After we did some thinking and reflection, we decided to be blunt, direct, and without a trace, just like this album, Metallica's eighth album released on June 5, 2003. So let's start with the story as it is perceived in our eyes... If "Load" and "ReLoad" were controversial albums that finally split Metallica fans into two groups, one loved and embraced the change the band brought while the other hated, rejected, and was outraged at the metamorphosis in sound and style, then on the album "St. Anger" Metallica took over those two groups on all their charges, put them in two buckets of water and kicked them out with tremendous force, washing away the fans along with the water... Since the release of the "Black Album", Metallica has started collecting negative charges. The band's credibility was questioned, its creative honesty was questioned and its desire to succeed at the expense of professional integrity sat on its shoulders like huge basalt rocks. The one who of course was brought to the fore at every opportunity and for whom the almost exclusive responsibility was placed was Bob Rock. The man who produced the "Black" album and has since produced all the Metallica albums up to "St. Anger" inclusive! These charges caused many conflicts within the band, some of which are depicted in the movie "Some Kind Of Monster" which tells the story of the recording of the album "St. Anger". This is a very important film in its essence to understand what the band went through in the period since the release of the "Black" album. Metallica decided to share it with the fans, which is a bold thing in itself. Entering the band's room while undergoing psychological treatment is revealing, embarrassing, and even painful. The film softens a bit the digestive action of the album "St. Anger" as the exposure of what goes on behind the scenes helps us understand the crises this band went through along the way and thus evokes some empathy that helps us try and get the album despite the great difficulty of containing it. The story of Metallica and the album "St. Anger" have many complicated elements like... The departure of bassist Jason Newsted was caused by the abuse and degrading treatment of the band members for many years. He said in one of the interviews that he never felt part of the band, and always received contemptuous treatment and abusive behavior on the part of Hetfield and Lars. This period affected him significantly and caused him deep mental damage, so he decided he could not continue (after all who leaves one of the biggest bands in the world at its peak?). Hetfield suffered from severe alcohol addiction and some say drugs as well. While working on the album he went into rehab for a year and continued after his release. After he came out of rehab the situation was even more difficult since he had huge difficulties handling reality as it is. There are moments in the film where it hurts to see Hetfield struggling with himself and the reality taking place around him. There are even moments when you as a viewer fear for the life of the main character and the band. (Photo: Kevin Winter) Bob Rock who was already an integral part of the band was a partner in the whole process they went through. Since the fan base blamed him for Metallica's deterioration, he had to deal with a bunch of demons. Demons who came from the outside but also demons who came from the inside. When the situation heated up, something that happened very often, the band members pointed an accusing finger at him for their condition. (Now imagine Hetfield and Lars staring at you with accusations). It was pretty clear this was the end of a great friendship (some of you would define it differently) and Bob who recorded the bass roles on this album ended his career with Metallica after the album came out. To deal with all the problems, intrigue, precipitation, and troubles, Metallica took a coach/therapist who accompanied them throughout the process. We think that a lot of the style and sound of the album are related to that same coach. He pressured the band members to be real, to get everything out, no trace, no filters. Rough, unequivocal, uncompromising, and unpolished. One of the most notable hallmarks of this album, aside from the style of music and song structure is the sound of Lars' snare. A very difficult-to-digest sound that drummers rarely use. Just for the technical understanding of how such a sound can be extracted (which we think is important here), under the snare, there are coils made of iron attached by a mechanism to the bottom of the snare. The usual sound of the snare is when these coils are stretched and attached to the bottom of the snare's drumhead by the same mechanism. When this mechanism is open the coils do not touch the snare's drumhead the outcome is a sound is a combination of a Tom with a metal echo. Lars liked the sound, he made another little adjustment (pinned the reels very loosely) and decided to keep it throughout the recording of the album. In one of the interviews, he said that he felt the drum "sang to him" in a very nice way! You must have noticed that this album does not have grandiose solos or fancy guitar poems, in fact, there are no solos at all on the album, unlike the previous albums. Hetfield and Kirk decided they did not want to create an engineered sound or concoct riffs and solos with processed recipes, but instead, to go for a rough, real line in the style of "what comes out I am pleased with". No adaptations, special effects, or dubbing. The guitars were clean and sounded like something emanating from a band playing in the garage of a house or in a dim rehearsal room in south Tel Aviv that had seen better days decades ago. The song that opens the album, "Frantic" is just what it takes to understand what awaits us next, and as the name of the song, one has to be really "crazy" to keep listening to what happens next. "Frantic" is the second single from the album and actually sums up what Hetfield went through in the two years of writing the album or maybe even long before. The second song on the album is a song that bears the name of the album and not just, it is the essence of the album both in terms of sound and lyrics. It was the first single from the album and won Metallica a Grammy win in 2004. The clip for the song was shot at "San Quentin State Prison" located in California which is one of the hardest and most notorious prisons in the US. This is the first appearance of Robert Trujillo, the new Metallica bassist who joined with the album's release. The third song, which bears the title of the documentary "Some Kind Of Monster", lasts about 8 minutes and tires the listener with Metallica's tough and uncompromising sound on this album and is the beginning of the journey. If you have survived this far and enjoyed it, then from here you are on a roller coaster that occasionally derails. If you did not survive, you are asked to come down and try to get a refund on the ticket at the box office. At every opportunity the band members talk about the album, they say they wanted this album to be like it used to be, four friends meeting in the garage, writing and playing rock music. No polished production and no polishing sound, guitars, or drums. Music with a raw sound that comes out of the stomach and sounds, in reality, that way to record it. And for the most part, this was indeed the case. An album written with a lot of emotion, and a lot of charge, and reflected exactly what the band experienced at the time. Like the post about the band from yesterday, we are sure that today there will be conflicts about the album (we like conflicts, especially "FaceOff"), you probably belong to one of the buckets kicked by the band, but the question is whether you returned to one of the buckets or gave up and went looking for others? A band is a living and breathing creature, people who make music and create it from the gates, from within. So even if we do not like, get angry, worry, or even hurt by what the band does, we must remember that in the end, these are people like us who are affected by what they go through in life. When these influences usually find themselves in the work of art, and in most cases it is positive and it is good. Did this happen in "St. Anger" as well? You're probably already guessing what we think, but each of you will take it from here in the direction that suits him! You can listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

We are often required in our reviews to question the legitimacy of the evolution of artists during their careers. Is it considered as a natural development and blessed innovation or should it be perceived as deterioration, commercialization, and even in some cases as a betrayal of its fans? There is no unequivocal answer to these questions, and we do not think it is always possible to find where the thin line between genius and commercialism. What is certain is that there is always a tension between the artist's desire to sell as much as possible and the desire to go with his musical truth. Today we are interested in opening this topic up for discussion and hearing your opinion. We have a feeling that this album is one of which the disagreement regarding the musical change is among the biggest that exists. We're talking about "Metallica's" controversial sixth studio album "Load" which was released on June 4, 1996. If the 1991 "Black Album" marked a turning point in Metallica's sound, this album has already broken down the band's DNA, with influences from alternative, blues, southern rock, and even country. This is the band's longest studio album going on approx. 79 minutes. The material for the album was written together with the material for the album "Reload" which was released a year later. The first intention was to release a double album, but recording such a large amount of songs spread over long minutes caused the band and its management to decide to initially release the album "Load", with the band continuing to record the rest of the songs to be released on the next album. Unusually for the rest of the band's albums, the album "Load" includes three relatively quiet songs "Hero of The Day", "Bleeding Me" and "Mama Said". (Photo: rockcelebrities.net) It is also the band's first album with only three songwriters. James Hetfield wrote the lyrics of all the songs, while he wrote the music together with Lars Ulrich in collaboration with Kirk Hammett who participated in writing the music for six of the 14 songs. The album has a very heavy and dark vibe. This is due to two main reasons; First, it's the band's first album where all the songs were recorded with James and Kirk's guitars tuned down in the E-Flat tuning. Some of the reefs here will even remind you of Black Sabbath, take "2X4" for example. Second, a large portion of the songs deals with death, addiction, and depression. "Bleeding Me", "Mama Said", and "Until It Sleeps" were influenced by Hatfield's mother's death, "Thorn Within" and "Poor Twisted Me" deal with his depression, "The House Jack Built" and "Cure" Engaged in alcohol and drug addiction and the song "The Outlaw Torn" was influenced by the death of Cliff Burton. It is interesting to note that the song was shortened by about a minute to allow "Load" to be released as a single album. A full version of the song can be found on the B-Side for the single "The Memory Remains" where it reaches 10:48 minutes. If the substantial change in the musical style, the general vibe, the writing themes, and the aim toward mainstream was not enough, then the album was also accompanied by a change in the appearance of all the band members who chose to part with their long hair. The change was interpreted by some fans as betrayal and contempt, but not only. Mike Inez from the band "Alice in Chains" wrote on his bass guitar the phrase "Friends Don't Let Friends Get Friends Haircuts ...", during Alice's unplugged performance where Metallica members sat in the crowd. On the other hand, some welcomed the change and believed that it was a legitimate change and development that was preferable to stagnation and standing still. And now it's your turn, we're really curious to hear what you think of the change. If you want to remember before you respond, go to: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 4, 1984, Bruce Springsteen releases his seventh studio album, "Born in the U.S.A." It's the album that marked the height of Bruce Springsteen's commercial success, with sales of 30 million copies worldwide. The album stayed for 84 consecutive weeks in the top ten of the Billboard charts. 7 of the 12 songs on the album have become successful singles and huge "hits" in the top 10 American Billboard, making it one of the most successful albums of all time. The success story of this album begins somewhere in 1980 when Bruce Springsteen after the tremendous commercial success of the double album "The River". Springsteen called this album a "gateway" to his future writing. In 1981, Springsteen was asked to write music for a movie that was to be called "Born In the U.S.A." This was while he was working on his solo album "Nebraska", which drew quite a bit from the stories and inspiration of "The River". Springsteen took the music he wrote for the film and merged it into a song called "Vietnam", which he intended to include on the album "Nebraska", from 1982. However, in the end, the film "Born In the U.S.A." was released only in 1987 and was called "Light of Day", so Bruce was left with a song called "Born In the U.S.A.", which deals with the hardships the Vietnam War veterans experienced upon their return home. It was the first song written for the album. It is interesting to noteת that this was not the only song from the album that was written before the release of "Nebraska". The sessions for the album "Born in the U.S.A." actually began in January 1982, about nine months before the release of "Nebraska". What’s more, most of the songs on “Born In the U.S.A.” were recorded even before the album “Nebraska” was released, they just didn’t fit into the atmosphere and writing themes of “Nebraska”. Not many know, but Springsteen wrote close to 70 songs for the album, with only 12 of them finding their way into "Born In the U.S.A.". Some of them will later surface in collections of rare tracks and some were released as b-sides, like "Pink Cadillac," which became a hit in its own right. The secret of "Born In The U.S.A." success is probably the combination of the musical style and writing themes. This can be learned from the very first seconds of the album. Roy Bittan's synthesizer sound and Max Weinberg's snare drum beat (both members of "The E Street Band"), reveal the album's big secret. Melodic and catchy material played with a rich and updated sound, wrapped in a perfect pop-rock production, light years away from the melancholic folk sounds of the previous album. Now add to that the writing topics that get stuck like an arrow in the heart of American society and you have a winning recipe. This winning combination runs as the second thread between most of the album's songs and at least among all seven singles released from it. The first single "Dancing in the Dark" was written by Bruce Springsteen out of frustration, about the difficulties of writing a good song that would become a "hit". Ironically "Dancing in the Dark" became Bruce's biggest hit in the US. It was the last song written for the album, after Springsteen manager Jon Landau demanded a "hit". Although Bruce already had about 70 songs in his pocket, he wrote the song that same night, since Landau was not happy with the rest of the songs and demanded the "hit" that would make Springsteen a super-idol (Since Bruce was already an idol). Landau and Springsteen got it with this catchy, melodic synthesizer riff. A wonderful song that was released as a single before the album's release, in May 1984. This song also earned Springsteen his first Grammy, with a plowed clip on MTV featuring actress Courtney Cox (from the "Friends" TV series ), coming up the stage and dancing with Bruce. After this "hit" America no longer had any chance. It was captivated by the boss's charms. About three months later, Bruce releases "Cover Me" a pop song served on a bed of rock and blues, featuring the sweaty guitars of the boss and Steven Van Zandt and the great Garry Tallent's bass work. Springsteen originally wrote the song for Donna Summer, but his manager, Jon Landau, demanded that it will be included on the album. Demanded and was right! The song entered the top ten on the Billboard charts. By the time the fourth single was released from the album (the third was the theme song), it was already clear to everyone, that the boss is the hottest thing in music that year. Hottest? He was going up in flames". "I'm on Fire" is a simple but powerful ballad. This is one of the first songs recorded for the album and originated in an impromptu jam session between Bruce Springsteen, keyboardist Roy Bittan and drummer Max Weinberg. The production is just perfect and minimalist. Keyboards and guitar touches, the soft beats on the rim of the snare drum, and the brushing technique, make this song a masterpiece. The fifth single "Glory Days" repeats the perfect formula that combines the sounds of the catchy synthesizer with the guitars. Springsteen sings here about an encounter with an old friend who was a high school baseball player. The encounter did indeed happen. The player is Joe DePug, who was a classmate of Springsteen and played with him on the baseball team. The first few seconds of "I'm Goin' Down", the sixth single from the album, will surely remind you of "Dire Straits", the rest is not too far away either and it features an interesting Clarence Clemons saxophone solo. Although the single was only released on August 27, 1985 (over a year after the album's release), it was recorded with the "E Street Band" back in May 1982. The last single released from the album brings Springsteen back to his roots. "My Hometown" is about Springsteen's experiences and memories of his hometown - "Freehold", New Jersey. Bruce does not have many nice things to say about the place. The words are a grim portrait of working-class people at the time Ronald Reagan was the president when many small towns collapsed under the economic burden. Springsteen describes a factory closure in the song lyrics ("They're closing down the textile mill ..."), this prophecy came true when "3M company" closed the factory in his hometown in 1985. This album kicked off Springsteen's already successful career when the song "My Hometown" establishes his status as the voice of the "working class" in the US. With this unprecedented success, Springsteen embarked on his biggest tour to date. This tour will end up with a set of Five records box called "Live 1975-85", which only proved to the rest of the world what the fans who attended Bruce's shows already knew. Springsteen is the "boss" !!! And the hand? What about the hand on the iconic cover? Did Springsteen's protest lead him to pee on the sacred flag? We let you decide after you listen to the album. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 4, 2007, "Dream Theater" released their ninth album "Systematic Chaos". The name of the album seems to accurately show what it made us feel: a "systematic chaos" and great confusion. Feelings that have changed from love and admiration to disappointment and contempt. Similar to the review on "Metallica's" "Load" album - also released on this day in 1996 , we believe that this album was received with mixed feelings by the band's fan base and even caused a great deal of controversy. Some of the band's longtime fans disliked the band's lack of innovation, stagnation, and repeated use of the same tricks familiar and "chewy" they had used in the past, and there were those who welcomed the fact that the band remained true to itself and its style. To the band's credit, we'll say, that it did not attempt to diminish the issue of "self-repetition" and the fact that they gave the listener "more of the same." In an interview Mike Portnoy gave "Tama.com", he described the album as containing all the elements that people would expect from a "Dream Theater" album. And in his own words: "Heavy and technical, powerful and dynamic, all of the elements that people kind of expect out of a Dream Theater album" We must admit that the inner "chaos" regarding this album continues with us to this day, but like the enjoyment of "Zhug" (spicy Yemen hot sauce), even though it burns yet you continue to eat it, we manage to enjoy this album very much despite these "burns" we receive during Listening to the album. Why "burns"? Because we also think that the band followed in the footsteps that were expected of them and lost the boldness and innovation somewhere in the process. It started with the album "Train of Thought" and continues here. "Dream" was too busy maintaining the status quo and forgot that what brought them to greatness was thinking outside the box. In an attempt to preserve the existing good, the band did not hesitate to copy from itself, but more than that it was not afraid to "lend" from others. Every such "lending" (and there are quite a few here) causes us to this day to "burn" but for some reason, as we said it is a burn that like "Zhug" you end up enjoying. Examples of those "burns" can be found, among others, in a riff copied from "Metallica", in the singing during the verses in the song "Constant Motion" which is very reminiscent of James Hetfield's, in the riff in the song "The Dark Eternal Light" which sounds like a riff written by Dimebag Darrell from "Pantera", In flirting with nu-metal and rap-metal a-la "Linkin Park" in the song "Prophets Of War" whose opening corresponds in general with "Muse" and for a moment also reminded us a bit of "Ayreon", in the clear "borrowing", from "Porcupine Tree" including Steven Wilson's singing in the song "Repentance" that towards the end has clear "loans" from "Pink Floyd" with a recitation that will take you back to the "Caress Of Steel" by "Rush" and more and more. And as you develop resilience with the increasing use of "Zhug‏‏‏‏", here too the repeated listening to this album obscures the intensity of the "loans" and underneath it is a charming album with excellent melodies and amazing virtuoso playing ability as only "Dream Theater" members can provide and is well reflected already in the long intro to the opening song "In the Presence of Enemies - Part I". Even though "Dream" can perhaps be blamed for lack of innovation, we were not willing to give up this album, and songs like "Forsaken", with the melting melody and chilling melody, and "Constant Motion" released as the first single from the album and initially intended to be instrumental, "Repentance" which is part of the Portnoy "Twelve-step Suite" saga and features many artists such as Mikael Åkerfeldt, Jon Anderson, David Ellefson, Steve Hogarth, Neal Morse, Joe Satriani, Corey Taylor, Corey Taylor, Steven Wilson, the amazing "The Ministry of Lost Souls" and more. And now take the smoothie out of the fridge and join us for dinner: 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 - 03.06.1985 "I've reached a point in my life where I'm digging deeper and deeper into myself every time I make an album. And when I delve into things, I find some sad moods. The thing is to try and make something beautiful out of it." "Avalon" provided the magnificent closing chapter of "Roxy Music". As he prepared to marry his longtime partner Lucy Helmore, Bryan Ferry decided to put the band on hold at the height of its success. He took time to focus on his future family life, but that did not prevent him from returning to his first love: making music. Seven years after his previous solo album, "The Bride Stripped Bare", Ferry assembled an extraordinary group of musicians and continued exploring the atmospheric direction that had made "Avalon" so successful. He spent nearly eighteen months refining the material and carefully coordinating every musical detail with the players involved. Even Ferry was surprised by the final result. Released on June 3, 1985, "Boys and Girls", his sixth solo album, became the most successful record of his solo career, both commercially and critically. For the album, Ferry worked with nearly thirty musicians, many of whom were already acclaimed artists in their own right. Contributors included David Gilmour, Nile Rodgers, David Sanborn, and Mark Knopfler, each bringing their distinctive musical personalities while serving Ferry's overall artistic vision. The creation of "Boys and Girls" was a lengthy process built on experimentation and refinement. Ferry spent considerable time shaping the relationship between the lyrics, vocals, and musical atmosphere, while also dealing with recurring bouts of writer's block. The enormous success of "Avalon" created additional pressure as he attempted to establish a new creative direction for his next project. Ferry was determined not to allow "Boys and Girls" to become an "Avalon Part 2". Rather than repeating a formula that had already proven successful, he deliberately pushed himself toward new ideas and different musical textures. Recording began in July 1983 at Ferry's home studio in Sussex. Initially, he used drum machines and keyboards to sketch out the foundations of his new songs. As the project evolved, professional sessions were carried out at several studios. Ferry's reputation among his peers allowed him to recruit some of the biggest names in music, including David Gilmour, Guy Fletcher, Mark Knopfler, Tony Levin of "King Crimson", Marcus Miller, Omar Hakim of "Weather Report", David Sanborn, and Nile Rodgers. Despite the extensive list of guest musicians and recording locations, "Boys and Girls" remains remarkably consistent from a sonic perspective. The music feels like a seductive and elegant lover, even though the lyrics are rarely optimistic. It is sadness transformed into extraordinary musical beauty. Throughout the album, Ferry carefully maintains the atmosphere, balancing warmth, humanity, melancholy, beauty, emotion, romance, and awe as they flow from one song to the next. The album's biggest hit, "Slave to Love", perfectly illustrates how the record was designed both musically and lyrically. The music is seductive and sensual, while the lyrics reveal something much darker. Ferry sings about helplessness within a relationship, while simultaneously suggesting that he finds a certain pleasure in surrendering himself to the power of his lover. The official video for "Slave to Love" was directed by French filmmaker and photographer Jean-Baptiste Mondino. It features French model Laurence Treil, Dutch model Marpessa Hennink, and Swedish model Christina Bergström. The video interweaves glamorous scenes of the models lip-syncing the song in luxurious settings with footage of Ferry arriving at an airport and being pursued by paparazzi. The song would later gain additional exposure through its appearance in "9½ Weeks" (1986) and "Bitter Moon" (1992). The second single, "Don't Stop the Dance", draws inspiration from the classic standard "Stormy Weather", the torch song written by Harold Arlen and Ted Koehler and first performed by Ethel Waters in 1933. Eight years later, Lena Horne's celebrated interpretation became the definitive version of the song and was eventually inducted into the Grammy Hall of Fame in 2000. Musically, "Don't Stop the Dance" creates an atmosphere that is both sensual and seductive. On the surface, it appears to be a plea directed at the hedonist within all of us, but beneath that elegant exterior lies a deeper meditation on existence itself. The song explores humanity's search for meaning amid life's chaotic dance. As Ferry introduces a female voice that functions almost as a guiding presence, hinting at a world that is worn, damaged, and uncertain, he reflects a timeless human experience: drifting through life without a clear destination while trying to find purpose and connection. The song's imagery speaks to the uncertainty at the heart of the human condition. References to moving through darkness suggest not only the randomness of life but also the universal desire to find companionship, understanding, and light amid confusion. Ferry transforms personal reflection into something broader, touching on questions that extend far beyond romance. The music of "Don't Stop the Dance" is more than melody and rhythm. It functions as a lifeline. The repeated refrain urging the listener not to stop dancing becomes a call for perseverance, an invitation to keep moving forward despite stormy weather and the absence of sunlight to illuminate the path ahead. "A Waste Land" takes its inspiration from the celebrated poem The Waste Land by T. S. Eliot. The lyrics explore feelings of disappointment, spiritual emptiness, and the search for meaning in a world that often feels barren and chaotic. Much like Eliot's original work, the song reflects themes of alienation, loss, and disconnection, capturing the uncertainty and fragmentation of modern life. "Windswept" is one of the album's most beautiful moments. Wrapped in a dreamy atmosphere and enhanced by David Gilmour's tasteful guitar work, the song feels like a late-night reflection on love, memory, and the passage of time. "The Chosen One" feels as though it could be unfolding on a busy street corner along Fifth Avenue, yet its constantly shifting musical and vocal textures elevate it beyond a specific place or moment. The arrangement gives the song a timeless quality. Desire, longing, passion, love, and a hint of obsession all coexist within its atmosphere, creating one of the album's most emotionally nuanced performances. "Valentine" reveals Ferry's softer side and features the distinctive guitar work of Mark Knopfler. Beneath its sophisticated production lies a heartfelt song about longing and devotion. Knopfler's melodic touches blend perfectly with Ferry's romantic delivery. "Stone Woman" brings a darker and more seductive mood, elevated by David Gilmour's expressive guitar playing. Ferry paints the portrait of a mysterious and unattainable woman, while the elegant arrangement balances desire and uncertainty. The title track, "Boys and Girls", examines themes of love, relationships, and the complexities of human connection. Its lyrics suggest a longing for something deeper than surface-level attraction, expressing a desire for genuine intimacy and emotional understanding. The recurring imagery of boys and girls can be interpreted as representing different stages and dimensions of relationships, from youthful innocence and playfulness to the more mature responsibilities that come with emotional commitment. Beneath the elegant arrangement, Ferry reflects on the challenge of finding someone who truly understands and fulfills one's emotional needs. Ferry dedicated the album to his father, Frederick Charles Ferry, who passed away in August 1984 while the album was still being recorded. Commercially, "Boys and Girls" became the greatest success of Ferry's solo career. In June 1985, it reached No. 1 on the UK Albums Chart, becoming his first and only solo album to top the British charts. The album remained on the UK chart for 44 weeks, while its lead single, "Slave to Love", became a Top 10 hit in the United Kingdom. Just one month later, in July 1985, Ferry appeared at the historic Live Aid concert in London, accompanied by David Gilmour. The performance helped cement the visibility of "Boys and Girls" during one of the most successful periods of Ferry's career. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Today we will tell you about Doro Pesch, a singer, and songwriter who greatly influenced the female Metal world and earned the nickname "Metal Queen". (Photo: Fullmetalhipster.com) 1. She was born on June 3, 1964, in Düsseldorf, Germany, as Dorothee Pesch. 2. She is an only child who absorbed music at home from an early age. Her first musical memory is of herself at age 3 singing Little Richard's song "Lucille". 3. At the age of 10 she began to play the piano and sing. By this time she was already exposed to glam rock and bands like "T. Rex", "Sweet" and "Slade". 4. At the age of 16 she overcame tuberculosis which endangered her life. At that point, she decided she wanted to devote most of her time to music and singing. (Photo: kickassforever.com) 5. She started her career singing in garage bands on the local Düsseldorf underground music scene and already in 1980, she joined her first band "Snakebite". 6. Her first recording as a singer was a demo that included 7 songs and was meant to market "Snakebite" to the record companies. 7. After the breakup of "Snakebite" in 1981, Doro moved to garage bands like "Beast" and "Attack". 8. In 1982 she formed "Warlock" with Peter Szigeti, Rudy Graf, Thomas Studier, and Michael Eurich. (Photo: Musicscore.ms) 9. "Warlock" soon signed its first recording contract with "Mausoleum Records". 10. In 1984 the band released their debut album "Burning the Witches". Doro served as a singer and participated in the writing of the songs. 11. Already at this point Dorothy attracted the attention of the fans and the press and became the spokesperson and symbol of the band. 12. The voice and stage presence of Doro led "Warlock" to success in the metal scene of the '80s, which at the time was almost completely dominated by men. 13. The band's success leads it to the arms of the international label "Vertigo", with which they released their second album "Hellbound", in 1985. Doro participates in writing all the songs on the album. 14. In 1986 the band released their third album "True as Steel" and on August 16, 1986, Doro became the first woman to lead a metal band at the "Monsters of Rock" festival, which was the most important European metal festival of the '80s. 14. After completing the tour to promote the album "True as Steel", Doro moved to New York, where she recorded the album "Triumph and Agony" with "Warlock", which became their fourth and final album, released in 1987. (Photo: https://bravewords.com) 15. It was the band's most successful album, which won the gold status in Germany and even entered the Billboard 200 charts in the US. The album features drummer, Cozy Powell. 16. At the end of "Warlock"'s tour in the USA in 1988, Doro remained the only German in the band, after all the other original members retired and were replaced by American musicians. 17. In 1989, while Doro was busy writing material for the band's next album, she lost a lawsuit against the band's former manager and was barred from using the name and rights of "Warlock". 18. From that date onwards she started releasing albums under the name "Doro", starting with the first album "Force Majeure" from 1989. 19. Here second album "Doro", released in 1990, was produced by none other than Gene Simmons. 20. Doro did not give up, she continued the legal battle for the name "Warlock" and eventually regained the rights in 2011. 21. In 2012 she released her 12th album "Raise Your Fist", which includes the songs "Revenge" and "Victory", apparently related to her victory in the legal battle. 22. The album also includes the song "Hero", which was dedicated to Ronnie James Dio, who passed away in 2010. 23. Doro also participates in the 1999 tribute album "Holy Dio: Tribute to Ronnie James Dio" and performs the song "Egypt (The Chains Are On)". 24. Doro is the first heavy metal artist to perform a "drive-in" concert during the Covid-19 crisis. 25. Doro is also known for her duets with singers and musicians from the metal scene, including: Motörhead, "Saxon", "Dio", "Scorpions", Udo Dirkschneider, and more. 26. To date she has released 18 studio albums as a solo artist and with "Warlock". "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Editor's Choice... And this time "Faith No More's" sixth album "Album Of The Year" was released on June 3, 1997 You are probably familiar with the cliché: "It does not take much to move you" so we will take it and make avant-garde use of it here and now. We will momentarily and deliberately ignore the whole album which is excellent and an unequivocally provides the incredible thrill that this band causes us and we will refer to one song, only one song! For us, a masterpiece... maybe not a crazy symphony, not extravagant riffs, or complicated chords, maybe not varied and complex dynamics but there is one... just one small sentence, one sentence that makes us fall to pieces and a tear down some drops in the corner of our eye: “Smiling with the mouth of the ocean, And I'll wave to you with the arms of the mountain” Just click on either links Spotify, Apple Music, and choose the song "Ashes To Ashes", or just click below... Jon Hudson caresses the guitar strings softly with Mike singing the first verse in a deep voice and then with a big roar the chorus enters and just tears you to pieces. Imagine yourself floating in the air over the ocean with a huge smile, with your hands spread to a side where the sea and you are circling a huge green and gray mountain range. You probably think we are hallucinatory but that's what's amazing about music, we feel, experience, and drift where we want and we don't care what it looks like or what it means, now it's our world and we are present in it !! It can end here but since we must provide more let's have a few details (because we are addicted to this band). Writing the album was far from easy. The members were deeply involved in their own projects and rarely in the same place at the same time. In fact, by this point "Faith No More" already felt like a band slowly drifting apart. Mike Patton was living in Italy, Roddy Bottum was busy with "Imperial Teen", Mike Bordin was playing with "Black Sabbath", and Billy Gould found himself trying to piece everything together. Much of the album was created remotely and recorded during a brief period when all five members managed to gather in San Francisco. Looking back, several members admitted they weren't even sure the album would be completed, which makes the final result all the more impressive. The song we referred to above is a good example, it is one of the first songs written for the album. The four band members wrote the music and sent it to Mike who was in Italy at the time. Mike immediately wrote the lyrics and sent them back to the other friends. Gould said it was one of those songs that has an instant click and the pieces are aligned together like magic. (Photo: allmusic.com) And don't think this album only has one great moment. Far from it. It's packed with brilliant and emotional gems. "Stripsearch" feels like it could have been written during Patton's earliest days with the band and remains one of the most beautiful songs in their later catalog. "Last Cup Of Sorrow" is powerful and unforgettable, "Helpless" showcases the band's adventurous side, and "Mouth To Mouth" brings an entirely different flavor, partly inspired by musical influences Billy Gould absorbed during a trip to Albania. Perhaps because of everything happening behind the scenes, "Album Of The Year" carries a strange sense of farewell. Not an official goodbye, but the feeling of a band that still knows the magic is there, yet isn't quite sure where the road leads next. Looking back today, it's difficult not to hear that uncertainty woven into the music. The album received harsh criticism from some reviewers upon release and was the last album the band released until the seventh album, "Sol Invictus" which came out 18 years later. We still love this record. For us, it remains an essential part of the extraordinary catalog of one of the most original, fearless, and emotionally powerful bands rock music has ever produced. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 3, 1970, "Deep Purple" released their fourth studio album "In Rock". This is the band's first album in the successful MKII lineup, which included Ian Gillan as lead singer and Roger Glover as bassist. "In Rock" is considered a groundbreaking album that defined the "Hard Rock" and "Heavy Metal" genres and is without a doubt one of the most important and influential in the development of the above genre. This album is so important that even an entire book has been written about it: "Wait For The Ricochet: The Story of Deep Purple In Rock". The story of the album and it's becoming so influential, began somewhere in 1969. After the release of her third album, "Deep Purple" decided to make a fundamental change in its musical direction. During a tour of the band in the US, keyboardist Jon Lord, guitarist Ritchie Blackmore and drummer Ian Paice met and discuss the band's future. The three unanimously expressed their desire to take the band in heavier directions. They all knew that the singer Rod Evans and bassist Nick Simper won't be able to “deliver the goods” in the new musical direction the band is aiming for. After searching for a suitable singer and bassist, Ian Gillan and Roger Glover were both selected in June 1969, both of whom were members of "Episode Six". Since "Deep Purple" was still committed to several performances in the MKI lineup, the last of which was scheduled for July 4, 1969, the members of the new band, which was initially formed secretly and without the knowledge of Simper and Evans, met to exchange writing ideas. The newly formed band entered the studio in the summer of '69 to record the song "Hallelujah". During the rehearsal, Nick Simper thought he was still a part of the band. He asked to find out when the song would be recorded and then he found out that Roger Glover had already recorded the bass roles in his place. Due to the embarrassing incident, the band members asked the band's management to issue a formal announcement about the replacement of Simper and Evans. In September 1969, the band recorded, during a performance at the "Royal Albert Hall", an album called "Concerto for Group and Orchestra". The album was recorded together with the "Royal London Symphony Orchestra" and was the first album in history to combine compositions of a symphony orchestra with a rock band. In October 1969, the band re-entered the studio to record their new album. Ritchie Blackmore noted that he would have had to take matters into his own hands, otherwise the band would have continued to play with symphony orchestras forever. Indeed, this time everything sounded different, and finally, the long-awaited change in the band's style emerged. The sounds that emanated from the studio were heavy, rough even shrill, yet they had an amazing harmony and a perfect melody. Even the name of the album was carefully chosen to make a clear distinction between the classical orchestral days and the new era. "Deep Purple" was announcing: "We are a rock band and you can see this from both the cover and the title of the album". The album opens up with "Speed ​​King" in an atomic explosion. A huge, huge, rolling noise of bombastic drums, squeaky guitars, and pumping bass mixed together, when beneath all this clutter, hustle and bustle a soft, caressing "carpet" of keyboards. And like the silence that prevails after the "bombing", this mighty thunder of musical instruments fades away and we are left with the same soft and caressing carpet of John Lord's church keyboards, which becomes a short keyboard mini solo that leads us through a cold, dark corridor into the mighty song. Then all of a sudden, the door opens and a bright light emanates and dazzles the eyes, and the song opens with a guitar-bass-keyboard-triangular riff, with bombastic drumming of Paice and the roars of Gillan, and there is nothing that sounds like that at the time !!!! By the way, the famous riff was written on Glover's bass when he tried to emulate "Fire" by Jimi Hendrix. It is not clear why this amazing 1:30 minute-long intro was cut in all versions of the album which can be found in the various streaming apps. It's just neutering of the song and of "Deep Purple's" bold statement, to the world of music, notice! not only have we changed our style of music from end to end, but we have come to give you a head start with something new and powerful that is not heard before. In light of the importance and perfection of this crazy opening, here is a YouTube version of the full song, which includes the same intro: By the way, this is the band's first song for which Gillan wrote lyrics. This is Gillan's homage to the rock 'n' roll songs he grew up on, as the lyrics are a collection of excerpts from famous rock 'n' roll songs including Chuck Berry, Little Richard, and Elvis Presley. Immediately afterward comes "Bloodsucker" with the bluesy riff played at a fast pace. This is the last song written for the album and features Gillan's famous scream at the end of each verse. Gillan played a key role in making this album a breakthrough in the hard rock and metal genres. We are not just talking about the powerful voice, the endless range, and the unique singing style, but mainly about the courage and daring that are shown to sound different. Until then singers mostly sang, after which they were no longer afraid to roar and scream. It is interesting to note that the song was re-recorded by the band for the album "Abandon" from 1998, in a lineup that included guitarist Steve Morse. The new version of the song was given a slightly different title - "Bludsucker". In 2017 a clip of the band performing the song at the "Hellfest" festival was released. The third song that seals the first side of the vinyl is the masterpiece "Child In Time". A song that more than 50 years after it was written still sends chills through our whole bodies. A song that is a musical miracle "above nature". What virtuoso music from all the members, especially Lord, what a true and moving song of their age. Just a perfect song. This song is an anti-war protest song referring to the Vietnam War, which is also one of the band's greatest works of all time. The song opens with a slow, soft keyboard playing by John Lord and is slowly built up, rising to a climax followed by a jam session which includes a virtuoso guitar solo by Blackmore and from there returns for Lord's quiet and jazzy keyboard playing, Which again increases until the mighty climax at the end. The song features one of Gillan's best vocal performances which demonstrates his immense abilities and his wide vocal range. It is highly recommended to listen to Gilan's voice during the live performance of the song in the "Made In Japan" album, to understand the undisputed greatness of this legendary singer. Lord's famous keyboard riff in this song was greatly influenced by the song "Bombay Calling" by the American band "It's a Beautiful Day". The song was included on the band's debut album released a year earlier, in 1969. For those unfamiliar with the song, it is very worth listening to here because the resemblance is simply amazing. There are no weak songs on this album, it maintains a high level throughout. "Flight of the Rat" opens up the second side of the vinyl and features simple, basic and so classic hard rock riffs and long solos by Blackmore and Lord, with Glover holding everything tight with his steady bass playing. Later in the song, a funky part of Blackmore and everything stops abruptly for two seconds to start all over again. And if all that wasn’t enough, the song ends with a short Ian Paice drum solo. The piece evolved during rehearsals from a humorous adaptation of Glover to the classic piece "The Flight of the Bumblebee" by Nikolai Rimsky-Korsakov. "Into The Fire" has a heavy and metallic riff that is slightly influenced by "King Crimson" and includes a slow and bluesy guitar solo by Blackmore and Gillan's famous scream which is actually also the chorus "Into The Fire". Glover intended to place here a warning sign against drug use. "Living Wreck" is the result of a joint composition by all the members. The riff of this song will undergo a musical metamorphosis and land almost a decade later in the "Scorpions" song "Don't Make No Promises (Your Body Can't Keep)". Lord plays the Hammond here through a Leslie speaker which gives the keyboards a slightly different sound from other songs on the album in which he plays through a Marshall amp-like in the song "Hard Lovin 'Man" for example. Blackmore plays the solo here through the octave effect. Indeed it is impossible without the "pearl" that ends the album "Hard Lovin 'Man", with Glover's galloping bass and John Lord's stunning keyboard riffs simply shining in this song. Blackmore said he performed the second guitar solo to annoy one of the sound technicians in the studio. He noted that he had deliberately rubbed the guitar up and down the neck to produce disturbing sounds, until the same technician was sure Blackmore was going crazy. It is worth mentioning that this is the first song out of two on the album produced by the super producer "Martin Birch". Birch also produced the song "Flight of the Rat", with all the other songs being produced by the band itself. Birch's work on these two songs was liked by the band and it will lead to Birch's fruitful collaboration with Deep Purple which will last until 1976. Before the end, we must mention the song "Black Night", which was not part of the album itself but was recorded during the album's sessions. It was released as a single and was a great success on both sides of the Atlantic. The song was included in the expanded editions of the album and had many cover versions including "Metallica" and Bruce Dickinson. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 2, 1986, "Queen" released their 12th studio album "A Kind of Magic". Few albums in "Queen"'s catalogue are as closely associated with a specific cultural moment as "A Kind of Magic". Arriving in the aftermath of the band's legendary "Live Aid" performance and drawing heavily from their work on the 1986 film "Highlander", the album captures a group that had fully mastered the language of arena rock. It is not "Queen"'s most adventurous record, nor their most consistent, but it remains one of the defining statements of their later career. Six out of the album'snine songs on the album appeared in "Highlander", although in different versions so some concider it as an unoficoal soundtrack for the film. In addition, The opening track - "One Vision" was featured in the film "Iron Eagle" a year earlier. Produced by "Queen", Mack and David Richards, the album balances cinematic ambition with radio ready songwriting. The result is a record that often feels split between soundtrack grandeur and stadium spectacle, yet that tension gives the album much of its personality. The album opens with "One Vision". An atmospheric synthesizer introduction, crafted by Brian May, is abruptly shattered by a crushing guitar riff that immediately announces the album's larger than life ambitions. While synthesizers remain a key part of the arrangement, they never overshadow the song's muscular rock foundation. Roger Taylor's thunderous drumming and John Deacon's rock solid bass work provide a formidable rhythmic backbone, amplifying the track's weight and helping transform it into one of "Queen"'s most powerful opening statements of the 1980s. The title track "A Kind of Magic" remains one of "Queen"'s most recognizable singles of the decade. Originally written by Roger Taylor for "Highlander", it was reshaped into a vibrant pop anthem by Freddie Mercury, whose vocal performance transforms a clever concept into something genuinely memorable. The heavier, rockier alternate version of the song was played during the end credits of "Highlander". "One Year of Love" reveals a different side of "Queen". Written by John Deacon, the track leans heavily into contemporary adult pop and soul influences, replacing Brian May's guitar with lush keyboards and expressive saxophone lines by Steve Gregory. "Pain Is So Close to Pleasure" finds "Queen" venturing into territory rarely explored elsewhere in their catalogue. Written by Freddie Mercury and John Deacon, the song draws heavily from Motown and soul influences, blending a danceable groove with layered vocal harmonies and a polished pop production. Written by Mercury and Deacon "Friends Will Be Friends" delivers one of the album's strongest arena anthems. It is one of the last of Mercury's piano ballads, built around a simple piano progression and an enormous chorus. The song which did not feature in "Highlander" recalls the communal spirit of earlier "Queen" classics like "Play the Game" and "We Are the Champions". The album reaches its emotional peak with "Who Wants to Live Forever". The song was written by Brian May after viewing an early cut of "Highlander" and sung in the album version as a duet between him and Mercury. Its orchestral arrangement arranged and conducted by Michael Kamen, gradually expands around one of Mercury's finest vocal performances, moving from quiet reflection to heartbreaking grandeur. If there is a track that fully embraces the film's mythology, it is "Gimme the Prize (Kurgan's Theme)". Written by Brian May, the song is among the heaviest moments on "A Kind of Magic", driven by crushing guitar riffs, lead guitar lines, bends, tapping, slides, and an atmosphere of unrelenting menace. Dialogue excerpts from "Highlander" are woven into the arrangement, blurring the line between rock song and cinematic soundtrack. May's ferocious guitar work dominates the track, delivering some of the album's most aggressive playing, while Freddie Mercury adopts a commanding vocal presence that perfectly complements the song's dark character. "Don't Lose Your Head" features singer Joan Armatrading and takes its name from a line spoken in "Highlander". It is heavily rooted in mid 1980s production trends with synthetic textures and drum machine. The closing "Princes of the Universe" delivers one final burst of theatrical excess. Ut is the film's theme song and the only song on the album for which Mercury received sole credit. Built around aggressive riffs, dramatic tempo changes, and powerful vocal from Mercury, it is showing "Queen" returning to their hard rock roots. Brian May's guitar work is particularly impressive here, shifting effortlessly between razor sharp riffing and soaring melodic leads. By 1986, "Queen" were no longer the progressive risk takers who created masterpiece albums in the 70s. They had evolved into masters of scale, writing songs designed for stadiums, cinema screens, and global audiences. The album may lack the consistency of masterpieces such as "A Night at the Opera" or "News of the World", but its finest moments remain among the strongest recordings of the band's later years. For Listening Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

This album stands out to us as it blends rawness, power, and aggression with outstanding melodies and lyrics. We might even consider it the best "Foo Fighters" album. This is the band's seventh album, "Wasting Light," released on April 12th, 2011. This episode of The Foo's picks up after the band's spectacular performance at Wembley Stadium, marking the final show of their previous album's tour. Despite being a band that has released six albums, performed at the Grammys, and topped the charts, they felt the need for something different, especially with a leader who prefers unconventional approaches. Prior to this, the band recorded a number of songs composed during their tour for a compilation album called "Greatest Hits." The compilation featured only two new tracks: "Word Forward" and "Wheels". Why is this important? Because for these recordings, the band brought in the renowned producer Butch Vig, indicating a new direction... In this episode, Foo Fighters' Dave Grohl reflected on their performance at Wembley and the achievements made with their state-of-the-art studio. He felt it was time to revisit the past, drawing inspiration from his work with Nirvana 20 years ago. Alongside Butch, he aimed to create a unique album that would immediately resonate as a Foo Fighters' creation, similar to how Metallica's black album stands as a landmark in their discography. Although the band, with six albums, had nothing to prove, something drove Dave to take a different approach. After establishing their headquarters, "Studio 606," where the last two albums were recorded, Dave chose to record this album in his own home. As our readers know, building a basement studio and recording there is a favorite pastime of Dave's. This time, he introduced two significant new elements! First, he chooses to record the entire album using analog methods, avoiding computers, Pro-Tools, and any digital assistance. The recordings are done as they were in the past, using reel-to-reel tape, where what enters the console is directly captured on the reel. This may sound straightforward, but it's not. Nowadays, nearly everyone uses familiar software for recording, which offers incredible flexibility, enhancement capabilities, and allows artists to create music at home with a computer, instead of spending a fortune on a recording studio. However, some argue that this approach diminishes the authenticity of the work due to the high potential for manipulation. For artists working with acoustic instruments, this impact is significant; you can take a single chord played on a guitar and create an entire song from it. Let's pause this intriguing debate of digital versus analog and note that this approach demands a great deal of effort from the band. We will explain shortly why... (Photo: Soundonsound.com) Secondly, Dave chose Butch to produce the album because no one understands the analog console better or has been more integral to Dave's history. Their collaboration promises to be extraordinary. Butch, who produced Nirvana's "Nevermind" album, is skilled in analog recording techniques and even knows how to edit reels with a razor blade—a rare talent. Dave not only wanted Butch as the producer but also sought his help to create a raw album. This album aims to blend the Foo Fighters' style with the raw, unpolished rock 'n' roll vibe of the '90s. It will embrace the imperfections and complexity of analog recordings while maintaining a contemporary sound, avoiding a dated feel. Does that sound complex? Just listen to the album and you'll find it's quite simple. In summary, Dave decided to produce a documentary about the album's recordings, and you are invited to watch the film "Foo Fighters: Back and Forth," where the last twenty minutes recount the album's story. Dave assembled analog equipment with all the essential components, including acoustic elements, a special chamber for vocals, a dedicated room for drums, a console, and tape reels to establish an appropriate technical setting for the recordings. Notably, this was the same equipment the band used to record the albums "There Is Nothing Left to Lose" and "One by One" at Dave's home in Virginia. He also installed a control unit for the studio in a tent in the garden of the house to manage the studio operations. The band members, now joined again by Pat Smear, the guitarist who originally started with them and left in 1997, have begun work on the new album. The recording process took 11 weeks, dedicating each week to a single song. Initially, Dave and Taylor Hawkins would lay down the foundational elements with drums and the main riff. Then, Chris Shiflett and Pat would join in, with bassist Nate Mendel completing the bass line, and finally, Dave would add the vocals. The guitars have crafted a three-dimensional sound for the album, with Dave playing the core rhythm centered in the mix, Chris contributing his sharp and melodic sections, and Pat enhancing the rough and aggressive tones. Once a song was ready, everyone would perfect their parts and proceed to recording. Since the process was entirely analog, there was no margin for error, requiring everything to be flawless. Taylor, known for his honesty and humility, admitted facing significant challenges during the recording. As with the first album, he struggled with consistency, experiencing similar difficulties here. He shared that he had to practice each song for many hours until he felt competent, and even then, he lacked confidence until he listened to the final recording and felt satisfied with his performance. It's hard to accept that he is no longer with us and part of this incredible band, whose future remains uncertain. (Photo: Stephen Lovekin) This album features several significant musicians, not necessarily prominent stars in the music industry, but important figures in Dave's life. One of his idols is Bob Mould, the guitarist and singer from the 1970s hardcore punk band Hüsker Dü. His voice is heard in the chorus of the song "Dear Rosemary," and he also plays guitar on the track. Another familiar voice is Krist Novoselic, the bassist from Nirvana, who appears in "I Should Have Known." Butch noted that this was the first time Krist had been in the same room with Dave and Chris since the recording sessions for "Nevermind." It was crucial for Dave to have Chris involved in the album, both to add his unique touch to the song (which was the most challenging to record) and to connect Dave's past with his present. "Miss the Misery" includes Fee Waybill, a good friend of Dave's and a singer and guitarist from another 1970s hardcore punk band, The Tubes. Dave invited him because he felt Fee's voice was perfect for the song's background sounds. Keyboardist Rami Jaffee, who was part of the band's touring team at the time and is now a regular member, also contributed his talent to the album. Additional contributors include violinist Jessy Greene and percussionist Drew Hester. An intriguing story from the recordings involves the album's final mix. Although we aren't recording experts, we understand that the mixing phase involves setting the volume for each instrument in the song to ensure everything fits together seamlessly. Since everything was analog—including the mix console, which was not only analog but also manual—four people had to operate the console simultaneously to create the mix. This process gave each song a unique sound, enhancing the album's live and raw performance feel. After completing each song's mix, they would listen to the final product in one of the band members' cars, believing that if it sounded good there, it would sound fantastic on a regular system. The atmosphere during the recordings was entirely different from before, and you can sense it right from the first song. This is evident in the remarkable documentary, where all the band members gather with their families at the Grohl family's "holiday village." While the children play in the pool and the women enjoy small talk, good food, and drinks, the band members are in the recording studio. There's a touching moment when Dave had to write lyrics for "Dear Rosemary." His daughter kept asking him to come swim with her, so he quickly wrote the lyrics, posted them for Bob in the singing booth, went for a swim with his daughter, and then returned to the studio to finish the song. We could easily write an entire article about every song on this album, but this time we'll focus on a few key highlights. Right from the opening track, "Bridge Burning", you are hit head-on with everything this album represents: massive guitars, aggressive drums, and explosive energy. The song was written during a period when Dave Grohl felt he was closing the door on certain chapters of his past and moving forward without regrets. "Rope" was the album's first single and features one of Taylor Hawkins' most impressive drum performances. Lyrically, it deals with feelings of being trapped and the struggle to break free from cycles that keep pulling you backward. "Dear Rosemary", featuring Bob Mould of "Hüsker Dü", reflects on the memory of a relationship that refuses to fade away, while the combination of Grohl's and Mould's voices gives the song a particularly bittersweet sense of nostalgia. "White Limo" is probably the wildest moment on the album. It is an unrestrained explosion of punk and hard rock that emerged from a spontaneous studio jam. The song's entertaining video even featured Lemmy from "Motörhead", a perfect match for its chaotic spirit. Behind "Arlandria" lies one of Grohl's most personal stories. The song takes its name from the neighborhood where he grew up in Northern Virginia, while also serving as a tribute to his mother, Virginia. The line "My Sweet Virginia, I'm the same as I was in your arms" operates on two levels at once: it is both a direct reference to his mother and a nostalgic reflection on the place that helped shape who he became. "These Days" also hides remarkable emotional depth beneath its instantly memorable chorus. Grohl has described it as one of the most personal songs he ever wrote, dealing with the realization that life can change in a single moment and that loss is an unavoidable part of it. Over the years, it has become one of the band's signature songs. "I Should Have Known" is undoubtedly the album's most painful moment. Although Grohl has never explicitly stated that it was written about Kurt Cobain, many listeners view it as an emotional reflection on their relationship and the feelings that remained after Cobain's death. The presence of Krist Novoselic on the track makes it even more moving and adds another layer of meaning. The album closes with "Walk", which quickly became one of "Foo Fighters'" biggest anthems. Beneath its enormous chorus lies a simple yet powerful message about falling down, recovering, and finding the strength to stand up again. It is difficult to imagine a more fitting conclusion for an album born from the band's desire to return to its roots, prove that it was still hungry, and once again create genuine rock and roll without shortcuts. This album features 11 intense and captivating songs that will make you fall in love with the band and their music all over again. The album reached the top of the charts, marking the Foo Fighters' first album to hit number one on the Billboard 200 and earning the band four Grammy Awards in 2012. This time, you are invited to see the album! Upon the album's release, the band performed the entire album live from start to finish at "Studio 606," and the event was filmed and streamed online. The show captures the album's energy, so we recommend both listening to and watching the album below. But if you still want to just listen to the album on Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 2, 2023, "Foo Fighters" released their 11th studio album "But Here We Are". Some albums are written to entertain. Some are written to survive. "But Here We Are" is the sound of "Foo Fighters" trying to live through unimaginable loss. Not metaphorical loss. Not rock star heartbreak dressed up as poetry. Real loss. Brutal loss. The sudden death of Taylor Hawkins in 2022 shattered the band in a way that permanently changed its identity, and during the making of this record Dave Grohl also lost his mother Virginia, one of the central emotional figures in his life. The weight of both tragedies bleeds through every second of the album. What makes this record so devastating is that it never hides behind nostalgia or stadium sized optimism. "Foo Fighters" spent years becoming one of the safest major rock bands in the world. Their albums became polished, reliable, almost invincible. "But Here We Are" destroys that illusion immediately. This is not a band trying to sound strong. This is a band trying to hold itself together. That emotional collapse begins with Dave Grohl himself. For the first time since the band’s earliest years, Grohl plays all the drums on the album. Under normal circumstances that detail would feel like trivia. Here it feels heartbreaking. Every snare hit, every frantic fill, every explosion of cymbals carries the absence of Taylor Hawkins. Grohl is not trying to replace him. He knows that is impossible. Instead, the drumming feels like a conversation with grief itself, as if he is physically reconnecting with the role he once abandoned because the person who eventually took that place is gone. That reality changes the way the entire album feels. When "Rescued" opens with chaos and panic, the song no longer sounds like a typical "Foo Fighters" single. It sounds like someone trying to process shock in real time. Grohl’s voice cracks under the repetition of “Is this happening now?” because the album understands something terrible has happened that still feels unreal. The guitars surge forward almost mechanically, as if movement itself is preventing emotional collapse. "It came in a flash / It came out of nowhere / It happened so fast / And then it was over." Those lines carry a painful realism. On March 25, 2022, Hawkins traveled to Bogotá, Colombia with the band for a scheduled performance, only for the day to end in tragedy when he was found unresponsive in his hotel room. The suddenness of that loss reverberates throughout the album, but nowhere is the initial shock captured more vividly than here. Grohl's repeated plea, "I'm just waiting to be rescued / Bring me back to life," transforms the song into something larger than a tribute. It is the sound of someone whose emotional foundation has collapsed. The loss of Hawkins is presented not only as the death of a bandmate, but as the loss of a brother, a creative partner, and a source of joy. The song captures that terrifying moment when grief first arrives and the world no longer feels recognizable. What makes "Rescued" so powerful is that it becomes the thesis statement for the entire album. Every song that follows can be heard as part of the same journey. The despair of "Under You", one of the most painful songs Grohl has ever written. On the surface it sounds upbeat, almost bright, powered by huge melodies and familiar alternative rock energy. But underneath that momentum is devastation. The lyrics describe the unbearable normality of grief, the horrible experience of walking through familiar places after someone is gone. The song’s energy becomes tragic because it sounds like the band trying desperately to recreate normal life while fully understanding normal life no longer exists. Unlike the direct emotional outpouring of "Rescued" or "Under You," "Hearing Voices" approaches grief from a more psychological angle. It feels like the point where shock begins to transform into reflection. The immediate disbelief that drives "Rescued" has started to fade, leaving space for something equally painful: living with the memories. If "Rescued" captures the moment loss arrives and "Under You" captures the struggle of moving through a world without someone, then "Hearing Voices" captures the haunting aftermath, when the people we have lost continue to exist in our thoughts long after they are gone. The song's most heartbreaking moment arrives in its closing section. As the arrangement gradually falls away, the energy that has driven the track disappears, leaving Grohl accompanied by little more than guitar and piano. The production suddenly feels intimate, almost isolated. Repeating the line "Speak to me, my love," Grohl sounds less like a rock frontman and more like someone reaching across an impossible distance. The title track "But Here We Are" deepens that wound. The guitars are heavier, colder, less concerned with hooks. Grohl sounds emotionally exhausted throughout the song, and the repeated phrases feel trapped in cycles of disbelief. There is anger inside, but it is buried beneath numbness. "The Glass" captures the agony of separation. Built around one of the album's most beautiful melodies, the song finds Grohl confronting the invisible barrier that now exists between himself and the people he has lost. The repeated refrain, "I had a person I loved and just like that, I was left to live without him," is among the most devastating lines on the entire record. There is no poetic disguise, no attempt to soften the pain. One of the album's most moving moments arrives with "Show Me How." Built around shimmering guitars and a hazy, atmospheric arrangement, it stands apart from the raw urgency that dominates much of the record. Yet its emotional impact is no less powerful. The song features vocals from Dave Grohl's daughter, Violet Grohl, and that decision transforms its meaning. Throughout the album, Grohl is surrounded by loss. Friends are gone. Family members are gone. Memories linger everywhere. But on "Show Me How," the focus quietly shifts from what has been lost to what remains. Hearing father and daughter sing together introduces a sense of continuity. Life continues. Love continues. Family continues. Next comes "Beyond Me," one of the most melodic and delicate songs on the album, where Dave Grohl's lifelong love of "The Beatles" can be heard clearly. The vocal harmonies, melodic transitions, and dreamlike atmosphere that surrounds the song often evoke the band's later period, particularly in the way pain and hope coexist within the same piece of music. Within an album largely dominated by grief and loss, "Beyond Me" offers a quieter moment of reflection. Rather than a cry of anguish, it is the voice of someone trying to come to terms with the fact that some things remain beyond understanding and beyond control. Everything builds toward "The Teacher", the emotional center of the record and arguably the most vulnerable piece "Foo Fighters" have ever released. Written largely about Grohl’s mother, this over 10 minute epic piece abandons conventional structure almost entirely. Beginning with fragile guitar and subdued vocals, it gradually expands into a torrent of grief, culminating in a cathartic cry of "goodbye" before dissolving into waves of distortion and noise. It drifts through noise, repetition, distortion, and emotional breakdowns that feel unresolved on purpose. The escalating guitars sound suffocating, while Grohl’s vocals move between exhaustion, confusion, and desperate release. The album closes with "Rest," one of the most haunting songs Dave Grohl has ever written. Built around whispers, fragile vocal layers, and an almost ghostly atmosphere, the song feels less like a performance and more like a farewell. Throughout the track, Grohl sounds emotionally drained, as if the weight of the album's grief has finally caught up with him. The repeated lines, "Rest, you can rest now" and "Rest, you will be safe now," are particularly devastating. Whether directed toward Taylor Hawkins, Virginia Grohl, or both, they carry the tenderness of someone finally granting peace to the people he loves. There is no anger left, no desperate search for answers, only compassion, acceptance, and release. As the song gradually swells into a final eruption of sound, it feels like the emotional conclusion to everything that came before. After an album spent wrestling with grief, "Rest" feels like the moment Grohl finally stops fighting it, allowing himself to say goodbye while carrying the memories forward. "Rest" becomes a blessing, a goodbye, and a promise that those who are gone can finally be at peace. "But Here We Are" is not simply a comeback record or a tribute album. It is the sound of friendship, family, memory, guilt, exhaustion, and love colliding in public. It captures the terrifying reality of continuing forward after losing people who helped define your identity, and because of that, it may be the most human album "Foo Fighters" have ever made. 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 - 02.06.1978 “I saw rock and roll future and its name is Bruce Springsteen. And on a night when I needed to feel young, he made me feel like I was hearing music for the very first time.” That was the famous line written by music critic Jon Landau after witnessing a performance by Bruce Springsteen in 1974. A few years later, that prediction became reality when Springsteen released his third album, "Born to Run", which sold millions of copies and transformed "The Boss" into one of the biggest names in rock music. But not everything was perfect in Springsteen’s world. After discovering that the publishing rights to his songs were controlled by his manager Mike Appel, Springsteen entered a bitter legal battle that effectively put his career on hold. Between July 1976 and June 1977, he was unable to record or release new material while fighting to regain control over his work and secure his future as an artist. Only after the courts restored his rights did he begin focusing on his next project, his fourth studio album, "Darkness on the Edge of Town", released on June 2, 1978. Springsteen brought Jon Landau into the studio as a producer, and it quickly became clear that his enforced break from recording had not been spent sitting idle. During that period, he wrote close to one hundred songs. Some of them found homes with other artists, including "Because the Night", which became one of Patti Smith’s signature songs, and "Fire", which turned into a major hit for The Pointer Sisters. From roughly seventy remaining songs, Springsteen selected only ten for the final album. The result was a darker, more reflective, and more demanding record than "Born to Run". Springsteen deliberately stripped away some of the grand romanticism of its predecessor and focused on songs that felt leaner, tougher, and emotionally direct. He wanted the material to remain disciplined and focused, allowing its themes and messages to come across as clearly as possible. While writing the album, Springsteen drew inspiration from numerous outside sources. The struggles of ordinary people against powerful external forces became a central theme, influenced by novels such as "The Grapes of Wrath and East of Eden" by John Steinbeck, western films like "The Searchers" directed by John Ford, and country artists such as Hank Williams and Woody Guthrie. Even the emerging British punk rock movement left its mark, as Springsteen embraced a rawer and angrier sound than the one heard on "Born to Run". Springsteen opens the album with "Badlands", a powerful anthem about the working man and his determination to resist the frustrations and disappointments of everyday life. Driven by one of the most memorable choruses of Springsteen’s career, the song urges listeners not to surrender their dreams despite the obstacles standing in their way. The guitar riff was heavily inspired by "Don't Let Me Be Misunderstood" by "The Animals", a band Springsteen greatly admired. "Adam Raised a Cain" follows with one of the album’s most intense moments. Using biblical imagery drawn from the story of Cain and Abel, Springsteen explores the complicated relationship between fathers and sons. Beneath the religious symbolism lies a deeply personal song reflecting his own struggles with his father and the emotional scars that relationship left behind. In "Something in the Night", Springsteen captures the frustration and bitterness that often accompany broken dreams. The song can also be viewed as reflecting the difficult legal battle that preceded the album. At one point he sings, "Well you're born with nothing, and better off that way / Soon as you've got something they send...", expressing the feeling that success often attracts forces determined to take it away. One of the album’s finest moments is "Candy's Room". Built around a tense and explosive arrangement, the song tells the story of a mysterious woman who represents both desire and escape. The exact inspiration behind the character remains unclear, though various theories have linked her to artist Karon Bihari or photographer Lynn Goldsmith, both of whom were associated with Springsteen during this period. With "Racing in the Street", Springsteen delivers one of the greatest songs of his career. On the surface it appears to be a song about cars and street racing, but beneath the engine noise lies a heartbreaking story about people searching for meaning in lives filled with disappointment. The song captures the American dream in decline, where freedom and escape become temporary remedies for deeper emotional struggles. "The Promised Land" provides a more optimistic perspective. Influenced by the songwriting traditions of Bob Dylan and Van Morrison, it tells the story of an ordinary man who refuses to abandon hope despite the hardships surrounding him. The song's harmonica-driven arrangement and uplifting message make it one of the album’s emotional high points. In "Factory", Springsteen once again turns his attention to the working-class experience. The song paints a vivid portrait of a laborer who sacrifices his health, happiness, and energy to provide for his family. It serves as one of Springsteen’s most direct tributes to his father and the generation of blue-collar Americans who carried similar burdens. "Streets of Fire" offers a darker look at loneliness and alienation. Its narrator struggles with emotional isolation and inner demons, searching for connection while remaining trapped within his own fears and regrets. The album concludes with "Prove It All Night", a passionate declaration of commitment and perseverance in the face of adversity, before arriving at the title track "Darkness on the Edge of Town". One of Springsteen’s most powerful songs, it tells the story of a man who has been pushed to the margins of society but refuses to surrender his dignity. Rather than chasing success or acceptance, he chooses to confront life on his own terms, standing proudly in the darkness beyond the city lights. Although the album did not produce major chart-dominating hits, its reputation continued to grow in the years that followed. Critics praised its maturity, honesty, and emotional depth, and NME selected it as its Album of the Year for 1978. As mentioned earlier, only ten songs out of the seventy written during this period made it onto "Darkness on the Edge of Town". Many of the others eventually surfaced on later albums such as "The River", "Nebraska", and "Born in the U.S.A.". In 2010, Springsteen finally opened the vaults and released "The Promise", a double album collecting many additional recordings from the sessions that produced "Darkness on the Edge of Town". Nearly five decades after its release, "Darkness on the Edge of Town" remains one of Bruce Springsteen’s most important artistic statements. Stripped of the romantic optimism that defined "Born to Run", it confronts disappointment, responsibility, and survival head-on. It is the sound of an artist growing up, facing reality, and emerging stronger because of it. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website