Singer, songwriter and bassist Phil Lynott is best known as the leader of the band "Thin Lizzy", but he is certainly much more than that. (Photo: Rockandrollgarage.com) Here are 42 facts about the talented musician: 1. He was born in England on August 20, 1949 but grew up in Dublin, Ireland. 2. In his youth he used to visit the church regularly and even seriously considered becoming a pastor. 3. He loved the "MARVEL" comic books. 4. The name for the band "Thin Lizzy" he based on the character "Tin Lizzie" from the children's comic "The Dandy". (Photo: Fanart.TV) 5. He was a movie buff. His favorite movie was , Casablanca". 6. Maybe a little hard to believe but he also served as a model. 7. In 1968, when he was only 19 years old he had a son born out of wedlock. The boy Macdaragh Lambe was sent for adoption and only discovered in 2003 that his father was Phil Lynott. 8. Phil Lynott also had a brother and sister whom his mother gave up for adoption. Phil did not know about it either and his mother revealed it in a book she published after his death. 9. Believe it or not Phil Lynott never issued a driver's license. 10. He always used to sit in the front seat next to the driver even in the band's shuttle vehicles and when he took taxis. 11. In 1968 he formed the band "Skid Row" (unrelated to the American band from the '80s), of which Gary Moore was also a member. 12. In 1969 he formed "Thin Lizzy" in Dublin, a band that would inspire many hard rock and heavy metal bands that would follow. 13. Lynott and his friends from "Thin Lizzy" objected to the release of the song "Whiskey in the Jar" as a single, they thought the song did not represent their sound and style very well. The record company insisted and released it as a single that brought the band its first hit. 14. During the recordings of the second album "Thin Lizzy" in 1972 Lynott was a member. for a very short time in a supergroup called "Baby Face" and included Ritchie Blackmore and Ian Paice from "Deep Purple" and Paul Rodgers from the bands "Free" and "Bad Company". 15. He left the supergroup shortly afterward because he did not want to be a small part of a band but to lead a band of his own. 16. Due to the financial difficulties of Lynott and his friends at "Thin Lizzy" at the time, they released in 1973 an album that mostly included covers of "Deep Purple" songs under the name "Funky Junction". 17. On this album the band members received 1,000 Pound but they did not receive any credit on the album cover. Even the picture of the band featured on the cover was of another band. Lynott did not want to sing on this album as he thought (and rightly so) that his voice did not match Ian Gillan's. 18. He adored Jimi Hendrix in part because he too was dark-skinned. 19. On the 10th anniversary of Jimi Hendrix's death, Lynott, he recorded with the original members of "Thin Lizzy" a song called "Song For Jimi". It was a one-time tribute and the song was released in 1980 as a single. 20. Lynott admired "ZZ Top" He admitted that the song "Leave This Town" from the album "Renegade" was greatly influenced by his admiration for the band. 21. He wrote the album "Johnny the Fox" from 1976 when he had hepatitis. He was hospitalized and had an acoustic guitar and that's how he wrote most of the songs. 22. He wrote the song "Warriors" from the album "Jailbreak" about hard drug addiction, referring to addicts as "warriors". He thought of Jimi Hendrix and Duane Allman when he wrote the song. 24. The songs "Cowboy Song" and "Massacre" dealing with American themes he wrote after his band began performing in the US regularly. 25. He played bass and sang on the "So Alone" album by Johny Thunders, guitarist "The New York Dolls" released in 1978. 26. This was not Lynott's only flirtation with the Punk Rock genre, that year he was also part of a side project that included members of the "Sex Pistols" and was called "Greedy Bastards". 27. He was one of the judges in the 1978 Miss World pageant. 28. He participated in Jeff Wayne's War of the Worlds project and contributed his voice to the album "Jeff Wayne's Musical Version of the War of the Worlds" which was released in 1978, as Parson Nathaniel. 29. Lynott collaborated with Gary Moore on the album "Back on the Streets". He sang and played bass and guitar and even wrote with Gary Moore some of the songs for the album, in particular, the hit "Parisienne Walkways". 28. In 1982 he collaborated with guitarist John Sykes on the song "Please Don't Leave Me". This collaboration was the trigger for the addition of the talented John Sykes later that year to "Thin Lizzy" as a replacement for the equally talented Snowy White. 30. He returned to collaborate with Gary Moore on his 1985 album "Run for Cover," where he also sang, played bass, and co-wrote some of the songs. 31. Despite the relatively short period in which he was active, Phil released along with "Thin Lizzy" no less than 12 studio albums, the same number of live albums, and 7 EPs. (Photo: Harry Potts) 32. In parallel with his work with "Thin Lizzy" he released two solo albums in 1980 and 1982. On both albums, he collaborated with other artists including Mark Knopfler, Jimmy Bain, and Midge Ure, while the first album also featured Snowy White and Gary Moore. 33. The song "Yellow Pearl" which he co-wrote with Midge Ure and which was included on the solo album "Solo in Soho" from 1980, served as the opening intro of the weekly TV show "Top Of The Pops" from 1981 to 1986. 34. Lynott helped Midge Ure and "Ultravox" get a recording contract. 35. After hearing the band's demo tape, Lynott also helped "Boomtown Rats" and Bob Geldof to get a recording contract. 36. Despite the above, the two did not return the favor and did not invite him and his band to participate in the "Live Aid" show, even though they both were among its organizers. 37. Lynott released two poetry books one "Songs for While I'm Away" which was released in 1974 and the other "Philip" which came out in 1977. 38. Phil Lynott died on January 4, 1986, at the age of only 36, as a result of complications caused by increased drug and alcohol use. 39. The list of artists influenced by Phil Lynott's works is long and varied and songs he has written have been covered by artists ranging from Sade through "Pulp" to "Metallica". 40. In 2005 a statue of Lynott was placed on Grafton Street in Dublin, Ireland. 41. On August 20, 2021, his 72nd birthday, a monument in his honor was unveiled in the center of his hometown of West Bromwich. The unveiling ceremony of the 2-meter-high statue is broadcast live for the benefit of his fans all over the world. 42. In addition and simultaneously, a documentary called "Phil Lynott: Songs For While I'm Away" was released to theaters that day. It tells the story of Phil Lynott and includes interviews with James Hetfield, Adam Clayton, Midge Ure, and more: "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Dimebag Darrell's Guitar playing was so different and unique and his guitar sound was so innovative that he literally created with his band - "Pantera" a new sub-genre in metal - Groove-Metal, which would later also form the basis for Nu-Metal. (Photo: Martyn Goodacre) He is one of the "Transformers of Metal" do not know who these are? Come read the review we wrote on Pantera's Cowboys from Hell, and you will understand. The band changed their face from end to end on this album and moved from the Glam Metal scene to Heavy and Thrash Metal, with Dimebag having a huge impact on its sound and style, being among those primarily responsible for its huge success. Let's tell you some interesting facts about the very talented guitarist : 1. He was born on August 20, 1966, in Ennis, Texas, USA, as Darrell Lance Abbott. 2. The first instrument he played as a child was the drums. He switched to guitar only at the age of 12. 3. Already at the age of 14 he won the competition for young guitarists on the radio station Q102 from Texas USA. He continued to win many more competitions until he was eventually banned from the competition to give others a chance to win as well. 4. His father was a creator and producer in the field of Country music, Darrell spent quite a bit with him in the studio and absorbed from him. This influence among other things led to the project and the album "Rebel Meets Rebel" released in 2006 combined country, blues, and metal. 5. The first live show he attended was "Kiss". He was also part of the "Kiss Army". 6. Dimebag's admiration for "Kiss" guitarist Ace Frehley was so great that he said that without Ace Frehley there would be no Dimebag. 7. Dimebag even had an Ace Frehley tattoo on his chest. 8. He stated that the most influential guitarists (besides Ace) on him, were Tony Iommi, Eddie Van Halen, and former "Def Leppard" guitarist Pete Willis. 9. In 1989 Dave Mustaine asked him to join "Megadeth". He refused because the invitation did not include his brother, drummer Vinnie Paul. 10. He contributed quite a few solos to the band "Anthrax" until "Anthrax" bassist Frank Bello stated that he was actually the sixth member of the band. 11. This may surprise some of you, but he loved "Nickelback" and even contributed a solo to them in the cover version of the song "Saturday Nights Alright For Fighting" by Elton John. 12. The Love was mutual "Nickelback" Sampled his solo as part of their song "Side of a Bullet". 13. He changed his name from Diamond to Dimebag only on the 1994 album "Far Beyond Driven". 14. He participates in the soundtrack of the movie "Buffy the Vampire Slayer" in the song "Light Comes Out of Black". 15. There is an alcoholic cocktail he invented and named after him - "Black Tooth Grin". 16. He also contributed a solo to the legendary King Diamond on his 1998 album "Voodoo". 17. He had another side project with his brother Vinnie Paul - the cover band "Gasoline". 18. He had a regular column in "Guitar World" magazine where he wrote about the great instrument and gave tips for playing the guitar. In 2003 his writings became the book "Guitar World Presents: Dimebag Darrell's Riffer Madness". 19. He was most identified with Dean Guitars. Already at the age of 16, he got one like this. 20. His solo in the song "Cemetery Gates" from the album "Cowboys from Hell" was ranked in a poll conducted by "Guitar World" magazine in 35th place on the list of the 100 best solos of all time. 21. He was murdered on December 8, 2004, by a disturbed fan, during a performance of "Damageplan" in Columbus Ohio, he was then only 38 years old. 22. His killer, was upset about the fact that "Pantera" had disbanded, and this was probably the reason for the murder. 23. He was buried in his hometown of Arlington. The coffin was decorated with figures of members of the band "Kiss" whom he admired. 24. Legendary guitarist Eddie Van Halen placed one of his guitars (the famous Bumblebee guitar with the stripes in yellow and black) that Dimebag loved, inside the coffin. 25. Eddie intended to make a copy for Dimebag but after his assassination, Eddie Van Halen said Dimebag's playing was so original, so he only deserves the original guitar. 26. Beyond Eddie Van Halen's Bumblebee guitar with whom he was buried, bottles of his favorite drink "Crown Royal" were also placed in his grave. The coffin bore the "Kiss" logo and was donated by Gene Simmons. 27. Guitarist Zakk Wylde was a friend of Dimebag. He dedicated the song "In This River" by "Black Label Society" to him, The song also includes a very touching clip featuring the characters of Dimebag and Zack as children. 28. The song "Aesthetics Of Hate" by the band "Machine Head" was written by Robert Flynn after he saw a profanity written by a guy William Grim in an extreme right-wing forum, in which he writes that Dimebag was untalented and everyone who admires him is an inferior person. 29. Dimebag was assassinated on the exact same day that John Lennon was assassinated in 1980, also shot by a gun from a disturbed fan. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written By: Moti Kupfer Release date - 20.08.1991 "Hey, yeah, yeah, Di bi bi bip, di bi bi bi di Bi di-di-le-di ba da ba da ba da ba Da ba da ba da ba da ba" Don't try this at home, as they say, but when Chris Barron happily let his voice bounce through a song about "Two Princes", everything seemed to flow almost effortlessly for him and for "Spin Doctors". Just how far did that song travel? All the way to Israel. In 1994, far from New York and inside the Telad studios in Ramat HaSharon, a cult comedy show called "Ha-Comedy Store" began airing. Built around a rapid succession of sketches performed by a group of comedians, the program included Zvika Hadar, who created one of its most memorable characters, Jojo Khalastra. Jojo opened his segment with a song that by then was familiar to millions around the world: "Two Princes" by "Spin Doctors". It would eventually become the music that closed another successful episode of "Ha-Comedy Store". But before that hit became quite so enormous, "Spin Doctors" spent roughly a year and a half watching their debut album "Pocket Full of Kryptonite" slowly fight its way out of relative obscurity. The album was released on August 20, 1991, but its commercial explosion would come much later. Even after a year and a half, drummer Aaron Comess recalled that it had sold only around 60,000 copies, respectable numbers but hardly an indication of the phenomenon it was about to become. During the mid-to-late 1980s, rock's mainstream was dominated on one side by pop-friendly hair metal bands such as "Bon Jovi" and the dirtier, more dangerous excess of bands like "Mötley Crüe", while another corner of the landscape belonged to darker alternative acts such as "R.E.M." and "The Cure". Then "Grateful Dead" scored an unexpected mainstream resurgence in 1987, helping bring the culture surrounding the jam bands of the 1960s and 1970s back into wider view. Veteran acts including "The Allman Brothers Band", "Little Feat" and "The Doobie Brothers" also returned to activity around this period. At the same time, a new generation of improvisation-heavy bands was beginning to emerge in the space between the end of the 1980s and the beginning of the 1990s. "Widespread Panic", "Phish" and "Blues Traveler" built devoted audiences largely through relentless touring and live performances, but none had yet truly carried the jam-band mentality into mainstream pop. "Spin Doctors" were about to change that. The band's roots can be traced to late-1980s New York and a group originally known as "Trucking Company", which included guitarist Eric Schenkman and harmonica player John Popper. Chris Barron, a friend of Popper's from Princeton High School, would eventually become part of the developing lineup. Chris Barron was born on February 5, 1968, in Honolulu, Hawaii, where his father was stationed during the Vietnam War. Years later, Barron would become instantly recognizable not only for his elastic voice but also for the wonderfully eccentric hats that became part of his early-1990s image. After his family returned to the United States, Barron attended Princeton High School in New Jersey, where he met John Popper. The two became close friends and regularly jammed together after school. Barron later spent a year studying at Bennington College in Vermont and played with two local bands before returning to Princeton. He took a restaurant job while throwing himself increasingly into songwriting. During this period, he wrote early versions of material that would eventually include "Jimmy Olsen's Blues" and "Two Princes". His friendship with Popper would prove crucial. Popper was increasingly committed to "Blues Traveler", but he was also involved with "Trucking Company". Barron eventually became involved with the latter project, joining a musical circle that would provide the foundations for "Spin Doctors". When Popper chose to concentrate full-time on "Blues Traveler", Barron and Schenkman continued developing the other band. Drummer Aaron Comess entered the picture and eventually brought bassist Mark White into the fold, completing what would become the classic "Spin Doctors" lineup by 1989. The musical transformation also demanded a new identity. "Trucking Company" became "Spin Doctors", a name coined by Schenkman that suited a group whose music refused to stay comfortably inside one category. Funk, blues, rock, pop and the free-flowing mentality of the jam-band scene were all becoming part of the same musical conversation. With a stable lineup finally in place, "Spin Doctors" began rehearsing and playing live with almost obsessive intensity. They worked the New York club and college circuit, gradually building an audience through performances that were rarely identical from one night to the next. The band encouraged the taping of its concerts, embraced improvisation and developed extended jams that naturally invited comparisons with the jam-band culture associated with acts such as "Grateful Dead". That live experience was essential to the chemistry heard on "Pocket Full of Kryptonite". This wasn't a group assembled inside a recording studio and taught how to sound like a band. These were musicians who had already learned to communicate through countless hours onstage, stretching songs, reacting to one another and allowing funk grooves to collide with blues, rock and improvisation. "Pocket Full of Kryptonite" was recorded during 1990 at several New York-area studios, including the Power Station and RPM Studios in Manhattan, before finally being released on August 20, 1991. Yet the album did not immediately explode. Its ascent was gradual, driven by touring, word of mouth, radio and eventually MTV. Even the band apparently had to push its label to recognize the commercial potential sitting on the record. Comess later remembered suggesting songs including "Two Princes", "Little Miss Can't Be Wrong" and "Jimmy Olsen's Blues", only to be told that they were not hits and that the band wasn't grungy enough for the moment. Eventually, "Little Miss Can't Be Wrong" gave "Spin Doctors" the breakthrough they needed. Behind its playful rhythm and Barron's loose vocal delivery was something considerably more personal. The singer has repeatedly explained that the inspiration was not an ex-girlfriend, as many assumed, but his stepmother. Asked directly about its origins, Barron said: "That song is actually about my stepmom, my dad's ex-wife." Years later, Barron revealed just how discouraging she had been toward his musical ambitions. He recalled that she predicted he would end up working as a janitor and playing guitar for rats in a school basement. Instead, "Little Miss Can't Be Wrong" climbed to No. 17 on the Billboard Hot 100. Then came the song that changed everything. "Two Princes" transformed "Spin Doctors" from a successful touring band into one of the most recognizable rock acts of the early 1990s. Barron frames the lyric almost like a miniature fairy tale: two princes want the same woman, but one offers wealth and status while the other can offer little beyond love and sincerity. The fantasy imagery was no accident. Barron was deeply interested in literature and later explained: "I loved The Lord of the Rings and The Hobbit and Sir Gawain and the Green Knight." He had written the song when he was only 19, still carrying his childhood fascination with wizards, kings, queens and fantasy stories into his songwriting. The contrast is part of what makes "Two Princes" so effective. The story sounds almost medieval, but the music couldn't be more immediate: Schenkman's sharp guitar attack, White's elastic funk bass, Comess' deceptively busy groove and Barron's unmistakable vocal phrasing turn a simple romantic proposition into one of the defining rock singles of the decade. It would eventually reach No. 7 on the Billboard Hot 100, taking "Spin Doctors" somewhere that few of their fellow jam-scene contemporaries had managed to go: straight into the heart of mainstream pop culture. Strong airplay for the first two singles on MTV, followed by the band's appearance on "Saturday Night Live" in October 1992, gave "Pocket Full of Kryptonite" another major boost. The album was certified Gold in September 1992, reached the one-million mark in January 1993 and entered the Billboard Top 10 the following month. By June 1993 it had gone triple platinum in the United States. Eventually, it sold more than five million copies in the U.S. and another five million internationally, an extraordinary journey for an album that had initially taken its time finding an audience. Another standout is the opening track, "Jimmy Olsen's Blues", written from the perspective of Jimmy Olsen, the young photographer from the Superman universe. But Barron's clever twist is that this isn't really a song about Superman at all. Instead, he focuses on the ordinary guy living in the shadow of Clark Kent and hopelessly attracted to Lois Lane. Jimmy has no superpowers and no heroic alter ego, just jealousy, insecurity and the impossible task of competing with Superman. In an album named after the one substance capable of weakening the Man of Steel, beginning with the frustrated voice of an ordinary man trying to compete with him feels particularly appropriate. "What Time Is It?" turns a seemingly innocent question into one of the album's loosest funk-rock workouts. The title sounds like nothing more than a musician asking when the band is supposed to play, while stories surrounding the song have also connected the phrase with Barron and the band's marijuana-fueled lifestyle at the time. There is no sufficiently reliable source confirming that specific story word for word, however, so it is better treated as part of the mythology surrounding the song rather than established fact. Elsewhere, "Pocket Full of Kryptonite" repeatedly returns to relationships and the complicated balance required to make them work, exploring attraction, dependence and the need for enough emotional space to allow both people to breathe. The closing "Shinbone Alley/Hard to Exist" moves away from the album's brighter pop instincts and back toward the environment that created "Spin Doctors" in the first place. It paints a restless portrait of life in New York City, filled with the contradictions, characters and rough edges of the streets around them. The extended track also gives the musicians room to stretch out, reconnecting the studio album with the improvisational jam-band mentality that had shaped them onstage long before MTV discovered "Two Princes". And there is even an Israeli connection to the later history of "Spin Doctors". After Anthony Krizan left in 1996, Israeli guitarist Eran Tabib was selected following an audition process and became the band's guitarist. He remained with the group until 1999 and played guitar on their fourth studio album, "Here Comes the Bride". For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

One of the biggest and most influential vocalists in the history of Rock - Robert Plant celebrates his birthday today !!! (Photo: Michael Putland) Here are 20 interesting facts about him: 1. It has a tenor voice with an extra wide range that allows him to sing in a large variety of music styles, without difficulty. 2. One of the great influences on him musically is Elvis Presley. Plant also tends to warm up his voice before performances with Elvis's songs. 3. He has a regular ritual to iron his clothes before performances. One of his odd demands in contracts is that he has an ironing board backstage. 4. He was not Jimmy Page's first choice when he started putting together what would later become "Led Zeppelin". Page thought of Steve Marriot from "Small Faces", Terry Reid, Donovan, and Stevie Winwood before he thought of Robert Plant. 5. Plant was the one who recommended John Bonham as the band's drummer to Jimmy Page. 6. Six of the nine songs on the debut album "Led Zeppelin" were written in collaboration with Plant, but he did not receive credit for them due to a contractual commitment to the previous record company. 7. The song "Babe I'm Gonna Leave You" won a cover version on Led Zeppelin's debut album following Page and Plant's love for Joan Baez's version of the song, from 1962. 8. The lyrics to the song "Black Dog" were written by Robert Plant about a dog that walked around near the recording studio during the recording of the album "Led Zeppelin". 9. He wrote the lyrics for "Immigrant Song" from the album "Led Zeppelin III" after Led Zeppelin visited Iceland, as the lyrics reveal: "We Came From the Land of Ice and Snow". 10. The song "Kashmir" was influenced by Robert Plant's visit to Morocco. 11. He recorded the album "Presence" in a wheelchair after having a car accident. 12. On July 26, 1977, his son Karac, then only 5 years old, died of a stomach virus. Planet experiences collapse due to the tragic event. 13. He dedicated the song "All My Love" from the album "In Through The Out Door" to his son Karac. It was not the only song. "I Believe" from his 1993 solo album "Fate of Nations" was also dedicated to him. 14. He recorded the album "In Through The Out Door" with "Led Zeppelin" in studios owned by "ABBA". 15. He donated $ 10,000 to a radio station in Oregon that promised they would no longer play "Stairway To Heaven" again. 16. In response to the "Beastie Boys'" samples of "Led Zeppelin's" songs on their debut album "Licensed to Ill", Plant thought of sampling "Beastie Boys'" tracks on his fourth album "Now And Zen". In the end, he sampled excerpts from the mother band "Led Zeppelin". 17. He deliberately released the album "Now And Zen" on February 29, 1988, a unique date that only returns once every four years, apparently because this is his fourth album. 18. Plant has no musical education. Despite this, Plant was ranked by VH1 in third place on the list of greatest rock singers of all time. They also ranked it 37th among the sexiest artists. 19. In 2006 "Hit Parader" magazine crowned Planet the best metal singer of all time, ahead of Rob Halford, Bruce Dickinson, Ronnie James Dio, David Coverdale, and Ian Gillan who celebrated his birthday yesterday. 20. In 2011, Rolling Stone magazine readers ranked Plant number one on the list of greatest singers of all time. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 19, 1985, Yngwie Malmsteen released his second album - “Marching Out”. As the album title hints ("Yngwie Malmsteen's Rising Force"), in this album Yngwie decided to move from a solo virtuoso into something that felt like a full band effort. After the instrumental fireworks of “Rising Force”, which stunned the metal world a year earlier, Yngwie moved quickly to record a follow-up. But this time, the atmosphere was different. Jeff Scott Soto, who had sung only two tracks on the debut, now became a central voice—literally and figuratively. He co-wrote four songs and sang on eight of them, giving the record a far more collaborative, band-oriented identity. Alongside him stood Jens Johansson on keyboards, his brother Anders Johansson on drums, and bassist Marcel Jacob, whose entry into the fold would spark a lifelong creative bond with Soto (Soto and Jacob would go on to form "Talisman", and side projects like "Human Clay" and "Humanimal". Still, as much as it looked like a band project, it was always Yngwie’s empire. “Marching Out” was recorded at Cherokee Studios in Los Angeles and Skyline Studios in Topanga, California, with Yngwie himself handling production. The album begins with “Prelude”, a brief instrumental that sets the stage before the explosion of “I’ll See the Light, Tonight”—one of Yngwie’s most iconic songs with a frequent presence on his live setlist. Its opening riff, Anders’s thunderous drums, and Soto’s piercing scream combine into a dramatic statement. The chemistry between Soto and Malmsteen is undeniable, their co-writing producing a track that balances virtuosic guitar with ferocious vocals. On 1:15 Min. Yngwie shows his phenomenal skills with a 1 min solo starting as neo-classic developing into full metal shredder. “Don’t Let It End” contrasts with a delicate acoustic intro and falsetto vocals before swelling into an atmospheric Hard Rocker. Yngwie is relatively subdued in his playing, leaving more room for Soto to show his vocal dynamics. “Disciples of Hell” is one of the best songs on the album. It starts with a clasic-acoustic 1 minute guitar intro before it shifts gears into a darker territory, with Soto adopting a deeper timbre as Malmsteen unleash his classical-metal fury. Perhaps the most memorable anthem in the album is “I Am a Viking”. a slower, darker march that leans into myth and fantasy. Soto’s commanding growl and Yngwie’s perfectly placed solo elevate it into one of the album’s classics. The instrumental “Overture 1383” finds Yngwie blending his classical influences with hard rock rhythms, balancing acoustic flourishes and electric shredding. It’s a reminder that behind the speed and fire lies a composer’s ear. “Anguish and Fear” then ups the tempo again, with Yngwie and Jens trading blistering solos in a guitar-keyboard duel that makes the track one of the album’s highlights. “On the Run Again”, a reworked version of Yngwie’s earlier Steeler track “Victim of the City,” has the most pure "heavy metal" riffs, and sees Soto attack the vocals with rock grit. “Soldier Without Faith” expands into over 6:00 minutes epic territory, with its extended intro of explosions and keyboard atmospheric. “Caught in the Middle” follows with heavy riffs and relentless double bass drumming, only to be lifted mid-song by another inspired guitar-keyboard exchange. Finally, the album closes with the title track, “Marching Out”, a showcase of both power and restraint. The shred gives way to a tender, melodic fade, leaving the listener suspended, wanting more. Commercially, “Marching Out” was a success, reaching No. 52 on the Billboard 200 and holding its ground for 28 weeks. Critics were split—some praising its raw aggression compared to “Rising Force”, others calling the lyrics and fantasy themes overindulgent—but fans recognized it as the true launch of Yngwie’s career as a leader of his own "Rising Force". This would also be the last studio album with Jeff Scott Soto, though he briefly returned during the “Trilogy” tour before Yngwie’s near-fatal car accident cut it short. Regrettably, Soto did not reappear as lead vocalist until the 1996 album "Inspiration", but what they created here has endured as one of the most important vocal-guitar collaborations in neoclassical metal. In the end, “Marching Out” is both a guitarist’s triumphant statement and one of Neoclassical metal most influential albums. It remains one of Yngwie’s most accessible and enduring works, a snapshot of the moment when classical music met heavy metal guitar shredder. 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 the Swedish singer best known as the lead vocalist of "Europe" - Joey Tempest: 1. He was born in Stockholm, Sweden as Rolf Magnus Joakim Larsson, on August 19, 1963. 2. At the age of eight, he showed early musical interest by recording songs with a tape recorder off the radio and television. 3. He learned to play the piano and, with the help of a friend of his father's, began playing basic chords on his sister's acoustic guitar. 4. During his teenage years, Joey played in several bands, including "Jet", "Blazer", "Made in Hong Kong", and "Roxanne", where he took on various roles like rhythm guitar, bass, and lead vocals. 5. His musical influences included bands like "Thin Lizzy" and "Led Zeppelin". 6. In 1979, Joey adopted the stage name "Joey Tempest," inspired by both Shakespeare's "The Tempest" and the song "Sparks of the Tempest" by the band "Kansas". 7. Together with guitarist John Norum, bassist Peter Olsson, and drummer Tony Reno, he formed the band "Force", which later evolved into "Europe". (Photo: Fanart.TV) 8. "Force" gained recognition in the Stockholm suburbs and changed their name to "Europe" after winning the Rock-SM music competition in 1982. 9. "Europe" released their self-titled debut album in 1983, containing songs like "In the Future to Come" and "Seven Doors Hotel" which was the first single for the band and one of the first songs Joey ever wrote, inspired by the Italian horror film "The Beyond". 10. Already at this point Joey was the main songwriter for the band, writing all songs, lyrics and music, except one instrumental track. 11. In 1984 the band released their second studio album "Wings of Tomorrow", setting the foundation for their rock sound. Again Joey wrote all tracks except an instrumental track written by John Norum. 12. Four singles were released from this album, including "Dreamer" and "Open Your Heart" (which will be re-recorded for the album "Out of This World"). 13. The huge breakthrough came in 1986 with the band's third album "The Final Countdown" which propelled Europe to international stardom, with the title track becoming a worldwide hit. 14. Again Tempest penned all of Europe's biggest hits from that album, including "Rock the Night" "Cherokee", "Danger on the Track", "Carrie" and the iconic "The Final Countdown". 15. Judging only by the outtake from the album - "On Broken Wings", then this album was just perfect. 16. "Europe" continued to release albums like "Out of This World" (1988), "Prisoners in Paradise" (1991), and then went on a hiatus in 1992 after a farewell concert. 17. In 1995, Joey Tempest released his solo debut album, "A Place to Call Home," showcasing his singer-songwriter skills and selling well both in Sweden and internationally. 18. "Azalea Place" followed in 1997, exploring more experimental and improvised musical territories. 19. "Joey Tempest," his third solo album, was released in 2002 and demonstrated his continued evolution as a musician. 20. Outside of "Europe", Joey contributed to various projects, Including on his friend John Norum's "Face the Truth" album and writing and producing for artists like Tone Norum - John Norum's sister. 21. "Europe" made a comeback in 2004 with "Start from the Dark"ת followed by the albums "Secret Society" (2006), "Last Look at Eden" (2009), "Bag of Bones" (2012), "War of Kings" (2015), "Walk the Earth" (2017). 22. In Addition to the 11 Studio albums with "Europe" Joey released 'with the band an EP, 5 Compilations albums, and 8 Live Albums, On of the is "Almost Unplugged" from 2008, containing stripped-down versions of "Europe" songs and some covers songs of "Pink Floyd", "Led Zeppelin", "Thin Lizzy", "UFO" and more. 23. Joey Tempest resides in London with his wife Lisa Worthington and their children, James Joakim and Jack Johnston Larsson. 24. He does not have any social media pages apart from the official ones for "Europe" listed on their website. 25. Known for his charismatic stage presence, beautiful writing ability, and powerful vocal range, he continued to be a significant presence in the music industry. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Today, August 19, is John Deacon's birthday!!! (Photo: iheart.com) Here are Some interesting facts about "Queen"'s bass player: 1. John's first job was distributing newspapers. 2. On "Queen"'s debut album his name was written as "Deacon John". It was an idea of drummer Roger Taylor who thought it would sound more interesting and Deacon agreed. 3. In addition to his involvement in writing and performing the songs John was also involved in the financial management of "Queen". Rumor has it that he continues to be involved in Queen's business side even today. 4. For most of his years with "Queen" John played "Fender Precision Bass". 5. Before joining the band he studied electronics at Chelsea College London. 6. John is known as an avid fan of fried peanuts. 7. In 1972 he created the amplifier "Deaky Amp" which Brian May used throughout His career in "Queen". The amplifier got its name from the nickname that John had among the band members "Deaky". 8. The death of Freddie Mercury greatly affected him and in 1997 he finally retired from the music business and did not continue with "Queen" like Brian May and Roger Taylor. 9. His last appearance as a full member of the band "Queen" was during the Freddie Mercury Tribute Show held on April 20, 1992. 10. John has written at least one song in every band album since the third and is responsible for creating quite a few hits like: "Misfire", "You're My Best Friend", "Another One Bites The Dust", "I Want to Break Free" and many more good ones. 11. He wrote the song "You're My Best Friend" for his wife Veronica Tetzlaff. In the song, he plays on an electric piano which he learned to play right before he wrote the song. 12. At "Queen's" shows John had a small bar hidden behind his amplifier which contained a variety of wines, beers, and soft drinks. 13. In 2013 a new strain of dragonfly was discovered in Brazil and the name given to it is "Heteragrion johndeaconi" after John. 14. The only thing John wanted to hear on his monitor at "Queen's" shows was Roger Taylor's snare drum and hi-hat. 15. In 1985 he bought a Porsche, had an accident with it, and lost his driver's license. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

One of the greatest singers of our generation - Ian Gillan is celebrating his birthday today !!! (Photo: Fin Costello) He was born on 19 August 1945 in the London area, England. He absorbed music from an early age. His grandfather was an opera singer, his uncle was a jazz pianist and his grandmother taught ballet. As a child Gillan was a soprano singer in the local church choir. The first band he was a member of was "Garth Rockett and the Moonshiners". He was their drummer and singer. Gillan soon realized that he was unable to sing and play drums at the same time and decided to abandon the drums in order to concentrate on singing. In 1962 he joined the band "Ronnie and the Hightones", which changed its name with Gillan joining to "The Javelins". The band played covers of rock and roll stars like Chuck Berry, Jerry Lee Lewis and Little Richard. In 1964 he moved to "Wainwright's Gentlemen" that played mostly soul music. The big change came in the mid-60s with the band "Episode Six" which also included bassist Roger Glover. In 1969 he was asked by Ritchie Blackmore, Jon Lord and Ian Paice to join "Deep Purple's" MKII lineup, after seeing him perform. In "Deep Purple" Gillan helped his bandmates to pursue their vision to change the band's musical direction and make it heavier. There is no doubt that "Deep Purple" would not have sounded as it did in its MKII lineup, had it not been for Ian Gillan. But Gillan's powerful and dynamic singing not only shaped "Deep Purple's" musical direction, it was a milestone for the hard rock and heavy metal singers who followed. It could be said that without Gillan's famous screams in the song "Child In Time", we would probably be left to this day only with "Clean" singing and without "Growling". In 1973, after co-creating "Deep Purple" masterpieces, such as "In Rock" and "Machine Head", Gillan left the band. In addition of being part of "Deep Purple", Gillan also played the lead role in Andrew Lloyd Webber's 1970 rock opera "Jesus Christ Superstar". After about two years in which he did not engage in music since he left "Deep Purple", Gillan formed the "Ian Gillan Band", whose style was more of jazz-fusion music. The band was not a success and in 1978 Gillan disbanded it and formed with keyboardist Colin Towns another band called "Gillan", which tended towards hard rock. The band was active until 1982, disbanding after an injury of Gillan's vocal cords, which forced him to retire and rest. In 1983, Gillan joined "Black Sabbath" as a replacement for Ronnie James Dio. He recorded the album "Born Again" with the band. In 1984 he was reunited with the "Deep Purple's" MKII lineup and took part in the excellent album "Perfect Strangers". Like Deja Vu, Gillan was fired from "Deep Purple" in 1989 after releasing the album "The House of Blue Light", failing to get along with Ritchie Blackmore, but returned to the band in 1992 at the request of Jon Lord and Ian Paice who wanted him to return to the band to celebrate its 25th anniversary, releasing the album "The Battle Rages On...". Gillan has been leading the band ever since. (Photo: Jo Hale) In 2020, on the occasion of his 50 years of membership in the band, Gillan and "Deep Purple" released their 21st album Whoosh!. An amazing album that does not have a single weak moment, which proves that even today Gillan is still a relevant and great singer. He released 3 more albums with the band since, "Turning to Crime" (2021), "=1" (2024) and "Splat!" (2026). Gillan also has an interesting solo career during which she has released up to day 7 albums, one of which is with Roger Glover. He also has several collaborations, including with Tony Iommi on the project and album for Armenia "WhoCares". So let's wish the man a lot of good health and continued extensive musical activity. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Korn's breakthrough third album, "Follow the Leader," was released on August 18, 1998. We'll begin with the success, proceed to the chaos, and conclude with the renowned tour... While this album marked a breakthrough and propelled the band to immense international success, it only produced two well-known and successful tracks: "Freak On A Leash" and "Got The Life". Following two powerful albums that established Korn's path to success in the evolving Nu Metal scene and even positioned them as leaders of the genre, this album shattered barriers and elevated the band to monumental status. There was nothing particularly special or fundamentally different from the previous albums, but it represented a step up for the band. The hip-hop style is more prominently featured, with Fred Durst and Ice Cube contributing to the album. Jonathan Davis, who grew up on hip-hop and was deeply connected to the style, sought to incorporate it into the melodies, enhancing the songs. On this album, he took it further by giving a platform to Fred and Cube, while also integrating numerous hip-hop elements himself. Unlike the prior two albums, Ross Robinson did not produce this one but was only involved in a small portion of Davis' vocal recordings. Davis mentioned that Ross was his mentor for singing, and he couldn't imagine singing without him, though Ross had some unusual working methods. He would punch Davis in the spine during singing or press his neck with his nails, which sounds quite bizarre! So after recording several songs for this album, Davis decided he had enough of this "nonsense" and chose to continue on his own. Another advancement was with the guitars. James Shaffer (Munky) and Brian Welch (Head) decided to use all their pedals and experimented wildly with the guitar sounds. They aimed to process the guitars so that in the loud and noisy sections of the songs, they would resemble cymbals or electronic sounds, attempting to achieve the lowest or highest frequencies possible. Given the success the record company directors anticipated, they granted the band complete creative freedom. Overall, the band members felt they could unleash their talent (and other things) freely. They were provided with a studio and a substantial budget, replaced their producer with two others, and amidst all the parties, there were magical moments, as described by Toby Wright, one of the producers who helped create such a significant album. (Photo: Robin Platzer) Internet anyone? The events surrounding the creation of this album, primarily at the NRG recording studio, were far from embarrassing and might even surpass the scenes depicted in the movie "The Dirt" about Motley Crue. There were parties, drugs, alcohol, sex, celebrities, and an array of other indulgences. However, before delving into that, let's start with something more significant. Korn was the first band to embrace the internet and integrate live broadcasting into the album's recording process. They pioneered by allowing fans to glimpse and participate in the production process. The studio was equipped with webcams (provided by QuickTime), and each week featured a day when fans could explore the studio, witness everything in real time, and even interact with the band members. This was undoubtedly a groundbreaking move in 1996, and no one had done it before them. Sex, Drugs and Rock N' Roll... Monkey mentioned that out of the six days a week spent in the studio, they were only productive on two, with the rest of the time dedicated to various parties and celebrations. He explained that this is what happens when you give a lot of money to young people who are already struggling with alcohol and drug addictions and let them do as they please. Davis wouldn't begin singing until he had snorted a line or two of cocaine; he would then record his vocals and immediately start drinking until he passed out. According to him, during recordings, while he was singing, people were engaged in sexual activities in every corner of the studio. They hired individuals to bring men and women to the studio for parties, and at one point, Toby admitted he no longer recognized half of the people present. Hip-hop stars, porn stars, and rock stars regularly visited the studio, not to listen to the band's new work but to indulge in sex, drugs, alcohol, and partying until dawn. Steve Thompson, the second producer working with Toby, recalled that at one point, someone asked the band if they wanted to put an end to the chaos because it was impossible to work under such conditions, but they all responded with a resounding... NO! All the band members agreed that it was an intense period, during which they managed to survive and emerge stronger as a group. Following the chaos, which led to numerous confrontations, disgust, and even hatred at times, they decided to take control of the situation. Each member underwent some form of rehab, freeing themselves from all the negativity that surrounded them. To promote the album, the band released several singles: "All in the Family," "Got the Life," "Children of the Korn," "BBK," and notably, the latest single with the famous video "Freak On A Leash," which made a huge impact, was played non-stop on MTV, and even won a Grammy in 1999. Besides releasing singles and music videos, the band launched one of the most renowned tours in 1998, known as the "Family Values Tour." They spearheaded the tour as the main act to promote their album and also to support lesser-known bands by taking them along. The tour featured bands like Limp Bizkit, Ice Cube, Incubus, Orgy, and Rammstein. They chartered a private jet, which was an experience in itself, and traveled to every possible country in North America. The tour featured 27 performances, each accompanied by fan meetings, photo sessions, album signings, and similar activities. Various critics and magazines hailed this tour as groundbreaking and one of the most prominent of the time. It eventually evolved into a festival and was repeated multiple times. In March 1999, the album and DVD from the tour were released, featuring selected songs by each band from various performances. In addition to being groundbreaking and successful, this period marked a turning point for the band. After the album's release, all the band members began addressing their addictions to drugs and alcohol. Simultaneously, they started confronting the consequences of success and its effects on their personal lives. They underwent a challenging process of disillusionment and adjusting to a changing reality. This album is undoubtedly a significant milestone... You can listen to it on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Again we are dealing here with a scary review... As we have said before, there are albums that we love so much that it is even hard for us to write about. This is one of them... The mythological album "Metziut Nifredet" (Separate Reality, is the debut album of "Hayehudim" and it was released on August 18, 1995. Before we begin, allow us to unload something without ruining the atmosphere. After the release of the second album "Hayehudim" and after years to come, the album "Metziut Nifredet" became the music of the masses, of the popular radio stations in Israel, and of every teenager even if he is not a devoted fan of the band. For us, as devoted fans, it was very frustrating. If at first we were moved and thrilled every time we heard the band's song playing on mainstream radio like "Galgalatz", over time the excitement became frustration and anger. Why? you ask. Because this amazing and huge band continued to put out masterful songs and albums but those radio stations, to this day, are stuck on the band's debut album, not playing any songs from their other 4 albums. If we have already mentioned the radio stations then let’s also unload this story, a story from the band's early days that today become irrelevant. Although the album was released under the biggest label in Israel, "Hed Artzi" and had one of the best production heard in Israel at the time (we'll get to that later), it was completely ignored by the popular radio and television stations. We are talking about the mid-1990s in Israel, there was no streaming whatsoever, a CD album cost 80 NIS and the radio was mainly controlled by stations such as "Reshet Gimel" and "Galei Tzahal". Oh yeah, there were only two TV channels too, so there weren't really many options. The band members did not fall into despair and with the support of Tamira Yardeni (from famous Teddy Productions) the band members went out to shoot a music video for the first single from the album "Mehapes Tsheuva". Here too they did what they love to do and the clip was different, rough, provocative and straight forward. With sexual scenes, death, and also religious aspects God forbid. As a result, the music video was not broadcast frequently and even if did, then it was late at night. At first, the band members did not talk about it in interviews and articles but after a few years, they shared what they felt. They were hurt and very frustrated, they brought their musical talent, and their creative authenticity but the media closed the door on them aggressively and ignored them completely. Tom Peterover told Channel 1 in an interview that they had already thought of breaking up, ending this episode in their life, and move on. they felt that the popular media did not like them and even deliberately rejected them. But then the people had their say, from a show of 20 people, it became 50, 100 people and the quantities grew more and more. The teens who came to the shows knew the lyrics and screamed them out loud. The band members who adore their fans to this day and feel part of them were in utter shock. They did not understand where all these people came from, with no media exposure, how they knew all the words of their songs??? The feedback from the audience is what held them together, the love and support they received from the fans pushed them and helped them forget about the radio stations. Orit Shahaf said that the fact that the audience gave them a huge hug made the whole radio thing become even more irrelevant over the years. So how it all began... The album already started when Tom and Orit met, even before the start of the military service, during the exams for the military band. We're guessing it was love at first sight, at the moment the couple met, they started working on music together. The two worked non-stop, experimenting, writing, and creating materials together in some warehouse or small room during the military service. After the end of the military service, the two which then were called "Tom and the Bomb" started performing in all kinds of small clubs with covers songs of "Led Zeppelin", "Nirvana", "Pearl Jam" and more. They decide it's time to release an album and join the "Hed Artzi" record company. Tom and Orit arrive with prepared and polished materials for two albums, one album for Tom and one album for Orit. They even worked with the same band, Asher Padi on the drums, Shmulik Bodgov on the guitars, Eran Mitelman on the keyboards and Avi Yifarah on the bass. But Hed Artzi put pressure on the couple to become a band, they told them they were meant to be together and not apart. From the point of view of the record company it was also cheaper, two for the price of one. Since they were already ready to record, a week after they signed with "Hed Artzi" they started recording. (Photo: Ronen Lalna) Just imagining the atmosphere that was floating in the studio during the recordings gives us shivers all over. The bond between all the members of the band was cosmic, an amazing combination of wildly talented musicians who came to drop hard rock and roll on the small state of Israel just when grunge was at its peak. Tom and Orit were in a frenzy from the recordings in the studio, it's one thing to rehearse but something else entirely to listen to what you created recorded, and played. We have no idea what went on in the studio but from video clips we've seen in the past, we remember that there was crazy energy there and a picture of Tom sitting on the console in a frenzy is what we strongly remember. A short personal story... For one of the members of "Face/Off" this album is a defining moment. That boy was then in high school in Ashkelon and was not part of the rock, metal, or grunge enthusiastic in the early nineties, let's say he liked more "sweet candy" things. Without a doubt, music was an indispensable part of his life and he volunteered or was chosen depending on how you look at it, to set up the first DJ station in a school from which he broadcast music during recess and at after school hours through the school's speakers. The company "Hed Artzi" in cooperation with high schools throughout the country established a project to promote local music. They gathered a group of students and fed them new music through monthly meetings at the legendary "Logos" club in Tel Aviv and by mailing "brown envelopes". That boy would long every day to receive the message from the postal office on the "brown envelope" and to this day he will not forget how excited he was to open it every time and discover inside treasures of CD albums, stickers, and posters of various new artists. One day the same envelope contained the first single of the band "Hayehudim". The single cover was in army gray/dark green and in the center was written the band's name in large letters wrapped in flames of fire and in the lower part there was the song name "Mehapes tshuva". The moment that boy put the cd in the stereo system and pressed play, his life changed from end to end. His mind and body could not believe the sounds that surrounded them, the unimaginable power, the enormous energies, and the moving voices. But what about the music??? This album was created by the entire group mentioned above, Orit and Tom wrote the skeleton and the lyrics for the songs, but the arrangement and the creation itself up to the final product were created by all the band members together. Asher Padi is a drummer who became one of the greatest session drummers in Israel and a partner in more than 1200 albums with many artists including Arkady Duchin, Leah Shabat, Nurit Galron, Yehuda Polykar, Shalom Hanoch and many more. Avi Yifrah is a bassist who grew up with the band, Eran Mitelman the keyboardist is best known for his participation in TV shows such as: Kochav Nold, Lo Nfsik Lashir, Music School, The next star and more, but he was also the keyboardist in Aviv Gefen's "Hataoyot" band and Shmulik Budgov, the famous guitarist whose solos became a milestone in Israeli music and worked with artists such as: Arik Einstein, Zohar Argov, Yigal Bashan, Mati Caspi, Ariel Zilber and many others. Budgov is also The one who was entrusted with the production of the album. The album opens with "Mehapes Teshuva" which, as we said, was also the first single and the first video clip released by the band. The Land of Israel was not ready for the crazy couple sitting on a star-like throne that takes the plague of Satan and presents controversial characters. The guitar cuts open the air with the beating bass drum, it goes right into the veins and creates some scars on the side. Hayehudim didn't try to be user-friendly or let the audience slowly digest what they created, they wanted to go boom with all the power, just like they know how. Of course, the song didn't play on the radio stations and it was replaced by the band's most famous song on the mainstream media, "Hazman Shelach" (we'll talk about it later). The second song on the album is a soft rock ballad that with the caressing voice of "Hippolita" managed to penetrate even many who are unable to withstand heavy distortions. Ninet Tayeb has a big part in the exposure here after she performed the song on the show "Kohav Nolad", Orit's powerful and compelling voice was replaced by Ninet's caressing and pleasant voice and the song received a slightly different interpretation. The third song on the album "Ella" was one of the band's most explosive songs when at every show would lift the audience up in the air, we are not sure but we think that this is the only song that never missed from the band's setlist at the shows. The song also created a kind of "custom" in which every album of the band has a powerful, short, and explosive song that keeps you exploding for several minutes. Moving on to the fourth track on the album "Tesahek Otta", strong and pure hard rock that usually at shows continues to cover Led Zeppelin and feels that it is suited for stadiums and not small clubs. Moving on to another song that, as soon as it starts playing at concerts, the audience starts jumping in the air, but it also created controversy, "Od Aron Ehad". Apparently, the IDF did not like the lyrics of this song as well as other songs because when the band requested to perform in front of soldiers they were rejected because the argument that the lyrics would be bad for the soldiers even though the majority of the band's fans in and in concerts were soldiers. And now the exciting and powerful masterpiece "Ze Lo Kal" which is accompanied by a solo guitar track called "Pyota". Who then dared to create an entire track dedicated to a guitar solo? What a beauty of a piano performed by Roi Zoertz what a wonderful lyrics, no matter who you are or who you are, the connection to the song and the lyrics is cosmic, this is the magic of the band, to envelop you and bewitch you with music that in one moment disconnects you from reality and places you in a "separate reality". Tom said that he writes the songs from a situation in which he puts himself in, in his imagination, it is not a man or a woman and it does not matter if it is something he experiences in reality or in his imagination. He creates the situation for himself and writes the song from the character in the situation or from an external perspective of the character. The next two songs on the album illustrate very nicely the way of writing. "Hayamim Shelano" the eighth track on the album was written in English and was called "I Don't Believe In God, But I Do believe In Flowers", not even a demo was recorded for it in English since it immediately switched to Hebrew, but we know that in the following albums the band always include songs in English and this is excellent. The song "Jackie" is another amazing example of the writing style and music of the band, it goes out without restraints, without borders, and without definitions!! It must be noted that the combination of the two in the same song is mesmerizing, a combination that the two do not often perform on albums. Since "Mehapes Tshuva" was too harsh, "Hazman Shelah" came as the leading song, a soft rock ballad that can be digested, Orit didn't want to record this song at all because it was too quiet for her, she wanted to mow, explode and not really caress but she managed to calm herself and created this amazing thing. The band members said that even at the sketch stage they knew it was going to be something big, Budgov's guitar solo was simply mesmerizing. Many times Tom told the story of the music video, that after the "Mehapes Tshuva" music video ended, they used up all the money they had and when they came to Tamira Yardeni to ask for a budget to create a new music video for the song "Hazman Shelah" she gave them a check for 100 NIS. The band members who were at a loss for advice did not know what to do with so small amount but finally filmed a music video on a home camera with improvised effects of camera rotations, fences, and Orit's pantyhose as filters. The song "Hablues" with the harsh lyrics brings Tom perfectly, a purposeful display of Tom's abilities and the entire band's. It is followed by Orit's "Ze Kol Hasipor" also here a beautiful display of talent by Orit and the band. The section "God" is a dark and deep transition section that gives this album a kind of dark feeling a minute before it's all over. Because then you get to "Sof HaOlam", how much emotion, how much power, what energies. It doesn't matter in which stereo system you play this song and this album in general, your oxygen system in your body will increase automatically!! Ending with the phenomenal track "Milhama Shketa", the song was cut off in the middle and only a few years later at the band's famous concert at the Theater Club in Tel Aviv, which was released on DVD, we got the sequel that simply tears you to pieces, Hippolyta tears you to pieces with the lyrics and the guitar riffs like a surgeon's knife continues the work. The year after the album was released, the late Prime Minister Yitzhak Rabin was assassinated, the event had a profound effect on the band members and of course, had a great impact on the entire country. Something changed in the Israeli musical landscape and instead of giving emotions a place to come out and vent them, everything became a "relaxed weekend", the music became something comforting that felt good on the back, something soothing and caressing. There was no room for poignant lyrics, strong distortions and powerful drums, the golden age of lyrical rock that began in the early nineties sank and a huge gap was hard to fill. In our opinion, the ones who managed to fill it and occupy a central place were "Hayehudim" Four years after the release of the album, the band won the title "Band of the Year" by Gali Tzahal and in 2005, in the list of the 100 greatest Israeli albums of all time, the only album chosen by the audience was "Metziut Nifredet". Needless to say, this album made the band the leader of the rock genre in Israel when it takes the main show at every rock festival in Israel and is an opening act for huge bands coming from abroad. Why the elevator??? The cover for the album was designed by Tzipora Uziel, which was the first cover designed. She had just finished her studies at the 'School' and the Jewish friends had finished recording the album. The record company took care of them for a cover, but they were not satisfied with the result that came out. They waited for almost half a year when they finally contacted Ran Barlev (the photographer, who also illustrated the first covers of Aviv Gefen A.S.) and he connected them to Zipora. The photos on the front cover and in the brochure were taken in an elevator in an old office building in south Tel Aviv. Tzipora had seen the elevator before and knew even then that she was going to do something with it, it was crowded-crowded, of the old variety. She said that it was quite a new experience for everyone - for Barlev, who for the first time photographed and not illustrated; for the bird, which was her first cover; And for the band, which is their debut album of course. There was no make-up artist, no staff, and nothing - they did everything themselves. They collected all the accessories themselves, there was a lamp hanging from the ceiling of the elevator that had to be adjusted all the time and since the elevator was so small there was no place to take pictures. They stuck the camera to the ceiling and lowered a wire down, the one who held the wire and took the photo was Tom, his hand is hidden under the blanket. The "Separate Reality" cover is the only one among the Jewish covers in which band members appeared. This happened because Hed Artzi pressed since she thought it was important to present them outwardly to the public, especially on a debut album. (Photo: Tzipora Oziel, Ran Barlev) This is the band's best-selling album, it sold over 120,000 copies and was certified triple platinum, it is also (in our opinion) the most influential album on rock in Israel and what came after it. So if you've never listened to him, here's your first chance at: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 18, 1980 "Yes released its tenth studio album "Drama". In the annals of progressive rock history, there are albums that serve as pivotal crossroads, marking not only shifts in sound but also transformations in artistic direction. Yes' tenth studio album, "Drama", stands as a testament to the band's audacious willingness to embrace change while keeping their core essence intact. The album's backdrop is one of departure and renewal. The exit of Jon Anderson and Rick Wakeman, key figures who had shaped the band's unmistakable sound, left a void that seemed insurmountable. Yet, "Drama" saw "Yes" rise to the challenge, introducing a fresh lineup featuring Trevor Horn on lead vocals and Geoff Downes on keyboards (both from the Pop-Rock band "The Buggles"). This revitalized ensemble brought an intriguing fusion of progressive rock and new wave influences, resulting in an album that defied expectations and showcased a band reborn. "Machine Messiah" the album's opening track, is a testament to the band's unyielding creativity. With an opening "Black Sabbath"-like guitar riff that surprisingly delves into heavy metal territory, the song unfolds into a sprawling narrative that combines intricate musicianship with diverse moods. The blend of Horn's commanding vocals and Downes' innovative keyboard work alongside the seasoned expertise of Steve Howe and Chris Squire and the energetic Alan White drumming, presents a sonic journey that bridges past and future. It is undoubtedly a progressive track, but it unfolds the sound and influences of the music era. A departure from the norm, "White Car" is a minimalist experiment. Driven by Geoff Downes' exploration of the Fairlight CMI synthesizer's sampling capabilities, the track's distinct crunch factor adds an unexpected dimension. The anecdotal tale of spotting Gary Numan driving his Stingray paints an intriguing backdrop to this musical venture. As "Does It Really Happen?" unfolds, the listener is treated to an amalgamation of "Yes'" signature rhythm section with Chris Squire's catchy bass line and Alan White's excellent drumming, augmented by Horn's emotive vocals and Downes' innovative keyboards. But, as the song's dynamic shifts, we suddenly presented with the Pop and New Wave influences brought by Horn and Downes, that mirror the broader theme of "Drama" itself: a journey of evolution marked by twists and turns. The second side of the album embarks on an equally compelling progressive journey. "Into the Lens" is a complex composition predating Horn and Downes' entry into "Yes", that finds new life in the hands of Squire and Downes. The track's vocoder-infused vocals and innovative keyboard work illuminate the band's willingness to explore uncharted musical territories. "Run Through the Light" stands as a prime example of collaboration and introspection. Howe's on Les Paul guitar, Squire shifts to the piano, while Horn plays fretless bass, it all blends into a harmonious whole, exploring contrasting emotional landscapes. The track is a living testament to the album's knack for blending individual contributions into a cohesive unit. The album's finale, "Tempus Fugit" is a whirlwind of energy and complexity. A fitting conclusion, the Latin title translates to "time flies," reflecting the album's own ephemeral journey and Chris Squire's tendency to be late everywhere. Through rapid key changes and intricate guitar work, "Tempus Fugit" encapsulates the essence of "Drama" – a fleeting moment that leaves a lasting impact. (Photo: Michael Putland) In retrospect, "Drama" is perhaps one of "Yes'" strange and unique albums. it was a revolutionary transition. "Yes'" willingness to embrace change, fuse genres, and welcome fresh perspectives culminated in an album that defied categorization. The fusion of progressive rock and new wave elements, Trevor Horn's robust vocals, Geoff Downes' innovative keyboards, and the foundation laid by Howe and Squire result in an opus that echoes the past while forging a distinct future. It is a crossroad album and a bridge to the way the band members will sound in the near future, Chris Squire and Alan White on "90125", and Steve Howe and Geoff Downes on "Asia". For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 18, 1986, "Bon Jovi" released their third album, "Slippery When Wet". Here are 37 interesting facts about the album and the cover that was confiscated ... 1. This is Bon Jovi's best-selling album to date with sales of over 28 million copies worldwide, of which 12 million are in the US. 2. The album spent 8 weeks in first place and 38 weeks in a row in the top five places on Billboard 200. 3. This album was a significant breakthrough in the band's career and gave it immediate success !! 4. 4 successful singles have been released from the album, namely: "You Give Love A Bad Name", "Livin 'On A Prayer", "Never Say Goodbye" and "Wanted Dead or Alive". 5. It's also the best-selling album of 1987. It knocked out "Guns N' Roses'" "Appetite for Destruction", U2's "The Joshua Tree" and Michael Jackson's "Bad" from the top of the charts. 6. On this album the band decided to go more towards mainstream compared to their previous two albums. They even used focus groups of teenagers to decide which songs to choose for the final version of the album. They selected 1o song out of 30 songs in total. 7. In order to sharpen their writing and produce hits, the band got help from Desmond Child who is one of the famous songwriters that won the "Songwriters Hall of Fame" in 2008 and is responsible for hits by "KISS", "Aerosmith", Alice Cooper and Ricky Martin. 8. Desmond helped Richie Sambora and Jon Bon Jovi write songs like, "You Give Love A Bad Name", "Livin' On A Prayer", "I'd Die for You" and "Without Love". 9. The three worked on the album in the basement of Richie Sambora's mother. 10. Keyboardist David Bryan and drummer Tico Torres received no credit for writing any of the album's songs. 11. The only song on the album that was not written in collaboration is "Wild in the Streets", the song that closes the album and was written by Jon Bon Jovi alone. 12. The first single released from the album was "You Give Love a Bad Name". It's also the band's first song to reach number one on Billboard. 13. The song was originally written by Desmond Child for singer Bonnie Tyler. It included different words and was called "If You Were a Woman (And I Was a Man)", but Desmond Child Child who was disappointed with it's failure decided to rewrite it along with John and Richie. For Bonnie Tyler's song click on the link: here. 14. One of the songs that almost was not included in the album is "Livin' on a Prayer" which Bon Jovi felt was not good enough as a ballad and insisted on a more rock version. Richie Sambora believed it would be a huge hit and indeed he was right. 15. The song was written by Richie Sambora, Bon Jovi and Desmond Child and is based on a true story about Desmond and his then girlfriend Maria Vidal, who in the song became Tony and Gina. 16. This is the first song in which Richie Sambora used the Talkbox effect making the guitar sound like it speaks. 17. Tony and Gina returned to star in another "Bon Jovi" hit from 2000 - "It's My Life". Richie also uses the Talkbox effect in this song. 18. According to singer Joe Lynn Turner, known among others from the bands "Rainbow" and "Deep Purple", Richie Sambora asked him for permission to "steal" the riff for the song "Livin 'on a Prayer" from Turner's song "Get Tough" taken from the solo album "Rescue You", which came out a year earlier. Turner claimed he agreed. For Turner's song click on the link: here. 19. The one who wrote the bass line for the song and plays bass is Hugh McDonald and not Alec John Such. McDonald's will become an unofficial member of the band in 1994 and later an official member starting in 2016. 21. The song "I'd Die For You" was first born as "Take Me Home" with completely different lyrics, until it evolved into its final version that we all know. 21. The song "Without Love" is the only song from the album that was never performed live. 22. John was inspired by the song "Wanted Dead or Alive" after listening to Bob Seger's "Turn The Page". 23. He wrote the song on the band's bus between performances, with the words "steel horse" he meant the band's bus. 24. The producers of "Young Guns II" wanted the song for the soundtrack of the movie, but Jon Bon Jovi thought it was inappropriate and eventually wrote "Blaze Of Glory" for the film. 25. Also the name of the album was supposed to be "Wanted Dead Or Alive" and include a picture of the band members dressed as cowboys on the cover. 26. According to Richie Sambora the name of the album and the original cover were chosen as a result of the high level of testosterone that the band members had during the recording of the album. We will not expand much but just note that during the recordings they visited a strip club in Vancouver where one of the strippers performed acrobatic exercises that included a tube, water and a pillar and this left a great impression on them. 27. So about the cover ... The original cover that came out only in Japan includes a picture of a woman wearing a wet yellow tank top with the name of the album on it. The cover was banned by the band's management because they feared that the record stores would not be willing to sell an album with such a cover. 28. The cover that was finally approved at the last minute, is a picture of a wet black nylon bag marked with the letters of the album name. The album's famous cover was created almost by accident. After the original cover featuring a model in a wet T-shirt was rejected, Jon Bon Jovi went to photographer Mark Weiss's studio. Weiss sprayed water on a black plastic garbage bag, and Jon wrote "Slippery When Wet" across it with his finger. The simple, improvised image ultimately became one of the band's most recognizable album covers. 30. During the recording sessions for "Slippery When Wet", "Out of Bounds" was also recorded but ultimately left off the album. The track remained in the archives for years and was finally officially released in 2004 on the box set "100,000,000 Bon Jovi Fans Can't Be Wrong". 31. Another song that was recorded during the sessions and did not enter the album, was "Edge of a Broken Heart". It eventually entered the soundtrack to the 1987 film "Disorderlies," but John regrets to this day that he did not make it in the album the end, in his opinion it was fit for the spirit of the album. 32.Although "Never Say Goodbye" is considered one of the songs most closely associated with "Slippery When Wet", it was not released as a regular commercial single in the United States. As a result, it was not eligible to enter the Billboard Hot 100, although it reached No. 28 on the Hot 100 Airplay chart. 33. John chose Bruce Fairbairn as the producer because he really liked his production work on the "Without Love" album of the band "Black‘ N Blue" which came out a year earlier. 34. The recording technician and the one who did the mix for the album is the renowned producer Bob Rock who will later produce, among other things, Metallica's "Black Album". 35. This album made "Bon Jovi" the first hard rock band to have two consecutive singles at number one on the Billboard charts. 36. It also became the first hard rock album of which three songs reached the top ten in the chart. 37. That record was broken on Bon Jovi's next album "New Jersey" when five singles from it reached the top ten. 38. Kerrang Magazine! Ranked the album in 44th place on the list of "100 Best Heavy Metal Albums of All Time". 39. The album entered the prestigious list of the book "1001 Albums You Must Hear Before You Die". 40. It is ranked 44th in the list of the 200 greatest albums of all time by the "Rock and Roll Hall of Fame". For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website