On August 24, 1981 "The Rolling Stones" released their 16th studio album "Tattoo You". "Tattoo You" marks a unique chapter in the "Rolling Stones'" extensive discography. The album is widely regarded as a late-career triumph, reinvigorating the band’s sound. Comprised mostly of unreleased tracks from previous recording sessions spanning the '70s, "Tattoo You" showcases the "Stones'" ability to polish and reinvent older material into a fresh and cohesive album. Led by the dynamic Mick Jagger's vocals and the sublime guitar duo of Keith Richards and Ronnie Wood, "Tattoo You" boasts a lineup that includes Bill Wyman on bass and Charlie Watts on drums. However, the album also features previous members and guest musicians like Mick Taylor, Nicky Hopkins, and Billy Preston, enriching the album's tapestry with their unique artistry. From the infectious energy of "Start Me Up" originally rehearsed in 1978 during the "Some Girls" sessions and "Hang Fire" that was worked on in both the "Some Girls" and "Emotional Rescue" sessions, to the soulful balladry of tracks like “Waiting on a Friend”, "Tops" both were cut in late 1972 during the "Goats Head Soup" sessions with Mick Taylor and "Worried About You" with Billy Preston on keyboards, this album encapsulates the essence of rock 'n' roll with a touch of blues and a sprinkle of groove. The album is often divided into two thematic halves. Side one, with tracks like “Start Me Up”, “Hang Fire,” "Black Limousine", "Neighbors" and more, that captures the band’s signature rock energy. “Start Me Up,” originally conceived as a reggae track, evolved into a stadium anthem with an infectious riff and swaggering vocal delivery by Mick Jagger. Its lasting appeal and status as a concert staple cement its place as one of the "Stones'" most enduring hits. "Hang Fire" criticizes England, suggesting its people are lazy and its politicians incompetent. Initially titled "Lazy Bitch," it likely referenced British Prime Minister Margaret Thatcher. "Black Limousine" was based on Jimmy Reed's blues track "You Don't Have To Go" and reflects the band's rock and roll lifestyle involving women, alcohol, and limousines. Initially recorded during the "Some Girls" sessions in 1978, the song stands out as one of the few credited not just to Mick Jagger and Keith Richards, but also to Ron Wood. Wood mentioned that the guitar riff was influenced by Texas slide blues guitarist Hop Wilson. As the lyrics suggest, "Little T & A" is a great rock N' roll track with Keith Richards on lead vocals and bass. "Neighbours" was inspired by Keith Richards' real-life experiences with noisy neighbors, leading to his eviction from a New York apartment in 1981. Initially started in 1979 for the "Emotional Rescue" album, the song features Jazz saxophonist Sonny Rollins who also played in "Slave" and "Waiting on a Friend". Side two, shifts to a more introspective and mellow tone. Tracks like “Worried About You”, "Heaven" and “Waiting on a Friend” highlight the band’s versatility and depth. "Heaven" explores themes of sexual ecstasy. While the word "heaven" doesn't appear in the lyrics, even Mick Jagger is unsure how the title was chosen. Keith Richards did not play on this track; instead, Bill Wyman handled guitar, synthesizer, and bass, while Jagger also played guitar. The song's vocals and sound mark it as one of the "Stones'" most psychedelic tracks. Originally started in 1979, it was intended for the "Emotional Rescue" album. “Waiting on a Friend”, is a reflective song about friendship, with possible undertones related to drug use, given Keith Richards' heroin habit at the time, featuring a delicate saxophone solo by Sonny Rollins alongside Mick Taylor, Nicky Hopkins, Jimmy Miller, and Kasper Winding. It is a standout, blending warmth and nostalgia with reflective lyrics. Keith Richards’ soulful guitar work shines throughout the album, particularly on “Slave,” where the groove-heavy, extended jam showcases the "Stones'" affinity for blending rock with blues and funk. This track was originally recorded in 1974 as "The Black And Blue Jam,". Pete Townshend of "The Who" provided backup vocals. The original recording featured Billy Preston, Jeff Beck, and Nicky Hopkins, though their parts were removed in the final version. Jazz saxophonist Sonny Rollins was convinced by his wife to collaborate with the "Stones", contributing also to this tracks. The album’s creation, largely fueled by necessity due to the band’s grueling touring schedule, resulted in a collage of reworked outtakes and new recordings. Despite this patchwork approach, "Tattoo You" stands as a testament to the "Rolling Stones'" resilience and adaptability. "Tattoo You" proved that the "Rolling Stones" could still deliver potent and relevant music nearly two decades into their career. The album’s eclectic mix of rockers and ballads reflects the band’s enduring chemistry and ability to draw from their deep well of musical influences. "Tattoo You" was not just a critical success but also a commercial triumph. This album climbed to the top of the US Billboard 200, showcasing the enduring appeal of The "Rolling Stones" music. Surpassing all expectations, "Tattoo You" became the pinnacle of the band's chart achievements, capping off a winning streak of eight consecutive number-one albums in the US that began with "Sticky Fingers" in 1971. The impact of "Tattoo You" transcends its initial release. In 1989, "Rolling Stone" magazine bestowed the album with the honor of being ranked 34 on the list of the "100 greatest albums of the 1980s". Furthermore, it secured a spot on the prestigious list of the "500 Greatest Albums of All Time", ranking at 211 in 2003 and later at 213 in the revised list of 2012. More than that, in 2000 the album was voted number 759 in Colin Larkin's "All Time Top 1000 Albums". Such accolades underscore the lasting influence and significance of this musical masterpiece. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Alice In Chains' sixth album takes it back to the origins, to the place where it all began, and also to the place where a period ended, "Rainier Fog" was released on August 24, 2018 !! It connects directly to Layne Staley and also to the event that took place at the MTV Unplugged show... With 15 years of alcohol and drugs rehabs in his history book, Jerry Cantrell and his bandmates decided to return to the origins, to where the grunge scene took place, the birthplace, and the growth of the big grunge bands. The recordings of the album were set by Alice's members at the famous "Studio X" in Seattle, where the band's last album with Layne was recorded in 1995 and bears the band's name. At this age (54) Jerry recounted: "You are no longer concerned about record companies, schedules, marketing, and distribution, you just come and do the work” (by the way, they financed their previous album “The Devil Put Dinosaurs Here” themselves). The band members came to this album with a "blank page", with no prior preparations or solid ideas. They decided to start the writing process in this studio to get inspired. Following the development of William DuVall in the band, which is very reminiscent of the development of Layne, DuVall gets more space and participates in the writing of the lyrics and music. Jerry said that in most cases, especially on recent albums, that was the challenging part for him. He could not write again about his father, write again about his brother or the girlfriend he broke up with, and the days of addiction and hard times were over. It is not difficult to look for topics that are insane, exciting, or touching, but nonetheless, it was very challenging for him. Here DuVall came to the rescue, and beyond the more significant presence in vocals, he was also expressed in writing. The album was mostly recorded in "Studio X", but additional recordings took place in five more studios. One of the studios was Jerry's house and here comes the connection to the MTV Unplugged show. We told you in the review of the Unplugged show that Jerry almost did not come up to perform. That day he ate a rotten sausage and suffered from severe food poisoning that almost completely shut him down. So here the story repeats itself... During the recordings for the album, Jerry had to take a break to attend the birthday party of Sammy Hagar ("Van Helen") which took place in Mexico. Apparently, during the party, he ate something bad and caught severe food poisoning that shut him down for six weeks. Since he did not want to delay the release of the album, he decided to continue the recordings, he invited the recording technician Paul Figueroa to his house and continued from there. We talked about how this album is a return to the origins and especially to the city where it all started. Apart from the studio where the album was recorded, the band held another tribute with the name of the album and the theme song. The name of the album is a tribute to the volcano "Mount Rainier" that dominates the entire Seattle-Tacoma area. On the cover of the album, you can see a triangle of a kind of mountain with the "Eye of God" in the center with a fog around it watching over everyone. The album opens with the song "The One You Know" which leads it to a heavy, strong, and endless riff. The song released as the first single from the album is inspired by the death of David Bowie. Jerry said the song is not at all reminiscent of Bowie's "Fame" song but it is the one who planted the inspiration for writing the song. The second song on the album the title song "Rainier Fog" is a tribute to the grunge scene from which this amazing band came out. The tribute is to everything that happened in that scene, where they came from, what shaped them, all the victories, and all the losses. Jerry and the rest of the band buried many friends from that time and he said it was hard for him to talk all the time about the friends he had lost and the grief. The next song "Red Giant" is very reminiscent of the band's first songs with the heavy riff and the quiet dynamics and the creeping rhythm. Some say that this album in general sounds like a return to the style of the band's first albums in terms of sound, riffs, and melody. (Photo: Johnny Buzzerio) The fourth song on the album is "Fly" which is really reminiscent of the band's previous songs but there is a short and breathtaking solo section !! The song "Drone" features guitarist Chris DeGarmo who was in "Queensrÿche", also originally from Seattle. Jerry told (and we do not know if to believe him) that he had a hard time with the parts of the acoustic guitar so he turned to his good friend Chris who happened to be around at the time. Let's jump to the song "So Far Under" which is all (lyrics and music) written by DuVall, he even plays the guitar solo in the song. There is an interpretation that says that the text of the song reflects the wars and difficult struggles that DuVall experienced in front of the band's fans when he came to fill Layne's place. If we talk about the tribute of this album to the grunge scene in all sorts of aspects then the next song on the album "Never Fade" is a song written by Jerry (music) and DuVall (lyrics). The music was there but Jerry did not find suitable lyrics, One day DuVall was in the studio alone until late and began writing the song. He said he was inspired by the death of his grandmother and the death of Chris Cornell. The song is a tribute to all the friends from Seattle who passed away, friends who will never forget. The album ends with the song "All I Am", Hard Rock's seven long minutes which according to Jerry reflect the scars a warrior carries on him after all the hard struggles he went through over the years, the scars that shaped his character, and reflect what he is. An interesting ending with introspection! The album reached number 12 on the Billboard 200, a huge success for a band that did have a huge reputation but did not release an album for five years. The band was also surprised by the success of the album in Europe, where it took the top five places in the various charts in the UK, Germany, Switzerland, and more. The album also earned the band a Grammy nomination in the Best Rock Album category that year. Feel free to listen to an album that is all a tribute to the grunge scene in Seattle on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Editor's Choice... And this time, artists recommend. David Bowie noted that this album is one of the albums he would take with him to a lonely island. Jimmy Page said it was his favorite album from the 1990s. His friend Robert Plant also handed out compliments on the album. Bob Dylan argues that this album was written by one of the greatest writers of the decade. Matt Bellamy of "Muse" and Thom Yorke of "Radiohead" noted the album as an influence. Even Paul McCartney, Bono, Morrissey, and Neil Peart Rush's drummer, showered him with praise. Ladies and Gentlemen Jeff Buckley's "Grace" album !!! This is the only studio album that Jeff Buckley has released in his life. A unique, one-time, and special album that falls into the alternative category, but it is really difficult to define its style, which draws from so many genres. Folk, hard rock, jazz, punk, and we even heard opera. An album that will take you on a mysterious and magical journey. Will excite you, shake, mesmerize and eventually melt you at the sound of the vibrating, powerful, fragile, and out-of-octave Buckley's vocal. This album received high praise and it was clear to everyone that it was going to be the beginning of a wonderful career for singer and musician Jeff Buckley. Unfortunately, however, Jeff was found dead less than three years later in a mysterious drowning accident and all the tremendous potential inherent in this extraordinary artist sank with him into the depths of the Mississippi River. This time we are interested in telling you one or two facts about each song from the album: 1. The song "Mojo Pin" was written by Buckley and Gary Lucas when Buckley was still part of his band Gods & Monsters. The song was first released on Buckley's 1993 EP Live at Sin-é. 2. Buckley wrote the theme song "Grace" after saying goodbye to his girlfriend Rebecca Moore at the airport. In the lyrics of the song, Buckley states that he is not afraid to die... 3. The song "Last Goodbye" which was released as the second single from the album became the most successful song from a commercial album in the US. It was first recorded as his demo in 1990 and was called "Unforgiven". 4. The track "Lilac Wine" is a song written by James Shelton in 1950. Since then the song has been performed by other artists such as Nina Simon, Jeff Beck, Miley Cyrus, and more. 5. The main track on the album "So Real" was written by guitarist Michael Tighe who joined Buckley during the recording of the album. The song entered the album at the expense of the song "Forget Her" which was only included in the extended versions of the album. 6. Although this is a cover version of a song by Leonard Cohen, the song "Hallelujah" performed by Buckley entered the list of the 500 greatest songs of all time. 7. The song "Lover, You Should've Come Over" was influenced by Buckley's breakup with his girlfriend Rebecca Moore, yes that one from No. 2. Buckley noted that he wrote the song at home while he was waiting on the phone, but she did not call... 8. The track "Corpus Christi Carol" is an adaptation of Buckley's interpretation of an ancient 16th-century English hymn. 9. In the song "Eternal Life" Buckley was influenced by one of his favorite bands "Led Zeppelin". 10. Buckley wrote the song "Dream Brother" about his friend Chris Dowd who chose to leave his girlfriend who got pregnant with him. Buckley tried to persuade him through the song not to make the mistake of his father, singer Tim Buckley, who left him as a child. The album Grace is at the top of various lists and ratings, including entering the list of the 500 greatest albums of all time. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Here are some facts about Guitarist Bernie Marsden: (Photo: Fin Costello) 1. Bernie Marsden was born on May 7, 1951 in Buckingham, England. 2. He began playing guitar at the age of nine and was influenced by blues guitarists such as BB King and Albert King. 3. Marsden's first professional gig was with the band "UFO" in 1972, but he left the band after just a few months. 4. In the early 1970s, Marsden was a member of the band "Skinny Cat", which included future "Whitesnake" drummer Ian Paice. 5. He then joined the band "Wild Turkey" in 1974, but left after just one album. 6. Marsden joined the band "Babe Ruth" in 1975, playing on the album "Kid's Stuff" (1976). 7. In 1976, Marsden was involved with "The Majesticaires", a band that included Cozy Powell on drums. 8. In 1976, Marsden also played with "The Little House Band", which included future "Whitesnake" bandmate Micky Moody. 9. In 1976, Marsden was involved with the band "Paice Ashton Lord", which featured former "Deep Purple" members Ian Paice and Jon Lord. 10. Marsden played guitar on the band's only album, "Malice in Wonderland" (1977). 11. Following the release of the album, "Paice Ashton Lord" disbanded and Marsden went on to join "Whitesnake". (Photo: Fin Costello) 12. In 1978, Marsden joined "Whitesnake", playing alongside guitarist Micky Moody and singer David Coverdale. 13. His first album with the band was "Snakebite" (1978) and since then Marsden played on another 6 "Whitesnake" albums including: "Lovehunter" (1979), "Ready An' Willing" (1980), "Come an' Get It" (1981) and the excelent live album "Live... in the Heart of the City". 14. During his time with "Whitesnake", Marsden co-wrote several of the band's biggest hits, including "Here I Go Again" and "Fool for Your Loving". 15. In 1980, Marsden released his debut solo album "And About Time Too". 16. In 1981, Marsden formed the band "Alaska". They released two albums, Heart of the Storm (1984) and The Pack (1985). 16. Marsden left Whitesnake in 1982 to focus on his solo career and pursue other musical projects. 17. Marsden released several other solo albums, including "Look at Me Now" (1981), "The Friday Rock Show Sessions: Live at Reading" (1982), and "Big Boy Blue" (1992). 18. Marsden collaborated with other notable musicians and bands, including Cozy Powell, Don Airey, and "Forcefield", Ian Gillan and more. 19. In 1994, Marsden formed "The Snakes", a band that included former "Whitesnake" members Micky Moody and Neil Murray. 20. "The Snakes" released two albums, "Once Bitten..." (1998) and "Live in Europe" (1999). 21. In 1998, Marsden formed "The Company of Snakes", a band that also featured former "Whitesnake" members Micky Moody, Neil Murray, and others. 22. "The Company of Snakes" released two albums, "Here They Go Again" (2001) and "Burst the Bubble" (2002). 23. In 2005, Marsden formed "The Moody Marsden Band", a duo with former "Whitesnake" bassist Neil Murray. 24. "The Moody Marsden Band" released two albums, "Never Turn Our Back on the Blues" (2005) and "Live in Hell: Unplugged" (2007). 25. In addition to his music career, Marsden has written several books about his experiences in the music industry, including "Where's My Guitar?: An Inside Story of British Rock and Roll" (2015). 26. Marsden was awarded the Marshall 50th Anniversary Award for Services to British Music in 2012. 27. Marsden was inducted into the Marshall "Wall of Fame" in 2019, joining other legendary guitarists such as Jimi Hendrix and Jimmy Page. 28. Marsden has a guitar collection that includes more than 200 different guitars. In June 2023, one of his guitars, an 1959 Gibson Les Paul known as "The Beast" was sold for a fantastic $1.3 million. 29. In 2017 he published his autobiography called "Where's My Guitar". 29. Marsden passed away on August 24, 2023 and he was 72 years old at the time of his death. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Today we will tell you about Ken Hensley, best known as the keyboardist and lead songwriter in the band "Uriah Heep" from 1970 to 1980. (Photo: Theaudiodb.com) Hensley was born Kenneth William David Hensley, in Plumstead in south-east London, on 24 August 1945. He taught himself to play the guitar when he was 12 years old and already when he was 15 he made his first show. In 1965, at the age of 20, he formed the band "The Gods" with guitarist Mick Taylor. Hensley wrote most of the material, singing and playing the Hammond organ. In early 1968 the band signed a recording contract with "Colombia" and recorded two albums and a few singles, but later split up when Hensley joined "Toe Fat" - with whom he later recorded an album. In between, he released the album "Orgasm" with "Head Machine" in 1969. (Photo: Trevor Hensley on Facebook) In 1969, Hensley joined "Spice" as a keyboardist, a band that also included guitarist Mick Box and vocalist David Byron. The band later changed its name to "Uriah Heep". Under the new name, Hensley recorded with "Uriah Heep" 13 studio albums, including masterpieces such as "Salisbury", "Look at Yourself", "Demons and Wizards", "The Magician's Birthday", "Return to Fantasy" and more. (Photo: Michael Putland) Hensley served as one of the lead writers of the band and beyond his tremendous influences on the band's sound playing keyboards and guitar, he also took on singing roles, sometimes even as a solo singer as in the songs "Lady in Black" and "Look at Yourself". in 1971 he released the album "Weed...!" with "Weed". In 1980 Hensley left the band and in 1982 joined "Blackfoot", a Hard Rock band from Florida, with whom he recorded two albums "Siogo" from 1983 and "Vertical Smiles" from 1984. Hansley also had a number of collaborations, including with John Wetton, Glenn Hughes, "W.A.S.P.", "Ayreon", "Therion", "Cinderella" and more. Hensley had an extensive solo career that began in 1973 with the album "These were Proud Words on a Dusty Shelf" and ended with his 12th studio album "My Book of Answers", which was released after his death in 2021 . On November 4, 2020, Hensley was found dead after a short illness. He was 75 years old. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Jazz is flowing in his veins. even though he does not have a driver’s license he has a respectable collection of cars and he came to “Rock” by mistake after giving up a career as a graphic designer. (Photo: Ursula Duren) Here are some interesting facts about Charlie Watts, the "quiet power" behind the biggest rock band in the world: 1. He was born in London and raised in Kingsbury, England on June 2, 1941. His name at birth was Charles Robert Watts. 2. At school Charlie was a good student who also demonstrated talent in music, art, football, and cricket. 3. Charlie grew up in jazz music and admired jazz artists like Charlie Parker. His childhood friend Dave Green (who became a jazz bassist himself) testified that he had a very respectable jazz record collection. (Photo: Hulton Archive) 4. His interest in music led him to acquire Banjo as a child. He soon realized that this was not the instrument for him. He cut its neck and strings and turned it into a drum. When his parents saw what he had made of the banjo they decided to buy him a drum set. 5. After graduating from high school he studied and was trained as a graphic designer. He later began working as a graphic designer for an advertising company called "Charlie Daniels Studios". 6. In parallel with his work as a designer, Charlie continued to develop his music hobby while playing with his childhood friend Dave Green in local cafes and clubs. Their first band that started in 1958 was called "Jo Jones All-Stars". 7. In 1961 Charlie moved to Denmark following a job offer as a graphic designer. At the same time, Alexis Korner approached him and offered to join his band "Blues Incorporated", which hosted artists such as Mick Jagger, Jack Bruce, Eric Clapton, and Brian Jones. 8. Watts accepted the offer and in February 1962 returned to London and began playing with Alexis Korner's band while at the same time continuing to work in advertising agencies as a graphic designer. 9. In January 1963, Watts complied with the request of Keith Richards, Mick Jagger, and Brian Jones to join the "Rolling Stones". (Photo: Michael Ward) 10. From that point onwards Watts served as the band's regular drummer. He released with "the Stones" 30 studio albums, 3 mini-albums, 33 live albums, and a similar number of collections. 11. Watts also appeared on the 1972 album "Jamming with Edward", along with Stones' friends Mick Jagger and Bill Wyman. 12. In addition to his musical contribution to the band, Watts also brought his training as a graphic designer and, among other things, designed the back cover of the album "Between the Buttons". 13. Watts also maintains his great love for Jazz, in several projects of which he was a part of. 14. In the late 90's he and keyboardist Ian Stewart who played on the Rolling Stones albums, formed the band "Rocket 88" - which hosted the best jazz and R&B artists in England. 15. In 1986 he released the album "The Charlie Watts Orchestra Live at Fulham Town Hall" under the band "The Charlie Watts Orchestra". (Photo: Mark Seliger) 16. From 1991 to 1996 he released 4 albums under the band "The Charlie Watts Quintet". 17. In 2000 he and drummer Jim Keltner released the album "The Charlie Watts-Jim Keltner Project". 18. In 2004 he formed a new band called "The Charlie Watts Tentet" with which he released the album "Watts at Scott's". 19. In 2010 he was a part of another band Named "The ABC & D of Boogie Woogie" with which he released two albums in 2010 and 2012. The ensemble included pianists Axel Zwingenberger, Ben Waters, and his childhood friend Dave Green on bass. 20. In 2017 he released the album "Charlie Watts meets the Danish Radio Big Band (Live At Danish Radio Concert Hall, Copenhagen" which was recorded in 2010. 21. In 1989, Watts was inducted into the "Rock and Roll Hall of Fame" as a member of the Rolling Stones. 22. In 2014 he performed with the Rolling Stones in Israel. He visited the Western Wall and noted that the visit was very exciting for him. (Photo: Amit Shabi) 23. He is married to the same woman - Shirley Ann Shepherd, since 1964. Watts and his wife have an Arabian horse farm. 24. Watts has a habit of sketching every new hotel he has stayed in during the band's tour. 25. When bassist Bill Wyman decided to leave the band, Keith Richards and Mick Jagger left Watts with the decision of who would be the bassist to replace him. After many auditions, Watts chose Darryl Jones. 26. In June 2004 It was reported that Watts had been diagnosed with throat cancer, even though he had stopped smoking 15 years earlier. In October of that year, he successfully underwent surgery to remove the tumor. 27. Despite his quiet appearance Watts once punched Mick Jagger in the face after he referred to him as "my drummer". 28. Watts is known as a food dresser. The "Daily Telegraph" put him on the list of the most beautifully dressed men in the world, and in 2006, "Vanity Fair" magazine put him on the international list of the best-dressed men. 29 .. Although Watts does not have a driver's license, he holds a large collection of classic cars. 30. In 2006 'Modern Drummer Magazine, chose Watts along with other great drummers, such as: Ringo Starr and Keith Moon to the magazine's "Hall of Fame". 31. Watts passed away on August 24, 2021, about two months after his 80th birthday. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 24, 1983, "Rainbow" released their seventh studio album, "Bent Out Of Shape". The album's name and cover illustrate what the listener will find inside. A band whose shape has completely changed since its early days. Anyone who remembers Ronnie James Dio's era in "Rainbow" and listens to the album will have a hard time noticing that it's the same band, but still, it's a great one from Ritchie Blackmore & company. On this album, Ritchie Blackmore continued with the line of commercialization that began on the album "Down to Earth" and only expanded from album to album. Cozy Powell, who sensed that this was the direction the band was going to dedicate itself to in subsequent albums, abandoned ship immediately after releasing that album, and he was right about Ritchie Blackmore's intentions that the American market was very fascinated by. This time Ritchie Blackmore also tried to ride on the back of the relative success of the previous album "Straight Between The Eyes" which came out a year earlier and the musical style is very similar in essence on both albums, with an extra special emphasis on keyboards that have become more dominant. Before the release of the album, Ritchie Blackmore fired drummer Bobby Rondinelli and recruited Chuck Burgi to replace him, but the change is hardly noticeable. Since the departure of Cozy Powell, a huge hole has been created in the band's rhythm section that has greatly influenced its sound, despite the presence of Roger Glover. The one who stands out, especially on this album is Joe Lynn Turner whose singing here is the best of the three Rainbow albums he has participated in. The improvement is especially noticeable in the highs and lows, even in the screams that sometimes even remind us of the greatest in the field, Ian Gillan. Although this is the band's most commercialized album, you can still find here some memorable pieces that we really like. The opening track "Stranded", the almost poppy ballad "Can't Let You Go" and the catchy track "Street of Dreams" are great songs that are always fun to return to, but they completely do not resemble the "Rainbow" of the previous decade. Those looking for songs closer to basic Hard Rock will find them in "Fire Dance" with the oriental touches that are a bit reminiscent of the Dio era, in "Drinking With The Devil" and in the song "Make Your Move". The last two songs were pushed towards the end of the album and probably not by chance, since they are a bit different in essence from the rest of the commercial tracks on the album. It is interesting to note that the album includes two good instrumental pieces, the soft and melodic cover "Snowman" and "Anybody There" which was even nominated for a Grammy in the category of the best instrumental rock piece for 1984. This album is Rainbow's Swan Song, after the release of the album Ritchie Blackmore will break up the band in favor of the excellent and successful reunion of "Deep Purple's" MKII lineup that will release its reunion album as early as 1984. In the mid-1990s Ritchie Blackmore will again use the name "Rainbow" but it will already be a completely different lineup with which he released the album "Stranger in Us All" For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 23, 2013, "Avenged Sevenfold" released its sixth album, it had a clear direction and an understandable plan, but the band did not imagine that this album would reach what it reached and make it one of the biggest metal bands of that year! Even if you are not a devout fan of the band but have listened to the band's five previous albums, we are sure that you too have felt the development that the band is going through, the maturity, and constant evolution. Tragically, the band's big leap occurred on their previous album, "Nightmare" an album that was a significant landmark after the death of the band's drummer Jimmy "The Rev" Sullivan in 2009, who was not only a great drummer but also the charismatic and creative force in the band. The band members who entered a very difficult crisis managed to deal with it strongly and came out strengthened and victorious with an album that went straight to 1st place in the charts. And let us mention the song "Trumpet Call" by "Walkways" because just like the song say, the band A7X (the band's nickname) went through a process... From Survive to Revive and finally to Thrive The band's new line-up, which included drummer Arin Ilejay (who played on the previous album's tour), produces here the first full-length album after the tragedy. And not just any album, an album that is a landmark in the band's history just like Metallica's Black Album (to be continued). The band presents a new and impressive level of music. True, you can say that this is a natural development and the result of maturity, but this will only diminish the value and power of this album. It seems that the members of the band decided to abandon the metal-core style that characterizes it and explode into the world of hard rock and classic metal. (Photo: Avenged Sevenfold) Singer and leader of the band M. Shadow said that they wanted to bring the influences from the world of classic metal and classic rock of the 80s and 90s but add the element of A7X. There are indeed songs here like "This Means War" and "Heretic" that sound like they were taken from Metallica's Black Album, "Doing Time" which is taken from Guns' "Use Your Illusion" and many other influences from Megadeth, and Led Zeppelin but, and there is a big BUT!!! The A7X has its own distinct DNA, no matter how much you try to compare or dress it up with the hallmarks of other bands it will always sound like itself. Why? Because of Shadow's voice, because of Synyster Gates' guitars, and of course because of the drumming style that Rev used in the band. All of these constitute a distinct DNA that is not implied in two faces! This album is strong, powerful, and furious, it will unleash deadly lightning bolts on you that will stab your body and blast you with powerful thunders that will shake your body. Although the drummer Iljai does an amazing job here and tries to maintain the continuity of Rev's style, those who make the essence of the work here, the core of the album, are the original quartet who proves here a huge musical talent. Gates with solos taken from the pantheon of guitars, Zacky with hitting and addictive riffs, Johnny with the strong bass, and Shadow, who took a vocal leap here. This album has riffs and melodies designed to grab you and shake you hard. Songs that will stick with you on the first note and make you want to sing them out loud just like it happened here in Israel at the band's concert that took place in 2018. So it's true, some will say it's commercialization, just like they said about Metallica and that's why the comparison is made. Still, it doesn't really matter when the music is great, penetrating, empowering, and exciting and that's exactly what this album is!! The album opens with the song 'Shepherd of Fire' which introduces you to a dramatic scene of the sound of bells and whispering flames with brass instruments directly bringing the power of the drums and the low riff that was in the background after 1.04 minutes explodes and you look down in amazement and realize that you are just floating in the air, what a huge opening song for the album. The band members said that they wanted to create a dramatic and powerful opening for the album to give the listeners the feeling that they are going to listen to something big. We don't calm yet and immediately move on to the first single and the theme song of the album "Hail to the King" which came out and burned all the radio stations and charts. What a beautiful riff, what a beautiful chorus, and what a beautiful voice of Shadow, we are hooked!! A stadium song designed to lift the crowd into the atmosphere and shake it hard, oh yes... and then comes the solo !! Gates said that for this song he took inspiration from the jazz player Django Reinhardt and incorporated elements he knows how to play in his music. Moving on to "Doing Time" which comes straight from Guns' style, from the guitars, through the vocals to the structure of the song, but say what you will, it's pure pleasure. It doesn't sound like a cover or imitation, it sounds exactly what it is, it's an inspiration/influence! And if we were talking about Guns then let's move on to Metallica with "This Means War" (this is guaranteed to be the last comparison), the strong pulsating beats, and the heavy and slow riff, what a treat. It gets into the veins and cannot be stopped so don't try to resist or deny it, it is strong!! Gates wanted the listeners to not stop moving throughout the song to the sounds of the guitar and drums and he succeeded. A dramatic opening on "Requiem" and immediately we continue the line of the previous song with the bass drum pounding like a hammer and the thick and heavy guitars like an old metronome moving from side to side. The band members said that the song was inspired by the work of Wolfgang Amadeus Mozart and we are sure that if he had listened (or felt it) to the song and especially to the solo he would have been proud. We also have to mention Shadow's vocal power which here reaches unimaginable heights. About the opening part of the song "Crimson Day" Gates said that he had never heard or recorded such a clean form of guitar, the recording was made by a microphone sitting on the amplifier and not from the guitar directly to the console. The sound gives an amazing volume to the song and together with Shadow's vocals, it is simply moving, a classic in the making. The next song "Heretic" is the first song written for the album and it sounds more like the previous songs of the band. Gates said that in this song they wanted to bring a bit of their progressive style and bring out the instruments in a unique harmony. This song gives a slightly different tone to the album. Now we are coming home with "Coming Home", all the members of the band give here a strong and disruptive rock'n'roll work. A beautiful sweeping melody with moving words that take you to the end. A song that the band members created to express the love they have for home and the homesickness whenever they are on the road. The album closes with two songs that are actually one story in two parts, "Planets" which is a meteoric war that causes an apocalypse that eventually leads to "Acid Rain". Gates said that it was very difficult to write these two songs in terms of the structure, vocals, lyrics, and guitars but what an epic ending, exciting for an amazing album!! The band has always stood out for the weight it gave to melodies and choruses in the structures of its songs and here it is expressed with greater power. There are indeed plenty of catchy riffs and anthemic choruses here, but the band stays true to itself and brings its enormous talent to the fore in an amazing way. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Brother Dean DeLeo of "Stone Temple Pilots" celebrates his birthday today, he was born on August 23rd, 1961. (Photo: Stone Temple Pilots) His younger brother, Robert, met vocalist Scott Weiland in a performance of "Black Flag." Robert decided to introduce his guitarist brother to Scott and came up with the idea of ​​forming a band. The three teamed up with drummer Eric Kretz and formed a band. They gave it the name "Mighty Joe Young" inspired by the movie of the same name. They started performing in bars throughout San Diego and the Hollywood area and eventually signed a record deal with "Atlantic Records" in 1992. But they had to change the band name because a blues musician had already taken it. Scott is the one who brought the name "Stone Temple Pilots" just because of the "cool" acronyms taken from the "STP" oil company. The band quickly rose to fame with the release of their debut album "Core", which sold over 8 million copies. The album was wildly successful because of the singles "Sex Type Thing" and "Plush", which made "STP" one of the most popular grunge bands of the era, although there were always some who questioned its relevance to the scene (especially since it did not come out of Seattle). With their second album "Purple", they have left all the critics with their jaws open wide and proved that they are not a "stunt" who wants to "surf" over the wave of the Grunge scene, but a real, kicking, and rough rock band. By the way, this album reached the 73rd place on the list of the greatest guitar albums of all time, and this is small proof of Dean DeLeo's amazing abilities. "STP" went on to record three more studio albums: "Tiny Music... Songs from the Vatican Gift Shop" (1996)", "No. 4" (1999), and "Shangri-La Dee Da" (2001). In 1997, when Scott decided to go his own way as he battled drugs and addictions, the three decided to form a new band called "Talk Show". They teamed up with singer Dave Coutts from the band "Ten Inch Men" and released one album bearing the band's name. Despite positive reviews, the album failed commercially and the band disbanded. In 2005, singer Richard Patrick of the band "Filter" together with the DeLeo brothers and drummer Ray Luzier (who later joined "Korn") formed the band "Army of Anyone". A year later they released their only album that also bears the band's name. Unfortunately here too the album received positive reviews but failed commercially. The band disbanded after a brief tour to promote the album. In 2008, after a 5-year hiatus, the members of "STP" returned to play together and two years later released their sixth self-titled album. Despite a long absence, the album reached number 2 on Billboard and was a great success. In 2012, friction began again between the band members and Scott, this time the center of the conflict was Scott's singing ability. The album "Core" celebrated 20 years and Scott wanted to go on tour to celebrate the album, but the band members objected, claiming that he would not be able to perform the vocals with the voice problems he has. Scott decided to ignore the band's demands and performed a tribute to the album on his solo tour. Apparently, the tension between the band members reached its peak because in February 2013 the band announced that Scott was fired from the band. In the same year, the three band members added an old and enthusiastic fan named Chester Bennington and together with him released an EP called "High Rise". But the romance didn't last long and Chester returned to Linkin Park. In 2017, after a well-publicized campaign to choose a singer, Jeff Gutt was chosen for the position and successfully stepped into Scott's shoes, and a year later the band released their 7th album, which also bears the band's name. In July 2019, the band together with its new singer held its first performance in Israel and it was an amazing performance that gave its mature fans a delightful taste of the 90s. In 2020 "STP" released its last album to date called "Perdida". An album that is entirely acoustic and was recorded with vintage analog instruments. Listen to the album on: 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 - 22.08.1977 "One by one they would gather, long-haired and barefoot, dreaming together and flying, children of the moon, children of the moon, children of the moon, beautiful children." - Shlomo Yidov. Dennis Wilson was, in many ways, one of those children of the moon, a free spirit and one of those beautiful young men with flowing hair. It was hardly surprising that women could not take their eyes off him, something that stirred jealousy in his brothers, especially Brian. Brian Wilson may have been the face and creative mind of "The Beach Boys", but at concerts it was often "Dennis! Dennis! Dennis!" that the girls screamed as they chased after him. Dennis, naturally, knew exactly how to take advantage of the attention and celebrate life in every possible sense. He loved the good life, frequently got himself into trouble and seemed determined to live on the edge. They called him Dennis the Menace. Dennis Wilson was never really given much of a chance to prove that he was a serious musician, either as a songwriter or as an instrumentalist. The Wilson brothers' mother insisted that Brian Wilson include Dennis in "The Beach Boys", and he joined the band as its drummer. Fans did not expect much from him musically. Dennis was generally perceived as the handsome, hedonistic drummer who loved the good life rather than as an ambitious musician. At times he was even replaced behind the drums by other musicians, but the enormous quantities of charm and charisma he brought with him were apparently everything "The Beach Boys" needed. His adventurous nature eventually led him, horrifyingly, straight into the arms of his new friend Charles Manson. Manson, an ex-convict and frustrated musician who wrote songs that went nowhere, would later become a cult leader and murderer. At the time, however, his charisma fascinated Wilson, who allowed Manson and members of his "Family" to stay at his home for a period. Before long, Manson began pressuring Wilson to use his music-industry connections to help him secure a recording contract. He was desperate to become a musician at almost any cost, and his relationship with Dennis became increasingly threatening. For Wilson, it eventually became one step too far. He distanced himself from Manson for good, but not before taking one of Manson's songs and transforming it into a "Beach Boys" recording of his own. As Brian Wilson gradually withdrew, it suddenly became apparent that another Wilson brother was capable of filling at least part of the creative vacuum. Dennis began writing more seriously. Songs and musical ideas that had accumulated over the years slowly emerged from the drawer, and a process of writing, recording and artistic maturation that stretched across much of the 1970s eventually took shape as his first solo album, "Pacific Ocean Blue", released on August 22, 1977. It is an album filled with hymns to the ocean and longing for it, like a ship that one moment drifts peacefully across calm water and the next is violently tossed from side to side. The songs reflect that same instability. "Pacific Ocean Blue" is a raw masterpiece that blends blues rock and psychedelia with shades of jazz and funky rhythms. Despite its rich instrumentation and the elaborate production created by Wilson and Gregg Jakobson, melancholy gently envelops almost every corner of the record. It seems to rise directly from somewhere deep inside Dennis, giving the album a painful emotional weight that becomes even more haunting in light of the self-destructive path that eventually led to his death in 1983, before he had even reached the age of 40. The album opens with "River Song", in which Wilson expresses an intense desire to escape the city and find a simpler, more natural existence. "Moonshine" explores intoxication, emotional turbulence and the fleeting nature of love and life. Musically, it begins with a few bars of melodic piano before expanding dramatically into a sweeping orchestral arrangement. That emotional duality follows the album almost until its final moments. It can be heard in "Friday Night" and especially "Dreamer", which opens with funky electric piano and harmonica before moving into an arrangement colored by jazz. Wilson wrote "Farewell My Friend" in memory of Otto "Pop" Hinsche, father of Billy Hinsche and father-in-law of Dennis' brother Carl. Otto had become a father figure and close friend to Dennis, and he died in Wilson's arms. Dennis later explained exactly how the song emerged: "My best friend died in my arms, and I came to the studio." He described the piece as "sort of a happy farewell", inspired partly by Otto's love of Hawaii. There is something unbearably tragic about the fact that six years later "Farewell My Friend" would be played at Dennis Wilson's own funeral. More than three decades after the album was recorded, an unexpected connection emerged between Dennis Wilson and "Foo Fighters" drummer Taylor Hawkins. Hawkins discovered "Pacific Ocean Blue" through Gregg Jakobson, Wilson's songwriting partner and co-producer, who was also the father of Hawkins' former girlfriend. Hawkins fell completely in love with the record. "I loved the honesty in it, the aching beauty of his songs and his voice," he later recalled. "It sounds like he's singing from a barstool." He became such an obsessive admirer that whenever he encountered a rare vinyl copy of the album, he bought it. When the expanded reissue of "Pacific Ocean Blue" was being prepared in 2008, Hawkins was invited to provide vocals for "Holy Man", a track Wilson had worked on but never completed with a satisfactory lead vocal. Jakobson had long heard a similarity between their naturally rough, gravelly voices, and Hawkins himself felt a genuine connection to Dennis. As he explained: "I'm a beach kid, a drummer, and I've been living with Dennis's music for a long time." Hawkins approached the task with considerable hesitation because he regarded Wilson's work as almost sacred. "Who the fuck am I to do it?" he remembered thinking. "I didn't want to piss on his Picasso." But he eventually recorded the vocal, helping complete a song that had remained unfinished for three decades. In that sense, 25 years after Wilson's death, Hawkins gave Dennis a voice one final time and became a small but meaningful part of the legacy of "Pacific Ocean Blue". In retrospect, the connection between Taylor Hawkins and Wilson feels almost chilling. Both were free-spirited drummers who proved that there was much more inside them than the musicians sitting behind the drum kit, and both died far too young. "Holy Man" now remains as an almost prophetic musical bridge between them. Over the years, "Pacific Ocean Blue" received the recognition that largely eluded it upon its original release, gradually being rediscovered as the work that finally proved Dennis Wilson was much more than the handsome drummer of "The Beach Boys". The album was also voted No. 838 in music writer and critic Colin Larkin's "All Time Top 1000 Albums". 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 - 22.08.1994 By the mid-1980s, a collective of DJs known as "The Wild Bunch" had begun throwing parties around Bristol, heavily influenced by the enormous Jamaican sound-system culture. The music filling those spaces brought together hip-hop, reggae, funk, rap and R&B, often slowed down and blended with atmospheric electronic textures. By the end of the decade, several members of "The Wild Bunch" had evolved into "Massive Attack", and the collision of styles surrounding Bristol's underground scene would eventually help lay the foundations for what became known as trip-hop. Geoff Barrow was born in North Somerset, England. After his parents divorced, he moved with his mother to the coastal town of Portishead, around eight miles from Bristol. After playing in local rock bands, drumming and DJing with hip-hop groups, Barrow found work as a trainee tape operator at Coach House Studios. That job placed him close to one of the most important records emerging from Bristol at the time, "Massive Attack"'s debut album "Blue Lines". While assisting during the sessions, Barrow was given opportunities to use spare studio time to record some of his own ideas. It was an invaluable education. Barrow was watching the language of hip-hop production being applied to music that refused to remain inside the boundaries of hip-hop, and some of those ideas inevitably found their way into the music beginning to form in his own head. That journey would eventually lead to "Dummy", the debut album by "Portishead", released on August 22, 1994. Beth Gibbons grew up on a farm in Devon before eventually moving to Bristol in an attempt to pursue music more seriously. In February 1991, Gibbons and Barrow met while attending an Enterprise Allowance course. They soon began developing material together, with some of their earliest ideas recorded in Neneh Cherry's kitchen in London while Barrow was working with Cherry's husband and manager Cameron McVey. Back in Bristol, they continued working at Coach House Studios, where Adrian Utley entered the picture. Utley, an experienced jazz and session guitarist, heard an early version of "It Could Be Sweet" coming from another room and was immediately fascinated. His musical background complemented Barrow's understanding of sampling and hip-hop production. Barrow introduced Utley more deeply to sampling techniques, while Utley brought knowledge of unusual instruments, vintage records and film soundtracks. The exchange quickly became central to the developing "Portishead" sound. Before "Dummy" was completed, the group also created the short film "To Kill a Dead Man", using it as an early vehicle for their cinematic aesthetic. That fascination with espionage films and soundtrack music would become deeply embedded in the atmosphere of their debut. Part of what made "Dummy" sound so distinctive was Barrow's approach to sampling. The album certainly used existing recordings, including music by Isaac Hayes, "Weather Report", War, Johnnie Ray and composer Lalo Schifrin, but "Portishead" increasingly developed a much stranger technique: creating material themselves and then treating it as though it had been discovered on an old record. Musicians including Adrian Utley and drummer Clive Deamer would record live performances onto analogue tape. Those recordings could then be pressed onto vinyl, physically distressed, played on turntables, scratched, sampled and reconstructed until newly recorded music sounded as though Barrow had unearthed it from some forgotten record made decades earlier. Utley later explained that Deamer's drums were recorded onto half-inch 16-track tape, sampled, mixed, pressed onto vinyl, deliberately damaged and then sampled again. Barrow described just how extreme the process could become: "We were desperately influenced by old records." He explained that they would record their own sessions, cut them onto vinyl and then put the records on the studio floor, walking across them and even using them like skateboards before sampling them again. It was not nostalgia for nostalgia's sake. They were deliberately manufacturing history, giving brand-new recordings the scars, imperfections and sonic decay of something that seemed to have survived for decades. The resulting music was slow, oppressive and strangely cinematic. Barrow built skeletal beats with samplers and turntables, surrounding them with fragments of jazz, old film scores, spy-movie atmospheres and vintage pop, while Utley's guitar and instrumental arrangements added another layer of unease. The working method behind "Dummy" was equally unusual. Barrow could construct the rhythmic and atmospheric foundations first, combining samples with live instrumentation and manipulating them until they felt like fragments of an already existing record. Gibbons would then bring lyrics, melody and that unmistakable voice, fragile and intimate yet capable of making every line sound as though it had been dragged out of some deeply personal wound. That contrast became the emotional heart of "Dummy": Barrow and Utley created a world that sounded old, damaged and almost unreal, while Beth Gibbons made everything inside it painfully human. In this respect too, "Portishead" were innovative. Until then, the artists associated with the Bristol sound, a style that would only later become widely known as trip-hop, had largely built their music around samples, beats and rappers. Beth Gibbons changed that equation. Her voice was not simply another element placed over Geoff Barrow's production. It became the emotional center of the music, dominant yet vulnerable, perfectly suited to the dark and unsettling atmosphere Barrow was trying to create. After releasing their debut single "Numb", which failed to make a significant commercial impact, "Portishead" released their second single, "Sour Times", three weeks before the album. Initially, it reached only No. 57 on the UK Singles Chart. Perhaps music this shadowy and claustrophobic simply felt more suited to winter than to the summer in which "Dummy" arrived. Whatever the reason, "Portishead"'s breakthrough was not immediate. "Glory Box", the third single, was released in January 1995 and was built around a sample from Isaac Hayes' "Ike's Rap II". It became the band's first major UK chart breakthrough, reaching No. 13 and helping push "Portishead" further into the mainstream. Chart success, however, was hardly what motivated "Portishead". The band remained deeply uncomfortable with the machinery surrounding commercial success, preferring to concentrate on the strange, cinematic world they had created rather than embrace the celebrity that increasingly came with it. Following the success of "Glory Box", "Sour Times" was re-released in the UK and this time found the audience that had initially eluded it. The single climbed to No. 13 on the UK Singles Chart, while also becoming "Portishead"'s breakthrough single in the United States, reaching No. 5 on Billboard's Alternative Airplay chart. "Portishead" crowned 1995 in sensational fashion when "Dummy" won the prestigious Mercury Music Prize, awarded annually to the outstanding album released by a British or Irish act. The competition that year makes the achievement even more impressive. "Dummy" beat a shortlist that included debut albums by "Supergrass" and "Oasis", alongside records by PJ Harvey, "Leftfield" and fellow Bristol trip-hop pioneer Tricky. "Dummy" would ultimately sell around one million copies in the UK and more than 3.5 million copies worldwide, extraordinary numbers for an album so dark, unconventional and seemingly uninterested in following the rules of mainstream pop. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 9 (US) and August 22 (UK), 1969 "Blind Faith" released their self-titled album "Blind Faith". This is a one-off masterpiece album by the "Blind Faith" supergroup, leaving a remarkable yet brief chapter in rock history. Released in 1969, it represents the culmination of immense talent, ambition, and, ultimately, the pressures that led to the band's short-lived existence. Despite the group's rapid dissolution, the album remains a classic, a snapshot of four musicians at the peak of their powers. Formation of the Band The origins of "Blind Faith" lie in the dissolution of "Cream" in late 1968. "Cream" was a groundbreaking trio that achieved massive commercial success and brought international fame to its members: Eric Clapton, Ginger Baker, and Jack Bruce. However, the band was plagued by internal tensions, primarily between Baker and Bruce, which Clapton struggled to mediate. Frustrated with the escalating animosity and tired of the commercially driven blues, Clapton sought a fresh, experimental approach to music. Meanwhile, Steve Winwood, facing similar creative constraints after 3 years with the "Spencer Davis Group", formed "Traffic" in 1967. By late 1968, "Traffic" was on hiatus for Christmas, and Winwood began jamming with Clapton at Clapton's basement in Surrey, England. These sessions were promising, they immediately discovered they had incredible chemistry, but Clapton was hesitant to commit to another group, especially one that might fall into the "supergroup" mold that the press and music industry were eagerly anticipating. The big turning point came when one evening, Ginger Baker unexpectedly appeared at a jam session with Eric Clapton and Steve Winwood. While Winwood was delighted, Clapton felt uneasy, as the casual, agenda-free sessions were now becoming something more serious. Despite Clapton’s reservations—particularly about reuniting with Baker so soon after "Cream’s" breakup—Winwood convinced him that Baker’s drumming was essential to their sound. Ric Grech, then a bassist with "Family", was later recruited to complete the lineup, leaving his former band in the middle of a U.S. tour. The band was officially announced in February 1969, and the name "Blind Faith" was chosen by Clapton to reflect what the fans had as they came out to see them without hearing any of their music first. The Album Immediately upon it's release, "Blind Faith" became an instant hit, topping the charts in both the UK and the US. Despite its brief runtime of just six tracks, the album is a testament to the band’s collective prowess and musical synergy. The album opens up with "Had to Cry Today" - A blues-infused track written by Winwood that kicks off the album with powerful riffs and exceptional interplay between Clapton’s guitar and Winwood’s vocals. Then come the classic "Can’t Find My Way Home". An acoustic ballad, featuring Winwood’s ethereal vocals, and one of the album’s standout tracks that remains a staple of classic rock radio. Winwood wrote this song when he was only 21 and Clapton played acoustic guitar on this track, which is something he rarely did. The only track on the album not written by a band member is "Well All Right". A high-energy cover of Buddy Holly’s song, this track showcases the band’s ability to reinvent rock and roll standards with fresh vigor. Although the reason for selecting this particular Buddy Holly song is unclear, its excellent arrangement on the album likely justifies its inclusion. Then comes the masterpiece "Presence of the Lord" - Clapton’s spiritual anthem, this track evolves from a quiet ballad into a full-blown rock epic, featuring one of his most memorable solos. Eric Clapton wrote it as a personal testimony of faith, marking the first time he wrote all the lyrics for a song. Though deeply personal, Clapton chose not to sing it himself, opting instead for Steve Winwood’s lead vocals, as he believed Winwood was a superior singer. The song reflects Clapton's growing comfort with his life after leaving "Cream", but also his struggles with drug addiction and his feelings for George Harrison's wife, whom he later married. Clapton described the track as a "song of gratitude," expressing thanks to a higher power for whatever happens, a theme he would revisit in his solo work during the 1970s. The fifth track - "Sea of Joy" - was written by Winwood, and it blends rock, folk, and psychedelia, enhanced by Ric Grech’s violin work. The album closes with the extended jam of "Do What You Like" , allowing each member to shine in their respective solos, but also highlighting the band’s internal dynamics. Written by Ginger Baker this 15-minute track dominates the album’s second side, with Afro-funk vibe which foreshadows the creative direction Baker would later explore with his band "Ginger Baker's Air Force" and in his collaborations with African music legend Fela Kuti. Album Cover Controversy The album cover in the UK, designed by Bob Seidemann, was controversial from the start. Featuring an 11-year-old girl named Mariora Goschen, topless, holding a silver airplane hood ornament. Many found it disturbing, leading to alternative covers being used in some regions. This controversy only added to the mystique of the album. The Short-Lived Legacy The first "Blind Faith" concert was on 7 June 1969ת before the album was released, in front of an estimated 100,000 fans in Hyde Park, London, but they felt that they had not rehearsed enough and were unprepared. "Blind Faith" disbanded just weeks after the album release, largely due to the pressures of expectations and the internal conflicts that arose. Just weeks later of the album release, "Blind Faith" played their final show in Hawaii, on 24 August. To Clapton, the band felt too much like another version of "Cream", which he wanted to move beyond. He was disillusioned with the “supergroup” concept and the fame it brought. When Delaney and Bonnie invited him to join their group, he eagerly accepted, forming the more low-key "Delaney & Bonnie and Friends" and leading to the breakup of "Blind Faith". Winwood eventually returned to "Traffic", while Baker formed "Ginger Baker’s Air Force". Ric Grech also went on to various other projects. Despite its short existence, "Blind Faith’s" sole album remains a landmark in rock music. It captures the spirit of late-1960s experimentation and the extraordinary musicianship of its members. "Blind Faith" is a testament to what could have been if the band would have continued together, and a reminder that even fleeting collaborations can produce timeless art. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website