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

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

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

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

There are not many guitarists with such a unique playing style that their sound can be identified in any situation. Mark Knopfler is one of them and he is celebrating a birthday today !!! (Photo: AP) Here are 20 interesting facts about the talented singer, songwriter, and guitarist: 1. He was born on 12 August 1949 in Glasgow, Scotland as Mark Freuder Knopfler. He is born to a Jewish father of Hungarian-Scottish descent. His father was born in Hungary, but in 1939 he fled to Scotland due to Nazi persecution. 2. In his youth he asked his father to buy him a Fender Stratocaster guitar, but because of the high price he had to compromise on a cheap "Hofner" guitar that cost £ 50. 3. He is left-handed playing the guitar with his right hand. 4. He is among the few guitarists who play electric guitar without a guitar pick. 5. He has written and composed all of the songs on all but three "Dire Straits" studio albums. These albums also give credit to other artists, including the song "Money for Nothing" which gives credit to Sting. 6. Regardless of "Dire Straits" albums, he has released 10 solo albums, 2 albums with other artists and 9 soundtracks, including for the films "The Princess Bride" and "Wag the Dog". 7. The band's name "Dire Straits" means turbulent water between two straits. It was offered to them by a friend because of their difficult financial situation. 8. There is a Fender Stratocaster guitar named after him: "Fender Mark Knopfler Stratocaster". Beyond that, there are two more Signature guitars in his name from the "Martin" guitar company. 9. Knopfler is known for his clean guitar playing. The band's first album featuring the hit "Sultans Of Swing" played almost with no guitar effects. 10. He wrote and played with Bob Dylan on the album "Slow Train Coming". In March 1979, Dylan was at the last "Dire Straits" show at the "Roxy" in Los Angeles. Dylan approached Knopfler after the show and offered him to play on his next album. Knopfler immediately agreed and also recommended "Dire Straits" drummer, Pick Withers. They both played on the album. 11. Knopfler also produced and played on Dylan's 1983 album "Infidels". 12. There is a dinosaur named after him, the "Masiakasaurus knopfleri". 13. He wrote the song "Private Dancer" for Tina Turner. 14. He plays the guitar in the song "King's Call" from the album "Solo in Soho" by Phil Lynott. (Photo: IMDB) 15. He also plays solo in the song "Ode to Liberty (The Protest Song)" from Phil Lynott's "The Philip Lynott Album". 16. In 1989 he formed the band "The Notting Hillbillies". 17. He plays lead guitar in the song "Time Out of Mind" from Steely Dan's "Gaucho" album. 18. He has about 50 guitars from different companies, in which he actively plays (not collectibles). Each guitar has its own role and sound for different songs. 19. He is ranked 44th on "Rolling Stone" magazine's list of the 100 best guitarists of all time. 20. His solo in the song "Sultans of Swing" is ranked 22nd in the list of the 100 greatest solos of all time by "Guitar World" magazine. And now listen to the playlist we made for you from different stations in his career: Click Here. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written By: Noam Asulin Release date - 12.8.2022 This is the 11th studio album of the Swedish melodeath band "Arch Enemy". "Arch Enemy" was founded in Hamstard, Sweden. Originally it was a supergroup that included members from the bands "Carcass, "Armageddon", "Carnage" and more. The band was founded in 1995 by Michael Amott - the lead guitarist of "Carcass" and who was part of their album "Heartwork" and by singer Johan Liiva, both originally from a death metal band called "Carnage". The band started to form adding guitarist Christopher Amott (Michael's younger brother) and drummer Daniel Erlandsson. The group's debut album "Black Earth" was released in 1996 and already then Michael Amott took the lead, writing most of the songs on the album, playing lead and rhythm guitar, bass guitar, producing and mixing for the album. In 1999 bassist Sharlee D'Angelo joined the band, while in 2000 vocalist Johan Liiva left the band and was replaced by German singer Angela Gossow, who in 2012 decided to retire from singing and moved to manage the band. Angela was the one who strongly recommended the Canadian Alissa White-Gluz as a singer, then the vocalist of "The Agonist". The entry of Alissa White-Gluz into the band in 2014 and the album "War Eternal", which was also released in the same year, set new standards, when at the same time a significant reinforcement player was added in the form of Jeff Loomis, guitarist of "Nevermore", who replaced Nick Cordle, "Arsis" guitarist, who was called to flag as a replacement for Christopher Amott, who is currently the guitarist of the Swedish band "Dark Tranquility". (Photo: Metalinjection) So far the band has released three albums with Alissa White-Gluz, including the reviewed album. Upon joining the band, Alissa White-Gluz brought something new to the band that was not present during Angela's time. Clean singing which in my eyes only adds to the diversity and sound. "Deceivers" provides us with more of the same melodic death metal that we are used to getting from the band, strong riffs, soaring lead guitars, and death vocals, all of which, we have already gotten used to getting from "Arch Enemy", especially after Alyssa and Jeff Loomis joined the band. But still, this album feels a little different to me. Alyssa's vocals are exceptional as always, but this time the songs seem to have been written to give her the space she's always needed and she uses that space to the fullest, with incredible singing abilities that have simply improved miraculously from the previous albums. It is especially enjoyable to listen to Alyssa sing her clean vocals that add such important diversity to the band's sound. The band has released six singles from the album so far, the first "Deceiver, Deceiver" was released in October 2021 and the last "The Watcher" was released on August 14, 2022. The album starts with "Handshake With Hell" and there's a reason for that. The band knew very well why it was necessary to open the album with this song. "Handshake With Hell" shows what this album is going to sound like and sets the tone for what we're going to get next. Heavy, fast, heavy guitars and with infectious solos. This is one of the band's longest songs. One of the first things you notice when you listen to it is Alyssa's singing and growling abilities. They simply improved and for me she is the added value of the album that makes it one of their best so far. It's a kicking song and very pleasant to the ear. The eighth song "Spreading Black Wings" has not yet been released as a single, but it is a very special song written in memory of Lars-Göran Petrov, the lead singer of the band "Entombed", who died in March 2021 from cancer and is only 49 years old. The album maintains a very high level of writing and performing ability throughout and as I mentioned it is, in my opinion, one of the band's best so far, but that is with the exception of two sections that in my opinion fall short of all the rest. The first, is the instrumental piece "Mourning Star" which, despite its melodies, is, in my opinion, a kind of "filler". It is not new that "Arch Enemy" incorporates instrumental sections in its albums, but mostly these tracks add to the flow of the album or are meant as interludes between the songs, and as such, they have meaning and are interesting to listen to. This is not the case with "Mourning Star", which sounds a bit casual and unrelated to the album. The second, is the track that comes right after it - "One Last Time", which nevertheless manages to excite a little, especially in the solo during the C-Part. In conclusion, most of the album, as a whole is very melodic and yet very heavy, perhaps the band's heaviest ever. Alyssa continues to improve and proves how good she is, both in the clean vocals and the powerful growls, which in my opinion show how versatile she is. There is no doubt that this is a classic "Arch Enemy" album, with Michael's solos being a kind of "sound signature" associated with the band. However, songs like the opening song "Handshake with Hell" show that the band is interested in developing and presenting slightly different sides of themselves and that is worthy of appreciation in my opinion. The band's drummer, Daniel Erlandsson is my favorite drummer. It's hard for me to explain why, but I really relate to his style of playing and I really enjoy his powerful and precise drumming. Daniel is also responsible for the effects, and the keyboards, he co-produced the album and is the band's guitar and bass technician, so he turns out to be a kind of multi-talent whose contribution to the band is tremendous. Before ending, I must refer to the album cover, which in my opinion is a bit boring and one-dimensional, and does not at all indicate the material inside. I would expect such a beautiful, dynamic, rich, and powerful album to have a cover that would attract the eye with its color and diversity. "Deceivers" by "Arch Enemy" is a tight and good melodic album that will surely be a pleasure for every fan of the band, but also for everyone who loves the genre. In my opinion, this album is easily one of their best so far... For Listening: Deezer, Spotify, YouTube Music, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 4 and 11, 1979, Led Zeppelin played their final British shows at the "Knebworth Festival". These shows stand as a milestone in rock history, marking "Led Zeppelin's" triumphant return to the stage after a two-year hiatus since the death of Robert Plant's son during the band's 1977 North American tour, and four years away from British soil. Held at Knebworth House in Hertfordshire, England, the festival comprised two monumental concerts on August 4 and August 11, headlined by "Led Zeppelin", the concerts were supported by performances from various artists, including "The New Barbarians" with Ronnie Wood and Keith Richards, Todd Rundgren and "Utopia", Southside Johnny, and others. "Led Zeppelin's" appearance at the festival was a much-anticipated event due to their extended absence and their decision to forego a major tour, instead opting for this grand showcase. Leading up to the festival, "Led Zeppelin" engaged in rigorous rehearsals, choosing to return to the stage with a bang. The sheer scale of the event was awe-inspiring. A record-breaking 570 toilet seats, 750 feet of urinals, and an immense 100,000-watt sound system, a 600,000-watt light show, a swirling smoke that engulfed them and a pyramid laser. The anticipation for the show was immense. Already five days before the first of two shows, people started to surround the area. In the evening before the first show, there were around 30,000 people massing around the entrance to the festival grounds. After the fence had been breached for the third time, the organizers opened the doors allowing the fans to run towards the stage, staying there for 18 hours before the first show even started. In the end, between 110,000 and 150,000 fans were present at the first show. For many fans, the Knebworth Festival held a special place as their first encounter with "Led Zeppelin's" live presence. The band's performance, while displaying moments of brilliance, sometimes also showcased a sluggish and rusty return to the stage. The setlist was a blend of classic hits and newer material from their forthcoming album, "In Through The Out Door", released only 4 days after the second show. The shows started with "The Song Remains The Same" and ended with "Stairway to Heaven", capturing memorable moments such as the light and swirling smoke engulfed the band during "Achilles’ Last Stand", and the pyramid laser encasing Jimmy Page during "In The Evening". The shows had lasted three hours, when the final encores were "Heartbreaker" on the first show and "Communication Breakdown" on the second. "Led Zeppelin's" performance, captured by the Rolling Stones Mobile Studio and live video projections, resonated with the audience, despite receiving mixed reviews from critics. The legacy of the 1979 Knebworth Festival endures as "Led Zeppelin's" last major live performances in the UK before John Bonham's death. The event's scale, the band's undeniable presence, and the mix of nostalgia and uncertainty make these concerts a crucial chapter in "Led Zeppelin's' storied history. Here are the band's set lists: 1. "The Song Remains the Same" 2. "Celebration Day" 3."Out on the Tiles" (intro) / "Black Dog" 4."Nobody's Fault but Mine" 5. "Over the Hills and Far Away" 6. "Misty Mountain Hop" 7. "Since I've Been Loving You" / "Tea for One" (solo) 8. "No Quarter" 9. "Ten Years Gone" 10. "Hot Dog" 11. "The Rain Song" 12. "White Summer" / "Black Mountain Side" 13. "Kashmir" 14. "Trampled Under Foot" 15. "Sick Again" 16. "Achilles Last Stand" 17. Jimmy Page solo 18. "In the Evening" 19. "Stairway to Heaven" Encores: 20. "Rock and Roll" 21. "Whole Lotta Love" 22. "Heartbreaker" (on 4 August only) 22. "Communication Breakdown" (on 11 August only) "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Here are some interesting facts about Joe Jackson English musician, Keyboardist, Saxophonist and singer: Photo: John Huba = Joe Jackson was born as David Ian Jackson on August 11, 1954, in Burton upon Trent, Staffordshire, England. = He was raised in Swadlincote, Derbyshire, and later in the Paulsgrove area of Portsmouth. = Jackson began learning the violin before switching to piano, which his father installed in their council house. = He attended Portsmouth Technical High School and began playing piano in bars at age 16. = In 1968 he won a scholarship to study musical composition at London's Royal Academy of Music. = In the early 1970s he formed his first band, "Edward Bear" (later renamed "Arms and Legs"), which disbanded after two unsuccessful singles. = In the mid-1970s he worked on the cabaret circuit to fund his music career and recorded demo tapes. = He signed with A&M Records in 1978 after a producer heard his demo tape. = He released his debut album "Look Sharp!" in 1979 with the " Joe Jackson Band", featuring the songs "Is She Really Going Out with Him?", "Look Sharp", "Sunday Papers", "One More Time", "Fools in Love" and "Got the Time". = The album was voted number 865 in Colin Larkin's "All Time Top 1000 Albums". = The same year he released his second album "I'm the Man", featuring "It's Different for Girls," which became his highest-charting UK single, reaching No. 5. = In 1980 he released the album "Beat Crazy" and collaborated with reggae artist Lincoln Thompson. = In 1981 Jackson produced an album for British power pop group "The Keys" titled "The Keys Album". = The same year he released "Jumpin' Jive", an album of swing and blues covers credited to "Joe Jackson's Jumpin' Jive". = In 1982 Joe released "Night and Day", his most commercially successful album, reaching the UK and US Top 10 with hits like "Steppin' Out" and "Breaking Us in Two." = In 1983 Joe released the album "Mike's Murder" - a motion picture soundtrack album from the film of the same name starring Debra Winger. = In 1984 he released "Body and Soul", recorded in New York City, featuring the hit "You Can't Get What You Want (Till You Know What You Want)." = In 1985 Joe played piano on Joan Armatrading's album "Secret Secrets". = In 1986 he released "Big World", a live album recorded with a silent audience. = The same year he collaborated with Suzanne Vega on the single "Left of Center" for the "Pretty in Pink" soundtrack. = In 1987 Jackson released "Will Power", an instrumental album with classical and jazz influences. = In 1988 he released his second live album "Live 1980/86". the album contains three different versions of "Is She Really Going Out with Him?". = Joe returned to film soundtracks with "Tucker" released in 1988, for the Francis Ford Coppola film "Tucker: The Man and His Dream". The album earned Jackson a Grammy nomination for "Best Album of Original Instrumental Background Score Written for a Motion Picture or TV". = In 1989 he released "Blaze of Glory", an album he performed in its entirety during the subsequent tour. = His song "Got The Time" from the album "Look Sharp!" was covered in 1990 by the thrash metal band "Anthrax" for their album "Persistence of Time". = In 1991 Joe released "Laughter & Lust", featuring a more rock-oriented sound. = In 1994 he released "Night Music", which paved the way to his move toward classical music. = In 1995 Jackson contributed a cover of "Statue of Liberty" for the "XTC" tribute album "A Testimonial Dinner: The Songs of XTC". = In 1997 he signed with Sony Classical and began focusing on classical music. = The same year Joe released "Heaven & Hell", a musical interpretation and song cycle representing the seven deadly sins. = In 1999 Jackson released "Symphony No. 1", for which he won a Grammy Award for "Best Pop Instrumental Album" in 2001. = The same year he published his autobiography "A Cure for Gravity", which he described as a "book about music, thinly disguised as a memoir." = In 2000 Jackson released another live album - "Summer in the City: Live in New York". It featured Jackson playing the piano and singing, backed only by bassist Maby and drummer Burke, performing some of his old songs and several covers. = The same year he released "Night and Day II", a follow-up to his 1982 album. = In 2002 he released another live album called "Two Rainy Nights". = In 2003 Jackson reunited with the original "Joe Jackson Band" for "Volume 4" and embarked on a tour. = In 2004 he contributed vocals to William Shatner's cover of "Pulp's" "Common People" on Shatner's album "Has Been". = The same year he released another live album called "Afterlife", re-uniting with the musicians from his first successes: Graham Maby, Gary Sanford and Dave Houghton. = In 2005 he teamed up with Todd Rundgren and the string quartet ETHEL for a US and European tour. = In 2006 Jackson moved to Berlin, Germany, partially in protest against smoking bans, and recorded "Rain" with longtime collaborators. = In 2008 he released the album "Rain", followed by a five-month tour. = In 2012 Joe released "The Duke", a tribute album to Duke Ellington. = In 2015 he released "Fast Forward", recorded in four cities: New York, Amsterdam, Berlin, and New Orleans. = In 2019 Jackson released "Fool", which debuted in the top 20 album charts in several European countries and No. 25 on Billboard's Top Album Sales Chart in the US. = In 2022 he embarked on his "Sing, You Sinners!" tour, celebrating his long and varied career in music. = In 2023 Jackson released the album "What a Racket!", which explores themes of noise, communication, and the modern world. The album features a mix of electronic and acoustic elements, reflecting Jackson's continued experimentation with different musical styles. = Jackson is openly bisexual. His questioning of potential homosexuality and same-sex attraction is explored in the 1982 single "Real Men". "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Singer and flutist (He plays many more instruments) Ian Anderson is celebrating his birthday today !!! (Photo: Wordpress) Let's celebrate his birthday with 25 interesting facts: 1. He was born in Edinburgh Scotland on 10 August 1947 as Ian Scott Anderson. 2. In 1959 he moved with his family to the city of Blackpool in the northwest of England. 3. In 1963 he formed his first band - the blues band called "The Blades", together with his classmates Barriemore Barlow (drums), John Evan (keyboards), Jeffrey Hammond (bass guitar) Michael Stephens (guitar). Anderson sang and played the harmonica. 4. By 1964 the band already had six members, and was renamed "John Evan Smash". 5. In 1967 the band moved to the city of Luton, but did not last and disbanded. 6. In Luton, Anderson met drummer Clive Bunker and guitarist Mick Abrahams. Together with bassist Glenn Cornick, whom Anderson knew through John Evan, the first lineup of the band "Jethro Tull" was formed. 7. At this point Anderson abandoned his desire to play the guitar because he thought he could not be as good as Eric Clapton. 8. He replaced the electric guitar with a side flute, and began playing it even in non-traditional styles like rock and blues. (Photo: courtesy of Chipster PR) 9. When "This Was" - Jethro Tull's debut album came out in 1968, it was only a few months after Ian started playing the side flute. 10. Anderson later taught himself to play many other instruments, such as saxophone, mandolin, bouzouki, keyboards, balalaika, and various whistles. 11. In 1968 he performed with his band on the show "The Rolling Stones Rock and Roll Circus". The one who played guitar on that show was none other than Tony Iommi from "Black Sabbath". 12. Anderson and the band's big break came with the album "Aqualung" from 1971, which is considered the band's most successful album and in the eyes of many also its best. 13. The materials on the album were influenced by homeless photographs taken by Ian Anderson's wife near the Thames. 14. Also the album cover which many thought to be a cartoon character of Anderson (and it's not), corresponds with the same photographed subjects. 15. A year later, Anderson released with the band what is considered its creative peak - the concept album "Thick as a Brick". 16. To date, Anderson has released no less than 23 studio albums, 4 EPs, and 9 live albums under the "Jethro Tull" brand. 17. In addition, as part of his solo career, Anderson has released 6 albums, including the masterpiece follow-up album to "Thick as a Brick" which was released in 2012. 18. In 1988 he co-won with "Jethro Tull" the title of "the best hard rock/metal" act at the MTV Awards, for the album "Crest of a Knave", bypassing Metallica with "...And Justice For All". This win caused a kind of storm. Even Anderson himself joked about it when he noted that the members of "Jethro Tull" probably play a very strong mandolin. 19. His daughter Gail works in the film industry and is married to actor Andrew Lincoln, the star of the series "The Walking Dead". (Photo: Loudersound.com) 20. Anderson is the leader and lead writer of "Jethro Tull" and is also the only permanent member in it. 21. Ian has also been featured on albums by bands such as "Blackmore's Night" and "Renaissance". 22. Anderson's works combine a variety of musical styles including progressive rock, folk, blues, psychedelia, and hard rock. 23. His works have also influenced a very wide range of artists such as: Steve Harris, Bruce Dickinson, Eddie Vedder, John Myung, Joe Bonamassa, Geddy Lee, and more. He even invited Bruce Dickinson to a very special show. 24. Anderson is also a successful businessman, and owns a salmon fish farm and marketing company, valued at about £ 10.7 million. 25. In an exciting interview with Dan Rader on AXS TV, Ian said that he suffers from incurable lung disease and that his days as a singer are few. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On August 10, 1984, "Red Hot Chili Peppers" released their first studio album "The Red Hot Chili Peppers". Long before "Red Hot Chili Peppers" became capable of filling stadiums, writing melancholy California ballads or turning funk rock into mainstream radio currency, they sounded like four musicians trying to force several different musical cultures into the same room. "The Red Hot Chili Peppers" is the document of that collision. Punk, funk, rap, art rock and Los Angeles club culture are all present, but they have not yet settled into a coherent language. The fascinating thing about the record is that the band's identity is already obvious even when its music is not fully under control. The roots of "Red Hot Chili Peppers" stretch back to Fairfax High School in Los Angeles, where Anthony Kiedis and Flea became friends and connected with guitarist Hillel Slovak and drummer Jack Irons. By early 1983 the four had come together as Tony Flow and the Miraculously Majestic Masters of Mayhem, initially conceived as a one off live act built around Kiedis delivering his rhythmic poetry over a funk driven jam. The response convinced them that the chemistry deserved more than a single performance. After playing around Los Angeles and developing material from those early jams, they adopted the name "Red Hot Chili Peppers" and began treating the project as a real band. The original quartet would not remain intact long enough to record the debut, however. Slovak and Irons were also committed to "What Is This?", and when that group secured its own record deal, they stepped away, leaving Kiedis and Flea to rebuild with guitarist Jack Sherman and drummer Cliff Martinez. That personnel change helps explain the strange character of the album. Kiedis handles vocals and Flea bass, but founding guitarist Slovak and drummer Irons did not perform on the record. Sherman played guitar and Martinez drums, while Gang of Four guitarist Andy Gill produced the sessions. That makes "The Red Hot Chili Peppers" an unusual debut: the band was introducing itself to a wider audience without actually having its original lineup in the studio. Photo: Gie Knaeps Recording began at Eldorado Studios in Hollywood in April 1984 with Gill producing, and the sessions quickly exposed a fundamental disagreement over what "Red Hot Chili Peppers" should sound like on record. Kiedis later recalled in Scar Tissue that the opening days went smoothly before he and Flea became increasingly frustrated with Gill's approach, believing his production was restraining the raw force and frantic funk energy they generated live. The conflict became severe enough for the sessions to turn openly hostile. More importantly, the disagreement can be heard in the finished album: Gill brought separation and discipline to music whose creators wanted impact, looseness and chaos. Flea has remained dissatisfied with the result decades later, arguing that the songs were strong but that replacing Slovak and Irons with Sherman and Martinez meant the musical connection was never as deep as that of the founding lineup. He has even expressed a desire to rerecord the debut, an extraordinary admission that reinforces how much "The Red Hot Chili Peppers" represents a compromise between the band that existed onstage and the one captured in the studio. Gill's production is consequently one of the album's defining tensions. The songs demand sweat, impact and physical movement, yet the record frequently sounds controlled when it should sound dangerous. Flea's bass punches through because his playing is almost impossible to contain, but the guitars can feel clipped and comparatively restrained. Martinez gives the music a firm rhythmic backbone, while Kiedis attacks the microphone less as a conventional singer than as a rhythmic provocateur. The result is recognizable as "Red Hot Chili Peppers", but only in outline. That outline becomes immediately convincing on "True Men Don't Kill Coyotes". Flea's bass establishes the song's personality before anything else has a chance to compete with it. The groove is elastic and strange, Sherman's guitar cuts around it rather than overwhelming it, and Kiedis delivers the vocal with the exaggerated rhythmic phrasing that would define the band's earliest period. The arrangement is repetitive by design, but the repetition creates momentum. For the first time on the album, funk and punk stop behaving like separate influences and start sounding like components of the same band. "Baby Appeal" pushes further into funk, although it also exposes the album's central weakness. There are plenty of ideas, but not always enough development. Flea can generate excitement almost independently, yet the surrounding arrangement occasionally seems satisfied simply to remain inside the groove. That distinction matters. The later "Red Hot Chili Peppers" would learn how to make repetition feel hypnotic. Here, repetition can simply feel repetitive. "Buckle Down" is tougher. The bass and drums give it a compact muscularity, while Sherman's guitar works in short, abrasive figures rather than attempting to dominate the track. Kiedis is still treating words largely as percussion, throwing syllables against the rhythm with more concern for velocity and attitude than melody. It is primitive compared with what the band would eventually become, but that primitiveness is part of its appeal. Then comes "Get Up and Jump", perhaps the clearest expression of the young band's original philosophy. The riff is less important than propulsion. Flea attacks the bass as both rhythmic and lead instrument, the drums keep everything moving at near punk speed, and Kiedis turns the vocal into another piece of percussion. The structure is basic because complexity would defeat the purpose. This is music designed to make a room move before anyone has time to analyze why. The Hank Williams composition "Why Don't You Love Me" is the album's strangest detour. Rather than treating the song as sacred material, the band pulls it into its own rhythmic universe. It demonstrates an instinct that would become increasingly important throughout their career: genre is raw material, not a boundary. At this stage that instinct can sound reckless, but it is already central to the band's personality. "Green Heaven" is more revealing. Its bass line carries real authority, while the arrangement hints at the harder, more muscular funk rock the band would develop later. Kiedis still lacks the melodic vocabulary that would transform him as a vocalist in subsequent years, but his limitations work with this material. He sounds confrontational because confrontation is the song's natural language. The second half becomes increasingly erratic. "Mommy, Where's Daddy?" settles into a sleazy, low slung groove and features backing vocals from Gwen Dickey, while "Out in L.A." compresses the band's early identity into two frantic minutes. "Police Helicopter" is even shorter, barely giving its riff and rhythm enough time to register before disappearing. These songs often feel closer to fragments of a live set than carefully constructed studio compositions, but they also reveal why the band attracted attention. Conventional polish was never the point. The nineteen second "You Always Sing the Same" functions almost like a joke inserted before the record takes its most unexpected turn. "Grand Pappy Du Plenty" closes the album with an instrumental drift that abandons the frantic attack heard elsewhere. It is atmospheric, strange and slightly disconnected from everything preceding it. Yet as an ending, it works precisely because it refuses the obvious conclusion. A record built on nervous movement ends by dissolving. "The Red Hot Chili Peppers" is not a great album, but it is a revealing debut. Its production often suppresses the very volatility that made the band interesting, its songwriting frequently mistakes energy for development, and the chemistry is inevitably complicated by a lineup assembled during a transitional moment. What survives those weaknesses is personality. Flea already sounds unlike almost anyone else in rock. Kiedis already understands that rhythm can define a vocalist as strongly as melody. The band already views punk, funk and hip hop not as separate territories but as things that can be thrown together until something new emerges. This debut provides something different: the blueprint before the architecture. Messy, abrasive, funny and frequently underdeveloped, "The Red Hot Chili Peppers" captures a band whose ideas were moving faster than its ability to record them. That imbalance is exactly what makes the album worth hearing... 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