You know what it's like... When you experience something big for the first time, you tell yourself it's probably disposable, it's so big and special that it's not likely to happen again. The power, the excitement and the impact of the experience are so special that you do not believe such a thing can repeat itself... But yesterday it happened... it repeated itself... and it was even bigger !! Warning: This will not be a performance review, this will be a pure experience sharing! It happened on the night of the 24th of January 2019, in south Tel Aviv... in Barby club Tel Aviv. Walkways has gone up for their second performance at Barby since the issue of their crazy album launch last year and it was huge, powerful, unique and phenomenal. You know that you feel at a certain moment that you are part of something big, you are witnessing something that you feel in your heart that is going to be huge, enormous, so these are Walkways !! The band that recently signed a contract with the huge label Nuclear Blast, returned from a tour of several months in Europe as an opening act for Memphis May Fire and as Avihai (the bassist) described it: "It was like in the movies", on a bus with all the equipment waking up every day in a different city in Europe, give your soul out and live the life of rock and roll. The show consisted of two parts, the band SHREDHEAD in the first part and Walkways as the second. The came on stage after the opening act For Us All. But before we talk about Walkways we must dwell for a moment on SHREDHEAD... We are not very familiar with the band, we have never heard their music and this is the first time we see them live. So from here we want to send a message to Israel Minister of Defense and the Chief of Staff and inform them that they can release the current army because there is a sophisticated, formidable and cruel war machine in the State of Israel called SHREDHEAD !!! Their two guitarists, Yotam Nagor and Razi Elbaz, lead the commando cruisers with determination, professionalism and cruelty while the mad drummer Roi Kahana (who seems to have 4 pedals or four legs) with bassist Lee Levy is a huge artillery or missile battery that drops heavy and powerful artillery. Leading singer Aaron Raguza who with his throat and power does not even need radio communication device, you can hear him from far away as he navigates the troops. There is no other way to describe their performance and music, those who love this style expect a completely deadly and cruel out-of-body experience, add to that their devoted and loving audience and you will get a huge show. We have already talked several times about Walkways and also played them several times on our show. The amazing thing about this band is that it has its own special DNA, although it is in this genre called Metal Core it's very unique, you can feel it right away on the first note. There is something cosmic about the structure and dynamics of their music, a very sophisticated and deadly combination of strong riffs with caressing lines, unexpected breaks and transitions of different rhythms in an uneven structure. You feel it pulls you up, caress you gently and suddenly you get hit by a cruel punch to the face, you are thrown to the floor and find yourself stomping hard. It is very difficult to explain in words what this band manages to convey to the listener and especially to its audience during the performances. An exploded Barby , full of youthful scent, everyone with their hands up roaring "For Heaven Sake" one of their big hit song from the last album. The combination of all this talent on stage with the mesmerizing sound leaves no choice but to have a total devotion. Both guitarists, Bar Caspi and Yoni Menner produce ultrasonic sounds that penetrate into your brain and initiate electrical pulses of a type you have not experienced, your brain without any resistance transmits these unfamiliar sensations to all the organs in your body. You feel like your body is moving from one extreme to another. At one moment you want to explode, jump, roar and at another moment you want to sing, whisper and break in tears. Those responsible for the navigation or more correctly for the direction of the wiring are the huge drummer Priel Horesh and the amazing bassist Avihai Levy. When the reefs are strong and shaky, they attack along with them and form a kind of formidable railroad with a collision course that is cool and great but throws you off balance when the crazy breaks comes and you do not even understand where will it be landing on you. The snare, the bass drum and the bass create passages that grasp your soul and in the silence that prevails you do not hear the heartbeat at all but only the snare and bass poundings. All of these powerfully feed the singer Ran Yerushalmi, who with mesmerizing charisma penetrates the soul, he whispers in your ear, he roars from the depths of his throat, he strokes you and he kicks you to hell... he's just huge!! You're probably saying we've been swept away, that we're really exaggerating, that there are a lot of exciting bands but that's... really exaggerated. So we are not going to justify or apologize... For a fact this is what happens when a band reaches such a high level and it is in your home, in your country and it is part of you. We wholeheartedly recommend going into Walkways Bandcamp or the band's website now and buy their two albums. We very much hope they will have more shows soon because this is a must see !! Listen to the band debut album "Safe In Sound" issued in 2013 on: Spotify, Apple Music. Listen to the band second album "Bleed Out, Heal Out" issued in 2019 on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

There are concerts people remember because they were perfect. And then there are concerts people remember because they were too big, too chaotic, too frustrating and too powerful to ever disappear from memory. "Metallica" at "Ramat Gan Stadium" in May 2010 was exactly that kind of night. (Photo: Metallica Official Photo Gallery) Long before the band even landed in Israel, the concert already carried unusual emotional weight. Two years earlier, the cancellation of the 2008 show left thousands of fans angry and heartbroken after waiting months to finally see the biggest metal band in the world return to Israel. Tickets were kept, expectations only grew larger, and by the time the "World Magnetic Tour" finally arrived at "Ramat Gan Stadium", this no longer felt like just another international rock concert. It felt like unfinished business. Hours before the gates opened, the entire area around the stadium was overflowing with black shirts, old tour merchandise, beer stands and endless chants of “Metallica! Metallica!”. Fans who had seen the band in the 90s mixed with teenagers experiencing them for the first time. There was a feeling that something historic was about to happen. Even before "Metallica" took the stage, "Orphaned Land" received the almost impossible task of opening for one of the most emotionally charged crowds Israel had seen in years. For the Israeli metal band, it was a rare opportunity to stand in front of tens of thousands of people moments before one of the biggest bands in the world. Despite the enormous pressure and scale of the event, "Orphaned Land" delivered a powerful and respectable opening performance, combining their signature blend of heavy metal and Middle Eastern influences, once again proving why they are considered one of the most important and influential bands to emerge from the local metal scene. Then the lights went down... As Ennio Morricone’s "The Ecstasy of Gold" filled the stadium, the tension exploded instantly. The giant screens lit up, the crowd surged forward, and when "Metallica" stormed into "Creeping Death", "Ramat Gan Stadium" finally released two years of frustration in one deafening scream. For the opening minutes, the concert felt unstoppable. It was the first out of three "Ride the Lightning" songs and it felt that ןt was no coincidence that the band chose to open their concert in Israel with the story of the Ten Commandments. Next "For Whom the Bell Tolls" sounded massive, James Hetfield immediately controlled the crowd like only he can, and the entire stadium moved together as if the evening had already become one of the greatest metal shows Israel had ever hosted. And then came "Ride the Lightning". Suddenly the sound disappeared... At first, people thought it was a brief technical issue. But then it happened again. And again. Large sections of the audience could barely hear the band during parts of "Ride the Lightning", "Harvester of Sorrow", and "Fade to Black". The sound system repeatedly collapsed into silence, muddy distortion or partial channel loss, while the band themselves kept playing almost blindly through the chaos. The frustration inside the stadium became impossible to ignore. Fans booed loudly, not at the band, but at the disastrous technical handling of a concert this large. For several songs, the entire evening genuinely felt close to collapse. What saved the show from becoming a complete disaster was "Metallica" themselves. James Hetfield handled the situation with visible honesty instead of pretending nothing was wrong. He apologized multiple times, encouraged the crowd to stay with them, and slowly managed to pull the audience back into the performance. There was something strangely human about seeing one of the biggest bands in the world fighting through technical failure in real time. Once the sound stabilized, the concert finally revealed what it was supposed to be all along: a gigantic, aggressive stadium celebration of "Metallica’s" entire career. (Photo: Metallica Official Photo Gallery) This was very much the "Death Magnetic" era version of the band. Less dangerous and unpredictable than the wild early 90s lineup that destroyed Park Hayarkon in 1993, but heavier, tighter and more disciplined. By 2010, "Metallica" already operated like a massive machine. Every transition, lighting cue and stage movement felt calculated with stadium-level precision. Sometimes that professionalism removed part of the danger that once defined them. But it also meant the band hit with unbelievable force once everything finally worked. The newer material from "Death Magnetic" actually fit surprisingly well into the set. "That Was Just Your Life", "The End of the Line", "The Day That Never Comes", and "Broken, Beat & Scarred" sounded darker and heavier live than on record, proving the band still knew how to write modern material that could survive next to their classics. Still, the true explosions inside the stadium came whenever the older songs arrived. "Sad but True" rolled through Ramat Gan like pure concrete. "One" transformed the stadium into a battlefield with explosions, machine-gun effects and blinding white lights. "Master of Puppets" became total chaos, tens of thousands screaming every word while the floor of the stadium physically shook beneath the crowd. Then came "Blackened", easily one of the most intense moments of the evening. After all the technical frustrations earlier in the concert, the song felt almost symbolic: fast, violent, relentless thrash metal delivered by a band refusing to let the night fail completely. By the time "Nothing Else Matters" and "Enter Sandman" arrived, the concert had fully recovered emotionally, even if nobody forgot the problems from earlier. The audience sang every word, but unlike smaller indoor performances, this was never an intimate evening. Ramat Gan Stadium felt enormous, loud, sometimes distant, and occasionally acoustically overwhelming. This was a giant stadium spectacle in every sense, both for better and for worse. The encore perfectly captured the strange balance of the night. First came "Stone Cold Crazy", the old "Queen" cover that reminded everyone of the band’s thrash roots and sense of humor. Then "Whiplash" completely reignited the old-school energy before "Seek & Destroy" closed the evening exactly the way a "Metallica" stadium concert should end: giant beach balls flying through the crowd, thousands screaming the chorus back at the band, and pure exhausted chaos everywhere you looked. (Photo: Metallica Official Photo Gallery) The 2010 Ramat Gan show was not a flawless triumph. The sound problems were real, severe and embarrassing for an event of this magnitude. Some people left angry. Some left disappointed. Critics were divided afterward. But despite all the technical failures, "Metallica" still managed to create one of the most talked-about rock concerts Israel has ever seen. Maybe because the imperfections became part of the story itself. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Well, it took us a while to recover from what happened on stage at the Menora Hall in Tel Aviv, yesterday May 22, 2022. So for those of you who do not have time to read the full review, we have prepared a special "Executive Summary", and it goes like this: "Deep Purple demolished the "Menorah Tel Aviv Hall", in an unforgettable performance, perhaps the best it has given here in Israel." To all those who hurried to eulogize the aging band, those who noted that most of its members can be members of ש Nursing Home and mocked the "oxygen breaks" that singer Ian Gillan takes during the show, you are invited to the nearest "hat shop". We prepared a coupon for you so you can buy a straw hat, you know, one of those that do not slip very well down your throat... To tell you the truth, we too did not come to the show with high expectations. This is the band's sixth performance we saw here in Israel, the last of which was held 6 years ago, and as our childhood heroes are getting older, we had some concerns regarding the band members' performance abilities. These fears were overshadowed by early publicity that guitarist Steve Morse, who has accompanied the band for nearly three decades, would not be coming to the show due to personal reasons and the fact that the show is being held at "Menorah Hall", where we did not enjoy the sound quality in the past. Even the setlist who was expected to be played at the show, did not arouse much excitement. We have already seen most of the songs performed live at the band's shows, although we must admit that we were very thrilled to hear the songs from the latest and excellent studio album "Whoosh!" and The cover album "Turning To Crime", being played live. But then it happened. We were proved, once again, that reality surpasses all imagination. After a brief warm-up of the excellent "Subterranean Masquerade", the purple dinosaurs took the stage to the tune of "The Planets Op. 32 I. MARCH, the Bringer of War" by English composer Gustav Holst, and it did indeed felt like a "war" moving on us, only this time for the better. Immediately after the "War March" the signal was given and Ian Paice began the all-too-familiar drumming intro of "Highway Star" and right then one could already feel the insane energies that passed from the stage to the audience and immediately back. Three minutes into the song and it could already be said that all our fears were dispelled. The band sounded and looked more energetic, cohesive, and tight than ever. Ian Gillan's voice was clear and powerful, the sound was excellent compared to other performances in the same hall and even Simon McBride, in his second visit to Israel (was here in 2019) gave an amazing and accurate performance of one of the band's most-played songs. If we've already mentioned Simon, then he was the "added value", that only contributed to the band's already insane show. With almost no unnecessary tricks, with an amazing sound from heaven, and without replacing a guitar even once during the entire show, Simon just "came to work". What was not said about him? That he is a gifted guitarist who already at the age of 16 joined the reunion of "Sweet Savage". That he is reminiscent of Joe Bonamassa. that he is Rory Gallagher's successor with musical abilities that made him the lead guitarist in the British blues-rock scene, but until we saw him spit fire from his guitar with impeccable technique and musical ability, the doubt that he would not be able to step into Steve Morse's great shoes continued to nestle in us. You can not blame us for the overzealousness of stupid teenagers. From the height of our age (We were not teenagers at the time of the band's 1991 show, do the math) and after dozens if not hundreds of gigs around the globe behind us, trust us we already know how to filter the noise of enthusiasm and focus on the music itself and usually we are very critical. But what happened yesterday at the "Menorah Hall" was an amazing display that completely does not embarrass the youth of this much-loved band, whose soundtrack is woven into the history of Israeli audiences. In a non-stop sequence and with almost no flirts with the audience, the band gave us a balanced dose of their great "hits" and must "classics", alongside newer material, with a spicy, focused polished solos. The setlist included a worthy and respectable representation from the 50th-anniversary album "Machine Head". The opening song "Highway Star", "Pictures of Home" with Paice's rolling drum intro, "Lazy" with Gillan's harmonica solo, "Space Truckin" which this time did not starch too much, and of course "Smoke on the Water" with the video art in the background. On top of all this one can add one of the surprises in the setlist. "When a Blind Man Cries" was recorded during the sessions of "Machine Head", but did not enter the album because Ritchie Blackmore just did not want it there. The band does not often play the song in their performances and we were privileged to see it performed here live for the first time after a decade. It is interesting to note that this song entered the band's setlists only after the departure of Ritchie Blackmore, as for years he refused to play it and simply denied it. In the (relatively) new representation of songs in the setlist, we can mention the excellent "Nothing at All", whose performance in the show was no less than amazing, and "Throw My Bones" with the simple and sweeping riff, both from the excellent "Whoosh!" album. There was also "Uncommon Man" dedicated to Jon Lord, "Time For Bedlam" which was quite surprising, as well as two excerpts from the cover album "Turning To Crime" - the perfect cover for "7 and 7 Is" by "Love" And of course the sweeping string "Caught in the Act" which blends five classics from the '60s into an amazing string: "Going Down" by "Jeff Beck Group", the instrumental "Green Onions" by "Booker T. & the MG's" Southern blues "Hot Lanta" by "Allman Brothers Band", heavy bluesed "Dazed and Confused" by "Led Zeppelin" and the hit "Gimme Some Lovin" by "Spencer Davis Group". Beyond the songs we already mentioned above, it seems that the moments that excited the audience at "Menorah Mivtachim Hall" in particular were "Strange Kind of Woman", one of the most played songs by the band, the legendary "Perfect Strangers" that drove the audience crazy, "Hush", the first single the band released somewhere in 1968, an interpretation of the song "Jerusalem of Gold" that keyboardist Don Airey included in his amazing solo (we wonder if he knew "Jerusalem Day" was few days ahead), and of course "Black Night" which ended the show with loud cheers. The performance was excellent throughout. The level of playing and virtuosity were at the highest levels known in the music world. Ian Paice is one of the great drummers in classic rock and together with Roger Glover complete one of the most stable rhythm sections of the 70s. Don Airey is simply a one-man band, and there is no musical style he can not play and as for Ian Gillan, we must note that after the last shows here in Israel we were really pleasantly surprised by his performance. If we ignore the brief forays into the black tent behind the stage, he led and swept the band and the audience after him. He was smart enough not to fall into unnecessary traps, sometimes preferring a less "faithful to the original" over an "inaccurate" performance, when even for a moment we did not have to move uncomfortably in our chair at the sound of his straining voice. In conclusion, this is definitely one of the good performances of "Deep Purple" in Israel, if not the one... If you did not attend the show yesterday, then you have another opportunity to fix it today, in Jerusalem. Run ... and here... we have also prepared a playlist that will accompany you on your ascents to Jerusalem so that you can prepare yourself for the show: Spotify And for those who haven't seen this miracle, here are some experts from the show: Song list: Highway Star Pictures of Home Strange Kind of Woman Nothing at All Uncommon Man Lazy When a Blind Man Cries 7 and 7 Is Throw My Bones Time For Bedlam Keyboard Solo Perfect Strangers Space Truckin' Smoke on the Water Caught in the Act Hush Bass Solo Black Night "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 22, 2007 Ozzy Osbourne released his tenth studio album "Black Rain". This album marked Ozzy's return to all-new solo material after six years and it finds the Prince of Darkness navigating modern metal trends while holding onto his signature style. With "Black Rain" Ozzy went darker and heavier than "Down to Earth" released in 2001. "Black Rain" sits at the intersection of traditional heavy metal, groove metal, and modern hard rock—with hints of industrial and post-grunge. Once again, it sees Ozzy teaming up with longtime collaborator Zakk Wylde, whose guitar work dominates the record with a mix of detuned riffing, squealing pinch harmonics, and bluesy solo flourishes. The album kicks off with "Not Going Away", a mid-tempo metal anthem layered with heavy palm-muted guitars and a pounding rhythm section. Wylde’s guitar tone is saturated and aggressive, giving the song a dense, industrial feel that sets the tone for the rest of the album. Drummer Mike Bordin (ex-"Faith No More") lays down a thunderous, mechanical groove that complements the song’s no-nonsense defiance. "I Don’t Wanna Stop" is arguably the album’s standout track. It rides on a syncopated main riff with a slight nu-metal influence—tight, chunky, and rhythm-driven. The chorus opens up into a more classic Ozzy hook, with synths subtly supporting the melody in the second half of the song. Wylde’s solo here is sharp and concise, using controlled bends and fast alternate picking to keep the intensity high without drifting into excess. "Black Rain", the title track, is one of the album’s darkest moments—built around a haunting minor-key riff that borders on doom metal. The song’s slow, sludgy progression is enhanced by atmospheric keyboards and subtle effects and Ozzy's harmonica playing, creating an almost apocalyptic soundscape. The rhythm section is particularly effective here, using space and restraint to build tension. On the softer end, "Lay Your World on Me" tries to emulate the emotional weight of earlier Ozzy ballads, though the track feels somewhat overproduced and doesn’t quite hit the emotional crescendo of, say, “Mama, I’m Coming Home”. Similarly, “Here for You,” fall into formulaic patterns, with over-polished production occasionally muting the rawness that defined Ozzy’s earlier work. "The Almighty Dollar" begins with a bass-driven intro that we didn't heard in Ozzy's albums since "No More Tears" — before launching into a groove-metal stomp with socio-political lyrics. The song merges elements of "Alice in Chains"-style grunge with "Black Sabbath" heaviness, and Wylde alternates between wah-drenched fills and grinding low-end riffs. "Civilize the Universe" is a return to fast-paced riffage with chugging verses and an epic, almost cinematic chorus. The guitar work is reminiscent of "No Rest for the Wicked"-era, but with more modern production—tight, loud, and compressed. While the songwriting can feel formulaic at times, the instrumentation throughout "Black Rain" is tight, heavy, and expertly performed. Wylde's guitar tone is consistently brutal, often stealing the show, and Bordin’s drumming brings a hard-hitting precision that locks in well with bassist Rob "Blasko" Nicholson's low-end punch. "Black Rain" is a musically solid if somewhat uneven album that benefits immensely from Zakk Wylde’s commanding guitar work and a heavy, modern production style. While not groundbreaking, it delivers enough metal muscle and dark mood to satisfy fans of Ozzy’s heavier side. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Editor's Choice... This is the breakthrough album of the band "Staind"!!! Staind's album "Break The Cycle" is a powerful and introspective release that showcases the band's ability to delve into emotional depth. Released in 2001, this album solidified Staind's presence in the alternative metal scene and became their best-selling record to date. The album's standout feature is undoubtedly the raw and heartfelt lyrics penned by lead vocalist Aaron Lewis. Tracks like "It's Been Awhile" and "Epiphany" tackle themes of personal struggles, addiction, and inner turmoil with a profound honesty. Lewis' emotional delivery creates an instant connection with listeners, making the songs relatable and cathartic. (Photo: crypticrock) Musically, "Break The Cycle" showcases Staind's signature heavy sound, combining intense guitar riffs and melodic hooks. The album seamlessly balances heavy tracks like "Open Your Eyes" and "For You" with more subdued moments like "Fade" and "Outside," where acoustic elements take the forefront. This dynamic range adds depth to the overall listening experience. One potential critique of the album is its tendency towards a somewhat formulaic approach. Some tracks may feel sonically similar, lacking distinct variation. However, this is offset by the album's consistent quality and the band's ability to deliver emotionally charged performances. "Break The Cycle" is a significant achievement for Staind, showcasing their growth as songwriters and musicians. The album's introspective lyrics, combined with the band's powerful musicality, make it a standout release in the alternative metal genre. Overall, Staind's "Break The Cycle" is a compelling and introspective album that resonates with listeners. Its emotional depth, combined with the band's musical prowess, solidifies its place as a must-listen for fans of alternative metal. The success of the album started long before it came out, sounds delusional but so it was... In 1999 during the "Family Values ​​Tour" in which "Limp Bizkit" participated among the other bands, Limp singer Fred Durst who was very attached to Aaron Lewis and the band, brought Aaron to the stage. Then something magical happened !! Aaron performed the song "Outside" and swept the huge crowd in the stadium, despite his relatively "off" stage presence he managed, with the help of his voice and lyrics to move the entire crowd. The improperly recorded live version became a hysterical hit and aired non-stop on all radio stations, exposing the young band to millions of listeners. Feel free to listen to the excellent album on Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek... On December 13, 2011, "Metallica" released their third EP "Beyond Magnetic". This is a mini-album, which includes 4 songs, all of which were recorded during the recording of the "Death Magnetic" album. During the "Death Magnetic" recording sessions held in 2007 and 2008, the band recorded 14 songs. When it came time to choose the songs for the album, the members of "Metallica" decided to include only 10 songs, with the remaining four waiting "in a vault" for three years. On the occasion of the 30th anniversary of the founding of "Metallica", the band members thought of giving the songs as a gift to their most devoted fans, when the band releases a new song, in each of the four shows held at its home ground "The Fillmore" in San Francisco. Admission to these four shows was limited to members of the band's fan club, and they debuted one new song at each show. Participants were then issued a wristband with a special code that allowed them to download these songs for free from Metallica's official website after the show. But later, the songs were combined into a mini-album that was originally released for digital download only on iTunes (on December 13, 2011) and later also on CD on January 30, 2012, when the band accompanied the release with a message that read, among other things, that the songs underwent a basic and immature mix that does not arrive to the production level of the other songs from the "Death Magnetic" album. By and large, the four songs continue the line of "Death Magnetic", but with a rough garage production that sometimes feels like a demo. The opening song "Hate Train" is a typical "Metallica" thrash song, followed by "Just A Bullet Away" whose verses take a step back and correspond more with root "heavy metal". Everything turns darker with "Hell and Back", whose lyrics apparently refer to James Hetfield's addictions. A dynamic song that moves on the quiet-loud track. The mini-album ends with the longest song from it "Rebel Of Babylon" which spans 8 minutes. It starts soft and quiet but it slowly gains speed and power like a tropical storm. For listening: Spotify "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 21, 2010, "Stone Temple Pilots" released their sixth studio album "Stone Temple Pilots". By 2010, "Stone Temple Pilots" had already survived the kind of internal collapse that permanently destroys most rock bands. The reunion that began in 2008 initially felt nostalgic, almost cautious, but this record quickly proved something more important: the chemistry between Scott Weiland, Dean DeLeo, Robert DeLeo, and Eric Kretz still existed, even if the fractures underneath were already impossible to fully repair. The album arrived seven years after "Shangri-La Dee Da", and instead of chasing modern hard rock trends, the band leaned deeper into classic songwriting textures, glam swagger, loose blues rhythms, and "Beatles" influenced melodic construction. It remains one of the most misunderstood records in their catalog. What immediately separates this album from their earlier work is restraint. The aggressive weight of "Core" and the psychedelic instability of "Tiny Music... Songs from the Vatican Gift Shop" are largely replaced by groove and atmosphere. The DeLeo brothers approached the material with remarkable maturity, allowing songs to breathe instead of forcing massive hooks into every chorus. The production, handled primarily by the band themselves, feels warm and organic, avoiding the sterile compression dominating rock records at the time. "Between the Lines" opens the album with deceptive simplicity. Dean DeLeo’s sharp glam infused riff feels effortless, but the real strength comes from Weiland’s phrasing. His voice sounds energized yet frayed, slipping between swagger and exhaustion within the same verse. The song barely crosses three minutes, but it captures exactly what made "STP" unique: they could write radio rock without sounding mechanical. "Take a Load Off" may be the album’s defining moment. The riff swings with a dirty, Stones inspired looseness while Weiland delivers one of his strongest vocal performances of the reunion era. There is a subtle melancholy hidden beneath the chorus, as if the entire band understands this second chance may already be slipping away. The tension between celebration and decay gives the song unusual emotional weight. Tracks like "Huckleberry Crumble" and "Hickory Dichotomy" embrace absurdity in ways only STP could pull off. The lyrics drift into surreal nonsense, yet musically the band sounds completely locked in. Robert DeLeo’s bass playing throughout the album is extraordinary, constantly adding melodic movement beneath the guitars instead of merely reinforcing them. Few mainstream rock rhythm sections of that era operated with this much sophistication. The softer material is where the album quietly excels. "Cinnamon" carries a sunburned pop sensibility that recalls late period Beatles experimentation filtered through California alternative rock. "First Kiss on Mars" slows everything down into a hazy psychedelic crawl, allowing Weiland to lean into vulnerability rather than theatricality. These songs reveal a band more interested in songwriting craftsmanship than reclaiming past glory. What prevents the album from reaching the heights of their 90s classics is consistency. Several tracks drift rather than explode, and the pacing occasionally becomes too relaxed for its own good. Yet even the weaker moments remain musically rich because the band refuses to simplify their arrangements. There are layers buried everywhere: subtle acoustic textures, vocal harmonies, jazz influenced chord changes, and rhythmic shifts that reward repeated listening. Historically, the album now carries additional emotional gravity because it became the final studio record featuring Scott Weiland. Knowing what followed inevitably changes the listening experience. There is a weariness hanging over parts of the album that feels impossible to ignore in retrospect. Still, reducing the record to tragedy undersells its real achievement. This was not a broken nostalgia act cashing in on reunion momentum. It was a veteran band still capable of writing intelligent, adventurous rock music on its own terms. "Stone Temple Pilots" never aimed to reinvent the band. Instead, it refined their strengths into something mature, loose, and quietly confident. It lacks the cultural impact of "Core" or the artistic shock of "Tiny Music... Songs from the Vatican Gift Shop", but it still remains a great album that never received the respect it truly deserved. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

This is Soundgarden's fifth studio album released on May 21st, 1996, and the band's last, until its reunion in 2012 and the release of the album "King Animal". Apparently, the band didn't really mean it, but the album's name best describes what is hidden under the cover. The title "Down on the Upside" taken from the lyrics of the song "Dusty", shows us a band in which the first cracks begin to appear, a band that goes against the direction, swims against the current, looking for new directions. Unlike "Soundgarden's" previous albums, the music on "Down on the Upside" is more experimental, more diverse, involves the use of additional instruments (mandolins and keyboards), and has more complex harmonies and more ambitious song structures. Unfortunately, it was the "swimming against the current" and the new directions in which the band chose to experimentת that eventually led to its dissolution. The tension between lead guitarist Kim Thayil and Chris Cornell intensified during the recordings of the album, due to Cornell's desire to stay away from the aggressive and heavy riffs that characterized the band. The result of the band's change and the rising tensions between Kim and Chris were also reflected in the number of songs that each of the band members brought to the album. Thayil's contribution to the 16-track album was just one song - "Never the Machine Forever", and this is probably not by chance, it was also the last song the band recorded for the album. On the problems "from home" described above, you can also add "outside" difficulties. The album comes out at a time when Grunge was in decline, most of the genre's big names were no longer active or "on their way down" (Cobain and Staley) and others have become less and less relevant. At the same time, the first buds of post-grunge and new metal sounds were emerging and taking the "throne" from Grunge. (Photo: Michael Tighe) Despite all these difficulties and against all odds, "Soundgarden" manages to show its power and its lasting influence on the Grunge genre, and release what will later turn out to be an album that was probably the "swan song" of the Grunge era. For those of you who are raising their eyebrows, we will mention that in the same year "Pearl Jam" released "No Code" and sank deep into genres like garage rock and alternative, and even Dave Grohl who rose to fame thanks to grunge, stepped deep into post-grunge with the album "The Colour and the Shape". So what makes "Down on the Upside" still a relevant and effective album in a dying genre, is precisely the reason that ultimately led to the band's dissolution. The boldness to do things differently, the courage to open up to new directions, and the desire for diversity. The song "Burden In My Hand" makes massive use of mandolins. "Zero Chance" is melancholy at its best which shows the complexity of the band and the new direction it was heading. "Tv Cobb" combines contrasting elements of punk and country, and the monotonous guitar line in the slow and dark "Applebite", corresponds with Robert Smith's famous guitar line from "The Cure", in the song "A Forest", played at a slow speed. It is important to emphasize, that the versatility of this album did not change the band's identity, and you can still hear a lot of good-rooted grunge pieces here. "Pretty Noose" opens up the album with heavy, gloomy, and dark sounds, familiar to us from previous works by the band. "Rhinosaur" which comes right after has a classic grunge sound, as do "Never Named" and "Never The Machine Forever" which are a bit reminiscent of the old "Soundgarden". To sum up, it may not be Soundgarden's best album, but at the same time, it's still a great album by a huge band, featuring memorable moments. "Pretty Noose", "Burden In My Hand", "Blow Up The Outside World", "Dusty" and others, will continue to resonate in Chris Cornell's mighty voice, in the history of rock forever... Listen to the album on Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 21, 2002 "Dio" released their ninth studio album "Killing the Dragon". "Killing the Dragon" echo the classic style of "Dio’s" earlier material, drawing on the roots that defined his sound, but still, it's missing the spark that made his first albums a masterpiece. Unlike the more ambitious concept of the previous album "Magica", this album takes a more direct and traditional heavy metal approach. produced by Ronnie James Dio himself, this album introduces a renewed intensity, thanks in part to the arrival of guitarist Doug Aldrich, who brings a fiery, shredding style that revitalizes the classic "Dio" sound. Former guitarist Craig Goldy had co-written some tracks on this album, before his departure due to a hand injury, maintaining a thread of continuity with past work. Goldy will return two years later for "Master of the Moon" - the final studio album from "Dio" This is the last "Dio" album to feature long-time collaborator, Jimmy Bain (bass/keyboards) who together with Simon Wright (drums) completes the excellent rhythm section. Bain also co=wrote most of the songs on the album. From the opening title track, the album bursts with fire and fury. “Killing the Dragon” isn’t merely a fantasy tale—it’s a symbolic battle cry against what Dio viewed as the new “electronic serfdom.” Through powerful metaphors of dragons stealing children and cruel feudal lords, Dio warns us of a future controlled by machines and artificial gods. It's not only vintage metal storytelling, but also a prescient critique of modern digital life. "Along Came A Spider" follow with an up beat tempo and forceful riff, while "Scream" falls on this all-too-familiar "Heaven And Hell" bass line with a catchy guitar riff. "Better in the Dark" continues with force and features a great Bass/Guitar dual solo. In contrast to it's title "Rock & Roll" is a melodious ballad inspired by the September 11th tragedy. Musically, the album is razor-sharp and melodic. Tracks like “Push” are punchy and catchy, with riffs built to fill arenas. The song even spawned a notable music video, where Ronnie James Dio collaborated with "Tenacious D", cementing a bond that would lead to his cameo in their 2006 film "The Pick of Destiny". “Throw Away Children” is a standout track, darkly poignant and socially conscious, originally slated for a "Hear 'n Aid" sequel project that never materialized. It features a children’s choir and confronts real-world tragedy of children being pimped, getting addicted to drugs and dying of AIDS. We come close to end with “Before the Fall” and it's "Rainbow" vibe, thanks to the great Hammond Organ and keyboard additions of Scott Warren. Warren also responsible for the unique sound of the album closer "Cold Feet". In the end, "Killing the Dragon" is a combination of old and new. It’s "Dio" raging against both mythical monsters and real-world threats, from injustice to blind technological worship. At age 60, Ronnie James Dio was still writing songs that mattered, singing with undiminished power, and leading his band with passion and integrity. We miss you Ronnie... For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Editor's Choice... California Breed is a power trio that includes vocalist and bassist Glenn Hughes, drummer Jason Bonham, and guitarist Andrew Watt. If your are looking for a mix of "Led Zeppelin", "AC/DC", "Whitesnake" and "Alice in Chains" this is the place for you! The rhythm section came from the supergroup "Black Country Communion" which split in 2013 after only four years, in part because of guitarist Joe Bonamassa's tight schedule and the demanding commitments of his solo career. Vocalist and bassist Glenn Hughes and drummer Jason Bonham decided they had too much of a good thing going on and founded "California Breed" with 23-year-old guitarist/vocalist Andrew Watt. Hughes received a telephone call from Julian Lennon; he suggested the 23-year-old Watt. During his first rehearsal with Hughes, the pair wrote two songs. The bassist was impressed by the final product of this session and called Bonham, who enthusiastically agreed. (Photo: Metalhammer) After writing a substantial amount of material, the trio decided to record with producer Dave Cobb at his Nashville studio. They cut the album live from the floor, and the two tracks written by Watt and Hughes on that first day "Chemical Rain" and "Solo" both made the final album cut. While Bonham's drums are as dominant as Hughes' voice, the interplay between the latter's basslines and Watt's wide-ranging guitar technique is a true highlight. He plays loads of solos on the album, but they are short and focused, and unabashedly reveal his influences from Jimmy Page, Tony Iommi, Jimi Hendrix, and Jerry Cantrell, but precision and fluidity come down the line from Jeff Beck ("Invisible" and "Scars"). The hard-rocking meld of blues, post-grunge, and funk was issued album named "California Breed" was issued on May 20th 2014. Listen to the album on: Spotify, Apple Music. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Staind broke into the nu-metal scene in 2001 with "Break the Cycle", although it was their third album, second on a major label, it is the one that brought them worldwide success. Already moving a bit from Nu-Metal to post-Grunge the band took their strength to a higher level. They have a winning formula -- toning down the aggression and turning up the emotion. In 2001, "Break the Cycle" and "Been a While" became inescapable, and soon Staind had eclipsed even its mentor, Fred Durst's Limp Bizkit, in popularity, raising expectations for the group's third album, 2003's "14 Shades of Grey". What they've delivered is a record that follows through on the neo-grunge soul-baring, sensitive journal entries of "Break the Cycle". There are plenty of loud guitars here, but the overall sense of aggression has been tempered considerably as Aaron Lewis' thoughts and feelings take the forefront, with the music used as a coloring for his emotion. (Photo: Staind) Staind is all about how Lewis is feeling, whether it's about the world, love, his daughter Zoe Jane, or his idol, Layne Staley. The tempos, even when fast, let Lewis emote, and he does so with a full-bodied croon, something that sounds particularly jarring when he sings "FUCK" which he does a lot in choruses. Aaron is giving his feelings full bloom on "14 Shades of Grey", and they have the net result of either making listeners empathize completely or turning them off completely. This is why we think that this album, is more intended for the band fans rather than the "Break the Cycle" fans. You need to love the band and their sound in order to love this album. you will not find here catchy tunes or strong hooks that will capture your breath on the first note, you will find here songs to relate to and digest. The album featured four singles and debuted at No. 1 on the Billboard 200, with first-week sales of 220,000 copies. By July 2003, "14 Shades of Grey" had been certified gold then later platinum. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 20, 1977, "Genesis" released the EP "Spot the Pigeon". It is a three-track EP that was originally recorded during sessions for the "Wind & Wuthering" album (1976) but ultimately didn’t make the final cut. As it turned out, this EP became a notable turning point—it was the last studio recording to feature guitarist Steve Hackett before he left the band. Due to the EP format being relatively unpopular in the U.S., "Spot the Pigeon" wasn’t officially released there. Though it saw a CD release in 1988, it hasn’t been reissued since, although the songs have popped up on later compilations. Phil Collins later admitted he wasn’t proud of the lead track, “Match of the Day,” describing it as a misstep where they tried (and failed) to inject contemporary rhythms into "Genesis’s" style. He even called the lyrics “embarrassing.” Critics haven’t been much kinder. One blog called it a “naff” football anthem with a cheap-sounding keyboard riff. The second track, “Pigeons,” is built around a deliberately repetitive, one-note note, whilst Tony Banks tried to do as many different chords as possible. Steve Hackett once remarked that the simplicity of the melody gave Tony Banks room to experiment with varied chords, creating contrast between the static rhythm and shifting harmonies. The EP closes with “Inside and Out,” arguably its strongest moment written by all 4 band members. A fan favorite, it blends folk and prog textures and features layered guitar parts that give it a shimmering, textured feel. Lyrically, it tells the story of a man wrongfully imprisoned for rape and later freed—split between a lyrical “Inside” section and an instrumental “Out.” Long after leaving the band, Steve Hackett continued to champion the song and believed it should’ve been part of "Wind & Wuthering". It was even played live during the 1977 tour. Looking back, bassist Mike Rutherford felt that leaving songs like these off "Wind & Wuthering" may have been a miscalculation. The experience prompted the band to aim for shorter, more concise songwriting on their next album, "...And Then There Were Three..." While "Spot the Pigeon" doesn’t often appear on “essential Genesis” lists, it’s a fascinating release for fans interested in the band’s transitional phase—bridging the gap between their more theatrical past and their increasingly accessible future. For Listening: Youtube "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website