On August 15, 1983, the album "Flick Of The Switch" was released, the ninth studio album by the band "AC/DC". This is the band's third album with singer Brian Johnson and the band's last with drummer Phil Rudd, which will return to "AC/DC" only 11 years later. After three albums with legendary producer Robert John "Mutt" Lange, the band decided they wanted to get back to their roots, back to the beginning, to the immature and rough sound they had at the beginning of their journey. As you may recall, Matt Lang raised the band to world fame with the polished production of the album "Highway To Hell" and broke with it every possible record with the greatest comeback album of all time "Back In Black". But the production on the album "For Those About to Rock (We Salute You)" surpassed even the previous two albums brushed and polished the band's sound, until the Young Brothers felt they wanted to go back to the origins, to the initial and immature sound they had. They decided to produce the album themselves this time. The idea was to undress the songs, clear them of any production prank, peel off any effect layer and return to the sound they had in their early days. The Young Brothers wanted to record the songs as authentically and directly as possible with as little studio time as possible on production works. Even the album cover was minimalist. As if drawn in a thin pencil, in black and white, shows Angus Young flicking the switch and in fact, there is a strong statement here that also fits in with the name of the album, that the band "turns off" Lang's perfectionist production here and returns to base. They went into the same recording studio where the legendary album "Back In Black" was recorded, but they failed to replicate the success of the previous albums. The main problem was not the production, because as we know "AC/DC" can sound great even without dramatic productions. The problem with this album was the material that the band brought to the recordings. It was not strong enough compared to previous albums. And for the record ... except for the theme song and the excellent "Guns for Hire" none of the songs have survived over the years in the band's setlists during live shows. True, the band has not lost it and songs like "This House is on Fire" and "Landslide" are songs with great riffs that remind us of the good old "AC/DC", but they still stand in the shadow of "The Giants" from the previous three albums. Apparently, in the end, the problem with this album was the fact that it came after three consecutive masterpieces. Had this album been released in a different era and cut off from its three older brothers, it would probably have been much better received and won much more praise. 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 Singer and songwriter David Crosby!! (Photo: Michael Ochs Archives) Crosby is the founding member of two huge bands: "the Byrds" and "Crosby, Stills & Nash", with each of them entering the Rock 'n' Roll Hall of Fame, separately. He joined "the Byrds" in 1964 and appeared on it's first five albums, in which he sang, played guitar and participated in writing timeless songs such as "Eight Miles High". Crosby was fired from the band in late 1967 after much disagreement with its members. One of the things that infuriated the rest of the band members was the fact that he was invited by Stephen Stills to fill in Neil Young's place during a "Buffalo Springfield" performance at the Monterey Festival. Crosby's connection with Stephen Stills and Graham Nash began after Crosby was fired from the Byrds. Graham Nash who was a member of "The Hollies" met Crosby during the Byrds' tour in England, and after the "Buffalo Springfield" split in July 1968, the three meet during a private party at the home of Joni Mitchell (or Mama Cass from "The Mamas & the Papas"). In May 1969, the supergroup's first album, named after the band "Crosby, Stills & Nash", was released and became a huge success. Three months later "CSN" is already performing at the legendary "Woodstock" Festival. It was only their second appearance ever. Neil Young will take the stage and join the trio in the second and more "electric" part of the show. This moment will be the trigger that will turn the trio into a "CSNY" quartet when Neil Young joins them as a full member. The trio returned to perform at the "Woodstock" Festival 25 years later, in 1994. In "CSNY", too, Crosby turns out to be an integral part of the writing process, contributing his talent in songs such as: "Almost Cut My Hair", "Long Time Gone", "Wooden Ships" and more. He wrote the theme song from the band's most successful and best-selling album "Déjà Vu" from 1969. He will later release with the band 9 studio albums. In parallel with his membership at "CSN", Crosby formed a wonderful relationship with Graham Nash, releasing four studio albums with him under the "Crosby & Nash" brand, including the magical debut album from 1972 - "Graham Nash David Crosby". Crosby is also a member of the jazz-rock band "CPR" consisting of Crosby, Pevar & Raymond. He also released 8 solo albums including the excellent album "If I Could Only Remember My Name" from 1971. Crosby is known as a pacifist and was one of the protesters against the Vietnam War, on which he wrote some of his songs such as "Wooden Ships". Crosby is also no small criminal. In 1982 he was jailed for drug and weapons offenses, in 1985 he was arrested for drunk driving and illegal possession of a weapon and in 2004 he was arrested again for similar offenses. In 1985 he preformed with CSNY at the Philadelphia Live Aid Justice Show. (Photo: Michael Ochs Archives) In the early '70s he was a member of the band "David & the Dorks" along with Mickey Hart, Phil Lesh and Jerry Garcia from "the Grateful Dead". In 1962 his son James Raymond was given up for adoption. In 1997 he reunited with him and since then they have been performing and recording together, among other things the highly recommended album "Croz". Throughout his life he has repeatedly struggled with drug and alcohol addictions. He is among those seeking legalization of the cannabis plant in the United States. In 1994 he successfully underwent a liver transplant. (Photo: Fanart.TV) He has starred in a number of films and series, including the movie "Hook" alongside Robbie Williams. He co-starred with Graham Nash on David Gilmour's "On an Island" album. He donated his semen twice to singer Melissa Etheridge and her partner, who gave birth to two children. Crosby Passed away on January 18, 2023 and he was 81 years old. We invite you to listen to "Croz" - one of his late and excellent solo albums: Spotify "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 14, 2015, "Bullet for My Valentine" released their fifth studio album "Venom". By 2015, "Bullet for My Valentine" had something to prove. Two years earlier, "Temper Temper" had pushed the Welsh band toward a cleaner and more accessible version of their sound, but its streamlined writing also removed some of the danger that had made their early records compelling. Lead guitarist Michael "Padge" Paget later described the objective behind "Venom" in uncomplicated terms: after "Temper Temper", they wanted a no holds barred heavy metal record, written without radio considerations dictating the outcome. There was also instability inside the band. Longtime bassist Jason "Jay" James departed while the album was being made, with his exit announced in February 2015. Jamie Mathias was subsequently recruited and announced in May, although he did not actually play bass on the finished record. Vocalist and guitarist Matt Tuck handled the studio bass parts himself. "Venom" would also become the final "Bullet for My Valentine" album featuring founding drummer Michael "Moose" Thomas. The writing process was more deliberate than usual. Tuck explained that riffs and lyrical ideas had accumulated during touring for "Temper Temper", before the band returned to the studio and began assembling them properly. Instead of taking six or seven finished songs into recording sessions and completing the rest along the way, they spent roughly six months longer on the material than they normally would, living with songs, rewriting them and discarding ideas that failed to hold up. That extra scrutiny matters because "Venom" rarely sounds like a collection of first impulses. It is aggressive, but the aggression has been engineered into compact songs with clear destinations. Production reunited the band with Colin Richardson, working alongside Carl Bown. The album was recorded during 2014 and 2015 at Metropolis Studios in London, with Richardson and Bown also handling the mix at Treehouse Studio in Derbyshire. Their presence gives the record much of its physical force. The guitars are enormous without becoming shapeless, Thomas's drums retain their attack, and Tuck's clean vocals sit above the distortion without draining it of weight. More importantly, Tuck had decided to dig back into darker lyrical territory. He described revisiting difficult places while writing the record and suggested that once he became comfortable putting those emotions into the songs, the material opened up dramatically. That decision is the real dividing line between "Venom" and its predecessor. This is not simply "Bullet for My Valentine" turning the distortion back up. It is a record built around confrontation, resentment, psychological pressure and release, and the heavier music gives those subjects an appropriate physical language. Photo: RCA Records The brief instrumental "V" functions less as a song than the sound of machinery starting. Then "No Way Out" arrives with exactly the violence the album needs. The riffing is clipped and muscular, Thomas drives the verses with restless momentum, and Tuck switches between screamed desperation and a huge melodic chorus. The structure is classic "Bullet for My Valentine": tension, eruption, melodic release, then back into the riff. What separates it from weaker examples of that formula is urgency. Nothing feels decorative. "Army of Noise" makes the album's intentions even clearer. Paget and Tuck attack the main riff with a thrash informed precision, while Thomas pushes beneath them rather than merely keeping time. The chorus is deliberately oversized, but the guitars surrounding it remain abrasive enough to stop the track becoming arena metal by numbers. "Venom" repeatedly works because melody and aggression are treated as competing forces instead of mutually exclusive choices. That balance is sharper on "Worthless". Its central riff has a blunt, percussive quality, and Tuck's vocal performance sounds genuinely hostile before the chorus opens into something cleaner and more immediately memorable. The transition should be predictable, and structurally it is, but the conviction sells it. "Bullet for My Valentine" have always lived on that fault line between metalcore violence and enormous choruses. Here they stop apologising for either side. "You Want a Battle? (Here's a War)" is the album's most obvious crowd weapon, but it is also one of its smartest arrangements. The marching opening and group vocals establish scale before the guitars enter, then the song keeps moving between militant rhythm work and a chorus designed for thousands of voices. Its riff is simple compared with some of Paget's more technical playing, yet simplicity is the point. The song is about collective resistance, and everything in the arrangement is designed to sound larger than the individual musicians playing it. The title track changes the temperature. "Venom" is more restrained and melodic, allowing Tuck's clean voice to carry the emotional weight while the guitars create pressure around him. Its subject, the lingering damage of a toxic relationship, gives the album title a meaning beyond simple metal imagery. The song's effectiveness comes from refusing to compete with the speed of the surrounding material. Instead, it tightens gradually, making the chorus feel wounded rather than merely catchy. The second half is less immediate but contains some of the record's strongest musicianship. "The Harder the Heart (The Harder It Breaks)" uses a more spacious melodic approach before pushing into a muscular chorus, while "Skin" finds a particularly effective middle ground between the band's metalcore instincts and their polished songwriting. The guitars remain detailed without turning every transition into a technical exhibition. Then "Hell or High Water" restores the record's sharper edge. The riffs have greater movement, the rhythm section feels less constrained by the verse and chorus template, and Paget's lead work reminds you that virtuosity has always been one of this band's advantages when it serves the song rather than interrupts it. "Pariah" closes the standard album with an appropriately hostile final surge, giving "Venom" an ending that feels like a conclusion rather than an exhausted collection of leftover riffs. There are limitations. "Venom" is not a radical reinvention, despite Tuck's language at the time about reinventing the band. Its architecture remains recognisably "Bullet for My Valentine": precision riff, screamed verse, melodic chorus, breakdown, lead guitar release. At several points you can anticipate the shape of a song before it gets there. But predictability is less damaging when the execution is this committed. The band understood that their problem after "Temper Temper" was not an inability to write hooks. It was that those hooks had begun to arrive without sufficient danger around them. "Venom" restores that danger. It does not attempt to recreate the youthful volatility of the band's earliest work, nor does it need to. Instead, it takes the melodic discipline accumulated over four albums and reconnects it with faster riffs, harsher vocals and a rhythm section allowed to hit with genuine force. Richardson and Bown give the record a modern, controlled surface, but underneath that polish the performances remain aggressive. 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On August 15, 1979, "Led Zeppelin" released their eighth and final studio album "In Through The Out Door". This album was born out of a tragedy that befell Robert Plant two years earlier. On July 26, 1977, while Led Zeppelin was in the middle of a US tour, Plant received a phone call from his then-wife in England. She informed him that their five-year-old son Karac was in critical condition due to an unclear stomach infection. Two hours later another phone call came, and Plant received the bitter news, that his wife told him that his son Karac was dead. The news hit Plant very hard. Beyond the fact that he felt his world was destroyed, he could not stand the fact that he was at that horrible moment so far away from his family with no ability to do anything. The rest of the tour was stopped immediately and the ten remaining performances for the band in the US were canceled. Plant immediately returned home and asked to be alone with his family. He lost his desire to continue with "Led Zeppelin", he has already made up his mind that he is going to end his musical career. At one point he even considered becoming a teacher at the "Rudolf Steiner Waldorf" school. The three band members gave Plant all the time he needed to recover from the heavy blow that fell on him. They showed true friendship, and supported and encouraged him to return to the world of music, but only when he felt ready. (Photo: Ledzeppelin.com) After more than a year of hiatus, Robert Plant decided to return to the band. In November 1978, they entered the "Polar" studio in Stockholm, owned by "ABBA", to record the album. At that time disco, punk, and new wave dominated the music world, and "Led Zeppelin" knew they needed to update their sound in order to be relevant This is one of the reasons this album differs in its musical style in a very substantial way from the rest of the band's albums. Another reason for the fundamental change in sound and style stemmed from the fact that at the time Jimmy Page was heavily addicted to heroin while John Bonham was deeply immersed in alcohol. They were sometimes late for the studio and some cases did not appear at all. Under these circumstances, the craft of writing fell mainly on the shoulders of Robert Plant and John Paul Jones, who co-wrote 6 of the 7 songs on the album, the largest number of songs he has written for "Led Zeppelin's" album. Jones was experimenting at the time with the "Yamaha GX-1" synthesizer he had purchased just before the recordings, which is another reason why on this album the keyboards took over the guitar riffs. The album opens up with the "Gizmotron" effect that Page used on the guitar, which slowly puts us on the gates of "In the Evening", which is without a doubt one of the best songs on the album and a great choice to open it up. Plant wrote the words about the rich and famous who are not immune to pain and suffering but exposed to them like any other person. A kind of allusion to the situation he is in. The second track "South Bound Saurez" includes a spelling mistake when the band's intention was for the word "Suarez" which means "party". It's a song that John Paul Jones was the main writer and it revolved around his piano playing. Page noted that he made some playing mistakes during the recording, but he preferred to be spontaneous and left it in the final mix. It's one of the band's few songs to which Page has no contribution in terms of writing. In the song "Fool in the Rain" there was an intention to combine samba with rock and as a result, it is one of Zeppelin's most special songs in terms of rhythm. It combines two different rhythms that intersect. The band members who watched the 78 World Cup held in Argentina, heard a lot of samba rhythms and decided to combine them into a song. Page uses here a special effect called "Blue Box" a kind of Fuzz effect that lowers the tone by two octaves. The song that seals the first side of the album - "Hot Dog" is a rockabilly piece influenced by Elvis and Ricky Nelson. During rehearsals in the studio, the band members played songs from the two artists and the jam session evolved into a song. The other side of the vinyl opens up with one of the band's most complex and unique pieces - "Carouselambra", a more than 10-minute piece dominated mainly by John Paul Jones' playing, which covers several musical styles, even disco. Jimmy Page uses his famous double-neck guitar "Gibson EDS-1275" here. The lyrics were written by Plant about the band's condition and the relationship between its members at the time. From here we move on to the most exciting section of the album, perhaps even the most emotional of the band in all of its diverse and rich repertoire. "All My Love" is the first song Jimmy Page and John Paul Jones wrote when they first entered the studio. Contrary to many people's beliefs, this is not a love song but a song of longing and parting from Robert Plant from his eldest son Karac, who passed away two years earlier. Plant noted that this is a tribute to the happiness that Karac has given to the family. It is interesting to note that Robert Plant's song "I Believe" from 1993 is also dedicated to his son Karac. The album is sealed with the excellent blues ballad "I'm Gonna Crawl", the last song on the last album that drummer John Bonham played before his death. Robert Plant was influenced here by Wilson Pickett's solo music. During the sessions for the album, the band recorded four more songs - "Wearing and Tearing", "Ozone Baby", "Walter's Walk" and "Darlene" which were not included in the album due to space constraints. The songs will appear later on the album "CODA". There are several interpretations regarding the name chosen for the album "In Through The Out Door". The first, apparently refers to the fundamental change in the music world that the band members had to deal with while recording the album. Something that felt to them like "going against the flow" - "In Through The Out Door". The second, argues that Robert Plant toyed with the idea of ​​assigning himself to a gay image, when the name of the album could be an ironic interpretation of anal sex. The third, attributed to the area where the band members grew up - "Out Door" was the name of liquor stores that lined up next to pubs. The fourth, refers to the feelings Robert Plant went through after the death of his son and his return to the world of music, just like coming out of grief and coming back to life. Before concluding, a few words on the album cover. As you know, almost every "Led Zeppelin" album cover is special and unique, and so is this case. The album had six different covers that featured a pair of different images from each side of the album. All the pairs of photos showed the same "scene" that was filmed in a bar and showed a man dressed in white sitting on the bar, only that it was shot from different angles, Seemingly from the angle of each of the other characters in the photo. To prevent buyers from knowing which cover they would receive, the album was wrapped on the outside in brown paper reminiscent of simple wrapping paper. But that's not all, because the inner cover of the album also includes an interesting "trick". If you wet the inner cardboard cover that includes a black and white drawing, it becomes colorful, just like a drawing book for a child. This trick, apparently, was also dedicated to the memory of Karac, the son of Robert Plant. With the release of the album, it jumped straight to number one on the Billboard 200 where it stayed for 7 weeks. The release of the album led to an unprecedented achievement for the band, as in October and November 1979 the entire "Led Zeppelin" catalog re-entered the charts, apparently following acquisitions of the old albums following the release of the current album. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 14, 1971, "The Who" released one of the greatest rock albums of all time - "Who's Next". How do you surpass a masterpiece like "Tommy"? If you ask Pete Townshend, the answer is straightforward: crafting a larger, more ambitious, and wild rock opera on every level. And he indeed wrote it: "Lifehouse" was a project inspired by Pete Townshend's experiences during the tour for the album "Tommy". He observed the audience during performances and noted that the sound and vibration produced by the band had become so pure and unifying that he believed the entire audience was in a state of ecstasy. This concept of a connection between sound and spirituality was linked to the ideas of Inayat Khan and Meher Baba, whom Townshend admires. He was keen to use music as a means of communication and wanted to broaden the band's horizons and reach audiences through other forms of communication, including film. Townshend aimed to create a rock opera that would be recorded live and incorporated into a pre-written film script. The storyline of this futuristic rock opera was set in a time when rock and roll did not exist, human culture had collapsed, and experiences were only programmed through TV screens. The villains were those who infiltrated the masses with "intravenous" entertainment, while the heroes were those who preserved the primitive rock and roll culture. However, Pete Townshend's ambitious concept was too overwhelming for the rest of the band and their management, who didn't fully comprehend his vision. This led to crises, tensions, and even a nervous breakdown for Townshend, who later admitted he had contemplated suicide. After abandoning "Lifehouse" in New York, the band returned to London to start anew with a different producer, Glyn Johns. Nonetheless, several elements from the "Lifehouse" project were retained on the "Who's Next" album, notably Townshend's extensive use of synthesizers. Although the expansive project was set aside, some of its songs made their way onto the acclaimed "Who's Next" album, albeit without the unifying theme. In fact, eight of the nine tracks on the album were intended for "Lifehouse" and were penned by Pete Townshend, with only "My Wife" being written by bassist John Entwistle. The profound influence of "Lifehouse" is evident from the opening notes of "Baba O'Riley." Consider the boldness required for one of the era's most significant and influential rock bands to start their album with organ sounds transmitted through the VCS3 synthesizer, played by Pete Townshend. The song's title combines the names of Townshend's two philosophical and musical inspirations: Meher Baba and Terry Riley. It stands as one of the most significant and impactful songs ever, making it onto the list of the 500 greatest songs of all time, as well as the Rock and Roll Hall of Fame's list of the 500 songs that shaped rock 'n' roll. This remarkable anthem, centered on the theme of "Teenage Wasteland," evolves and builds up to Dave Arbus's violin solo with a "Hassidic" touch from the band "East of Eden," culminating in a climactic, abrupt ending. The second track, "Bargain," is another song written by Pete Townshend about his guru Meher Baba, who was a spiritual advisor to Mahatma Gandhi and a significant spiritual figure. The song explores the theme of detaching from materialism to achieve a higher spiritual state, similar to the practice during Yom Kippur. This is the favorable "Bargain" Townshend refers to in the song. Townshend plays the ARP 2500 synthesizer and a 1959 "Gretsch" guitar, which he received from Joe Walsh, who would later join the "Eagles." Townshend also performs a solo with lyrics beginning with "sit looking 'round, I look at my face in the mirror...". The third track, "Love Ain't for Keeping," is the shortest song on the album and one of the few not featuring synthesizer sounds. The original version was more rock-oriented and can be found on the 1974 album "Odds & Sods". Next is "My Wife," written and sung by John Entwistle, who also plays brass. Entwistle narrates a night of drunkenness that leads to a conflict with his wife. He also recorded the song for his third solo album, "Rigor Mortis Sets In". (Photo: Michael Putland) The song that closes the first side of the vinyl, "The Song Is Over," stands out as one of the most intriguing tracks on the album. This is largely due to the alternating vocals of Pete Townshend and Roger Daltrey, with Townshend delivering the verses in a gentle ballad style and Daltrey bringing his powerful voice to the chorus. Originally intended to accompany the credits of the rock opera "Lifehouse," the song features guest keyboardist Nicky Hopkins. The flip side of the vinyl kicks off with "Getting in Tune," a magical song celebrating the immense power of music. The creation of this track began with improvisation by guest keyboardist Nicky Hopkins, followed by John Entwistle on bass. This is another album track that does not utilize synthesizers. Next is "Going Mobile," a lighthearted and cheerful song sung by Pete Townshend that describes life in the futuristic world of "Lifehouse" with a mobile home on wheels. Notably, the unique sound of the guitar solo in the song was achieved by Townshend using an effect called "Envelope Follower," which gives the guitar an underwater sound. The album then moves to the captivating ballad "Behind Blue Eyes," penned by Townshend after the band's performance in Denver, Colorado, on June 6, 1970. Inspired by a spiritual encounter with his guru Meher Baba, Townshend resisted temptation from a band groupie, returned to his hotel room, and began writing the song from the perspective of "Jumbo," a villainous character in the rock opera "Lifehouse." The album reaches its peak with "Won't Get Fooled Again," also intended as the closing track for "Lifehouse." This eight-minute anthem features synthesizers, Pete Townshend's guitar riffs, and Keith Moon's dynamic drumming. The song explores themes of revolution, with the first verse depicting an uprising and a subsequent coup, only for the new regime to mirror the old one ("Meet the new boss, same as the old boss"). Roger Daltrey's iconic scream at 7:44, following Keith Moon's intense drumming, is a highlight of the track, cementing its status as a rock classic. Regarding the album cover, the image depicts the band members, seemingly just after they have finished urinating on a large concrete structure situated in a coal mine in Durham County, England. This concrete structure was inspired by the monolith featured on the moon in the 1968 film "2001: A Space Odyssey." In 2003, the "VH1" channel ranked the album cover second on the list of "Greatest Album Covers." For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Here are some interesting facts about drummer Tommy Aldridge, known for his work with numerous artists such as Ozzy Osbourne, Gary Moore, "Whitesnake", Ted Nugent, "Thin Lizzy", Yngwie Malmsteen and more: (Photo: Llann Wé²) = Tommy Aldridge was born on August 15, 1950, in Jackson, Mississippi, USA. = Aldridge taught himself to play drums, building a kit with money earned delivering newspapers and other jobs. = He was initially inspired by "Cream", "the Beatles", Jimi Hendrix and "Led Zeppelin" and Drummers like Joe Morello, Ginger Baker, John Bonham and Mitch Mitchell. = Inspired by drummers such as Louis Bellson and Sam Woodyard, Aldridge started using a double-bass drum setup and became an early pioneer of the hard rock double kick drum style of drumming. = After playing with the southern rock band "David and the Giants" in 1972, Aldridge joined "Black Oak Arkansas", gaining recognition for his powerful drumming style. = The same year he was part of their album "If an Angel Came to See You, Would You Make Her Feel at Home?". In 1973 he played on "Black Oak Arkansas'" most successful album, "High on the Hog", which included the hit "Jim Dandy." Aldridge left "Black Oak Arkansas" in 1976 after recording 9 albums with the band. In 1978 he joined the band "Pat Travers Band", contributing to the album "Heat in the Street". In 1980 he recorded "Crash and Burn" with "Pat Travers Band", which became a significant release in his career. He left "Pat Travers Band" after recording 4 studio albums in 1981, and joined Ozzy Osbourne's band during the "Blizzard Of Ozz" tour. He played on Ozzy Osbourne's live album "Speak of the Devil" and contributed to the "Diary of a Madman" tour. = Aldridge also played in Ozzy Osbourne's "Tribute" album, dedicated to Randy Rhoads. = In 1983 he played in Ozzy Osbourne's the iconic "Bark At The Moon" album. The same year he joined Gary Moore's band and recorded "Victims of the Future". = He is also part of Gary Moore's live album "Live at the Marquee" released the same year. = Aldridge left Ozzy Osbourne in 1984 and along with bassist and former Ozzy Osbourne-bandmate Rudy Sarzo, joined forces with guitar/keyboard Tony MacAlpine and vocalist Rob Rock to form a project called "M.A.R.S.". They released the album "Project: Driver" in 1986. = In 1986 Aldridge was part of the "Hear 'n Aid" project contributing vocals on the song "Stars". = Aldridge and Sarzo both joined "Whitesnake" in 1987 as the band prepared to tour in support of the "Whitesnake" album released the same year. = Aldridge and Sarzo were also part of the band's follow-up album, "Slip of the Tongue", released in 1989, solidifying his reputation as a top rock drummer. After "Whitesnake" was put in hiatus in 1990, Aldridge played in the band "Manic Eden", with his former "Whitesnake" bandmates Adrian Vandenberg and Sarzo. The line-up also included former "Little Caesar" vocalist Ron Young. In the early 1990s Aldridge worked as a session drummer, toured and played with various artists, including "Motörhead" (on "March ör Die" album from 1992), "House of Lords", Yngwie Malmsteen, John Sykes, Vinnie Moore and Ted Nugent (On the "Full Bluntal Nugity" album). = From 1997 to 2001 and again from 2007 to 2009, Aldridge was touring with the John Sykes version of "Thin Lizzy" alongside Scott Gorham, Darren Wharton and Marco Mendoza. = From 2002 to 2007 Aldridge toured with "Whitesnake" alongside David Coverdale (vocals), Doug Aldrich (guitar), Reb Beach (guitar), Marco Mendoza/Uriah Duffy (bass) and Timothy Drury (keyboards). On January 25, 2013, it was announced that Aldridge had rejoined "Whitesnake" for the third time for the band's upcoming "Year of the Snake" tour. Photo: Whitesnake Since then he recorded "The Purple Album" and "Flesh & Blood" with the band. In 2022 Aldridge joined a supergroup called "Iconic" featuring Michael Sweet (guitars), Joel Hoekstra (guitars), Marco Mendoza (bass), and Nathan James (vocals), releasing an album called "Second Skin" the same year. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 13, 1985, "Dio" released their third album "Sacred Heart". This is the band led by the legendary singer Ronnie James Dio, with their third album in three years. The line-up from the previous two albums is also preserved here and includes drummer Vinny Appice who retired with Dio from "Black Sabbath" while performing the mixes for the "Live Evil" album in 1982, bassist Jimmy Bain, Dio's friend from "Rainbow" and the guitarist, who was young and unknown at the time - Vivian Campbell. During the tour of the first album, Dio added keyboardist Claude Schnell, who was a member of the glam metal band "Rough Cutt", as a paid musician. Claude became a full member of the band during the recording of the album "The Last In Line" and he continues with the band on this album as well. In this album, Dio continues the mesmerizing music line of previous albums and at the same time deepens his exploration for more accessible and friendly materials that are meant to win the heart of the masses. As you may recall, the previous album "The Last In Line" already sounded less aggressive and immature than its older brother "Holy Diver". Campbell's formidable riffs, Ronnie's powerful voice, and Appice's solid, aggressive drumming were there, but "The Last In Line" still sounded "lighter" and more accessible than its predecessor, with less complex songs and much more sleek production. This search for mainstream catchy tunes continues here as well and the dominance of keyboardist Claude Schnell is growing. Claude was not involved in writing any of the songs on this album, but as on the previous album, his presence hovers over a large portion of them and is well felt in the production. What sets this album apart from the previous two albums is indecision. Dio tries to enjoy both worlds and it does not necessarily help him. On the one hand, he tries to stay true to the DNA that characterized the masterpiece "Holy Diver", and on the other hand to go for more melodic and lighter tracks that will expose him to a new audience and make him accessible to radio stations and MTV. So it turns out, on the one hand, we get songs like "Like the Beat of a Heart", "King of Rock and Roll" and the theme song "Sacred Heart" which somehow try to preserve the formula from the first album, and on the other hand we have "Rock 'n' Roll Children" and "Hungry for Heaven" which feature lighter compositions that are deliberately designed to please the masses, in order to push" Sacred Heart "into the mainstream charts. But the inconsistency is not the big problem of this album, as even the "lighter" songs sound good with Dio's immortal voice. The problem with this album is that, unlike the previous two albums, this time Dio failed to maintain a high level of writing throughout the album, with songs like "Fallen Angels" and "Shoot, Shoot" significantly falling short of the level of musical material Dio managed to produce in the first two albums. It seems that the desire to ride on the momentum of the previous two albums and produce a third album, as soon as possible, was not in Dio's favor. It seemed that Ronnie had to take the time and wait a bit with the third album, until writing material that would maintain a uniform and high level throughout, as was done in the first two albums, and not succumb to the pressure of the management and the record company. At the same time, despite the lack of uniformity in the level of writing and composition, this is a fun and good album from the classic Dio era. Songs like "Sacred Heart", "King of Rock and Roll", "Rock 'n' Roll Children" and "Hungry for Heaven" Make it a must-have album in the music library of fans of the genre. It is interesting to note that in this album as in the previous two albums, the opening song is very fast, rhythmic, and strong ("King of Rock and Roll") and is always followed by the theme songs of each of the albums. The theme songs are also always the more complex songs in terms of composition compared to the rest of the album songs. Sadly guitarist Vivian Campbell, who no doubt fit into this lineup like a glove, was fired by Dio in the middle of a tour that supported the album. A few years ago drummer Vinny Appice leaked some details about the circumstances of Campbell's dismissal and noted that Dio made a mistake when he fired him because in doing so the band lost part of its musical identity. Jimmy Bain said similar things and we tend to agree with the two. Campbell had a significant influence on the sound and musical style of the band and after his departure, the magic could no longer be restored. It's not that Dio did not have great albums later, but they failed to recreate the band's initial charm with Campbell. Before Campbell was fired from the band, he and his bandmates participated in the "Hear 'n Aid" project, which aimed to raise money for the famine in Africa. The project was a kind of an answer of heavy metal artists to "Live Aid" which took place in 1985. Dio, Campbell, and Bain wrote and composed the song "Stars", which was performed by the leading artists in heavy metal at the time. Another song worth mentioning is "Hide In The Rainbow" which was written by Dio and Jimmy Bain more or less at the time and was first released as part of the soundtrack of the movie "Iron Eagle". The song was not included on any of the band's albums, until the release of the deluxe version of this album on 2012. 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On August 13, 2010, "The Final Frontier", the 15th album of "Iron Maiden", was released in Germany, Austria, and Finland (and a few days later in the rest of the world). All the early signs have shown that this is going to be the band's last album. The name of the album that corresponds with the "Star Trek" film series and testified to the "Final Frontier" left for the veteran band to cross before it hangs out their guitars, the fact that it was the band's longest album to date with over 76 minutes of music, the vision Steve Harris' had before the release of the album, claiming to have seen the band released 15 albums before it disbanded and even the opening track “Satelite 15…” which included the number 15 that Harris predicted. There is no doubt that the band tried to do something different on this album. From the weird cover that introduced Eddie in space to the dramatic opening “Satelite 15…” that included the sounds of a drum machine and programmed bass and didn’t sound like anything else, the band has done in the last 30 years. But at the same time, it seems that you can never separate The "Iron" from "Maiden" since the band's so unique DNA still screams from every song on this album as we find out four minutes and a bit from the opening of the album, right at the end of the “Satelite 15…” Which connects to the theme song "The Final Frontier". A classic "immediate" piece in a mid-pace and sweeping riff, with a repetition of the song title that will leave you humming all the way through the infinite space to the "Final Frontier". Great opening to the album, but the real beauty comes ahead... The second track “El Dorado” is like a song going from the end to the beginning. The snare blow that gives the signal to the rampage of the rest of the instruments in a way usually reserved for the ending of a show, when only half a minute into the song we witness Harris' galloping bass actually opening the song. This is the only single released from the album and also the one that won the band its first Grammy. Although this is an excellent song, it's a bit sad that the Grammy came 36 years after the band was formed, when on the way it deserved to win it for much better songs. Even Steve Harris commented on the event, noting that in his opinion the song was less worthy than other Maiden songs that were nominated for the award. The title of the song refers to El Dorado - the legendary "Lost Golden City" located in the Andes. Bruce Dickinson explained the meaning of the song to "Kerrang" magazine and noted that the cynical lyrics refer to the economic collapse of 2008 and the fact that charlatans managed to sell the myth that the streets are paved with gold to the masses and people actually bought it. It is interesting to note that all three guitarists share the guitar solo in this song, starting at 3:42, Adrian Smith is first followed by Dave Murray and Janick Gers. Right after that comes "Mother of Mercy" and it seems that this album is only getting better from song to song. It starts with a folk atmosphere a-la "Jethro Tull" and also somewhat corresponds with Bruce Dickinson's solo career, although he was not a co-writer. The excellent melody in Dickinson's singing is among the best on the album and at times even reminded us of the "Stranger In a Strange Land" vibe. Then comes the semi-ballad "Coming Home" which just melts us down and this time too it's hard for us not to compare the track to ballads from Dickinson's solo career, who this time co-wrote the song with Steve Harris and Adrian Smith. It's a magical song of praise for Britain and Dickinson's longing to return home to "Albion" (Great Britain). Dickinson describes his feelings in the moments of returning home, from the cockpit of the plane he is flying: "Coming home when I see the runway lights In the misty dawn, the night is fading fast" And how beautiful it is to imagine the plane landing moments to the sounds of the solo that starts at 3:35 and is divided into two parts. (Photo: EMI) We pick up a gear with "The Alchemist", a song at a particularly fast pace and suddenly we realize that we are almost halfway through the album and this is the only fast song we have come across. Co-written by Dickinson, Harris, and Janick Gers who very much reminded us of "Be Quick or Be Dead" in its vibe - another fast song was written in collaboration with Gers and Dickinson. We did not lose sight of the great resemblance to the song "Spotlight Kid" by "Rainbow", both in rhythm and melody. The next song "Isle of Avalon" is one of the three epic pieces on the album that cross the 9-minute line. A very dynamic section with changes in rhythms, solos, and instrumental sections that correspond with prog-metal. We go through "Starblind" with Dickinson's critical lyricism, which goes against religion's sick evils. He does not spare words, and even seems to wisely sting those who promise the jihadists 72 virgins: "Virgins in the teeth of God Are meat and drink to feed the damned" The next track "The Talisman" brings us to a rather rare moment in Maiden's repertoire, two acoustic guitars that open the song in a completely folk atmosphere with Dickinson's vocals in a high language reserved for medieval plays. And then ... at 2:22 we get the all-too-familiar "Maidan" explosion with Harris' galloping bass pushing the whole band forward with an epic "Rime Of The Ancient Mariner" style song, whose lyrics also blend well with the song Mentioned and tells of a group of people who move from their place of residence on a long sea voyage to the Promised Land. We're nearing the end with "The Man Who Would Be King" - another epic piece with a quiet opening in the style of "The Clansman", which goes, evolves, and is pushed forward with the trio's amazing guitar work. The final song of the album "When the Wild Wind Blows" is without a doubt one of the most beautiful on it. The 11-minute song was written by Steve Harris and it was influenced by the animated film of the same name, from 1986, which tells the story of an elderly couple who feared a nuclear war and built an underground bunker under their house in which they ended up committing suicide, because they thought the end of the world had come. The film is also accompanied by a soundtrack, part of which was written by Roger Waters and also features "Genesis" and David Bowie. At the end of the recording of the song, drummer Nicko McBrain turned to Harris and told him that he thought it was the best song he had ever written alongside "Hallowed Be Thy Name". Speaking of Harris, it's worth noting that this is the fourth album in Maiden's Mighty repertoire in which Steve Harris has been involved in writing all of the songs. The album "The Final Frontier" was Iron Maiden's fourth to reach number one on the UK charts and the first to reach the top in 18 years, since "Fear Of The Dark" released in 1992. The album also reached number one in 20 other countries and had the highest entry to the US Billboard charts compared to the rest of the band's albums up to that point. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 13, 1973 "Lynyrd Skynyrd's" released their debut album "Pronounced 'Lĕh-'nérd 'Skin-'nérd". "Lynyrd Skynyrd's" debut album "Pronounced 'Lĕh-'nérd 'Skin-'nérd" is a Southern rock masterpiece that laid the foundation for the band's enduring legacy. Released in 1973, the album is a perfect snapshot of the band's raw energy, blending blues, rock, and country into a distinct sound that would become synonymous with Southern rock. From the opening riff of "I Ain't the One," the album exudes a swagger and confidence that feels both rebellious and deeply rooted in tradition. The song showcases the twin guitar attack of Gary Rossington and Allen Collins, backed by the steady rhythm section of bassist Ed King and drummer Bob Burns. Ronnie Van Zant's vocals are both gritty and soulful, delivering lyrics that speak to a rough-and-tumble Southern lifestyle. Interesting to note that Ed King, a former "Strawberry Alarm Clock" guitarist, was initially brought in to replace Bassist Leon Wilkeson left the band shortly before the recording sessions. However, as the sessions progressed, lead singer Ronnie Van Zant felt King would be better suited as a guitarist. Van Zant then persuaded Wilkeson to rejoin the band, allowing King to move to lead guitar. This decision established "Lynyrd Skynyrd's" iconic "Three Guitar Army" lineup with King, Allen Collins, and Gary Rossington. Wilkeson rejoined in time for the album cover photo and is credited in the liner notes. One of the standout tracks, "Tuesday's Gone," is a hauntingly beautiful ballad that contrasts the album's harder edges. The song's mournful melody and reflective lyrics reveal a more vulnerable side of the band, with Van Zant's voice carrying a deep sense of longing. The addition of Al Kooper's mellotron adds a layer of melancholy, making it one of the album's most memorable moments. Kooper was the album's producer and also contributes bass, backing vocals, mandolin, bass drum, organ and Mellotron playing to the album. Of course, no discussion of "Pronounced" would be complete without mentioning "Free Bird," the epic closing track that has become one of rock's most iconic anthems. The song's slow build, leading to a blistering guitar solo, showcases the band's musical prowess and has cemented its place in rock history. The interplay between Rossington and Collins on the extended outro is nothing short of legendary, capturing the spirit of the live performances that would come to define the band. "Free Bird" is undoubtly a "Lynyrd Skynyrd" classic known for its emotional and cultural impact, especially its famous instrumental ending, which makes up the last four minutes of the song. Originally over nine minutes long, a shorter radio edit was also made. The lyrics are about a man who cannot commit to a relationship, inspired by a question guitarist Allen Collins' girlfriend asked him during an argument. Though many believed the song was a tribute to the late Duane Allman, it was actually written before his death, but the band occasionally dedicated it to him at concerts. "Simple Man" is another highlight, a straightforward, heartfelt song that resonates with its message of humility and resilience. The track's stripped-down arrangement allows Van Zant's lyrics to take center stage, offering a timeless piece of advice that still rings true. The song was written by Ronnie Van Zant and Gary Rossington shortly after the deaths of Van Zant's grandmother and Rossington's mother. They created the song in about an hour, drawing inspiration from the advice their loved ones had given them. The song has been covered by many artists like "Shinedown" and "Deftones". The album also features the boogie-driven "Gimme Three Steps," which tells a humorous true story involving lead singer Ronnie Van Zant. When Van Zant was around 18, he used a fake ID to enter a bar where he danced with a girl named Linda. Her angry boyfriend, who Van Zant thought might pull a gun, confronted him. Van Zant asked for a chance to leave safely, saying, "Just gimme a few steps." He quickly fled to a truck where bandmates Gary Rossington and Allen Collins were waiting. The three wrote the song that night. "Things Goin' On," is a politically charged song that addresses social issues with a sharp, observant eye. The track blend of commentary and groove exemplifies the band's ability to tackle serious themes without losing their sense of fun. "Poison Whiskey" addresses the dangers of alcoholism, which is ironic given the band's history of performing under the influence. The song references Johnny Walker, a popular Scotch whiskey brand. An acoustic version of the song, sung by Johnny Van Zant, appears on the album "Endangered Species". "Pronounced 'Lĕh-'nérd 'Skin-'nérd" is a remarkably cohesive debut that captures the essence of "Lynyrd Skynyrd's" sound and spirit. It set the stage for the band's future success, introducing the world to a group of musicians who would go on to become one of the most influential forces in rock music. Even after more than five decades, the album remains a powerful testament to the enduring appeal of Southern rock, and a must-listen for anyone interested in the genre. With its blend of blistering rockers, heartfelt ballads, and timeless anthems, "Pronounced 'Lĕh-'nérd 'Skin-'nérd" is not just an album—it's an experience that continues to resonate with listeners, proving that "Lynyrd Skynyrd's" legacy is as strong as ever. No wonder that in 2020, "Rolling Stone" ranked the album number 381 on its 2020 list of the "500 Greatest Albums of All Time". 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The album "Bossanova" - The third studio album of the "Pixies" was released on August 13, 1990. Let's count 30 facts about the album: 1. The name of the album "Bossa Nova" refers to a musical style that developed in Brazil in the 50s of the last century. 2. Musically this is the band's most "soft" album, and it marked a change of direction from the previous two albums. 3. Also lyrically the album is fundamentally different and addresses issues of space, aliens, and science fiction, compared to the heavy issues of prostitution, alcoholism, death, and drugs that characterized the previous albums. 4. The recordings of the album began after a grueling tour that accompanied the previous album "Doolittle". The intensity of the tour gave its signals in the relationship between the band members, especially between Black Francis and Kim Deal. 5. This was reflected in the fact that all the songs on the album (except for one cover version) were written by Black Francis. 6. Another expression of the rift between Kim Deal and Black Francis can be found in the fact that Kim Deal was working on the debut album of her side project "Breeders" when the rest of the band started working on the album in Los Angeles. 7. The physical and social distance from the rest of the members made Kim Deal think about leaving the band, but in the end, she decided to stay mainly due to the encouragement she received from the band's fans. 8. The person who produced the album was Gil Norton who also produced their previous album, "Doolittle". 9. The album includes 14 tracks of which 2 singles have been released. The first single released from the album "Velouria" includes the use of a very unique musical instrument called Theremin. It is an electronic musical instrument in which the playing is performed without contact but by changing the distance of the hands from a pair of antennas that affect the electromagnetic field in their environment. 10. The one who played the instrument in the song was Robert F. Brunner who also played it in the song "Is She Weird". 11. Francis noted that the lyrics of the song were influenced by the spiritual and cultural movement "Rosicrucianism". 12. This is the first "Pixies" song to enter the Top 40 in England. 13. "Weezer" performed a cover version of the song in 1999. This is Black Francis' favorite cover version of the "Pixies" song. 14. He defined the second single "Dig for Fire" as an unsuccessful imitation of the "Talking Heads". The clip released for the song also included another song from the album - "Allison". 15. The single's B-side included a cover version of Neil Young's song "Winterlong". 16. The song "Allison" was written as a tribute to American jazz musician and pianist Mose Allison. 17. This is the shortest song of the "Pixies" that is only 1:17 min long. 18. The track "Cecilia Ann" is a cover version of "The Surftones". 19. The album does indeed touch on the Surf Rock style as well. 20. The song "Ana" is also influenced by Surf Rock. The first letters of each sentence in the lyrics make up the word SURFER. So: She's my fave / Undressing in the sun / Return to sea - bye / Forgetting everyone / Eleven high / Ride a wave 21. Most of the songs on the album were written in the studio, with no early demos, with Black Francis writing the lyrics 5 minutes before the recording on napkins. 22. An exception was the song "Blown Away" which was written in June 1989 while the band was in Spain as part of a tour to promote the previous album. 23. This song alone was recorded by the band a few days later in Berlin, with producer Gil Norton being flown there specifically to record the song. 24. During the recordings of the album, the three members of the band (except for Kim Deal, who was in England at the time) lived in studio apartments for artists, together with members of the band "The White Lion". Producer Gil Norton also moved to the same apartment complex to work with the band. 25. The recordings began at Cherokee Studios in February 1990, but early on a problem arose when band members were required to vacate the studio by 6 pm to allow for pirate radio broadcasts. (Photo: Clayton Call) 26. This was not the only problem, every connection made to the guitar amplifier in the studio caused a loud noise that made it impossible to record the album. 27. Producer Norton and guitarist Joey Santiago told producer Rick Rubin whom they met by chance in a pub, about the problems and he made sure to find them another studio where they completed the recordings. 28. The album reached number 70 on the US Billboard 200, but in the UK it was more successful when it reached the respectable 3rd place. 29. This album greatly influenced the "Mashina" band, who were inspired by the sound and style of their album "Monsters of Glory" which was released years later. 30 The album appears in the book "1001 albums you need to listen to before you die". For Listening: Spotify, Apple Music. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Welcome to Mike Patton's Flying Circus... Just as "Monty Python's Flying Circus" was to 1970s television, so is "Mr. Bungle's" debut album to music in the 1990s. The album that was named after the band and released on August 13, 1991, broke the boundaries of what was considered acceptable at the time and broke conventions, both in the crazy and disturbing content, in the production loaded with sound and information, and in the musical style that made it impossible to define. This is a crazy album that not only mixed styles of metal, funk, soul, death, progressive, jazz, ska, and circus music, not only took the lyrics to extremes with writing topics of porn, vomiting, masturbation, domestic violence, and of course about a pedophile and alcoholic clown who also stars on the cover, but also took the production one step too far with crazy transitions, sounds of vomiting, horrible screams, sighs from pornographic movies and quotes from the movie "Blue Velvet" by David Lynch. This crazy album probably wouldn't have come out at all, if it weren't for Mike Patton joining "Faith No More" three years earlier and releasing the wonderful album "The Real Thing". After all, "Mr. Bungle" was Patton's first group, which he formed back in 1985, while the band members were still in high school, but they failed to get a recording contract, partly due to their crazy style that no record company could understand. (Photo: Last.fm) Since the band members felt rejected by society, among others because of the styles of music they liked, they gave their band the name "Mr. Bungle", based on an educational film for children called "Beginning Responsibility: Lunchroom Manners", which addressed the theme of rejected children. Mike Patton said that the band was formed after its members were kicked out of other bands that were really bad. Drummer Jed Watts and guitarist Trey Spruance were thrown from a gothic metal band and Mike and the bassist Trevor Dunn threw themselves out of a "Metallica" cover band. They started as a death metal band, but very quickly the band's style became so eclectic, complex, and varied that they had to use a lot of instruments, some of them not "conventional" to produce their crazy sound. The use was so complex and different that it was very difficult for them to record it in the studio and even more difficult to perform the material in concert (photos of the band in concert, show the stage as a "garage sale"). They used to go to shows in fancy costumes and outfits, with strange masks. They change their behavior according to the same character in every show. The most popular costumes were clown costumes and carnival props, which found their way as the main motif on the band's debut album. (Photo: Last.fm) The complexity on stage and off, as well as the feelings of "rejection" they felt from the record companies, did not stop the band, which continued to make the music they wanted, even though the demos they recorded over the years were rejected time and time again by the record companies. But then, about five years after its establishment, something miraculous happened. The band members moved to San Francisco. Guitarist Trey Spruance said that the location change also affected the band's musical style. They became interested in "Slayer" and "Mercyful Fate" and later also in "The Specials" and "Fishbone". Their shows started to gain momentum, probably also due to the rumor that the one who leads them is none other than Mike Patton. The record companies are becoming interested and the first to recognize the potential was "Warner Bros. Records" which signed them on a recording contract in 1990. This album is a genius, schizophrenic and disturbing show, from start to finish. From the moment the needle touches the record we enter a crazy and horrifying world. A musical horror circus with scary clowns and broken carousels that keep spinning at top speed with you abroad not being able to step out. Those who made the mistake of turning up the volume for the first few seconds of the opening song "Quote Unquote" because they thought their stereo was broken, will get the album's first "heart attack" at 0:34 right after the sound of the shattering glass. Horror music combined with jazz, circus music, and more, musical changes in a matter of seconds. The volume goes up and down like a swing, the hallucinatory sounds mix with it and attack your nervous system as Mike Patton's insane and delightful voice envelops you from all directions and cradles you in a fetal position. This song was originally supposed to be called "Travolta" after John Travolta. The name is even mentioned in the song and Mike Patton even sang a part of the theme song of the movie "Grease", but the fear of a lawsuit led the band members to name it after the biography written about John Travolta called "Quote Unquote". This madness of jumping from genre to genre without any rhyme or melody continues throughout the entire album, with songs that even cross the 10-minute mark. "Slowly Growing Deaf" was inspired by the ironic need to use earplugs while listening to music and is also the first song in the "Sleep" trilogy, with the other two parts appearing on the band's second album. "Squeeze Me Macaroni" addresses extreme sex through food metaphors. "Carousel" takes us on the band's crazy carousel that spins until Mike Patton vomits his soul to the sound of his friends' rolling laughter, while "Egg" deals with social rejection. "Stubb (A Dub)" is about guitarist Trey Spruance's dog called "Stubb". Despite the disturbing content of "My Ass Is on Fire", which includes stabbings, sexual orgasms, and more, it has a captivating oriental section. "The Girls of Porn" is about pornography and masturbation. "Love Is a Fist" deals with domestic violence and in "Dead Goon" we witness the death of the narrator due to self-suffocation. Just like in a horror movie, listening to this album is accompanied by feelings of fear, but instead of turning away from it, we are actually drawn to it. The heart rate increases, a cold sweat rolls down the spine and you feel like after a bungee jump but without even moving from the chair. The album received mixed reviews upon its release, but influenced quite a few well-known artists. In 2015, "Korn's" guitarist James "Munky" Shaffer praised the album, noting that it had a significant influence on him. He noted that the album set the tone for what "Korn" would do creatively. According to him "Mr. Bungle" were completely "outside the box", and they didn't care that they only satisfied themselves. Former "Dream Theater" drummer Mike Portnoy ranked the album as one of his ten favorite progressive rock albums of all time. He stated that the album scared him the first time he listened to it and that he had never heard anything so twisted, evil, and joyful at the same time. "Avenged Sevenfold" guitarist Synyster Gates called the album "one of the most amazing pieces of music I've ever heard in my life" and "Incubus" frontman Brandon Boyd stated that he had been a fan of the album since its release and that he loved how the music was honorable, disgusting and scary at the same time... For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

It shook the music world to its core... It caused a division among its fans... It swept through like a relentless tsunami... It is denser than any naturally occurring chemical element... Today marks the anniversary of Metallica's "Black Album"!!! This time, we'll begin with a unique personal story... Although there is now complete agreement between both sides of "Face/Off" regarding this album, it wasn't always so. On July 25th, we reviewed Metallica's debut album - "Kill 'Em All". The review shares a personal story from one of the writers below, detailing how he discovered Metallica and the thrash metal genre in the 1980s. That boy from the "Kill 'Em All" story grew up with the band, evolved alongside it, and felt the loss of its legendary bassist Cliff Burton, which he learned about through a Teletext message. He sighed with relief when the turntable needle hit the first note of the first vinyl, out of two, of the album "And Justice For All..." Then, while he felt secure about the band's future, right in the midst of the excitement following the band's mini-comeback with Jason Newsted, he found himself crossing the thin line between love and hate. (Photo: metallica.com) The black album was released in August 1991, and the same young man, who was in the midst of military service at the time, felt utterly shocked. The band he was so connected to had betrayed him and most of its devoted fans by "selling its soul," commercializing, and abandoning the powerful genre it helped create. He wasn't alone in feeling this way, as the band's long-time fans who grew up with it can attest. This sense of betrayal even reached the industry. Just ask the members of Pantera, who, with "Vulgar Display of Power," aimed to create their heaviest and most aggressive album, partly in response to the feeling of abandonment they experienced from Metallica's Black album. But then came the turning point !! In 1993, about a month after Guns N' Roses performed in Israel (May 22, 1993), "Metallica" came to Israel. The concert coincided with the birthday of a teenage boy (a cosmic coincidence), and he received the greatest gift he could imagine. He reconnected with the band he grew up with. It's unclear what led to the change in his feelings and attitude. Perhaps it was the onset of adulthood that a young teenager struggles to accept, perhaps it was the disappointment he felt with Guns' performance a month earlier, or maybe it was because "Metallica" appeared on stage just as he remembered them from his first listen 10 years prior: powerful, frenetic, aggressive, and energetic. That night, "Metallica" delivered the best show he had ever seen, and those tens of thousands present would likely agree it was the best show they had witnessed in Israel (perhaps until Guns' returned in 2017). Since then, the boy fell in love with the band once more and became completely devoted to them and the "Black Album." The narrative of the other side of "Face/Off" also involves a transformation, yet here it is about a complete "conversion." This side was enveloped in cotton candy and an assortment of sticky "poppy" jellies. He grew up listening to bands whose names we won't disclose here to protect privacy (or avoid harming the show's reputation), but suffice it to say, the posters covering his room's walls were very colorful, with no trace of black. Previously, we discussed the turning point of this boy, known for his "late blooming," with the first single from Hayehudim band, which occurred around 1994. Similarly, there was a late bloom here, and while everyone was immersed in grunge, he suddenly discovered "Guns N' Roses," which was naturally more palatable for that young religious convert whose ears were accustomed to synthesized sounds and lively voices. But then, something miraculous happened. By chance, with one of his friends, he heard the song "Sad But True." That instant... that moment... where the sound of the exploding snare, as if the Hulk himself was pounding out of a massive crater on the drum covered in white skin, shattered the boy's soul. The makeover completes its shape !! From that moment, he couldn't relax. He rushed to buy the Black album, hit play, and satisfied his craving for that incredible snare sound. This album played a crucial role in shaping the boy and fueling his ambition to become a drummer. He spent entire days listening to the drum sounds, analyzing every beat by Lars Ulrich, and replicating them on the vintage drum set he had purchased for a few hundred shekels. He tried to understand how the snare could burst so powerfully, how the hi-hat produced a drifting sound as if made from the friction of countless cymbals stacked together, and how the cymbals were so captivating that they ensnared the listener's eardrum. This marked the beginning of a wonderful friendship! Now, if we delve into the album, we must first address the most fascinating and intriguing question, Why? Why, after four intense thrash metal albums characterized by fast tempos, lengthy and dynamic tracks, intricate solos, wild drumming, and profound lyrics, did the band release such a "simple" album? The band members themselves claimed that this was the reason for their musical shift—they wanted to create something simpler! There are numerous theories, facts, and stories surrounding the... Why? The band members desired to create something simpler because they were weary of long tracks. They had already demonstrated their ability to produce lengthy and complex songs, and now they wanted to convey their message with just two or three riffs through short, melodic songs, and that was it. They expressed that with their previous albums, they felt they had pushed too far and missed something musically, as if there was a realm they wanted to explore but hadn't yet achieved. It may sound somewhat disconnected, but James Hetfield even mentioned that they felt insecure about their music and lyrics, as if they were masking it with a showcase of lengthy, complex, and fast tracks. It's widely acknowledged that the most significant and challenging theory, circulated by critics, reporters, and even fans, is that they aimed to be more commercial. They sought to reach a larger audience and achieve greater commercial success, leading them to change direction. Indeed... they wanted to earn more money!! Ultimately, it doesn't matter where you stand—whether you're on the supportive and appreciative side or the critical and negative side—or what the true reason for the musical shift is. It's important to remember that music is an art form, fundamentally human, created from the passions and ideas of its creators. You can love it or hate it, but this album is a monumental musical achievement, immense and impressive!! It changed history and had a significant impact on the world of rock!! Many exciting things occurred on this album... To begin with, the producer's role had a significant impact on this album!! This marked the first time Metallica chose to collaborate with a producer. Although Danish producer Flemming Rasmussen was credited on Metallica's earlier albums, he primarily handled technical aspects rather than setting the creative direction. For this album, the band brought in Bob Rock, largely due to his work with Mötley Crüe, and he truly established the album's tone. Previously, Hetfield and Lars would write, compose, and arrange the songs mostly by themselves, with Kirk Hammett and Jason joining in the final stages. No one else typically intervened. Imagine the upheaval for Hetfield and Lars when someone suddenly started advising them on how to adjust notes and improve their sound. Naturally, this transition wasn't easy, and the album's creation involved numerous challenges, arguments, and confrontations. Bob pushed the band members hard, urging Hetfield to enhance the song lyrics with more personal and intimate touches. He also encouraged him to introduce harmony in the vocal recordings, which hadn't been present before. The band was required to record tracks repeatedly until they achieved the desired outcome. Bob also had them experiment with various musical instruments and techniques to push them out of their comfort zones and produce unique sounds. Unlike previous albums, where writing was more individualistic, Bob insisted that the band members collaborate in the studio. Many of Bob's contributions significantly influenced the final result, but they also led to considerable tension and conflict. In fact, Lars, Kirk, and Jason all went through divorces during the album's production, and its costs exceeded the initial budget by several times. These events are documented in "A Year and a Half in the Life of Metallica". This album includes much slower and "heavier" tracks compared to Metallica's earlier releases. The band members put significant effort into creating a richer sound for all the instruments. After the album "And Justice for All...", where they felt the high notes were overly dominant and there was a noticeable lack of low notes—especially with Jason's bass being almost inaudible—they aimed for a powerful thickness in this release. The distortion fills the entire speaker membrane, and the drums deliver an impressive presence. Lars simplified his drumming, moving from complex double bass techniques and intricate rhythms to a straightforward rock style. Jason significantly increased the bass volume beyond regular accompaniment, playing so forcefully that they had to dampen the studio to prevent string clicks during recording. Additionally, they incorporated instruments not typical in metal at the time, such as the cello and a string orchestra. Hetfield's songwriting evolved under Bob's influence, who encouraged him to write with more confidence and incorporate a personal touch. The lyrics on this album explore Hetfield's intimate and personal themes, including past religious experiences, childhood situations, and family events. Additionally, Hetfield took voice development lessons (after losing his voice during a cover song) to achieve a richer and deeper vocal expression, using singing techniques that enhance the harmony of the lyrics. The album cover stands out from everything Metallica had done before this release. It features a black background, a caption in a slightly different shade of black, and a gray snake symbol, all reflecting the band's shift. The design elements highlight the band's move towards simplicity, with no complex or cartoonish graphics, no prominent album title, and the band name barely visible. We said it is a massive... massive... album... so let's discuss commercialism a bit. This is the band's first album to reach number one on the Billboard charts, where it remained for four consecutive weeks. Impressively, it spent a total of 488 consecutive weeks on the charts, becoming the third longest-charting album after Pink Floyd's "The Dark Side of the Moon" and Carole King's "Tapestry". It received a platinum certification just two weeks after its release and has consistently sold more than 1,000 copies each week. To date, it has sold over 35 million copies. To commemorate the 30th anniversary of the album, Metallica has launched a unique project titled "The Metallica Blacklist," set to be released on September 10, 2021. This project includes 51 diverse musicians who have crafted new renditions of songs from the album. Among these artists are Sawayama, Jason Isbell and the 400 Unit, St. Vincent, Royal Blood, White Reaper, Corey Taylor, Mexican Institute of Sound, Flatbush Zombies, Miley Cyrus, Elton John, and many more. You can listen to this special album on Spotify, Apple Music You are welcome to listen to the special edition released on September 10, 2021, for the album. This edition was remastered and includes an exciting collection of tracks from live performances, demo recordings, studio sketches, and many other rare tracks. Listen to the album "Metallica (Remastered Deluxe Box Set)" on Spotify, Apple Music So do yourself a favor and listen for the umpteenth time (or for the first time) to this mighty album On: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website