cooks a live chicken by pouring lava over it. At only 34 seconds long, the track set a record as the shortest song ever to enter both the Billboard Hot 100 and the UK Singles Chart. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 28, 2007, "Heaven & Hell" ("Black Sabbath") released the live album "Live from Radio City Music Hall". "Heaven & Hell's" "Live from Radio City Music Hall" is more than just a live album; it's a testament to the enduring power of one of the most formidable lineups in heavy metal history. Released in 2007, this live recording captures the band's performance on March 30, 2007, at the iconic New York venue, Radio City Music Hall. The album and accompanying DVD offer a spectacular showcase of the magic that happens when legendary musicians reunite to perform some of the most celebrated songs in heavy metal. "Heaven & Hell" was essentially the reformation of the classic "Black Sabbath" lineup that recorded three of the band’s most revered albums: "Heaven And Hell" (1980) (with drummer Bill Ward), "Mob Rules" (1981), and "Dehumanizer" (1992). Fronted by the inimitable Ronnie James Dio, with Tony Iommi on guitar, Geezer Butler on bass, and Vinny Appice on drums, this was a band steeped in the legacy of Sabbath but with a distinct identity of its own. The Radio City performance was a triumph, reminding fans and critics alike of the unique chemistry that made this lineup so special. The setlist is a fan's dream, drawing heavily from the three Dio-era "Black Sabbath" albums while also featuring two out of the three new tracks from the "Black Sabbath: The Dio Years" compilation, released earlier that year - "The Devil Cried" and "Shadow of the Wind". Opening with the atmospheric "E5150" from "Mob Rules" leading into "After All (The Dead)", from "Dehumanizer" the band sets the tone for an evening of heavy, brooding, and masterfully executed metal. Tracks like "The Mob Rules," "Children of the Sea," and the anthemic "Heaven and Hell" highlight the band's ability to blend melody with dark, powerful riffing. The haunting "Sign of the Southern Cross" and the relentless "Die Young" are particular standouts, showcasing Dio's extraordinary vocal range and Iommi's unmatched guitar prowess. This live performance is not only a celebration of the past but also a precursor to the future. The chemistry and energy displayed at Radio City Music Hall laid the groundwork for what would become the band's final studio album, "The Devil You Know" (2009). The success of the reunion and the overwhelmingly positive response from fans and critics inspired the band to return to the studio. "The Devil You Know" would go on to feature some of the darkest and heaviest material the band had ever produced, with tracks like "Bible Black" and "Fear" echoing the themes and intensity of their earlier work while pushing into even more ominous and introspective territory. The live rendition of "The Devil Cried" and "Shadow of the Wind" at this concert provided a glimpse into the band's evolving sound, bridging their legacy with their final chapter. "Live from Radio City Music Hall" is an essential listen for those who hold the Dio-era "Black Sabbath" albums in high regard. It captures a band at the height of their powers, delivering a performance that is both a celebration of their past and a powerful statement of their continued relevance. With stellar musicianship, a carefully curated setlist, and top-tier production quality, this live album stands as one of the finest examples of what makes live music so special. It's not just a performance; it's a piece of history, since this album also serves as a bridge to "The Devil You Know", offering fans a final taste of the band's unmatched ability to craft timeless, heavy, and emotionally resonant music. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On 28, August, 2020 John Petrucci released the album "Terminal Velocity". The legendary guitarist John Petrucci, known to all of us from the band "Dream Theater", returned to the spotlight as a solo artist with the album "Terminal Velocity", which marks his first solo release in 15 years, following "Suspended Animation" released in 2005. For fans of Petrucci's virtuosity, "Terminal Velocity" is a master class of technical precision, melodic composition and exploration of diverse musical styles. The performance on "Terminal Velocity" is amazing by any standard. John Petrucci's guitar work is, as expected, impeccable. Every note is precise, every solo is carefully crafted, and the sound is consistently rich and full. It is worth noting that this album marks John Petrucci's first collaboration in a long time with his "Dream Theater" drummer Mike Portnoy, and this fact is enough to add to the musical chemistry and excitement of listening to the album. The bass work of Dave LaRue (known among others from the groups "Dixie Dregs", "Flying Colors" and others) provides a solid and technically complex foundation, which allows Petrucci and Portnoy to explore and improvise in new musical territories. In terms of production, the album is polished and balanced, with each instrument given plenty of room to shine. Petrucci, who also produced the album, promises that his (and his friends') technical ability will not overshadow the musicianship. The mix is ​​clean, allowing the listener to appreciate the intricacies of each of the tracks on the album. The album "Terminal Velocity" is a triumphant "comeback" for John Petrucci as a solo artist. It's an album that will undoubtedly please the fans of both "Dream Theater" and Petrucci's solo releases. The combination of technical mastery, melodic sensitivity and stylistic diversity offers a comprehensive display that proves why John Petrucci is still still considered one of the greatest and most respected guitarists in the progressive metal genre. For Listening: Apple Music ,Spotify "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Released on August 28, 2001, "Iowa" is an album that redefined the extremity of mainstream metal and cemented "Slipknot" as one of the most terrifyingly powerful forces in modern heavy music. More technical than their debut, "Iowa" is considered the band's heaviest and darkest album. After the unexpected success of their self-titled 1999 debut "Slipknot", the nine masked men from Des Moines were catapulted from underground chaos to MTV, Ozzfest, and arenas around the world. They became Metal Stars, and the fame only sharpened their rage. By October 2000 drummer Joey Jordison and bassist Paul Gray were already writing material, while the rest of the band tried to recover from the endless touring cycle. On January 17, 2001 the band regrouped and entered Sound City Studios in Los Angeles. Producer Ross Robinson, who had already shaped their debut, returned once again to capture their fury, even though he was recovering from a dirt bike accident that had left him with a fractured back. He was back in the studio within a day, channeling his pain into the record, and the band fed off his intensity. Recording officially began on January 22 and dragged on until March 16. The atmosphere was poisonous. Shawn Crahan later admitted, “Recording Iowa was hell, I wanted to kill myself.” Corey Taylor recalled that “there was nothing happy about Iowa,” noting how alcohol, drugs, management problems, and the sudden leap to fame had consumed them. It was also the first album where guitarist Jim Root played a central role, after joining late in the recording of the debut. Root later described the experience as both exciting and terrifying, facing immense pressure from fellow guitarist Mick Thomson to prove himself. Photo: Blunt Mag The sessions grew infamous for the extremes the band pushed themselves into. Corey deliberately put himself through self-inflicted torment to summon the most harrowing performances. While recording the closing title track, he stripped naked, vomited on himself, and cut his body with shards of glass, later explaining that he had to break himself down completely to create something great. Sid Wilson, devastated by the death of his grandmother, had a complete breakdown during the intro track, his screams manipulated into the opening "(515)". It was pure pain captured on tape. The opening "515" is less a song than a panic attack. Wilson’s gasping screams and noise, recorded after learning of his grandmother’s death, set the stage for the eruption that follows. "People = Shit" kicks the door in, a manifesto of misanthropy with Jordison’s blast beats and Mick and Jim’s chainsaw guitars thrashing against Taylor’s pure venom. "Disasterpiece" is both a fan-favorite and one of Slipknot’s most vicious tracks, filled with bile and an unrelenting groove that makes violence sound like ritual. "My Plague", which gained additional attention from its appearance on the "Resident Evil" soundtrack, adds an almost industrial hook to the chaos, proving that even in madness, "Slipknot" could craft something perversely catchy. "Everything Ends" keeps the nihilism at maximum level, with Taylor spitting out lyrics that feel like a suicide note set to speed metal. Then comes "The Heretic Anthem", with its infamous chant “If you’re 555 then I’m 666,” a call to arms for the band’s maggot fanbase and one of the most iconic moments in their live shows. Not every track is played at hyperspeed. "Gently", a reworked version of a song first performed on their 1996 demo "Mate. Feed. Kill. Repeat.", slows the tempo, relying on atmosphere and creeping menace, while "Skin Ticket" crawls through suffocating sludge, Corey’s lyrics reflecting on self-destruction with frightening honesty. "Left Behind" stands out as one of the most accessible moments on the record, even earning radio play, though it still drips with despair. It showed that the band could deliver melody without sacrificing heaviness. The closing title track "Iowa" is a 15-minute descent into hell. Built on repetition, feedback, and agonized shrieks, it is less a song than an endurance test, Corey reportedly recorded the vocals while naked, cutting himself, and vomiting in the studio. It ends the album not with triumph, but with collapse. When it was released, "Iowa" debuted at number three on the Billboard 200 and topped charts in the UK, despite being one of the most abrasive albums ever to achieve such success. Critics were divided, some dismissed it as noise, while others hailed it as a masterpiece of extremity. Over time, its reputation has only grown, with many fans and outlets considering it "Slipknot’s" defining statement of pure aggression. The cover of the album is as unsettling as the music itself. It features the severed head of a lamb photographed in stark close-up, its lifeless form set against a black background. Conceived by Crahan’s dark vision and executed by his photography mentor Stefan Seskis, the image came from a Polaroid of “Eeyore,” the goat whose likeness became the emblematic cover. The band chose it deliberately as a symbol of sacrifice, decay, and the grotesque reality they were embracing during this period. In the years following its release, "Iowa" became a rite of passage for metal fans. It was the record that proved mainstream success could coexist with uncompromising brutality, inspiring countless bands across metalcore, deathcore, and nu-metal to push boundaries. Its twentieth anniversary in 2021 was celebrated with deluxe editions, live tributes, and retrospectives that reaffirmed its place as one of the heaviest albums ever released by a major label. Tracks like "People = Shit" and "The Heretic Anthem" remain staples in Slipknot’s live set, carrying the same terrifying power decades later. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 28, 2020 "Metallica" released the album "S&M2". When "Metallica" reunited with the San Francisco Symphony for "S&M2", fans knew they were in for something special. The original "S&M" from 1999 was a groundbreaking fusion of heavy metal and classical music that pushed the boundaries of both genres, largely thanks to the vision of Michael Kamen, the legendary composer and conductor who orchestrated that first collaboration. Two decades later, "S&M2" isn’t just a reprise of that earlier success—it’s a bold evolution that reflects how far both "Metallica" and their music have come, paying homage to Kamen's legacy while exploring new musical territories. This release is a sonic and visual masterpiece that revisits and expands on the original with richer sound, a dynamic setlist, and a stunning video production that captures the grandeur of the performances. Michael Kamen’s influence on the original "S&M" cannot be overstated. His ability to seamlessly blend "Metallica’s" raw energy with the lush sounds of a full orchestra was revolutionary. Kamen’s arrangements elevated tracks like “The Call of Ktulu” and “Nothing Else Matters” to new heights, creating a unique and unforgettable listening experience. Although Kamen passed away in 2003, his spirit is very much alive in "S&M2", with conductors Edwin Outwater and Michael Tilson Thomas filling in for him. The new arrangements, while building on his original work, also take on a life of their own, showcasing how his pioneering efforts continue to inspire and guide "Metallica’s" collaboration with the symphony. The album opens with the familiar, yet still spine-tingling, rendition of “The Ecstasy of Gold,” setting the tone for an experience that’s both nostalgic and refreshingly new. Right from the first notes of “The Call of Ktulu,” the symphony’s fuller, more dynamic presence is felt. If those two tracks were an exciting experiment in "S&M", then "S&M2" is a fully realized vision where the orchestra doesn’t just complement the band but becomes an integral part of the music’s soul. The enhanced sound quality is immediately apparent, benefiting from modern production techniques that allow every note, from the subtle strings to the thunderous drums, to shine with crystal clarity. The mix is more balanced, giving the orchestra and the band equal footing, creating a cohesive and powerful listening experience that outshines the original in every way. The setlist of "S&M2" is another highlight, carefully curated to blend classics (Most of which was on the "S&M" setlist), with newer material. While staples like “Master of Puppets”, “One”, "For Whom the Bell Tolls", "Nothing Else Matters" and "Enter Sandman" return with renewed vigor, the inclusion of tracks like “The Unforgiven III”, "The Day That Never Comes" and “Moth into Flame” showcases "Metallica’s" evolution over the years. These newer songs not only fit seamlessly within the orchestral framework but also demonstrate the band’s willingness to explore different emotional and musical textures. The setlist also includes deep cuts like "All Within My Hands (Acoustic)" which is a beautiful rendition of the song from the "St. Anger" album, offering fans a broader view of "Metallica’s" discography while still delivering the high-energy performances they crave. Another great surprise in the setlist is Cliff Burton's instrumental "(Anesthesia) - Pulling Teeth" from the album "Kill 'Em All", which gets a beautiful symphonic arrangement. The comparisons between "S&M" and "S&M2" reveal just how far "Metallica" has come. James Hetfield’s voice carries more emotional weight, particularly on “The Unforgiven III,” a track that wasn’t even conceived when the original "S&M" was recorded. This roaring lion who in the early days of the band felt insecure about his vocal abilities and even invited John Bush to take his place as the band's singer, manages to convey so much emotion in his vocals. It is one of Hetfield's exciting performance as he stands vulnerable and unprotected in front of the crowd without his guitar (we will dare to add - as if he was naked). Another change from the previous release, is Kirk Hammett’s guitar solos. Already searing in 1999, now cut through the orchestral arrangements with even more precision and depth. The real magic of "S&M2" lies in the new interpretations of classic "Metallica" tracks like “Master of Puppets” and “One.” On "S&M", these tracks were thrilling, on "S&M2", they’re transcendent. The symphony’s role has evolved from simply adding layers to creating an entire atmosphere—one that amplifies the intensity and complexity of these metal anthems. But "S&M2" is more than just an album—it’s a full multimedia experience. The video recording of the concert is a must-watch, capturing the energy and intensity of the live performances with stunning cinematography. Directed with a keen eye for detail, the video brings the audience right onto the stage, allowing viewers to feel the palpable connection between "Metallica", the orchestra, and the fans. The accompanying documentary provides additional context, offering behind-the-scenes insights into the preparation and execution of this monumental event. It’s a fascinating look at how two distinct musical worlds come together, and it gives fans a deeper appreciation for the artistry and effort involved. But what truly sets "S&M2" apart from the previous release, is the willingness to push boundaries even further. The inclusion of Alexander Mosolov’s “The Iron Foundry” is a daring choice that pays off brilliantly, showcasing "Metallica’s" commitment to challenging themselves and their audience. It’s a stark contrast to the 1999 album, where the focus was on weaving the band’s hits into a classical context; here, the collaboration feels more adventurous and symbiotic, And reminds us of an equally bold choice of "Deep Purple" in "Concerto for Group and Orchestra". While "S&M" was an audacious experiment that caught the world by surprise, "S&M2" is a triumphant realization of what that experiment set in motion. The performances are tighter, the arrangements are more intricate, and the overall production is more refined. The documentary adds layers to the experience, giving viewers a glimpse into the creative process and the challenges faced along the way. It’s clear that "Metallica" has grown both as musicians and as performers, and this maturity is reflected in every aspect of "S&M2". In conclusion, "S&M2" is a monumental achievement that surpasses the original in almost every way. The album’s pristine sound, thoughtful setlist (although missing a few classics compared to "S&M"), and stunning video production make it an essential listen and watch for any "Metallica" fan. Whether you’re reliving the magic of "S&M" or experiencing this unique fusion for the first time, "S&M2" delivers an unforgettable journey through the sonic landscapes where metal meets symphony, cementing "Metallica’s" legacy as true pioneers of the genre. For Listening:: Spotify, Apple Music The Setlist: CD 1 1. "The Ecstasy of Gold (Live)" 2. "The Call of Ktulu (Live)" 3. "For Whom the Bell Tolls (Live)" 4. "The Day That Never Comes (Live)" 5. "The Memory Remains (Live)" 6. "Confusion (Live)" 7. "Moth Into Flame (Live)" 8. "The Outlaw Torn (Live)" 9. "No Leaf Clover (Live)" 10. "Halo on Fire (Live)" CD 2 1. "Intro to Scythian Suite (Live)" 2. "Scythian Suite, Opus 20 II: The Enemy God And The Dance Of The Dark Spirits (Live)" 3. "Intro to The Iron Foundry (Live)" 4. "The Iron Foundry, Opus 19 (Live)" 5. "The Unforgiven III (Live)" 6. "All Within My Hands (Live)" 7. "(Anesthesia) - Pulling Teeth (Live)" 8. "Wherever I May Roam (Live)" 9. "One (Live)" 10. "Master of Puppets (Live)" 11. "Nothing Else Matters (Live)" 12. "Enter Sandman (Live)" "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Editor's Choice... And this time, "Time's Up" - "Living Color's" second studio album released on August 28, 1990. So for those unfamiliar with "Living Color" is an American Funk Metal / Alternative Metal band formed in 1984 and which included guitarist Vernon Reid, bassist Muzz Skillings, singer Corey Glover and drummer Will Calhoun. The band got its name from the fact that all four of its members were dark-skinned, young African-Americans who sought to prove that Metal is not dominated solely by the white race. (Photo: Legacyrecordings.com) These are four talented artists who knew how to combine different styles, such as Heavy Metal, Funk, Jazz, Hip Hop, Punk, and Alternative. Even before Ice-T's "Body Count", "Living Color" members proved that Black Power knows how to bang your head as well as its pale colleagues, while releasing their successful debut album "Vivid" in 1988. The hit "Cult of Personality" which has a good rotation on MTV, gave the band recognition that soon led them from small shows at the New York "CBGB" to the warm-up act of no less than "the Rolling Stones" and "Guns N' Roses". The album received rave reviews and reached number six on the Billboard 200. With this momentum and success, "Living Color" arrives in the studio to record their second album. Similar to the previous album, the band combines different and weird styles such as Jazz, Punk, Blues, Hip Hop Funk, Thrash Metal, and even touches of Electronica. Believe it or not but the list of artists featured on this album is so eclectic that it includes rapper Queen Latifah, rock and roll star Little Richard, jazz saxophonist Maceo Parker, bassist James Earl Jones and immortal singer Mick Jagger who was also featured on the previous album The band. Although the album was not as successful as the band's previous album, it is definitely an excellent album, noisier, louder, and in our opinion even better as a whole. It won the band a Grammy for Best Hard Rock Performance and gave it a ticket to the first Lollapalooza Festival in 1991, alongside the giant bands of the era. So let's listen to songs like "Love Rears Its Ugly Head" whose opening includes a sample from Nat King Cole's "Lush Life" song, the song "Elvis Is Dead" which features Mick Jagger and Little Richard and includes the protest phrase "I've got a reason to believe we all will not be received at Graceland" which corresponds with a similar line but with the opposite meaning in Paul Simon's song "Graceland", the track "Information Overload" with the chainsaw guitar intro that for a moment made us think we were listening to a thrash metal song, "Type", "New Jack Theme" which was released as the first single from the album and also includes a protest video clip designed to highlight the gap between classes in the US, "Pride", "This Is The Life" and more. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

So how should we start the story of this masterpiece album? An album that was part of the beginning of an amazing and phenomenal music scene called Grunge! A band made up of many, rare and extraordinary talents. "Pearl Jam's" album "Ten" was released on August 27, 1991, and it is an essential part of our review series on the class of '91 albums. We brought to you many stories which began with tragedy, a characteristic that very much represents the essence of the grunge scene. Today's story is no different... In 1990, when "Alice in Chains" released their first album, "Soundgarden" was about to release their second album, and "Nirvana" was a step before the release of their meteoric album. "Mother Love Bone", one of the biggest and most promising bands in the scene, has lost its main protagonist, Andrew Wood. Just before the release of its first album, "Apple". Andrew's death created a very strong shock wave that hit quite a few of those musicians and talents in Seattle. Anyone who has seen the movie "Singles" and the documentaries "Hype!" and "Pearl Jam Twenty" will immediately be impressed by the family, friendly and collaborative vibe that was in Seattle at the time. It made us envious and passionate to live in the same Seattle apartments and neighborhoods. As far as the grunge scene is concerned, we can continue telling that story, but let's get back to our main theme. (Photo: bandcamp.com) With the death of Andrew, bassist Jeff Ament and guitarist Stone Gossard, who were part of "Mother Love Bone", went through a very difficult time. They literally fell apart and were unable to hold themselves or any musical instruments whatsoever. They were sure that for them it was the end of the road, but after a few months the urge to play and create did not let go of them and they felt they had to go back to creating music. Stone joined Mike McCready, whose band "Shadow" broke up, and they began playing together, all that time Mike did not let go of Stone and kept trying to persuade him to back to playing with Jeff. The three did join forces and entered the studio. Backed by their "Soundgarden" friend, drummer Matt Cameron, and additional support from drummer Chris Friel from Mike's previous band, they recorded a number of instrumental pieces. Five tracks were recorded in that session and were called: "Dollar Short", "Agytian Crave", "Footsteps", "Richard's E" and "E Ballad" (you will soon understand why this demo is so important). The tracks were recorded on a tape called "Stone Gossard Demos '91". The three created this demo to try to find a drummer and singer for a band that might develop into something later on, with no solid intentions or action plan to form a new rock band. (Photo: bandcamp.com) In September 1990, after many trips to Seattle, this tape found its way to a city called San Diego. A journey of more than two thousand miles made this cute tape from the hands of the first drummer of "Red Hot Chili Peppers", who is none other than Jack Irons, straight into the hands of an anonymous guy named Eddie Vedder. The graceful guy, who had nothing to do with what had happened in the meantime in the grunge scene in Seattle, listened to the tape, finished, took his surfboard, and went surfing in the ocean. It may sound like a very sticky Hollywood movie, but Eddie himself testified that after listening to the tape he went surfing and while riding the waves he "wrote" the lyrics. Immediately after finishing the surf Eddie ran to his apartment, wrote the lyrics to three tracks from the tape, and recorded the melody for each of the three: "Dollar Short", "Agytian Crave", "Footsteps". These tracks are what we know today as "Footsteps" (released as a B-side on the single "Jeremy"), and the songs "Once" and "Alive". Let's dwell a little on these three songs. Here we begin to understand that Eddie is not only a singer with a phenomenal voice that hurts your soul and manages to penetrate into the small capillaries of the soul, but he is first and foremost what is called in professional parlance Songwriter. His ability to write lyrics to tunes is simply amazing. He is able to write lyrics to a song while listening to a melody for the first time and not just any lyrics but penetrating, tearing, exciting, and even disturbing lyrics. He claims he always walks around with a notebook and pencil and always writes about the here and now, so he is very connected to what he is creating. Eddie Vedder created a trilogy of rock opera from the three songs and called it "Momma-Son". The trilogy begins with the song "Alive", in which a child discovers that his father is a stepfather and feels that he has been living a lie all his life. It continues with "Once", in which the boy loses his sanity and puts out all his aggression in murder. The trilogy ends with "Footsteps", in which he is sentenced to death and looks back on his life from a prison cell. Let's go back to the main story, tape... Eddie... lyrics... recorded the melody and sent back to Seattle. The three got the tape back in the mail and were amazed by the voice of the guy who came out of the double-cassette tape speakers. They were shocked by the lyrics written for the tracks they recorded and got captivated by Eddie's charms. They immediately invited Eddie to "audition" in Seattle. On October 13, Eddie Vedder landed in Seattle. Why is it so important to know on what date he landed? So this is - very important and thanks for asking! During that flight, one of the most moving songs (in our opinion) and the toughest and strongest competitor of "Nutshell" (of "Alice") was written, the song "Black"! That instrumental piece from the demo tape called "E Ballad" became on the flight from San Diego to Seattle one of the most famous and moving rock ballads that every time we listen to it a little tear runs down our cheeks. (Photo: Pearl Jam) Okay. Let's go down with Eddie Vedder and his new friends, who now also include new drummer Dave Krusen, to a small underground basement in Seattle. The basement is full of rough and heavy wooden tables and many tools are made of rusty iron that has been sitting there for several years. Eddie said that the atmosphere in the basement, with the smell of wood and rust, with all the tools and tables around, contributed to the atmosphere and the creation of the album. After a week of rehearsals, the group wrote 11 songs. The chemistry between the guys was very reminiscent of a "Harry Potter" or "Strange Things" scene, with blue sparks of electricity flying in space every time the guys played. Immediately afterwards they signed a contract with the record company "Epic" and entered the "London Bridge Studios" in Seattle with producer Rick Parashar to record the album. The recording of the album lasted only one month and was done on a meager budget of about $ 70,000. This was made possible not only because the chemistry between the members was almost perfect but also because most of the music was already prepared and written by Stone and Jeff, who led the creation of the album. Needless to say, it never occurred to any of the band members that this album would be even a tenth of the success it had. So what do we have in the album? The album opens with the song "Once", which is the middle part of the trilogy written by Eddie Vedder. An opening section of percussion and rustling opens the album before the silence is aggressively cut with the rough guitars of Stone and Mike. What a pleasure, what an amazing riff that from the very beginning lifts us up and reflects the madness that grips a child as he slowly loses his sanity and becomes a serial killer. Strong and difficult opening to the album! We immediately move on to one of the biggest songs on the album, a hit on every scale, with "The Mad Riff", the second single from the album "Even Flow". During rehearsals for the song, the band members felt it was going to be a hit but they did not imagine it would be so difficult to record it. Turns out it was the hardest song to record on the album. They recorded it more than 70 times and rehearsed it so many times that they could no longer stand each other. Dave said he had a very hard time keeping the pace and making the transitions accurately, it got to a point where they even cut some of his drums in the song because he increased the tempo too much. Speaking of the drummer, the song was recorded again in 1992 for the soundtrack of the movie "Singles" with drummer Dave Abbruzzese (we'll talk about it later). The lyrics of the song describe the life of a homeless man who lives on the street, eats cans, and looks insane. Eddie Vedder is known for his tendency to critique, reflect and bring up social issues that burn in him in the songs. This is one of the three songs for which music videos were filmed, with this clip being composed of the band's footage at gigs. It does not stop for a moment, but slows down a bit and moves on to "Alive", another undisputed hit from the album that came out as the first single. The song is the first part of the trilogy we mentioned earlier. The song tells the story of a boy who discovers later in life that his father is his stepfather and his biological father actually passed away. Because he is very similar to his biological father, his mother develops feelings for him and sexual attraction because she still maintains a love for his biological father. The first and last parts of the song were taken from the life of Eddie Vedder, who also grew up with a stepfather, but the central part of the song is imaginary. When Mike McCready was asked about the famous solo in the song he was quick to share that he "stole" the piece from guitarist Ace Frehley, who played the solo on "She" and copied the solo from "The Doors" guitarist Robby Krieger, who played the piece on "Five to One". This is the second song for which a music video was filmed and this clip was also composed of the band's footage during gigs. "Why Go" begins with the bouncy drumming and bass that accompanies straight into Eddie's nervous and defiant muzzle. His voice sounds so nervous and attacking here that it's hard to ignore the story the young guy throws at us. "Why go home?" He asks. Why go home when you can be hospitalized in a psychiatric hospital? The insurance company is celebrating the hospitalization when the poor young girl just smoked some marijuana. The young woman spent two years in the hospital trying to prove her sanity. According to interviews with Eddie Vedder, her name is Heather. Now let's stop for a moment, take a break and move on to one of the most exciting songs on the album. "Black", Mike McCready's caressing guitar with the fingering floating over the strings and Eddie's gentle voice just envelops your whole body. Throughout the song, you range from suffocation and dryness in the throat to cuddling and total release. It's hard to put into words what this song conveys. The song talks about a relationship, doubt related to separation, and doubt related to death. Without a doubt, this is a difficult, complex and painful relationship, which at some point crashes and creates a longing and desire for another life. The song begins quiet, calm, and caressing and slowly intensifies and continues to its last part as the guitar burns the broken heart throughout the end of the song. Eddie Vedder emphatically insisted that this song would not become a single because he did not want the "industry" to ruin this emotional song and turn it into a superficial and cold hit. It's also hard not to comment on the show's versions, which have brought this song to much greater heights than the album's version. Another big hit and a third single from the album is the song "Jeremy". The main riff of the song was written by Jeff on bass guitar with 12 strings. Although the parts of the song were built and sat well it was very difficult to connect them. The transitions between the parts to the chorus and then to the breakup were complex and challenged the band members. The lyrics of the song are based on two incidents that occurred in reality. In one case, a 15-year-old boy named Jeremy shot himself in front of the teacher and his classmates. It was on the same evening Eddie Vedder wrote the song. The second case is one that happened to Eddie in his youth when a classmate started shooting inside a classroom at school. Eddie wanted to give these events meaning beyond a paragraph and a half article on the back page of the newspaper. This is what opens and closes the music video of the song: a picture of a small paragraph on a piece of newspaper. Speaking of music videos, the clip of this song is what changed the band's attitude towards music videos and is the only clip that tells a story. It's worth mentioning that the known version of the clip was censored and did not include the scene where the boy puts a gun in his mouth. Only in 2020 did the band release the full, uncensored version on the occasion of "National Gun Violence Awareness Day" in the USA. After the clip came out on MTV and was aired non-stop, one of Jeff's friends told him that he was very disappointed with the clip because it was completely different from the meaning of the song as he imagined it. The band members were very affected by this feedback and since then they have decided that they avoid releasing music videos to their songs, mainly because they want the listeners to give the songs their interpretation and the band or industry will not dictate the interpretation to the listeners through video clips. Now let's try to relax a bit with "Oceans", which takes us on a cruise in the great ocean or rather in the great flood, a flood of torrential rain. Imagine a scene where Eddie Vedder comes standing in the street, in shorts, locked outside the rehearsal room. Since no one hears him, he decides to take out a piece of paper and a pen and write a song. He listens to the sounds and vibrations of the bass through the door and window and writes the song "Oceans" (did we mention he is a phenomenal songwriter?). Of course, as soon as the bass stopped playing he immediately knocked on the door and the boys let him in. This song was the fourth single from the album, after Eddie vehemently refused to release "Black" as a single. Have you relaxed a bit? good. Now let's get upset again. "Porch" is the only song on the album written entirely by Eddie Vedder the music and lyrics. Although Eddie's tone sounds aggressive and nervous, it's a kind of love song that comes to convey a message that if you love someone then tell him that. Really poetic! By the way, this is usually the song that when played in performances Eddie begins to climb on all sorts of constructions and jump from them to the audience (when he was young). Again we relax, but this time in the "Garden". The name of the song is related to a cemetery and the song goes out against wars and against harsh political measures that lead to severe losses. The solo in the song feels like a cry to heaven. Back up on the roller coaster to "Deep", with the scorching guitars and Dave's bouncing rhythm! On this occasion, we will note that "Deep", "Porch", "Why Go" and "Garden" are the only songs on the album that were written during the recording of the album and were not part of the demo recordings of Stone and Jeff. Finish with one of the other songs that are so moving on this album and that is "Release". The song is one of the first songs Eddie Vedder wrote with the band and is actually the first song that helped them connect and find a common denominator. The song was recorded when the band members improvised and played together and Eddie joined in, inventing the lyrics as he did so. Eddie claimed that he did not agree to write the lyrics on paper, not even in the release of the album because it was so improvised and spiritual. It's not clear exactly why, some speculate it's because of the story with his real father, but it's one of the most moving songs for Eddie. So what's your story with the drummer? Immediately after the recordings ended, Dave (the drummer) left the band and hospitalized himself in an alcohol rehab facility. Dave said the band gave him a lot of opportunities and tried to support him in every way possible but it didn’t work out. He was unable to function and express himself in sessions with the band. Upon his departure, he was replaced by Matt Chamberlain, who went on tour with the band and left them in late 1991, as a result of other commitments. Then Matt was replaced by Dave Abbruzzese. We talked about how Dave was the perfect drummer for "Pearl Jam" in the "Ten" era and co-created "Vs" and then "Vitalogy". In our opinion, after he left, the band changed completely and lost all connection to what was on the album we are talking about here. Why is the name of the album "Ten"? The band's name before "Pearl Jam" was "Mookie Blaylock", after the NBA basketball player Daron 'Mookie' Blaylock which they admired. Since the record company feared exposure to lawsuits, especially because at the time Mookie was signing a major contract with "Nike", they asked the band members to change the name, and thus "Pearl Jam" was formed. Fine, but what's the connection to the album's title you ask? Well, the number on Mookie's shirt was 10! Watch Jeff Ament meet Mookie here: What is the story of the cover? The album cover shows the band members photographed during the recording, standing in front of a wooden sign of the band's name "Pearl jam", with their hands raised high and holding each other. The woodcut was constructed by Jeff Ament who explained that the original concept was to convey the message that the band members are united and entering the world of music as a real band. Something that was supposed to convey the concept of "all for one". Many of you are wondering why the CD cover folds into a poster. So it turns out that the band members were really upset that the record company did not release the album on vinyl. Eddie Vedder said that when they realized that wasn't going to happen, they insisted that the cover at least be reminiscent of the record days, and that's how the idea of ​​the poster was born. The problem was that the poster was too complex to fold and the band members had to help assemble the first discs. (Photo: Pearl Jam) The album did not sell many copies immediately upon its release. To be honest, the album started very slowly, and only in the second half of 1992 did it gain momentum along with the whole grunge scene. Just a year after its release, the album reached number eight on the Billboard 200, when it eventually went on to climb to second place. The album lasted for 261 weeks on the chart and became one of the only 15 albums of all time that lasted so many weeks on the chart. "Jeremy" is one of the most popular songs on the album and it gave the band two nominations for the Grammy Award in 1993. Despite the album's insane success, the band members have often been heard saying that they are very unhappy with the sound of the album. Stone said they used a lot of reverb and a lot of dubbing, which made the sound very "over-rocked" in his words. Eddie even claimed he was able to listen to all of the band's previous albums except for this album! The band members did not expect the album to be so hugely successful. Not only did they not expect it, but they also did not really want it (here we are moving uncomfortably in the chair). Like "Nirvana", "Pearl Jam" did not like all the success and what accompanies it, but Eddie, unlike Kurt Cobain, expressed his opinion publicly and defied the industry and what it produces from the success. In March 2009 the album was released in a new version and was called "Ten Redux". The album came out in four different versions, which included a vinyl version (which was not released in 1991), a version with an unplugged DVD, and a version with a remix of all the songs as well as six more songs. An Exemplary album... A timeless album Album... Now Obviously, you want to listen to it now, so here it is, please listen on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website