A Sneak Peek... On October 17, 2000, "Limp Bizkit's" third album came out, we could not have ended this day without mentioning this album, an album with the hallucinatory name (perhaps the most), with an exploding amount of singles and an insane amount of sales !! This album came out a year after the band's breakthrough album "Significant Other" which exploded on charts and radio stations, with the outbreak of nu-metal, as it took over the success of the previous album. Please note that this album sold more than a million copies in the first week of its release !!! In the first week !! 1,054,511 copies !! On the day the album was released it sold 400,000 copies! In the second week, the album sold close to 400,000 copies !! It became the: Biggest first-week sales debut for a rock album in the United States since 1991 (the year the survey began). It maintained the first place on the Billboard for two weeks in a row! Anyone wondering what the origin of the album name is, so after we tell you what its origin is, you will be sorry that you were wondering but we must give you this service... The name of the album is divided into two. The first part is "Chocolate Starfish", which is a nickname for the butt hole in American slang. The second part is "Hot Dog Flavored Water", which comes from a joke by the band's guitarist Wes Borland who at one of the band's stops on the tour in a truck parking lot saw different types of juices with hallucinatory names. This album has some bombshells and anthems that accompanied us a lot in the 2000s, "Hot Dog" consisting of the word FUCK, forty-six times, "My Generation" and "Rollin" strong with the clips we saw non-stop. We can not forget the "Take a Look Around" that put us in constant hypnosis and the deadly "Boiler". This album also features interesting guests such as: Scott Weiland, DMX, Method Man & Redman, and Xzibit. So if you want to break for a moment about the 2000s, click on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On October 16, 1983, "Life" (also known as "Life/Live"), the double and final live album by the band "Thin Lizzy", was released. Five years after 1978's stage masterpiece "Live and Dangerous" established "Thin Lizzy" as one of the best and most electrifying live acts in rock history, the Dublin band found themselves facing a completely different reality. The early 1980s were a turbulent and complex time for charismatic vocalist, bassist and songwriter Phil Lynott and his bandmates. Despite moments of magic on albums like 1980's "Chinatown" and 1981's "Renegade," the band suffered from frequent guitarist changes, constant road burnout, and the decline of Lynott and loyal guitarist Scott Gorham into heroin addiction, which took a heavy physical and creative toll on them. The final and dramatic turning point came at the end of 1982, with the departure of guitarist Snowy White and the addition of a young and energetic 23-year-old guitarist from the British NWOBHM band "Tygers of Pan Tang" - the virtuoso John Sykes . Sykes injected the band with contemporary metal energy, dizzying speed and sharpness that led to the creation of the band's twelfth and final studio album, "Thunder and Lightning" , released in March 1983. Despite the artistic revival and enthusiastic reviews, Lynott and Gorham had already made the difficult decision to break up after the album's tour, realizing that the destructive lifestyle on the road could cost them their lives. From this emotionally charged farewell tour came the double album "Life" (the original cover of which read "Thin Lizzy" Life" above the word "Live", hence the double name that has taken root among fans). The album was recorded and produced by the band together with the esteemed British producer Chris Tsangarides (who also worked with "Judas Priest" and "Black Sabbath"), with the bulk of it documenting a historic three-night series of performances at the legendary Hammersmith Odeon in London (March 10-12, 1983), alongside three Snowy White-era tracks recorded at Hammersmith in November 1981. In contrast to the studio polish that accompanied "Live and Dangerous", the album "Life" presents "Thin Lizzy" at its most heavy, rough and unbridled. The opening with the title song "Thunder and Lightning" immediately makes it clear that this is not a polite nostalgia show. Brian Downey's deadly drumming, Darren Wharton's keyboards and the dual guitar show of John Sykes and Scott Gorham bombard the listener with an onslaught of hard rock and fast b-metal music that proudly competes with the young bands of the era. Immediately after it, the racing train continues with tight performances of classics such as "Waiting for an Alibi", "Jailbreak", the sweeping hit "Baby Please Don't Go" and the dramatic epic "The Holy War". The second side of the double-disc pays homage to the Snowy White era, playing three earlier songs, led by a mesmerizing, dynamic and charged rendition of "Renegade", where Lynott's pulsating bass and fragile-explosive vocals build a chilling tension before the guitars explode. They are followed by the painful and prophetic "Got to Give It Up" (in which Lynott sings with chilling honesty about his struggle with addiction), the heavy and dark "Angel of Death" written by Lynott with young keyboardist Darren Wharton, and the ultimate performance anthem "Are You Ready". The second half of the album opens with the timeless classic "The Boys Are Back in Town" and continues directly into one of the highlights of the John Sykes era - the metal bomb "Cold Sweat", where Sykes' fast and melodic solo proves why he quickly became one of the greatest guitar heroes of the 80s (and later the main star of "Whitesnake" on the album 1987 ). From there, the band moves on to the slow, bluesy version that has become a stage tradition in "Don't Believe a Word", to the controversial "Killer on the Loose", and to the melancholic and beautiful ballad "The Sun Goes Down" - a song that, in the context of the farewell show, sounds like the moving swan song of Lynott and the entire band. But the moment that made "Life" a rare and unique historical document in the annals of rock occurs on the fourth and final side of the album. For the farewell shows in London, Phil Lynott invited the legendary guitarists of the past who shaped the sound of "Thin Lizzy" throughout the 1970s to the stage to celebrate the band's legacy together. First, the wild Scottish guitarist Brian Robertson (from the golden era of the albums "Jailbreak" and "Johnny the Fox" ) takes the stage for an electrifying joint performance of the Celtic folk-rock anthem "Emerald". Immediately after him, the Irish blues-rock legend Gary Moore takes his place, who, together with Lynott, Gorham and Sykes, leads a virtuoso and dizzying performance of the masterpiece "Black Rose" , and continues with the soul-rending ballad "Still in Love With You" (which here lasts for nine minutes of bare emotions and masterful solos). The peak of the peaks comes on the album's closing track - "The Rocker" (from the 1973 album "Vagabonds of the Western World"). In a rare moment of unparalleled musical camaraderie, original guitarist and band founder Eric Bell also joins the stage. Along with John Sykes, Scott Gorham, Gary Moore and Brian Robertson, five leading guitarists (eight players on stage in total!) stand on one stage for a massive, loud and exciting farewell jam in which each of them gets a turn to bomb their own solo. Just two years after the album's release, on January 4, 1986, Phil Lynott passed away at the age of 36, leaving a huge void in the music world. This tragic fact made "Life / Live" much more than just another live album - it is the official and glorious finale of one of the most beloved, original and influential bands in classic rock and heavy metal, and a living and breathing testament to the Irish genius who knew how to combine the toughness of the street with the soul of a poet. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"Electric Ladyland", the third studio album of "The Jimi Hendrix Experience", was released on October 16, 1968. This double album is the last from the amazing power trio "The Jimi Hendrix Experience" and is probably also the pinnacle of their work, so let's dive deep into this "electrifying" album and tell you 20 interesting facts about it: 1. This is the last studio album that Jimi Hendrix released during his lifetime. 2. This is the album that took Hendrix the longest time to record. It lasted over a year, a very long time in those times. 3. The album consisted of various sessions, recorded in several locations between July 1967 and August 1968. 4. This is the most successful album by the Power Trio and they're only to reach number one on the charts. 5. Contractual and legal issues had delayed the creation of the album and forced Jimi Hendrix to go on shows to fund the recordings. 6. This was the first "The Jimi Hendrix Experience" album produced and directed by Hendrix himself. Chandler, who had produced its two predecessors, left during the sessions, and most of the album was recorded after they parted ways. 7. Chas Chandler, Hendrix's manager and the one who discovered him, who also produced the album, left during the recordings. Chandler despaired of Hendrix's perfectionism and the dozens of takes he made during the recordings, including the song "Gypsy Eyes". 8. At the time of the recording the band started to disintegrate when, among others, bassist Noel Redding formed his own band in mid-1968 called "Fat Mattress". 9. The album features an immortal cover version of Bob Dylan's song "All Along the Watchtower", which first appeared on his 1967 album "John Wesley Harding". The song featured Brian Jones, a good friend of Hendrix from "The Rolling Stones", who played the percussion. The song also feat. Dave Mason of "Traffic" who played a 12-string guitar. Jones initially tried to play the piano as well but he was not good enough for the taste of Hendrix who did not want to offend him and just moved him to the percussion. 10. Following Hendrix's argument with Noel Redding during the recording of the song, the latter left the studio and Dave Mason took the bass in his place, but in the end, the bass role played in the final recording was performed by none other than Hendrix himself. 11. The song "All Along the Watchtower" became identified with the interpretation given to it by Jimi Hendrix and one of the top singles in 1968. Even Dylan himself thought Hendrix's version was better than his own. 12. Hendrix's version of the song received the "Grammy Hall of Fame" award in 2001, and was ranked 47th in "Rolling Stone" Magazine's 500 greatest songs of all time in 2004. 13. The one who served as a technician during the recording of the song was Tony Bongiovi's cousin of Jon Bon Jovi. He said that Hendrix was not happy with the results at first and slowly doubled the number of guitar tracks. He also used the Zippo lighter for the slide guitar sound in the recording. 14. Whitney Houston's mother who was Aretha Franklin's backing singer served as the backing vocalist on the song "Burning of the Midnight Lamp". 15. In the song "Crosstown Traffic" Hendrix uses the kind of "Kazoo" he made himself from a comb and cellophane paper. The sound created by the Kazoo was used to double the guitar channel. Dave Mason serves as the background vocalist. Hendrix also plays the piano. 16. During the recording of the jam track "Voodoo Chile", an "All-Star" team of artists participated, including Steve Winwood who was then in "Traffic" and bassist Jack Casady from "Jefferson Airplane". 17. Hendrix tried to recreate the atmosphere of the New York club "The Scene" on 46th Street, which he used to visit during the recording of the album. He entered the club after a performance of "Traffic" and invited a large number of musicians to the same famous jam session, including Jack Casady and Steve Winwood, as mentioned. 18. "Voodoo Child (Slight Return)" was recorded on May 3, 1968, at the Record Plant in New York while an ABC-TV crew filmed the band at work for a proposed news feature. It is not known whether the footage was broadcast; it was later stolen from the network archives. 19. The two alternate covers of the album were not selected by Hendrix and were not acceptable to him. Hendrix wanted the album cover to include a photo taken by Linda Eastman (future McCartney), showing him and his band alongside children playing next to a statue of Alice in Wonderland located in New York's Central Park. Instead, the record company used a grainy photo of Hendrix from his performance at the Saville Theater in Blondes in 1967, while the British label used a provocative photo of 19 naked girls. 20. The album entered the 2003 list of the 100 greatest albums of "Q magazine" and also the list of the 500 greatest albums of all time by Rolling Stone magazine. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On October 16, 2001, Ozzy Osbourne broke a 6-year "drought" with "Down to Earth" - his eighth studio album. After his previous album "Ozzmosis" from 1995, Ozzy devoted most of his time to the "Ozzfest" festival premiered in 1996. He said that engaging in the metal festival was so much fun for him, that all he wanted to do was to just keep performing like the "Grateful Dead". But the record company demanded new material and the result was "Down to Earth," one of Ozzy Osbourne's most beautiful albums of the current millennium. For the album Ozzy Osbourne gathered around him "A Dream Team", there is simply no other definition that can explain the collection of talented musicians in the band. Drummer Mike Bordin of "Faith No More" who joined Ozzy's backing band in 1996, but this is his first album with The "Prince of Darkness". Bassist Robert Trujillo who soon after the release of the album will join "Metallica" and guitarist Zakk Wylde who returned to the band after most of the material for the album was already written. As is well known, Ozzy Osbourne used to write the material for his albums with the help of his band members, especially the talented guitarists who accompanied him. Therefore, in the absence of Zakk Wylde who joined at a later stage, Ozzy relied on two talented musicians and producers. Tim Palmer who has worked with many good artists like Robert Plant, "U2", David Bowie, and more and even mixed albums of bands like "Mother Love Bone" and "Pearl Jam" on their masterpiece album "Ten". Palmer was the main writing partner, he also produced and mixed the album and plays rhythm guitar, acoustic guitar, and keyboards and sings background vocals. The other partner was Marti Frederiksen, a talented producer, and songwriter who has worked with "Aerosmith" and "Mötley Crüe", among others. This album is very reminiscent of the excellent "No More Tears" released exactly a decade earlier. The musical line is similar and includes a combination of catchy and melodic songs alongside classic heavy metal pieces. Like "No More Tears" the production is very clean, polished, and balanced and the lyrics are very personal, with almost all of them dealing, in one way or another, with Ozzy's private life. For example, the opening song and first single "Gets Me Through" is Ozzy's letter of thanks to his fans, in which he also declares and confesses: "I'm not the Anti-Christ or the Iron Man", the short track "You Know… part 1" is Ozzy's apology to his son and daughter with the words "Tried to be your father Things just made it harder Sorry if I made you cry ..." and the song "Running Out Of Time" is a kind of mental recognition that no one lives forever and that our time on earth is limited. Musically it is one of the more balanced albums from "Prince of Darkness". It has almost no falls and it flows very nicely in continuous listening, without having to skip songs. Starting with the piano opening of "Gets Me Through" which immediately cuts with Zakk Wylde's monotonous and mesmerizing riff, through "Facing Hell" with the semi-grungy sound, "That I Never Had" whose riff sounds to us like something guitarist Randy Rhoads could have written, The amazing "Junkie" with the crazy riff in which Ozzy tries to warn his fans of the consequences of drug use, using his experience, "Black Illusion" whose leading riff sounds to us like a combination of "Stone Temple Pilots" with "Black Sabbath" and "Can You Hear Them?" 'ho seals the album with the marching drumming. Ozzy takes care to balance the heavier tracks with ballads and slower tracks like the excellent "Dreamer" which Ozzy called his version of John Lennon's song "Imagine", in which he laments humanity destroying the planet, "No Easy Way Out" which it's acoustic opening also reminded us for some reason of "Alice in Chains", the short segment "You Know… part 1" in which Ozzy apologizes to his children and of course the moving "Running Out Of Time". There is no doubt that Ozzy went on this album on the cautious side designed to please as many people as possible, especially the record company and his pocket. A catchy album that does not have the boldness and emotion of the first albums. Sure, Ozzy like Ozzy will always "deliver the goods" and this album is definitely not bad, but he lacks the spark and genius we knew at the beginning of his career. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On October 16, 1997, "Judas Priest" released their thirteenth studio album, "Jugulator", in Japan. It reached the United States and other markets on October 28, 1997. Seven years after "Painkiller", the machine was running again, with a different voice and plenty of anger. For anyone waiting to hear that familiar sound again, "Jugulator" could feel like a door slamming in their face. The guitars were tuned lower, the atmosphere was suffocating, and violence seeped into almost every corner. Yet this divisive album reveals just how much the band was willing to risk to keep going. Even when the results are uneven, their commitment is hard to question. Rob Halford's departure in 1992 left a void far greater than a vacant singer's position. After two decades in which his voice had become part of the very definition of heavy metal, imagining "Judas Priest" without him required fans to change their listening habits. While Halford pursued a new direction, his bandmates were left with the name, the guitars, and the question of how to move forward. The answer arrived from Akron, Ohio, in the shape of Tim "Ripper" Owens. Owens had already sung with "Winters Bane" and performed "Priest" songs in the tribute band "British Steel". A videotape of his performance reached drummer Scott Travis and, through him, the rest of the band. The story sounds almost implausible. A fan auditions for his heroes, sings "Victim of Changes", and gets the job. But the voice he brought was very real. The high notes and power were there, along with a rougher edge and a threatening tone that expanded the band's expressive range. Most of the material had already been written before he joined. Guitarists Glenn Tipton and K. K. Downing composed the music, with Tipton writing the lyrics. Alongside bassist Ian Hill and Travis, they chose a harsher approach, using lower guitar tunings and riffs that placed weight and rhythm at the center. Tipton, Downing, and Sean Lynch handled production, with recording taking place in 1996-1997, including sessions at "Silvermere" studios in Surrey. Owens later described exhausting rounds of repeated takes as the band explored just how far they could stretch his voice. The result combines the band's precision with groove metal, thrash, and vocal touches bordering on death metal. The 1990s are clearly audible, but so is a logical extension of the more extreme sides of "Painkiller". The twin guitars still trade blows, and Travis's double bass drumming still drives everything forward. The difference lies in the feel. There is less room for anthems and melodies that soar above the song, and more for riffs that dig beneath your feet. Sometimes it is thrilling. At other times, the band seems determined to pile on the weight even when a song could use a little breathing room. The title track, "Jugulator", draws us in through mechanical noises and guitars that sound like an engine struggling to start inside a nightmare. Once the rhythm settles and Owens's voice tears into it, we get a clear demonstration of the new lineup's abilities. The mechanized monster in the lyrics suits the sound. The riff grinds, the drums roar, and the guitars slash above them. There is clear continuity with the band's imagery, but this time it is hard to find a hero who might save the world from the creature descending upon it. "Blood Stained" locates the threat in people themselves. Behind its repeated chorus lies an indictment of war, ethnic cleansing, and politicians trying to conceal the blood on their hands. The guitars establish a heavy, head-nodding motion, while Owens shifts between a low snarl and piercing screams. For us, this is one of the places where the new direction works particularly well. The riff and the repeated words reinforce each other, giving the anger a clear target. The sequence of "Dead Meat", "Death Row", and "Decapitate" also exposes the album's limitations. The playing is precise and the riffs are forceful, but the accumulation of violent imagery and dense arrangements can blunt their impact. The musicians' talent makes us wish for greater variety in the musical colors. When the album changes its internal pace and allows tension to build, it cuts deeper. That is exactly what happens on "Burn in Hell". The relatively restrained opening, low vocals, and menacing guitar allow the revenge in the lyrics to simmer before the eruption. The pace then picks up, and Owens moves from almost spoken taunts to singing that fills the entire space. Here, his range serves a story as well as demonstrating his ability. The music video shortened the song, but the album version, running close to seven minutes, lets us experience the whole journey from threat to assault. "Brain Dead" introduces another kind of horror. Its narrator is trapped in an unresponsive body while his mind remains aware of what is happening around him. The repetition and restricted sense of musical movement acquire an unsettling meaning here. After so many descriptions of power and violence, this helplessness is disturbing precisely because there is no escape. It gives the album's darkness a human depth. As the album approaches its conclusion, "Bullet Train" sends it hurtling forward again. The riff, drums, and screams create a sense of acceleration, but the lyrics also evoke psychological pressure and inner disintegration, as though that speed is piercing the mind itself. It is one of the most convincing connections between the new style and the band's familiar drive, and it earned them a Grammy nomination for Best Metal Performance in 1999. Then comes "Cathedral Spires", and suddenly everything missing from parts of the album falls into place. Across more than nine minutes, the band builds a drama that begins with clean guitar and yearning vocals, gradually expanding into a vision of a dying world. The shifts between quiet passages and eruptions give the heaviness meaning, while the guitars return to melodic phrases that stay with us long after the music stops. Owens is magnificent here, both when he reaches for the high notes and when he sustains the tension, allowing fear and exhaustion to come through. In the final stretch of "Cathedral Spires", the repeated vocals and gradual buildup create an almost ritualistic atmosphere. After an album that spends so much time attacking, this ending also manages to move us. Downing later wrote that the band believed they were creating a classic and expressed regret that the song never found its place onstage. We understand why. This is a piece that stands on its own, and one of the strongest reasons to revisit this era without reducing it to "the album without Halford". Mark Wilkinson's cover also connects this new chapter to the band's visual world. The biomechanical creature, metal, and fire continue a language we already knew, but here the monster takes over the picture. It suits an album in which technology, the body, and horror become almost inseparable. Upon release, "Jugulator" reached number 82 on the US Billboard 200, and reactions were divided. Owens stayed with the band for "Demolition" in 2001, until Halford returned in 2003. Looking back, it is easy to understand why this album remains controversial. It asks listeners to accept both a new voice and a shift in musical priorities at the same time. For us, "Jugulator" benefits from a listening experience that is not constantly preoccupied with who is missing from the room. It has excessive heaviness, a few less memorable tracks, and opportunities left unexplored, but it also has a band with life in it, an excellent singer, and a willingness to take risks. Above all, it has songs that justify its existence well beyond its historical importance. Its wonderful ending reminds us that even in this dark chapter, "Judas Priest" still knew how to lift their eyes to the sky. For Listening: YouTube Music "Face/Off" - Israel's Rock Blog You are welcome to follow us on Facebook / Instagram and/or subscribe to our website

On October 16, 1976 "Thin Lizzy" released their 7th studio album "Johnny the Fox". This album showcases the band at their creative peak, blending hard rock with blues, folk and even funk and soul elements, while maintaining their signature twin guitar attack. The album was born out of a challenging time for frontman Phil Lynott. After falling ill with hepatitis, Lynott was hospitalized in Manchester during June and July of 1976, forcing the band to cut their "Jailbreak" tour short. Despite the setback, Lynott made the most of his time, armed with an acoustic guitar, and wrote the songs that would form the backbone of "Johnny the Fox" in his hospital bed. This was the last "Thin Lizzy" studio album on which guitarist Brian Robertson appeared as a full member. He returned to contribute to parts of the following album, "Bad Reputation", before leaving for good in 1978. Lynott’s friend Phil Collins of "Genesis" also guests on percussion. The album opens with "Johnny," a gritty, narrative-driven rocker about an outlaw, immediately drawing listeners into Lynott’s world of complex characters. The sharp-eared listener will surely notice the brass instruments in the background, which will visit later on the album enforced with string arrangements. "Thin Lizzy's" signature dual guitar harmonies, delivered by Scott Gorham and Brian Robertson, are in full force throughout the record, with tracks like "Rocky" and "Massacre" showcasing their technical prowess and energy. Tracks like "Borderline" and "Fools Gold" delve into more introspective themes, offering a softer side to the album’s otherwise gritty rock sound. The heartfelt ballads "Old Flame" and "Sweet Marie" provide a contrast to the tougher, streetwise narratives, showcasing Lynott's ability to balance vulnerability with raw power. "Johnny the Fox Meets Jimmy the Weed" has a funky vibe that highlights the band's willingness to explore new sonic textures. A key moment in the album’s creation was the tension between Lynott and Robertson over the composition of "Don't Believe a Word." Initially, Lynott introduced the song as a slow 12-bar blues, but Robertson famously dismissed it as "shite." The song was reworked into the fast-paced rocker that fans know today, though the original bluesy version would later resurface when Lynott and guitarist Gary Moore recorded it for Moore's "Back on the Streets" album in 1978. Although "Johnny the Fox" didn’t achieve the commercial success of "Jailbreak", it stands as a testament to "Thin Lizzy’s" creativity and resilience. Written under the shadow of Lynott's illness and internal band tensions, the album retains a raw energy and narrative depth that make it a standout in their discography. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On October 15, 1984 "AC/DC" released the EP "'74 Jailbreak". It is a 5-track EP that serves as a snapshot of the band’s early work during their Australian-only releases in the 1970s. These tracks were originally recorded between 1974 to 1976 but had not been widely available internationally until this release. The EP showcases the raw, unpolished energy that would eventually make "AC/DC" a hard rock powerhouse. The EP kicks off with the explosive title track, “Jailbreak,” that was originally released in 1976 on the Australian version of the "Dirty Deeds Done Dirt Cheap" album. It is a gritty, rebellious anthem that exemplifies "AC/DC's" early themes of defiance and freedom. With Bon Scott’s unmistakable raspy vocals and the blistering guitar work of Angus Young, the song is a prime example of the band’s signature sound: simple, powerful, and direct. The riff-driven structure builds tension before erupting into an unforgettable, hard-hitting chorus. It's one of the highlights of "AC/DC's" early catalog and a live staple. The EP's four other tracks were originally released on the Australian version of the band's debut album, "High Voltage", recorded in 1974 and released early the following year. “You Ain't Got a Hold on Me” is a bluesier, laid-back groove with a swinging rhythm that complements Scott’s charismatic, cheeky delivery. “Show Business,” is a fast-paced, rock n' roll number that takes aim at the music industry’s sleazier side. “Soul Stripper” is another standout. It’s a slow burner, stretching out with a hypnotic, bluesy intro before building into a more powerful groove that includes a rare solo by Malcolm Young, alongside his brother Angus Young. “Baby, Please Don’t Go,” is a high-octane cover of the Big Joe Williams blues standard, also famously recorded by "Them". "AC/DC’s" version is faster, raucous and electrifying, with Angus Young’s wild guitar antics taking center stage. Overall, "'74 Jailbreak" is a thrilling glimpse into "AC/DC’s" roots. An album designed to complete the collection for all those who purchased the missing international editions of the band's first albums. The energy, attitude, and musicianship displayed on these early recordings showcase the raw foundation upon which the band would build their legendary career. While it may be a brief collection, it’s packed with the youthful vigor and unfiltered rock 'n' roll spirit that "AC/DC" would come to embody. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On October 15, 1983, "No Parole from Rock n' Roll", the debut album of the band "Alcatrazz", was released. In the early 1980s, the rock and metal world was looking for the next big thing. After leaving Ritchie Blackmore's Rainbow and then the Michael Schenker Group due to creative conflicts, rugged and powerful British vocalist Graham Bonnet found himself at a turning point in his career. Along with veteran bassist Gary Shea and keyboardist Jimmy Waldo (both from the band New England), Bonnet decided to form his own hard rock band that would combine radio-friendly melodies with monstrous guitar virtuosity. The man chosen for the task was an unknown 19-year-old Swedish prodigy named Yngwie Malmsteen , who brought with him a lightning-fast technique and a groundbreaking neo-classical approach that had never been heard before in the States. Recorded at MSR Studios in New York and produced by legendary producer Eddie Kramer (who worked with Jimi Hendrix and "Led Zeppelin"), the album captured the electric, explosive energy of the new lineup. Alongside Bonnet and Malmsteen, the band was rounded out by drummer Jan Uvena. The result was an unbridled energy bomb that fused classic rock and roll culture with fast, baroque-influenced solos. The album opens with a bang with "Island in the Sun", the first single and the album's central melodic hit, which showcases the perfect combination of Bonet's powerful voice and Malmsteen's catchy riffs and brilliant solos. Immediately after comes the rhythmic and kick-ass "General Hospital", and "Jet to Jet", one of the heaviest and most impressive pieces on the album, in which Malmsteen demonstrates absolute guitar control with a lightning-fast opening and powerful instrumental sections. The high energies continue with "Hiroshima Mon Amour", a dramatic and deep song that many fans consider one of the album's highlights, combining a dark atmosphere with Bonet's emotional vocals and rocking playing. In the second part of the album, "Night Games" (originally written for Bonet's solo career) presents a catchier, poppier and more melodic side that conquered the radio stations, alongside the fast-paced, rocking "Too Young to Die, Too Drunk to Live", and "Big Foot" which demonstrates the rhythmic chemistry between Waldo's keyboard solo and Malmsteen's guitar. The album closes with the magnificent instrumental "Kree Nakoorie", where Malmsteen is given a free stage to display his full arsenal of neoclassical technique, from fast riffs to breathtaking sweeps. Although Malmsteen left the band shortly afterwards for a successful solo career (and was later replaced by Steve Vai ), "No Parole from Rock n' Roll" remains a historic landmark in '80s rock, proving how the encounter between a rugged blues-rock vocalist and a genius guitarist could create timeless magic. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On October 14, 1986, "Alive and Screamin", the first live album by the band "Krokus", was released. The mid-1980s were the golden age of the Swiss hard rock and heavy metal band "Krokus". Formed in 1975 in the city of Solothurn by bassist Chris von Rohr and guitarist Tommy Kiefer, the band transformed from a local progressive rock band into an international arena monster when they added the charismatic Maltese vocalist Marc Storace to their ranks in 1979, with a rough, shrill voice eerily reminiscent of the legendary Bon Scott from "AC/DC". With a string of masterpiece albums that conquered the American market and earned gold and platinum album status - including "Metal Rendez-vous" (1980), "Hardware" (1981), "One Vice at a Time" (1982), the massive breakthrough album "Headhunter" (1983) produced by Tom Allom (Judas Priest's in-house producer), and "The Blitz" (1984) - "Krokus" established its position as one of the hottest, loudest and most energetic live bands in the world, playing the big stages alongside giants like "Def Leppard", "Judas Priest" and "Motörhead". But in 1986, the band reached a crossroads. Their ninth studio album, "Change of Address," released earlier that year and produced by Tom Werman, attempted to polish and smooth the band's raw sound toward the commercial and shiny glam metal of Los Angeles. Long-time fans were less receptive to the polished change in direction, and their relationship with Arista Records also came to an end when the band decided to move to the MCA label. To close the contract with Arista with a bang and remind the world of the true power of "Krokus" without the filters of a studio, it was decided to release their first official live album that would document the band in their natural environment: on stage. The album "Alive and Screamin" was recorded during the band's intensive 1986 North American tour, in five different cities in the United States and Canada: Amarillo (Texas), Cincinnati (Ohio), Baltimore (Maryland), Poughkeepsie (New York) and Toronto (Canada), using the Remote Recording Services and Westwood One recording vans. The band's lineup for this tour included vocalist Marc Storace, guitarists Fernando von Arb and Mark Kohler, bassist Tommy Keiser and drummer Jeff Klaven (along with live keyboardist Jai Winding). The perfect man for the job was recruited to produce and mix the live album - legendary British producer and sound engineer Tony Platt, who engineered and recorded AC/DC's masterpieces "Highway to Hell" and "Back in Black" at Right Track Studios in New York (and mastering was handled by guru George Marino at Sterling Sound Studios). Platt gave the album a lively, powerful, and punchy sound that accurately conveys the feeling of electricity in the air and the roar of the American audience. The show opened with a bang with the band's statement of intent - "Long Stick Goes Boom" from the album "One Vice at a Time". From the very first second when Fernando von Arb's heavy riff cuts through the roars of the crowd and the racing bass enters the picture, it's clear why the Swiss have been compared to their Australian brothers, with Marc Storace dominating the crowd with a firm hand. Immediately after, the band kicks into even higher gear with "Eat the Rich", the energy bomb that opens the album "Headhunter", which showcases the deadly combination of Mark Kohler's precise rhythm guitars and von Arb's sharp, melodic solos, before the lights dim for the emotional climax of the evening - the timeless giant ballad "Screaming in the Night". In a live and moving six-minute performance, Storace manages to send shivers down his spine with every note, as the entire audience sings along with him to the iconic chorus that became the band's biggest MTV hit. The high energies continue with the upbeat "Hot Shot City" (the only representative on the album from "Change of Address", which is performed live, muscular and much rougher than the studio version) and with the sweeping stadium anthem "Midnite Maniac" from "The Blitz", which reached the top of the Billboard rock chart. The band then returns to its early roots with the addictive "Bedside Radio" from "Metal Rendez-vous", which demonstrates the catchy, rock 'n' roll groove of its early days. A special surprise on the album comes in the form of the song "Lay Me Down", an energetic and excellent hard-rock piece that did not appear on any of the band's previous studio albums, and was written especially for them by producer and songwriter Bob Marlette together with Sue Shifrin. Towards the end, the band salutes one of their biggest influences with a sweeping cover version of "Stayed Awake All Night" by the Canadian rock band "Bachman-Turner Overdrive" (originally performed on "Headhunter"), which transforms on stage into a sweeping guitar and drum jam lasting almost six minutes. The crushing final chord is provided by the title track of her most successful album, "Headhunter". With a powerful display of Jeff Klaven's racing double bass, cutting riffs and Storace's impossible heavy metal screams that cross the limits of human ability, "Krokus" seals forty-two minutes of pure adrenaline without a single dull moment. The album's gruesome and iconic cover, illustrated by renowned British fantasy and horror artist Les Edwards, is also etched in the memory of every 1980s metal fan: a monstrous, grotesque figure with yellow eyes and sharp teeth, waking up screaming from a bed in a dark room with curtains flapping in the wind - an illustration that perfectly captured the album's name and its wild spirit. Upon its release, "Alive and Screamin" entered the US Billboard 200 and remains to this day the ultimate historical document that documents "Krokus" at the height of their power and glory. For those who want to understand why this Swiss band took 1980s America by storm, these nine live tracks are the most overwhelming answer. 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On October 15, 1996, "Life Is Peachy", the second studio album by the band "Korn", was released. Just two years after their groundbreaking debut album (1994) shook up the world of heavy music and laid the foundations for the nu-metal revolution, the quintet from Bakersfield, California - vocalist Jonathan Davis, guitarists James "Munky" Shaffer and Brian "Head" Welch, bassist Reginald "Fieldy" Arvizu and drummer David Silveria - found themselves facing a formidable challenge: How do they move forward after an album that opened a bleeding, exposed wound that swept an entire generation after it? Instead of resting on their laurels or polishing their sound in a more commercial and radio-friendly direction (as they would later do with the blockbusters "Follow The Leader" from 1998 and "Issues" from 1999), "Korn" chose to do exactly the opposite. Immediately after the grueling tour of their debut album, the band returned to Indigo Ranch Studios in Malibu in April 1996 with legendary producer Ross Robinson. The vision was clear: to record an album that was fast, instinctive, dirty and much heavier - one that sounded like a continuous anxiety attack and seething with raw rage. The creative process for "Life Is Peachy" - whose ironic and cynical title ("Life is honey") was taken from the name of a Pee-Chee folder that bassist Fieldy illustrated at the time - was short, chaotic and particularly intense. The band entered the studio with only a few songs, and wrote most of the album on the fly, from dark jams, spontaneous improvisations and immense time pressure. To maintain the authentic feeling of rawness, studio overdubs were rarely used, and many of the tracks were recorded in live first takes that preserved the violent energy of the room. The album opens with pure electric power with "Twist" - an unforgettable forty-nine seconds of Jonathan Davis spitting guttural, distorted, psychotic scat over a crushing seven-string riff by Munky and Head. The track was born in the studio when Davis tried to explain to the bandmates through his voice what rhythm he was hearing in his head, and Ross Robinson insisted on recording it exactly that way. Immediately following is "Chi", named after the late "Deftones" bassist Chi Cheng. The song showcases Fieldy's gritty, dirty slap-bass sound in all its glory alongside the band's sharp dynamic shifts between creepy whispers and terrifying screams, with lyrics about coping with pain through alcohol and drugs. Then come the somber Lost and the claustrophobic Swallow, deepening the sense of paranoia and alienation, before the album reaches one of its most recognizable high points - the first single No Place to Hide. The song, which earned the band a Grammy nomination for Best Metal Performance, is led by David Silveria's sharp, tribal groove and blaring guitars that sound like an alarm, as Davis reveals the sense of invasion of privacy and emotional exposure following the sudden announcement. Immediately after that, "Porno Creep" lands, a funky, dark, cinematic instrumental that serves as a distorted soundtrack to 1970s exploitation films, and is a perfect introduction to the album's most successful and iconic single - "A.D.I.D.A.S." (a sarcastic acronym for All Day I Dream About Sex). The song transformed the obsession with sex and desire into a sweeping, groovy, darkly dancing hip-metal anthem, accompanied by an unforgettable music video directed by Joseph Kahn, which shows the band members lying in a morgue after a fatal car accident. One of the album's most energetic and surprising gems is "Wicked," a wild, self-deprecating cover of hip-hop legend Ice Cube's song, featuring Deftones frontman and close friend Chino Moreno. The vocal duet between Moreno and Davis perfectly demonstrates "Korn"'s natural, fearless, and boundless connection to the worlds of West Coast rap and hip-hop. In the second half of the album, the atmosphere becomes even more extreme, surreal, and exposed. Alongside "Lowrider" - a short, heavy, and entertaining cover of the funk classic by the band "War" on which Davis plays furiously on flutes (his secret trademark) and Head provides the vocals - stands out the deadly third single "Good God". It is one of the most violent and jarring songs in the band's catalog, written about an exploitative and manipulative acquaintance who hurt Davis, and culminates in a crashing breakdown in which Davis screams his soul over screeching guitars and suffocating distortion. The album concludes with two tracks that reveal Davis' deepest wounds: the edgy "Ass Itch", written about frustration and writer's block, and the chilling finale "Kill You" - a painful, dark and disturbing eight-minute monologue addressed to Davis's stepmother, in which he breaks down in tears and naked rage in front of the microphone, just as he did on "Daddy" from his debut album. The chilling album cover, designed by Martin Riedl and Scott Leberecht, has also become iconic: a gothic black-and-white photograph shows a small boy in a suit looking at himself in an antique mirror and combing his hair, with a large, menacing shadow figure looming behind him - a perfect visual representation of the theme of loss of innocence, fear, and trauma that runs like a thread throughout the entire album. Upon its release, "Life Is Peachy" went straight to number 3 on the US Billboard 200, reached double platinum status, and definitively established "Korn"'s status as the leader of the new wave of heavy music of the 1990s - a path that would later lead them to other huge albums such as "Untouchables", "Korn" III: Remember Who You Are" and their famous "MTV Unplugged" show. Standing the test of time, this is the band's darkest, rawest and most daring album - a work that refuses to apologize or embellish, and continues to hit the soft underbelly hard even three decades after its release. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On October 15, 2021, "Alcatrazz" released "V", their fifth studio album and their first with vocalist Doogie White. Just a year and three months after "Born Innocent" ended a 34-year gap between studio albums, the band returned with renewed appetite. V denotes their fifth album and also invokes victory. After a long-awaited comeback followed by an acrimonious split, delivering another cohesive record was an achievement in itself. Musically, this is melodic heavy metal that connects the neo-classical guitar tradition of the 1980s with a heavier, more forceful sound. "Alcatrazz" was formed in 1983, and knew how to combine a mix of heavy metal melodies performed by guitarists Yngwie Malmsteen and later Steve Vai. That same year the band released their debut album "No Parole from Rock 'n' Roll", which featured the hit "Island in the Sun". The band continued to build popularity with the album "Disturbing the Peace" which was released in 1985 and included the hit "God Blessed Video". After the third album "Dangerous Games" from 1986, the band ceased to exist and for 34 years did not release any new material. As you may recall, the trigger for the release of the comeback album "Born Innocent" in 2020 were three reunion shows of the band, which were held in 2017 in Japan. The performances were recorded on the live album / DVD called - "Parole Denied - Tokyo 2017". The reactions the band received pushed the members to write new material. The album "Born Innocent" featured a reunion of the legendary singer Graham Bonnet with the two original members of the band, keyboardist Jimmy Waldo and bassist Gary Shea, with guitarist Joe Stump, known from the bands "Trash Broadway" and "Reign of Terror" and Mark Benquechea on drums. The reunion did not last. In December 2020, the split between Bonnet and the remaining musicians became public amid a disagreement over management. Bonnet announced that he would continue using the "Alcatrazz" name with other players, while Waldo, Shea, Stump and Benquechea continued with White. That makes "V" a fresh start as well: a lineup having to demonstrate that its chemistry could survive without the voice associated with the band from its earliest days. White was a natural choice: another former "Rainbow" singer, he had also worked with Yngwie Malmsteen and Michael Schenker. That experience lets him inhabit the musical language of the band without imitating Bonnet. The grit and drama in his delivery give the riffs weight, while his melodies remain accessible even when the guitar becomes dense and fast. Jimmy Waldo and Giles Lavery produced the album, with Andy Haller handling mixing and mastering. Guests include Nigel Glockler of "Saxon", who plays drums on "Guardian Angel" and "Blackheart". The production foregrounds the attack of the guitar and the presence of the vocal, with keyboards adding colour and depth to the heavy sound. Opener "Guardian Angel" immediately raises the stakes with harmonised neo-classical guitars, rapid drumming and a vocal that attacks the high notes without hesitation. Its inspiration is unexpectedly poignant: the story of a stage actress unable to perform again, which White connected with the plight of musicians and venues during the pandemic. That context gives the explosive energy a sense of accumulated frustration finding release. Released in June 2021, "Turn of the Wheel" was the first song written through the collaboration with White. Its driving riff, melodic chorus and generous space for the guitar capture the balance of the album: virtuoso playing in service of a song that remains memorable after the solo ends. White sounds assured within that intensity, giving the music a character of his own. July brought "Sword of Deliverance", a shorter, more concentrated track built around a sharp riff and a chorus that feels destined for the stage. It is one of the most convincing examples of the partnership between Stump and White: the guitar drives the music forward, while the vocal gives that momentum a clear melodic centre. Heard as part of the finished album, it remains one of its strongest calling cards. "Grace of God", released as a single in October 2021, gives the epic scale of the album a human dimension. White wrote about the fear of a person sent to war in the Middle Ages, ordered to invade an unfamiliar land and fight people against whom he has no personal grievance. The dramatic vocal and the interplay between guitar and keyboards sharpen the tension between martial grandeur and individual helplessness. The influence of Ritchie Blackmore is especially apparent in Stump’s solo. Ultimately, "V" convinces through the connection between White’s personality and Stump’s playing. Its roots in the 1970s and 1980s are unmistakable, and that familiar vocabulary sometimes limits the element of surprise. But when the riff and chorus connect, the music is hard to resist. For us, this is a record that earns the band’s continued existence through songs, musicianship and enthusiasm that comes through the speakers. Song List: Guardian Angel Nightwatch Sword Of Deliverance Turn Of The Wheel Blackheart Grace Of God Return To Nevermore Target Maybe Tomorrow House Of Lies Alice’s Eyes Dark Day For My Soul "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

‎On October 15, 2013, Pearl Jam released "Lightning Bolt", their tenth studio album. ‎Four years had passed since the short, tight, and relatively upbeat "Backspacer" (2009), when the Seattle quintet—vocalist Eddie Vedder, guitarists Mike McCready and Stone Gossard, bassist Jeff Ament, and drummer Matt Cameron released their tenth album. But unlike the lighthearted new-wave punk energy of its predecessor, Lightning Bolt caught Pearl Jam at a much more thoughtful, mature, and sobering point: a band in its 23rd year together, its members approaching 50, looking with wide eyes at the fragility of life, mortality, faith, and long-term relationships. ‎To produce the album, the band reunited with legendary producer Brendan O'Brien, the man who shaped the sound of their masterpiece albums in the 90s – from the remix of their debut album "Ten", through the production of "Vs.", "Vitalogy", "No Code" and "Yield". O'Brien, who knows the inner dynamics of the band better than anyone, pushed them to record live in the studio to capture the electric tension between the band members, while incorporating the band's regular keyboardist Boom Gaspar on Hammond organ and piano. ‎The creative process for "Lightning Bolt" was unusual and split into two separate sessions two years apart. As early as the spring of 2011, the band entered the legendary Henson Studios in Los Angeles and recorded about 14 songs, with the intention of releasing an album later that year. But then came the band's 20th anniversary celebrations (which were featured in Cameron Crowe's documentary "Pearl Jam Twenty"), world tours, and side projects by the band members: Eddie Vedder released the solo album "Ukulele Songs," Matt Cameron reunited with his parent band "Soundgarden" to record the comeback album "King Animal," and Stone Gossard and Jeff Ament released solo albums and their own projects (including a one-off reunion of the parent band "Temple of the Dog" later on). ‎When the members of "Pearl Jam" returned to the studio in March 2013 and listened to the material from 2011, they felt that the songs had lost their immediate relevance and that they were capable of writing deeper and more challenging material. As Jeff Ament testified, the long hiatus allowed them to "come back hungrier and distill the best album they could put out at that point in time." ‎The album opens with "Getaway", a rolling rock piece that begins with Ament's bass-based rhythmic build-up and Cameron's tight drums, before opening into a loose chorus in which Vedder declares freedom of thought in the face of dogmatism and religious coercion - a theme that will become the second thread of the album's opening. ‎Immediately after it erupts the first single from the album, "Mind Your Manners". It is a short, fast and aggressive two and a half minute hardcore-punk attack, written by Mike McCready in a deliberate attempt to recreate the wild energy of the California punk band "Dead Kennedys". The song is reminiscent in spirit of "Spin the Black Circle" from "Vitalogy", with Vedder firing sharp and biting lyrics against the hypocrisy of religious institutions and brainwashing. ‎After such a forceful opening, "My Father's Son" continues on a grim and rough line. The song is born from Jeff Ament's angular, edgy bass-guitar riff with unconventional chromatic chord transitions, with Soder providing a theatrical, almost strangled vocal delivery that deals with the complex genetic and emotional baggage passed down from white ancestors. ‎Then comes the moment when the album completely changes direction with its second and most successful single - "Sirens". The story behind this sweeping stadium ballad begins the night Mike McCready attended Roger Waters' "The Wall" tour in Los Angeles in 2012. McCready returned to his hotel room, completely emotional, and wrote the acoustic opening and melodic line in an attempt to create a song with emotional and cinematic power in the spirit of "Pink Floyd." When Eddie Vedder heard the melody combined with the sounds of ambulance sirens outside the Los Angeles studio, he wrote a raw, chilling lyric about the fear of death and the desire to hold on to love before it all ends—a mature love song for his wife Jill, enhanced by McCready's melodic, tearful guitar solo that became an instant classic in the band's live performances. ‎The title track, "Lightning Bolt", written by Vedder, brings back the electric energy with classic Pearl Jam dynamics: a quiet, tense acoustic verse that gradually builds and explodes into a wide-ranging rock chorus, with Matt Cameron's powerful drumming and a sweeping guitar solo that illustrates why the song was chosen to give the entire album its name. ‎One of the album's brightest musical gems is "Infallible", a creation by Ament Voder driven by a hypnotic, heavy bass-drum groove, wrapped in atmospheric keyboards. Lyrically, it is one of Veder's strongest political and philosophical texts of the past decade, criticizing human arrogance and the blind belief that man is immune to the collapse of ecological and social systems. ‎The first side of the record is closed with "Pendulum", a dark, minimalist and hypnotic piece that was born from a studio jam between Ament and Gossard back in the 2011 sessions. The song was originally written for the soundtrack of the film "Into The Wild" (which Veder composed in 2007) but remained in a drawer, and here it receives a chilling arrangement with floating keyboards and muffled percussion that create a gloomy cinematic atmosphere of a pendulum of time swinging over an abyss. ‎The second half of the album opens with high energy with "Swallowed Whole", a melodic, upbeat rock song that recalls the spirit of the masterpiece "Yield," and is immediately followed by "Let the Records Play" – a groovy, fun homage to 1970s blues-rock and glam. The tune was written by Stone Gossard, who also played the rough guitar solo (in contrast to the usual division of roles where McCready leads the solos), as Vedder sings about the healing power of old vinyl records by John Lee Hooker and Stevie Ray Vaughan. ‎It's immediately followed by "Sleeping by Myself", a song that Eddie Vedder originally recorded alone with ukulele for his 2011 solo album. Producer Brendan O'Brien heard the song and insisted that Pearl Jam record a full-band version. The result is a rich and warm folk-rock track with the addition of brass and organ, which despite the light melody deals with the loneliness within a relationship. ‎The two tracks that close the album provide an intimate and moving ending incomparable. The first is "Future Days", a beautiful piano and acoustic guitar ballad that Vedder wrote inspired by the loss of a close friend who died in a drowning tragedy, and his thoughts on the people left behind. The song features the lead singer of the legendary band "Heart" and one of the pillars of the Seattle scene, Ann Wilson, on heavenly backing vocals. A decade after the album's release, the song has received tremendous global resonance among a new generation of listeners, when it was chosen as the central motif song that connects the main characters in the groundbreaking video game and successful television series "The Last of Us". ‎The album closes with "Yellow Moon", a dreamy, slow, nocturnal ballad written by bassist Jeff Ament. With a warm, soaring guitar solo by Mike McCready that sounds like a nod to Neil Young and David Gilmour, the song closes the album with a sense of fulfillment and inner peace. ‎The album cover and its illustrated booklet also became a work of art in their own right: the band enlisted renowned graphic artist and skateboarder Don Pendleton, who created a unique abstract illustration in red, black, and white for each of the album's twelve songs. Pendleton's spectacular work earned "Lightning Bolt" the prestigious Grammy Award in 2015 in the Best Recording Package category. ‎Upon its release, "Lightning Bolt" was an impressive commercial and critical success, debuting at number one on the Billboard 200 in its first week (the band's fifth album to do so). In the test of time, "Lightning Bolt" stands as one of the most complete, diverse, and honest albums of Pearl Jam's late career, living proof that even after more than two decades of activity, Seattle's lightning still strikes with power. ‎For Listening: Spotify, Apple Music ‎"Face/Off" - Israel's Rock Blog ‎Follow us on Facebook / Instagram or Subscribe to our website