On May, 6 1973 "Nazareth" released its third album "Razamanaz". Produced by Roger Glover this album is widely considered one of "Nazareth's" best albums, and for good reason. From the opening riff of the title track, it's clear that this album is going to be a hard-rocking affair, filled with driving rhythms and powerful vocals. The album features a mix of original songs and covers, but it's the band's own compositions that really shine. The album opens with the title track, "Razamanaz", a high-octane rocker that sets the tone for the rest of the album. With its driving rhythm and catchy guitar riff, it's a song that's impossible not to tap your foot to. Lead singer Dan McCafferty's vocals are gritty and raw, perfectly capturing the rough-and-tumble spirit of the music. From there, the album launches into "Alcatraz", another up-tempo rocker with a catchy chorus and a killer guitar solo. It's followed by "Vigilante Man", a cover of a Woody Guthrie song that's been given a hard rock makeover. While it's a departure from the band's original material, it fits in perfectly with the overall vibe of the album. One of the standout tracks on the album is "Broken Down Angel". It's a ballad that showcases McCafferty's impressive vocal range, moving from a soft, tender croon in the verses to a powerful, soaring chorus. The lyrics are poignant and heartfelt, speaking to the pain of lost love and the struggles of trying to move on. Another highlight of the album is "Woke Up This Morning", a hard-rocking tune with a driving beat and a catchy chorus. The song features some great guitar work by Manny Charlton, who delivers a blistering solo that perfectly complements the rest of the music. The album also features "Bad Bad Boy", a raunchy, bluesy number with lyrics that perfectly capture the band's rough-and-tumble image. It's a song that's full of swagger and attitude, and it's impossible not to get caught up in the energy and enthusiasm of the music. Perhaps what's most impressive about "Razamanaz" is how well it has aged over the years. Even decades later, the album still sounds fresh and vital, a testament to the enduring power of "Nazareth's" music. Overall, "Razamanaz" is a classic album that gave "Nazareth" their big break. It's an album that's full of energy, passion, and raw power, and it remains a favorite of hard rock fans to this day. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 5, 1988 "Testament" released their second album "The New Order". Although the band proved their abilities already on the debut album "The Legacy", it was their second album, "The New Order" which finally established them as one of the best thrash metal acts proving that they deserve to be included among the big bands of thrash metal, if you want (and without Insult the other 4) a member of the "Big 5". The album showcases the high abilities of the band members, especially the lead guitarist Alex Skolnick who combines memorable solos and riffs alongside exceptional melodies, and lead singer Chuck Billy who demonstrates animalistic, energetic, and strong vocals, which sometimes reminds us of James Hetfield. A large number of the album's songs have been played in the band's concerts over the years and to date, proving that this is indeed a "classic" thrash metal album, including: The Ultimate "mosh pit" Anthem "Into the Pit" and the theme song "The New Order" both also played in the band's performance in Israel in 2018, "Disciples of the Watch", which is one of the band's most-played songs ever and of course "The Preacher" and "Trial by Fire". One of the songs you can find on the extended versions of the album, is a cover version of "Aerosmith's" "Nobody's Fault", which is said to be carefully surpassed even by the original. The album ends with a melodic and very special instrumental - "Musical Death (A Dirge)" which at times is reminiscent of the beautiful moments of the virtuoso guitarist Yngwie Malmsteen. Overall this is one of the band's great albums recommended for any "metalhead". To listen to: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Singer James LaBrie is celebrating his birthday today. (Photo: Symphonynorth.com) He was born in a small town in Ontario, Canada on May 5, 1963 as Kevin James LaBrie. He started singing and playing drums at the age of five. As a teenager he was part of a number of local bands in which he played drums and sang. At the age of 17 he stopped playing drums and began to focus on singing, when at the age of 21 he even started taking singing classes. At age 18, his family moved to Toronto Canada. In the late 1980s he joined the glam metal band "Winter Rose" in which singer Sebastian Bach also had been a member. The band released their debut album in 1989, with LaBrie and guitarist Richard Chycki writing most of the album's songs. In 1991, LaBrie joined "Dream Theater", and since then he has released 16 studio albums with them. One of the interesting songs he wrote for the band "Vacant" was written about an incident that happened to his daughter. A few days before her 7th birthday she went into a coma for few hours. Although doctors expressed concern that she had suffered a stroke, his daughter woke up And came back to herself in such a surprise that defined by the doctors as a medical miracle. In 1994, LaBrie suffered from severe food poisoning during a family vacation in Cuba. He later suffered a severe injury and tore his vocal cords and three different doctors advised him to retire completely from singing. Contrary to recommendations and with the help of training, LaBrie managed to return to singing later that year in a way that enabled the release of the album "Awake" and preforming in the tour planned for the promotion of the album. LaBrie continued with his singing training and only in 2003 announced that he had completed the rehabilitation process and his voice had returned to normal. In parallel with his work with Dream Theater, LaBrie has a solo career in which he released 5 albums and an EP, two of them under the name "MullMuzzler". (Photo: Frank Hoensch) LaBrie also has quite a few collaborations, including with "Fates Warning", Trent Gardner, "Shadow Gallery", "Frameshift", "Last Union" and more. In 2004, he played the role of "Me" in "Ayreon's" rock opera "The Human Equation", both on the album and in the performances that accompanied it. LaBrie continued to collaborate with "Ayreon" when he played the role of "The Historian" in the 2017 rock opera "The Source". Since 2004, LaBrie has been part of the "Symphonic Rockestra project", in which he performs together with two opera singers combining elements of rock and metal. In 2008 they released the album "Concerto in True Minor". "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May, 5 1978 "AC/DC" released As "Powerage", its fifth studio album in Australia and their forth worldwide. A year before the huge breakthrough of "Highway To Hell" it was "Powerage" that laid the foundation for the great success to come. It was the first album to feature Cliff Williams as a bass player, when one of the reasons the band picked him up to fill in Mark Evans shoes, was his ability to sing background vocals. This new addition will prepare the band for the big vocals change producer Matt Lang will bring with him during the recording of "Highway To Hell". Listening to "Powerage" will make you feel the raw energy and emotion pulsing through every note and every chord of the album. This album is a masterpiece of rock 'n' roll, an unparalleled work of art that captures the essence of what it means to be truly alive. From the very first track, "Rock 'n' Roll Damnation", to the closing notes of "Up to My Neck in You", this album is a non-stop rollercoaster of emotion and adrenaline-fueled ride that showcases the band's raw power and unrelenting energy. The riffs are heavy and the solos are electrifying Angus Young and Malcolm Young collaboration came to perfection here, but it's the rawness of the lyrics that truly hits home. The opening track, "Rock 'n' Roll Damnation", sets the tone for the album, with its catchy chorus and driving guitar riffs. The song was written by Angus Young, Malcolm Young and Bon Scott, was actually the final track recorded during the sessions, after the record company asked the band to go back into the studio and write a radio-friendly single. unlike most of "AC/DC's" songs, "Rock 'n' Roll Damnation" features handclaps and maracas and does not have a guitar solo. From there, the album only gets better, with standout tracks like "Gone Shootin'" "Sin City" and "What's Next to the Moon" delivering one powerful punch after another. "Down Payment Blues" is a gut-wrenching ballad about the struggles of trying to make it in the music industry, while "Gimme a Bullet" is a haunting meditation on revenge and regret. And then there's "Riff Raff", a song that perfectly captures the rebellious spirit of rock 'n' roll and the unbridled passion that drives us all. But it's not just the lyrics that make this album so emotional. It's the way that every instrument and every voice comes together in perfect harmony, creating a sound that is both powerful and deeply moving. One of the things that makes "Powerage" so special is the way it captures the essence of "AC/DC's" live performances. Listening to the album, you can almost feel the sweat dripping down your face as lead singer Bon Scott belts out each song with a fierce intensity that's impossible to ignore. Of course, it's not just Scott's vocals that make "Powerage" so great. The guitar work by Angus and Malcolm Young is absolutely electrifying, with each riff and solo delivering an adrenaline rush that's impossible to ignore. The rhythm section of Cliff Williams on bass and Phil Rudd on drums is also rock solid, providing a driving backbone that keeps the music moving forward with a relentless momentum. In short, although "Powerage" is not considered one of the band a masterpieces, it is still the album where everything came together for "AC/DC", preparing the band for its huge breakthrough. A pure rock 'n' roll album that will leave you breathless. A testament to the power of music and the incredible talent of "AC/DC". For listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Drummer Bill Ward is celebrating a birthday today. (Photo: 96fm.com.au) He was born on 5 May 1948 in Birmingham, England, as William Thomas Ward. He started playing drums at an early age, after being influenced as a child by Big Band bands from the 1940s. His great inspiration in drumming came from jazz and drummers like Buddy Rich, Gene Krupa, and Louie Bellson. Later he was also influenced by drummers like Ringo Starr, Jim Capaldi, and John Bonham. His first band from the mid-1960s as a drummer and singer, was "The Rest". He met guitarist Tony Iommi in the blues-rock band "Mythology" of which they have been members since 1967. After the band disbanded, he and Tony, bassist Geezer Butler and singer Ozzy Osbourne formed the band "Earth", which later changed its name to "Black Sabbath". (Photo: Black Sabbath On Instegram) Ward was a part of all of the band's albums in the early days along with Ozzy Osbourne, including masterpieces such as "Paranoid", "Master Of Reality", "Sabbath Bloody Sabbath", "Sabotage" and more. Beyond his drumming work, Ward also sang two "Black Sabbath" songs during the Ozzy era, "It's Alright" from the album "Technical Ecstasy" and "Swinging the Chain" from the album "Never Say Die!". Ward also starred on the band's first album with Ronnie James Dio - "Heaven And Hell", as well as on the 1983 album "Born Again" with Ian Gillan as lead singer. Before returning to the band with Ian Gillan, Ward was a member of "Max Havoc". Ward participated in the Black Sabbath reunion show on "Live Aid" which was held in 1985. What led Ward out of "Black Sabbath" were his drug and drinking problems that worsened during the 1970s and which peaked in alcohol consumption and drug use even during the band's performances, among other things to resolve his panic attacks. Ward returned to brief reunions with the band in 1992 with Rob Halford as a singer, in 1994 with Tony Martin, and on the reunion album from 1998 - "Reunion". (Photo: Drummerworld.com) He suffered from many health problems over the years, that prevented him from drumming, including a heart attack and a shoulder surgery. Geezer Butler wrote the song "N.I.B." about Bill Ward's beard which looked as sharp as the tip of a pen (Nib). During the recording of the album "Heaven and Hell," Tony Iommi sprayed him with detergent from the reel tape that was in the studio and set it on fire. He suffered burns on his leg. Another prank by the band members almost led to his death in 1972 during the recordings of the album "Vol. 4". After fainting from drinking too much, his bandmates undressed him and painted his whole body with a golden paint that clogged his pores and did not allow him to sweat in a way that caused him to seizure. Ward released his first solo album - "Ward One: Along the Way" in 1990. The album featured Ozzy Osbourne and guitarist Zakk Wylde, among others. Ward later released two more solo albums in 1997 and 2015. In 2000, Ward participated in Tony Iommi's album called "Iommi". Since 2002, Ward has been taking part in a WPMD radio show called "Rock 50" where he plays a variety of musical styles. (Photo: Robert Lachman) In October 2006 there were rumors that he would join "Heaven & Hell" along with three members of "Black Sabbath", Geezer, Tony, and Dio, but Ward eventually decided not to join. The story repeated itself on the band's reunion album with Ozzy Osborne - "13". It was initially reported that Ward would be part of the union, but in the end, he did not join. Ward had a unique and innovative drumming style that included a combination of elements from jazz and rock. His unique style and groundbreaking playing contributed, together with his friends to Black Sabbath, to create a new genre - heavy metal. The site "Totaldrumsets" ranked him among the 100 most influential drummers of all time and defined him as the brain behind the heavy metal style drumming. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May, 4 1973 "Yes" Released "Yessongs", Their first live album. "Yessongs" is a triple live album by the British progressive rock band "Yes". The album features recordings from various concerts during the band's 1972-73 tours in North America and the UK, and includes many of the band's classic songs, as well as several longer, more complex pieces. One of the standout aspects of "Yessongs" is the musicianship on display. Steve Howe, Jon Anderson, Chris Squire, Rick Wakeman and the two drumers Bill Bruford (who plays on three songs) and Alan White, are at their peak. The band's intricate arrangements and virtuosic playing are captured in stunning detail, with each member given ample opportunity to shine. The interplay between guitarist Steve Howe and keyboardist Rick Wakeman is particularly impressive, with their solos on "Roundabout" and "Yours Is No Disgrace" serving as highlights of the album. The two also get to play uniqe instrumental pieces. Rick Wakeman with a piece from his first solo album (The Six Wives of Henry VIII), which at the time of recording (1972) had not yet been published and became a world bestseller, and Steve Howe with his "Mood For A Day" classic instrumental taken from the album "Fregile". The song selection is also noteworthy, with the band choosing to showcase some of their longer, more ambitious pieces. "Close to the Edge", the album's centerpiece, is a 20-minute epic that seamlessly weaves together multiple sections and showcases the band's ability to create complex, dynamic music. The album also features the 15-minute "The Gates of Delirium", which similarly blends multiple sections into a cohesive whole. Of course, it's not all epic-length pieces on "Yessongs". The album also includes some of the band's shorter, more accessible songs, such as "I've Seen All Good People" and "Long Distance Runaround". These tracks provide a nice contrast to the more challenging material and show that "Yes" could create memorable, hook-filled songs even when not stretching out into longer pieces. All in all, "Yessongs" is a fantastic live album that captures the band at the peak of their powers. The musicianship is top-notch, the song selection is strong, but the production is lacking something. This is probably the reason it is still the bands highest selling live album. Whether you're a die-hard Yes fan or just someone looking to explore the world of progressive rock, this album is well worth checking out. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Editor's Choice... The album "Attention Attention" - is the sixth album by the band "Shinedown" which was released on May 4th, 2018 and what an excellent album it is !! This is a "fiction" album that tells the story of a character who fights its failures and the negativity of the society in which its finds herself. It goes through a process at the end of which it is reborn. Singer Brent Smith said he wants to share a message from the album that a person is not measured by his failures but by the way he deals with them. Although the order of the songs is important according to the progress of the story, the singles that came out of the album did not come out in the same order, since the intention was to attract the audience to listen to the variety that is on the album. However, the band said that they intend to release a video clip for each of the 14 songs on the album in order to complete the story with a kind of musical film. As of today, it has not happened yet... On this album, Shinedown continues the more poppy sound, with less grunge and rough direction, a sleek and well-produced album. If we quote "All Music" then this album is more of Imagine Dragons than of Breaking Benjamin but still retains the band's DNA. In addition to some "poppy" songs like "The Human Radio", "Darkside", "Creatures", and "Attention Attention" there are still strong songs like "Monsters", "Evolve", "Black Soul", "Devil", " Brilliant "and more. At its core, this album is a fun ride in a car with open windows in the pleasant spring wind caresses, "Shinedown" retains its power and strength while making small compromises here and there to attract a wider audience. This is without a doubt a fun album !! Listen to the album on Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek... The album "Diamond Eyes" is the "Deftones" sixth album, it was released on May 4th, 2010. A story of a bass player... After the release of their fifth album "Saturday Night Wrist" the band was tired of the hard work on the album when the Pro Tools posed a big challenge but wanted to immediately start working on the next album regardless of the famous software. A year later, in 2008, the band recorded an album with producer Terry Date called "Eros" and planned to release it in 2009. But in November 2008 Chi Cheng, the bassist, had an extreme car accident that seriously injured him and left him in a state of coma, as a result of which the band decided to freeze the release of the album. With uncertainty hovering over the band's future, it added Sergio Vega, a close member of the band who occasionally replaced Chang on the 1999 tour, in order to meet her pre-closing commitments. When Chang's condition was unknown and the band disband hovering over, the band members decided to make a 180-degree turn and move forward. (Photo: Frank Maddocks) They decided they were changing the direction of the next album and instead of taking the album that had already been recorded and consisted of aggression, nerves, and defiance, they decided to record a new album with an optimistic attitude. An album that reflects the atmosphere and feelings they experience at that time as people and musicians. Their past experience strengthened them as a group and gave them inspiration and strong energy. They teamed up with producer Nick Raskulinecz and within two months recorded the album "Diamond Eyes" without the use of "Malware" Pro Tools. Anyone who has read our reviews in the past knows that there were quite a few bands that did this in modern times, but it requires a great deal of training and rehearsals because there are far fewer opportunities to correct and so it was here as well. The album was a commercial success, reaching the top of the Billboard 200 chart, capturing more hits around the world, and becoming one of the band's most successful albums. Four singles were released from the album: "Diamond Eyes", "Rocket Skates", "Sextape" and "You've Seen the Butcher." Listen to the album on Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written By: Moti Kupfer Release date - 04.05.1984 Cavemen, lost kingdoms, and crowns of thorns, wrapped in imagery of fire and ice. All of these themes merge with Eastern-influenced guitar lines and a 35-piece orchestra, conducted under the supervision of studio engineer Henry Loustau, in a move that echoes the evolutionary spirit of the pioneers of 1950s rock and roll. All of this led "Echo & the Bunnymen", along with their surreal-voiced frontman Ian McCulloch, to the moment where they delivered their most cohesive album up to that point. “Ocean Rain”, released on May 4, 1984, felt like a natural continuation of “Porcupine”, which had arrived just over a year earlier. The evocative guitars of Will Sergeant, the hypnotic rhythm section of Les Pattinson and Pete de Freitas, and McCulloch’s vocal brilliance all propel the vessel they sail, captured perfectly on the album cover photographed inside an Icelandic cave, a visual echo of their glacial journey during the “Porcupine” era. If "The Cutter" from the previous album hinted at the band’s ambitions, the definitive popular stamp arrived here with "The Killing Moon" and "Seven Seas", both climbing into the UK Top 10 and Top 20 respectively. These successes proved that the Liverpool post-punk quartet had not only the quality, but also a growing power that was impossible to ignore. With their characteristic sensitivity, "Echo & the Bunnymen" managed to bridge the revival of 1960s psychedelia with the indie spirit of the 1980s, successfully making the transition from dark minimalism to a more self-aware maximalism. Despite the clear shift in sound, "Echo & the Bunnymen" never abandon their roots. Conceptually, tracks like "Nocturnal Me" and "The Yo Yo Man" echo the band’s experiences in the frozen landscapes of Iceland, channeling both isolation and introspection into their atmosphere. Ian McCulloch also proves he has a sharp sense of humor, deliberately writing seemingly nonsensical lyrics in "Thorn of Crowns", a playful jab at music journalists who insisted on portraying him as a dark and brooding poet. During "The Killing Moon", McCulloch, battling a cold, felt that his initial vocal take wasn’t strong enough and later refined it at Amazon Studios in Liverpool, where Pete de Freitas also completed the drum parts. The track went on to become the band’s most iconic song, later featured in the soundtrack of Donnie Darko (2001), further cementing its legacy. To close, "My Kingdom" reflects a heated argument between two people in love, each trying and failing to truly hear the other. It stands as a powerful mirror to conflicts that feel all too familiar, even beyond the personal level. Ultimately, “Ocean Rain” marked a creative peak after which the band would be forced into a kind of pause. As Ian Broudie ("Lightning Seeds") once described it, the album stood out to him as something truly unique the first time he heard it, capturing the feeling of a great band at its absolute peak, with a timeless quality that continues to resonate through every song. The album was released just one day before Ian McCulloch’s 25th birthday. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 4, 1999, the album "Hatebreeder", the second studio album by "Children of Bodom", was released. This is what Elad Winberg has to tell you about it. This is Children of Bodom's second album and it continues the band's momentum which is well built on their fine debut album "Something Wild", and expands the classical music influences and emphasis on the keyboards as well as the amazing melodies, so identified with this great band. Is there any difference from the previous album? In almost every sense. The production is much tighter and any instrument can be heard perfectly, Alexi Laiho's writing has been made better and more accurate and there is a very clear and interesting message in quite a few of the songs here. The playing is tight and cohesive and there is more emphasis on the structure of the song than on the high technical ability of the band members (and believe me, every player here is a virtuoso at a simply amazing level). You could say that with "Hatebreeder", "Children of Bodom" surpassed themselves, putting out a masterpiece in their genre, and thus they also finally proved to anyone who doubted - they are an influential and prominent metal band, and they are going to be a significant force in the industry, as could be seen in Their next two subsequent albums, which beyond the musical quality also brought with them very respectable commercial success, making "Children of Bodom" one of the greatest bands of their time in Europe and in general. (Photo: Fanart.TV) The album opens up with the excellent song "Warheart" which puts the listeners in the mood with the fast and technical riffs of Alexi Laiho and Alexander Kuoppala, and with great keyboard work by the mighty Janne Wirman, here is a very successful song and a great way to start an album that shows the band as a leading force in the metal world and especially in the melodic death metal. In the second song we already get proof that this is not just another album, and so, the band's hit "Silent Night Bodom Night" continues the preoccupation with the shocking murder on Lake Bodom with very aggressive riffs and gloomy keyboards that always send chills through my body. And this song actually solidifies the familiar style of "children" with aggressive and powerful playing, but melodic keyboards and beautiful electric guitar solos that are generally reminiscent of bands like "Stratovarius" or "Helloween", and here is a very interesting approach to the melodic death metal that continued the rise of the genre in the - 2000. If that's not enough for you, in the third song "Hatebreeder" which is also the album's theme song, comes a brutal and violent purposeful show of death metal melodic with black metal influences and a sound that is a bit reminiscent of early "Opeth", but "Iron Maiden's" guitar style shows it is still "Children of Bodom". Janne Wirman's keyboard work intensifies the experience of horror and perspiration that the band is trying to convey on this album, just amazing! The next song is one of the biggest of this band, and it is of course "Bed of Razors" which with its disturbing but moving lyrics, as well as the excellent playing of everyone and especially Alexi who also sings well here, manages to make a strong impression on the listeners, and became very fast one of the most beloved and famous hits of "Children of Bodom", that is always mentioned as one of the best metal songs. After the great song "Towards Dead End" which features some of the best riffs the band has ever created, comes the interesting track "Black Widow" which sounds very atmospheric, but still without sacrificing the amazing guitars of Alexi and Alexander Kuoppala, and with another great solo, the album continues to rock forward with great might, and we only have left to enjoy the pure magnificent "madness" that is presented to us here. After a lovable song called "Wrath Within", comes the masterful track "Children of Bodom" which was recorded during the band's first album sessions. A great piece with amazing riffs of the guitar and keyboards, a mesmerizing solo that is a bit reminiscent of Adrian Smith's playing, with dark lyrics this is one of the best songs I have ever heard from "children" and the genre, and to this day I really enjoy going back And fascinated by it every time again. Finally, the album ends with a bomb - "Downfall" being the most famous and beloved piece of the band's entire career, and there is no room for mistakes here with the gothic opening of the guitar and keyboards, and with the fast and bombastic rhythm that follows. And so, with another genius solo by Alexi and very interesting lyrics, this song becomes a very significant milestone in the band's career, closing the album with a huge statement of intent and in such a satisfying and delightful way that presents the band at its peak. By the way, the extended version of the album has two covers. The first, is a cover of the Finnish thrash metal band "No Commands", and the second is a cover of "Iron Maiden's" huge hit, "Aces High". while the cover for Stone is not bad at all, the cover for Iron Maiden is already really good and unique, and it's interesting to see how on one hand "Children" maintain the tight and melodic sound that so characterized Iron Maiden, but on the other hand, they add their style with playing Faster and with a lot of keyboards ... well, what can I say? Most fun to listen to albums where the artists I love find their way and are at the peak of their careers. In the case of "Children of Bodom", it was definitely one of their biggest albums if not the biggest, but in the two albums that came after it, I believe this huge band has reached new heights, and unfortunately the highs they will never be able to recreate. But at the same time, it's fun to know that "Children of Bodom's" first great four albums are always available to listen to, and you can always remember their initial and wondrous charm! Score: 9.6 / 10 (Classic) Writer: Elad Winberg For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek... And this time, about a shooting incident that took place on May 4, 1970, and inspired the writing of one of Neil Young's great protest songs as part of the band "Crosby, Stills, Nash & Young". On May 4, 1970, a shooting incident occurred at the University of Kent in Ohio that killed four students and injured nine others. The unarmed students were shot by Ohio National Guard during a Vietnam War-related anti-war demonstration, or more precisely, following President Nixon's announcement from April 30, 1970, of the expansion of the Vietnam campaign to its neutral neighbor Cambodia. (Photo: John Filo) The demonstration organized following Nixon's announcement numbered about 3,500 students, during which 28 National Guard soldiers fired 67 bullets in 13 seconds, killing 4 students and injuring 9 others. Neil Young who watched the reports of the incident was so shocked by the shooting, and he immediately wrote the song "Ohio" which explicitly relates to the tragic events of that day. In a very unusual move especially in those days, the lyrics explicitly refer to President Nixon and make use of his name, including the phrase: "Tin soldiers and Nixon coming." (Photo: Britannica.com) The quartet entered the studio a few days after the event and recorded the song live, after a few takes. The song was released as a single less than a month after the incident, but was banned from broadcasting on some radio stations, which saw it as a defiance against the regime of Richard Nixon. The song, which was not included in any of the quartet's studio albums, is considered by Neil Young to be the best song he has written as part of "Crosby, Stills, Nash & Young". It is interesting to note that the events of that day greatly influenced other students who attended the demonstration and later became musicians themselves, including Chrissie Hynde who later formed The Pretenders as well as Mark Mothersbaugh and Jerry Casale who formed the band "Devo" and noted that they were inspired by the anti-war song Written by Young following the incident. "Devo" members recorded a cover version of the song, which was included on the compilation album "When Pigs Fly, Songs You Never Thought You'd Hear" from 2002. For Listening: Click Spotify. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

It all started in 1986, when Avi Ballali, a musician, bassist, and singer, returned to Israel from Germany. Ballali and Uri Dushi set up a band called "Akan", somewhere in "Triton" studios the two wrote and recorded materials in English. Quite by chance, in the next room, Yehuda Poliker recorded his album "Ash and Dust". Poliker's technician invited him and Yaakov Gilad to listen to the two people sitting in the next room cutting their recording reels. Ballali said that at that moment Gilad told him, "Listen, if you will write materials in Hebrew, contact me," he decided to form "Tractor's Revenge". After that founding moment at "Triton" Studios, Ballali decided to gather some of his youth friends whom he knew from school or played with on various occasions to form a new band. A band that will express in Hebrew all the materials he wrote in English. With a new vision and songs in his drawer, Ballali, Ofir Leibowitz (guitar), and Ilan Green (keyboards and vocals) joined drummer Danny Makov and tried to create interest from the record companies. Ophir and Green were the ones who pushed to sign with a record company, but all the companies that they approached rejected them, except for one guy! Nitzan Zeira, who was a well-known figure in clubs at the time and founded the first independent record company in Israel called "Nana Disk". He found interest in the band's demo recordings. After brief negotiations on a recording contract with the quartet, he signs them an agreement to produce a new album. Zeira offers the musician Berry Sakharof to produce the record and in the early 1990s, the recordings begin at D.B. Studios. By the way, this album was supposed to be the label's debut album but since at that time, Berry Sakharof and Rami Fortis returned from abroad with the album "Stories from the Box" they became the label's debut album. (Photo: Ariel Van Straten) The band worked for a year on their debut album, coming up with a refreshing breeze and a defined stance. Ballali said they wanted to create an alternative in the full sense of the word, not alternative music, but an alternative approach in their concepts to the mainstream, to create something different in Hebrew that people could connect to and not advocate extreme experiments as he had in "Akan". Despite the "anti-commercialism" that the band allegedly advocated, Zeira decided to add Berry Sakharof to the band as a music producer so that it would be a "familiar name" among anonymous people. Berry who was a hero for the band members, blended in perfectly with the musical character and direction of the young band. By the way, the band got its name from Rami Fortis who would come all the time to visit Berry and the band in the studios and would "disrupt" the recordings. He is the one who gave them the name "Tractor's Revenge", based on a song he archived from the album "Stories from the Box". The band members did not really like the idea but by chance, there was a reporter from the newspaper "Ha'ir" and she published an article about a new Israeli band being formed, expected to release its debut album, and the band's name is "Tractor's Revenge". Once it was published in the newspaper, there was no way back! Even before the band's debut album was released, it managed to create a sensation and conquer the audience. "Tractor's Revenge" came up as an opening act for Fortis and Sakharof at "Allenby" club at the premiere show of "Stories from the Box", this was the first time they performed "Game of Tears", "Kites" and a dance version of the prayer song "Lord of Forgiveness". Ballali said the audience just freaked out and made this song a hit when the album came out. Since no one had ever heard of such a mutation, they felt they were making history even before they knew what they were doing. The day after the same performance, Ballali receives a phone call from Ohad Naharin who asked him to create music for the "Batsheva" dance band. Ballali said it was a real celebration for them as if someone had given them the green light to break forward with what they were doing. The band composed the music for the work "Wall" by Ohad Naharin, which performed at the Israel Festival in May 1990, following which they went on a tour abroad with the "Batsheva" dance band and began a novel to create music for dance performances. Two interesting stories about two famous songs on the album... "Kites" (Afifonim) - Ballali reflected that the band members were very into classic rock music, they fell in love with the song "Kites" by the band "Simon Dupree and the Big Sound" a psychedelic British band from the 60s. Ballali and Green decided to translate it, later they wanted to release an entire album of covers of the same band's songs but since it was a too difficult task they gave up and stayed with the song "Kites". "A Game of Tears" (Mishak shell dmaot) - The melody is from an Italian song called "Fake Tears" that Ballali used to sing humorously to his spouse in the 80s. He later wrote a chore in Hebrew and once in the rehearsal room, Ofir asked him to sing the chore. Sakharof who heard him sing, forced him to immediately write lyrics for the entire song and insisted that the song will be on the album. It was a week before the end of the mixes and this song was not in the plans at all, it came in at the last minute. On May 3, 1990, the debut album called "Tractor's Revenge" was released. It made the band to be the great promise of Israeli rock and is considered one of the masterpiece debut albums. The album was hugely appreciated and a great, but reasonably commercial, artistic success. 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