On May 3, 1988, "Queensrÿche" released their third album, "Operation: Mindcrime". The album is considered one of the greatest albums in metal and is ranked 34th on "Kerrang" magazine's list of the greatest metal albums of all time and 42nd on the "Classic Rock" list of the greatest rock albums of all time. It is one of the most creative albums in metal, with writing quality and complexity at the highest levels this genre has ever known. An album that has greatly influenced many prog metal bands including "Dream Theater", and we even dare say that without this album "Metropolis Pt. 2: Scenes from a Memory" would probably wouldn't have happened. This album was a huge leap forward from the band's previous album "Rage for Order", which was released two years earlier. The level of complexity and sophistication in the writing of Chris DeGarmo, Geoff Tate and Michael Wilton strives for genius. The playing ability of the DeGarmo and Wilton has come into perfect sync and Geoff Tate proves that he is one of the great singers in metal. The album was produced by Peter Collins who worked with Gary Moore, "Rush", Alice Cooper, "Bon Jovi" and more. This is a concept album and a rock opera, which tells the story of Nikki, a drug addict, who is recruited by a revolutionary group to assassinate political leaders. The album borrows quite a few ideas from Pink Floyd's "The Wall" both musically and in terms of the plot story, when in both cases the main character is addicted to drugs, with severe hallucinations, and is on the verge of losing his mind. The album opens up with "I Remember Now" - the introduction to the plot, in which Nikki is in a hospital, in an almost catatonic state, unable to remember anything from his past. But suddenly, the memories start to come back to him ... From there we move on to the "Anarchy-X" an instrumental track designed to put the listener into the atmosphere of the story, which begins immediately afterward with "Revolution Calling". Nikki begins to recall how as a heroin addict and as a frustrated man in a corrupt, hypocritical, and economically unequal society, he was influenced to join a seemingly secret organization whose so-called goal was to create a political revolution. The "mysterious" organization is headed by the evil "Doctor-X" who manipulates Nikki to carry out political assassinations for him, while controlling him through a combination of hypnosis, brainwashing, and doses of heroin to which he is addicted. In the theme song - "Operation: Mindcrime", it is explained how every time Doctor-X uses the word "Mindcrime" Nikki immediately becomes his "doll" and carries out his every command. In “Speake”, we see how Nikki's ego and adherence to Dr. X's goals increase, as he occupies a more significant place in his organization. In "Spreading the Disease", one of Dr. X's associates, a corrupt priest named "Father William", offers Nikki the services of a prostitute girl who has become a nun, named "Sister Mary". In the track "The Mission" Nikki begins to wonder what Dr. X's real agenda is. The other side of the vinyl opens up with "Suite Sister Mary" in which Dr. X notices a potential threat that Mary may pose and he orders Nikki to kill her and the corrupted priest. Nikki goes to Mary's church and kills the priest, but after a confrontation with Mary, he disobeys the order to kill her. In "The Needle Lies" Nikki's love for Mary makes him decide to leave the organization with her. Nikki goes to Dr. X to tell him that he wants to leave the organization, but Dr. X reminds him that he is addicted to heroin and that he is dependent on his daily dose supply. From there we move on to the "Electric Requiem" a track where Nikki leaves Dr. X confused and unsure of his way, he returns to Mary and finds her dead. In the song "Breaking the Silence" Nikki can no longer deal with the loss and the possibility that he killed Mary without knowing, until he begins to lose his sanity and runs through the streets calling her name. In "I Don't Believe in Love" the police arrive and arrest Nikki. During a search, a gun was found on him, he was taken into custody on suspicion of murdering Mary and the murders he committed for Dr. X. "Waiting for 22" is an instrumental piece serving as an introduction to "My Empty Room", which tells how Nikki suffers from almost complete memory loss and is hospitalized in a mental hospital, where he recalls his last moments with Mary. In the final track of this masterpiece "Eyes of a Stranger", the "flashback" in which the plot began, ends. We return to the present, to the hospital, to the beginning of the story. Nikki managed to regain his memory, but now he is staring at his image in the mirror and unable to identify who he is and what he has become. In 2006 the band released the sequel to the album called "Operation: Mindcrime II", in which Ronnie James Dio played the role of Dr. X. For years fans have been preoccupied with the mystery of who killed Mary. Many theories were considered, including the one that Mary received a gun from the doctor who demanded that she shoot herself. In 2007 the double performance album "Mindcrime at the Moore" was released and combines the two albums and this is where the mystery is finally solved. Nikki did not kill Mary as he thought he did. Mary committed suicide after Dr. X threatened to kill Nikki. Musically the album maintains a very high level and does not lose height throughout. The exceptional song structures, musical complexity, breaks, and rhythm changes leave no room for doubt. The band that started as a "heavy metal" band was reborn as a "prog-metal" band and its new status is very flattering to them. The processing and production are no less perfect. The super-producer Michael Kamen and the well-known Peter Collins did an amazing job that even went ahead of its time, relative to when the album was released. In conclusion, this is an excellent concept album that easily entered the club of the great rock operas - "Tommy", "Quadrophenia", and "The Wall". However, the great importance of the album is not in the production, music, or plot story, but rather in the timing when the band chose to release such an album (the 80s) and the fact that it managed to revive a genre that faded until it almost disappeared from the world. For Listening: 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 - 02.05.1989 When Ian Brown sings "I Am the Resurrection" with such solemn conviction, you get the sense he may have truly believed that he and The Stone Roses were destined to resurrect not just Manchester’s music scene, but British music as a whole. The story begins long before the spotlight. Ian Brown and John Squire grew up on the same street and had known each other since the age of four or five. Together, they formed "The Stone Roses" in 1983, with the band’s name conceived by Squire as a deliberate contrast between two opposing ideas: stone and rose. The early years were anything but stable. While Brown and Squire remained the core, the lineup shifted frequently. Drummer Alan Wren joined in 1984, and bassist Gary Mounfield returned to the band in June 1987 after a stint with "Waterfront". At first, their sound leaned toward punk, but it quickly became clear that "The Stone Roses" were aiming for something entirely different. They weren’t interested in continuing the melancholic legacy of "The Smiths" or "Joy Division". Instead, they leaned closer to the rhythmic, danceable direction of "New Order", bringing more groove, more color, and far less despair. That evolution, after a long and difficult road, culminated in their defining debut album released on May 2, 1989. The connection between New Order and "The Stone Roses" was far more than just an artistic influence. It was rooted in the shared heartbeat of Manchester itself, particularly through the legendary Hacienda club. Peter Hook even took part in producing "Elephant Stone" alongside John Leckie, a producer whose résumé included work with "Pink Floyd" and later "Radiohead". But more than anything, "The Stone Roses" helped transform Manchester itself. What was once a grey industrial city became something vibrant and colorful, filled with groove-driven rhythms, psychedelic echoes of the sixties, and shimmering guitar textures reminiscent of early shoegaze. It was danceable rock with a new identity, what would soon be called Madchester. To truly understand that cultural shift, you have to zoom out and look at Tony Wilson. Born in 1950, Wilson became one of the most influential figures in Manchester’s music scene. After working as a journalist, he moved into television and hosted the cultural program "So It Goes" on Granada Television. Everything changed for him after witnessing a performance by "Sex Pistols" in 1976. Disillusioned with the dominant sounds of disco, progressive rock, and arena rock, Wilson saw something raw and revolutionary in punk. That moment led him to establish Factory Records in 1978, signing bands that would shape Manchester’s sonic identity, including "Joy Division" and A Certain Ratio. Four years later, he opened the Hacienda, which by the mid-80s had become the epicenter of the city’s evolving sound. It was here that house music merged with guitar-driven rock, and where the Madchester movement began to take shape. "The Stone Roses" may have started out rooted in punk, but by the late 80s, after connecting with "New Order" and immersing themselves in the Hacienda scene, they became one of its defining forces alongside "Happy Mondays", "Inspiral Carpets", and "The Charlatans". What made "The Stone Roses" special was their balance. They came from punk, but they infused it with joy. Their sound blended psychedelic influences from the 60s with groove-heavy rhythms inspired by R&B. You can hear that fusion clearly in "Fools Gold", which drew inspiration from "Funky Drummer" by James Brown and the vocal stylings of Bobby Byrd. Still, their journey was anything but smooth. Despite performing at the Hacienda, they were considered outsiders because they weren’t signed to Factory Records. No one seemed willing to take a chance on them. When they finally did sign, it was with the small label Silvertone Records under a disastrous contract that denied them any earnings from their first 30,000 album sales. That deal would later entangle them in legal battles and stall their momentum. Their follow-up album "Second Coming" would only arrive five years later, after which the band eventually disbanded. And yet, sometimes it is precisely these struggles that give birth to greatness. When John Leckie stepped in to produce the album, he was not the band’s first choice, but he quickly proved to be the perfect one. Bringing experience from working with artists like George Harrison, Paul McCartney, "Pink Floyd", and bands like "Simple Minds" and "XTC", Leckie acted as a stabilizing force. He blended warm analog textures with contemporary production, shaping a psychedelic, groove-rich rock-dance album that felt both nostalgic and forward-thinking at the same time. "Sally Cinnamon" was one of the band’s earliest songs, yet it never made it onto the debut album. Its lyrics tell the story of a young man who finds a note tucked inside a coat, a note that unfolds into a tale of love. Ironically, the song was never even meant to gain attention. After recording it, "The Stone Roses" more or less abandoned it. But their former manager Paul Birch had other plans and released it as a single without their approval. Furious, the band decided to respond in a way that perfectly matched their rebellious spirit. They showed up at Birch’s office, which was located inside his home, knocked on the door, walked in, and proceeded to splash buckets of paint across the walls and all over their former manager. Before leaving, Ian Brown made sure to leave one final message by throwing a stone through the windshield of Birch’s Mercedes. The legal consequences followed, but the message was loud and clear: don’t mess with us. Their biggest hit, "Made of Stone", captures the idea of inner strength in the face of life’s challenges. It reflects a mindset of resilience, a refusal to surrender no matter how difficult things become. True to their anti-establishment attitude, "The Stone Roses" never shied away from criticism. Their songs took aim at both government and monarchy, as heard in the brief "Elizabeth My Dear", which references "Scarborough Fair" by Simon & Garfunkel. "Bye Bye Badman" was written by John Squire and Ian Brown about the 1968 Paris student protests, told from the perspective of a protester confronting the police. What began as a demonstration escalated violently, resulting in deaths and hundreds of injuries. "I Am the Resurrection" stands as one of the album’s defining moments. At its core, it is a song about breaking free from a suffocating relationship, capturing feelings of frustration, anger, and the urgent need to escape. The only true way out, as the song suggests, is to walk away, no matter how painful that decision may be. Biblical scholar James Crossley has suggested that the song can also be interpreted as a symbolic story about God and the people of Israel, and the relationship between them. Musically, the track began almost as a joke. Gary Mounfield played the riff from "Taxman" by The Beatles backwards during rehearsals, and the band encouraged him to keep going, unknowingly setting the foundation for one of their most iconic compositions. Its placement as the closing track was no accident. With its relentless groove and explosive energy, it often served as the finale in the band’s live performances, pushing the audience into a frenzy while Ian Brown embraced a larger-than-life persona, almost positioning himself as a messianic figure for a fading British music scene. At one of those performances stood a young Liam Gallagher, completely mesmerized. That moment helped shape his realization that he wanted to become a musician, even a rock star like Ian Brown. Years later, he would achieve exactly that with "Oasis". The album’s artwork, created by John Squire, draws inspiration from the same 1968 Paris protests. During those clashes, police used tear gas against demonstrators, who in turn used lemons as a form of relief. Squire incorporated lemons and the French flag into the design, blending that imagery with a tribute to Jackson Pollock, whose abstract style he deeply admired. 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Today we will tell you about Lou Gramm - one of the most powerful singers we know. (Photo: Monsters Of Rock Twitter) 1. He was born on May 2, 1950, in Rochester, New York. His full name is Louis Andrew Grammatico. 2. From an early age he absorbed music at home. His mother was a singer and his father was a bandleader and trumpet player. 3. The first band he formed was called "Black Sheep". They released their first single "Stick Around" in 1974. 4. The band released two studio albums, both in 1975. The first is "Black Sheep" and the second is "Encouraging Words". 5. Gramm received credit as the band's singer under the name Lou Grammatico and co-wrote most of the songs on both albums. 6. Gramm and the band went on a tour in the US and managed to become the opening act for "Kiss" in their early days. 7. A car accident with the band's equipment truck on Christmas Eve of 1975 interrupted the tour and also eventually led to the disbandment of "Black Sheep". 8. In 1974 guitarist Mick Jones moves to New York, with his British band "Spooky Tooth". They realized they were more successful in the US than at home in the UK, so they decided to move to New York. 9. Shortly after the "Black Sheep" truck accident, Lou Grammatico meets Mick Jones in a "Spooky Tooth" performance, where Gramm gives Jones a copy of "Black Sheep's" debut album. 10. Later on, "Spooky Tooth" also falls apart. Jones was left jobless in New York and at one point he even considered returning to England and starting his dental studies. Eventually, Jones makes a decision to set up his own band that he will lead and be able to direct its musical direction. (Photo: Michael Putland) 11. He immediately begins to recruit musicians to accompany him in his new lineup. He recalls the album he received from Lou Grammatico during the performance of "Spooky Tooth" and recruits him as the band's lead singer. At this point, Lou Grammatico changes his name to Lou Gramm. 12. At first, the band was called "Trigger", but soon after it was named "Foreigner" because half of the band is made up of "American" musicians - keyboardist Al Greenwood, bassist Ed Gagliardi and singer Lou Gramm, while the other half is "British" and it includes multi-instrumentalist Ian McDonald from "King Crimson", drummer Dennis Elliott and Mick Jones himself. 13. "Foreigner"'s first album was released in 1977 and was an immediate huge success. Hits such as "Cold as Ice", "Feels Like the First Time", "Long, Long Way from Home", "Starrider" and more were released from it, making it one of the best-selling debut albums in the US. 14. The band releases their second album "Double Vision" a year later. Also, in this case, it was a dizzying success when the album released hits like "Double Vision", "Hot Blooded" and "Blue Morning, Blue Day". 15. If we already mentioned "hits", then the first eight singles of "Foreigner" entered the top 20 on American Billboard and made them the first band since "The Beatles" to reach that status. 16. Gramm was the lead singer in all of these hits and co-wrote most of the band's songs, including the ballad "Waiting for a Girl Like You", which stayed ten weeks in second place on the "American Hot 100" and "I Want to Know What Love Is" which made it to #1 in eight countries. 17. After the band's fourth album named "4" from 1981, creative disagreements began between Lou Gramm and Mick Jones. Gramm wanted the band to stay true to its pure rock origins and preferred songs with the basic structure of a guitar, bass, and drums, while Jones adopted the 1980s style with synthesizer ballads. 18. These disagreements led to the band's next album "Agent Provocateur" coming out three years after the album "4", when by then the band was releasing an album a year. 19. The band's sixth album "Inside Information" was released in 1987 and by this time the disagreements between Gramm and Jones were so big that Gramm decided to embark on a solo career. 20. Gramm released his first solo album "Ready or Not" that same year. The album was critically acclaimed and includes the single "Midnight Blue". (Photo: Ebet Roberts) 21. That same year Gramm contributes the song "Lost in the Shadows" to the soundtrack of the comedy horror film "The Lost Boys." 22. In 1989, Gramm released his second solo album "Long Hard Look", which included the hits "Just Between You and Me", "True Blue Love" and also "Hangin 'on My Hip" which was part of the soundtrack of the movie "Navy SEALs", from 1990. 23. In 1990 Gramm announces his departure from "Foreigner" due to disagreements with Mick Jones, and that from now on he will focus on his solo career. 24. After his departure, Gramm formed the band "Shadow King", with his friend former "Black Sheep" bassist Bruce Turgon. In 1991, they released their only album, named after the band - "Shadow King". 25. In the same year, Gramm contributes the song "One Dream" to the soundtrack to the movie "Highlander II: The Quickening". 26. In 1992 Gramm returned to "Foreigner" after being able to settle his disagreements with Mick Jones. 27. In 1994 the band released their eighth album "Mr. Moonlight". This will be Gramm's last album in the band and also "Foreigner's" last album until 2009. 28. In 1997, Gramm participated in the album "Petra Praise 2: We Need Jesus", by the band "Petra". 29. In the same year he was diagnosed with a benign brain tumor, underwent surgery and in 1998 returned to the tour with "Foreigner". 30. In 2003 Gramm leaves "Foreigner" again and in 2004 he participated in the album "Welcome to the Revolution" by the band "Liberty N 'Justice". 31. In 2009, Gramm released the album "Lou Gramm Band" under the same band name. 32. In 2013, Gramm published his book "Juke Box Hero - My Five Decades in Rock 'n' Roll", in which he tells his life story. 33. At the same year Gramm entered the Songwriters Hall of Fame. 34. In December 2018, Gramm announced that he was retiring from touring. However, he has stated that he will continue to release albums and occasionally perform live shows on a one-off basis. 35. In 2019, Gramm joined the tour of "Asia" under the name "Asia Featuring John Payne". 36. That same year Gramm participated in the song "Sometimes" from Alan Parsons' album "The Secret". "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek... And this time, on the day "Nirvana" filed a lawsuit against "Nirvana". So.. on May 2, 1992, the English band "Nirvana" filed a lawsuit against the well-known band from Seattle of the same name. The British band was formed in London in 1965 and its main activity was from 1967 to 1974. The musical style of the English band ranged from pop, folk and rock with touches of jazz. In 1967 the English band released an album that was considered the first full concept album, which included a featured story and was called "The Story of Simon Simopath". In 1992 as stated, the lawsuit was filed for the unlawful and unauthorized use of the band name. The lawsuit ended in a settlement outside the court and the Seattle band payed compensation to the English band, in a way that allows the Seattle band to continue the use of the name "Nirvana". It is interesting to note that in those years the English band recorded a cover version of the song "Lithium". The intention was to release an album called "Nirvana Sings Nirvana" which would include cover versions of the grunge band songs. However, after Kurt Cobain's death this project was shelved, and all that was left was the cover version of the song "Lithium" which was included on the album "Orange and Blue" that the British band released in 1996. This album included rare tracks that did not fit into the band's previous albums. You can listen to the cover version, here: "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

The band's eighth album came out 4 years after "Riot Act" which came out in 2002, the album was named by fans as the "The Avocado Album". During that time the band completed their tour in South and North America, as well as Eddie Vedder, had a newborn child. These two brought the band to a sort of hiatus, during that time neither of them actually wrote new material. The band convened in February 2005 to begin work on the next album which was the first time since the "VS" album was released in 1993, the band arrives without any songs prepared for the studio recordings. The work on the album was done in a “democratic” way as Eddie recounted, with none of them coming up with anything ready but just ideas for riffs and rhythms. They all worked together on all of the songs. McCready said that when they met they were full of creative energies and the connection between them was better than ever, so much so that they wrote close to 25 songs of which 13 were selected for the album. The band chose mostly the more rhythmic and kicking songs than the weak and quiet ones. Eddie said he wrote about 7-8 different lyrics for each song, what a creative spirit !! Some say this album is a return to the band's beginning, back to the roots with a focus on rhythmic songs with a rough sound, kicking riffs, and melodic sound. The album released three very successful singles: "World Wide Suicide", "Life Wasted" and "Gone." The album conquered the Billboard charts and reached number two. Listen to the album on - Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Today we're going to tell you about Jeff Hanneman, one of the most influential guitarists in the thrash metal scene. (Photo: Metal Hammer Magazine) Hanneman was born on January 31, 1964, in Oakland California but grew up in Los Angeles. His full name is Jeffrey John Hanneman. The musical influences on Hanneman were a combination of punk and metal from bands like: "Led Zeppelin", "Iron Maiden", "Judas Priest", "Black Sabbath", "Aerosmith", "Wasted Youth", "Minor Threat", "Dead Kennedys", "Black Flag" and more. He was one of the founders of the thrash metal band "Slayer", along with Kerry King whom he met in 1981. (Photo: MusicConnection.com) Hanneman had a significant influence on "Slayer's" unique sound and was also the one who brought the influences of the punk genre to the band. Hanneman's father fought in Normandy during World War II and his brother in the Vietnam War, so he was drawn to a military history that would also influence the music he would later create. Among other things, he was interested in war medals and the history of Nazi Germany and this is reflected in the songs he wrote, which are sometimes misinterpreted as if he is a fan of Nazism. The song "Angel of Death" was written by Hanneman about Joseph Mangala. This led to accusations against him as a neo-Nazi, but he denied it and noted that he was only interested in the subject. Hanneman and the band even donated money to the Institute for Holocaust Studies. During his years in Slayer, Hanneman contributed lyrics and melodies to each of the band's albums. Some of Hanneman's compositions are: "South of Heaven", "War Ensemble", "Raining Blood", "Angel of Death", "Mandatory Suicide", and "Seasons in the Abyss. And more. In 1984, Hanneman embarked on a side music project called "Pap Smear" but producer Rick Rubin persuaded him to focus on Slayer. Hanneman is ranked along with his friend Kerry King in 10th place on "Guitar World" magazine's list of 100 greatest guitar players of all time. Their crazy solos have been defined by music critics as "wildly chaotic" and "twisted genius." (Photo: AP/Mark Seliger) In 2011 Hanneman was stung by a spider. The bite caused tissue inflammation that led to necrosis that almost caused one of his hands to be amputated. In 2012 Tom Araya released a statement saying he had recovered, but in February 2013 Kerry King announced that he was still suffering from health issues that prevented him from continuing to play with Slayer. On May 2, 2013, Hanneman passed away due to medical complications. He was only 49 years old. The cause of death was determined to be liver failure. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 1, 2007 "Rush" released their 18th studio album, "Snakes & Arrows". The album was included among the top ten progressive albums of the decade that opened the millennium, on the list of Classic Rock magazine. The album was co-produced with Nick Raskulinecz who worked with, among others, "Foo Fighters" and "Velvet Revolver". Nick, who is also a fan of "Rush", is the one who approached the band's management and asked to serve as its producer. At first, there was no enthusiasm for the idea, but after a campaign of persuasion this special collaboration between the fan and the band, paid off handsomely for both parties. Nick encouraged the band to stretch its boundaries in the complex rhythmic and melodic patterns that characterized its 70s albums, combined with an up-to-date and contemporary sound. The results were to the satisfaction of all band members to a point that Geddy Lee noted that he places the album among the band's three biggest albums. The collaboration with "Rush" also contributed a lot to Nick Raskulinecz and opened many doors for him. Nick became a highly sought-after producer who later worked with bands such as: "Alice In Chains", "Bush", "Mastodon", "Stone Sour", "Evanescence" and "Halestorm". The band chose to record the album at Allaire Studios which was located in a secluded mansion called Glen Tonche in the Catskill Mountains of New York State. The place was initially rented for only two weeks, as the band wanted to record there only the drum parts of Neil Peart who really liked the sound there. Eventually, Neil, Geddy, and Alex just fell in love with the place and stayed there for 5 weeks during which the album was recorded from start to finish. Neil said the atmosphere was really good, they enjoyed spending time with each other like in the early days, and that was well reflected in the music. When the band entered the studio, they already had 11 written songs in their possession. Two more were written in the studio during the recordings. Alex said it was the fastest recording of an album they had, since 1977's "A Farewell to Kings". The album opens strongly with “Far Cry” and Alex Lifeson's powerful chords, accompanied by the thunderous drums of Neil Peart and the dominant and beating bass of Geddy Lee. Anyone who listens well will find that the chord that ends the first sequence of power chords at the opening of the song, just before the break (second 0:12), is exactly the one that opens "Hemispheres". Lyrically, Neil Peart wrote the lyrics about how his generation started off great - concerned with peace and love - but in the end, they ended far off: "It's a far cry from the world we thought we'd inherit". The music on the album moves mostly in its "comfort zone" of Rush. At the same time, the album shows "Rush" experiencing different and new music genres. Listen to the opening rhythm of the song "Armor and Sword" which Peart attributes to renowned jazz drummer Buddy Rich. The bass line and guitar sound at the opening of the song are a bit reminiscent of King Crimson in the era of "Red" and "Larks' Tongues in Aspic". The riffs in the song "Spindrift" are heavy and flirtatious around Doom Metal from the '80s. Elements of blues are heard in the song "The Way The Wind Blows". In "Faithless", a conscious effort was made to write and perform a song at a slower pace compared to the band's repertoire. The song "Good News First" uses a mellotron, a musical instrument that the band has not used since the song "tears" from the album "2112". In terms of instrumentation, the album is mostly based on the guitar-bass-drum triangle, with almost no use of keyboards and other instruments. While the arrangements on the album are complex and dynamic, the musical pattern is mostly basic and direct, with a return to Rush's roots based on hard rock and blues. Alex Lifeson wrote the music for the album on acoustic guitar, on the advice of none other than David Gilmour who is characterized by this method of writing. Gilmour also received credit for the inspiration he gave Alex on the album liner notes. It is interesting to note that this is Rush's first album that includes 3 instrumental tracks: "The Main Monkey Business" is a musically complex track, which took Neil Peart 3 days to formulate the drums and percussion roles in it. "Hope" is a piece based on a 12-string guitar in which Lifeson's playing is mesmerizing and reminiscent of Jimmy Page. "Malignant Narcissism" is led by Geddy Lee's unique bass playing and in which Peart uses a minimalist drum set of only 4 parts. "Snakes & Arrows" maintains a high and consistent level throughout, with no falls in lyrics, composition, production, or playing. The band has taken a huge step forward since the comeback album "Vapor Trails" and it is clear that the writing, playing, and sound are more cohesive, especially when it comes to Neil Peart. There is no doubt that the album has all the right ingredients to be an excellent album. But despite the excitement of listening to the album, a considerable portion of the songs, for some reason, did not survive the test of time and were not included in the band's setlists. At the same time, the album is a very important and integral part of the band's development process and undoubtedly paved the way for the exemplary and excellent concept album that will follow "Clockwork Angels". For Listening: Spotify Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On April 30, 1976 "AC/DC" released their first international album "High Voltage". To understand the significance of this album, you have to go back to early 1970s Australia. “AC/DC” were a young and hungry band at the time, formed by brothers Angus Young and Malcolm Young, with a simple yet ambitious goal: to play hard, direct, no-compromise rock and roll. After solidifying their lineup with Bon Scott, they began building a name for themselves through relentless live performances, long before the world even knew who they were. In 1975, the band released two albums exclusively in Australia, “High Voltage” and “T.N.T.”, each representing a different stage in their evolution. The former was more raw, deeply rooted in blues and classic rock and roll, while the latter already sounded sharper, more focused, and far more confident, with a clear identity beginning to take shape. When the time came to break internationally, the global version of “High Voltage” was assembled as a carefully curated compilation of tracks from those two Australian releases, designed to introduce the band in the strongest possible way to a new audience. The result is an album that feels like a condensed coming-of-age journey. It opens with “It’s a Long Way to the Top (If You Wanna Rock ’n’ Roll)”, taken from “T.N.T.”, telling the story of the band’s road, with its iconic combination of bagpipes and crushing rock that would become part of the band’s DNA. “T.N.T.” itself, also from that album and opening side two of the vinyl, already sounds like a powerful statement from a band that has found its way to the top. Other tracks taken from “T.N.T.” include “The Jack”, which brings a dirty blues edge with Bon Scott’s provocative humor, “Live Wire”, adding tension and explosive energy that feels like a live performance, and “Can I Sit Next to You Girl”, showcasing the band’s lighter side with a touch of classic rock and youthful playfulness. From the Australian debut “High Voltage” come songs like “She’s Got Balls”, emphasizing the band’s bold and straightforward attitude, and “Little Lover”, reinforcing their connection to slow, gritty blues. “High Voltage” itself closes the circle with a track that feels like a summary of everything the band stood for at that stage: energy, simplicity, and uncompromising power. Beyond the songs themselves, the real importance of this album lies in its role. This was the world’s first real introduction to “AC/DC”, not as a local act, but as a rising force in global rock. The album opened the door for them and laid the foundation for what would follow with “Highway to Hell” and “Dirty Deeds Done Dirt Cheap”. Looking back, the international version of “High Voltage” is far more than just a compilation. It is the moment when all the pieces came together, marking the true beginning of the global story of one of the greatest rock bands in history. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

He is a talented musician and an ever more talented comedian that have a significant impact on Israeli music. Please welcome Maor Cohen... Photo: Ronen Fadida = He was born on May 1, 1974, in Sderot and grew up in Ashkelon until the age of 11 when he moved to Tel Aviv with his family. = When he was a student at the "Urban A" high school in Tel Aviv, he founded the "Zikney Tזfat" band in 1990 together with Yoni Ben Tovim. In addition to Maor and Yoni, the lineup included Oren Lutenberg and Adiel Portugali. = They first performed as part of an evening at Urban High School Bands at the "Roxanne" Club. Although the venue's managers took them off the stage before the end of the show to stop the crowd from keep raging, they received good reviews that week in the "News" newspaper and the "City" newspaper, which aroused the interest of the media in them. = Maor was nicknamed the "Wonder Child of Israeli Rock" due to the background of the band's charismatic live performances as part of the then Tel Aviv alternative rock scene. = Immediately afterward, they broke into the radio thanks to a heavy cover version, in a punk style, of the song "What do you do when you get up in the morning" by Arik Einstein and Shalom Hanoch, which was recorded at the "Penguin" club in Tel Aviv. The band received extensive media coverage and was described in the alternative rock scene as the great hope of Israeli rock. Photo: Vardi Kahana = In 1992, the band released their debut album, "Zikney Tזfat", with the help of producer Itzik Lichtenfeld, who also produced "Mashina's" performances and organized warm-up performances for "Zikney Tזfat" before these performances. Raa Mochich also participated in the ensemble, who came from the band "Balagan" and replaced Portugaly in the position of drummer. The album included, among others, "Ricky", which became a hit in the Tel Aviv alternative rock scene. Other songs that stood out were "Tzipi," "Pushing in Allenby," "Yossi (The Whore from Francisco)," "The Warthog" and "Life Is Beautiful." The album failed in sales and was ignored by radio stations, in part because of its loose lyrics and provocative themes. In 2008, at the end of the 60th anniversary of the State of Israel in the "Yedioth Ahronoth" newspaper, the album was chosen as one of the most important of the Israeli music of the 1990s. = In 1994, the band released their second album, also called "Zikney Tזfat" in the musical production of guitarist Haim Romano. In the same year, Lutenberg, Mochich, and Ben-Tovim parted ways with the band, taking their place, Tom Mochich, Yuval Keiner, and Aviv Papo. In an album that included softer rock than that of the first album and was much less provocative, Cohen wrote almost all the lyrics and melodies on his own, vs the first album which did not include any of his melodies. The song "Friday Saturday (Voter's Day)" became one of the biggest hits of the decade and made the album a commercial success. "The Neighbor," "In the King's Palace" and "Just Don't Go" has also become big hits. That same year, the band members participated in the Festigal with the song "Noa in the Cinema". = In 1995, the band, this time with Ben-Tovim who returned to the band and with the new member Guy Amir, began working on their third album. With producer and director Itzik Lichtenfeld and music producer Oved Efrat, the band recorded a lot of material that together with the material not included in the second album was enough for a double album, but the NMC label preferred to release the songs on two separate albums, in August 1995 and July 1996. The two albums, "Give Me Schlager" and "Give Me Schlager 2" were not successful. The albums continued the trend of moving away from the style of the first album. = In August 1996, the last performance of "Zikney Tזfat" for that period took place at the "Logos" club in Tel Aviv. When in 2014 there was a reunion performance of the band at the Rhythm Festival. The show led the band members to release a new album and that same year the band's latest album "There Were Never Things" was released. = In 1996, Maor founded the cooperative and independent supergroup "The Flies". In addition to Maor, the band included Oren Kaplan, Dan Toren, Yuval Shafrir, Peter Roth, Uri Tchelet, Amit Liron, and Jango. "The Flies" released one studio album in 1998 called "Buzz ..." with the album also featuring Yuval Keiner and Raa Mochich. Among the "The Flies" hits that Maor sings are "That's not (Carol)", "Fly Rock" and "The". = In the same year, Maor starred in the Israeli film "Birds in Neutral". = In 1999, Cohen's first solo album, "Good for Us Together", was released, produced by Peter Roth. The album continued the solid line of the latest albums of the "Zikney Tzfat", and included the hits "What is Known about this Day", "The most beautiful in the World", and "It's me, it's You". = In 2000 Maor released together with Raa Mochiah the album "Toys from the old school" under the band "Tzemed Reut". The album features lyrics and vocals in a humorous submission by Cohen and is played in various genres, including psychedelic rock, blues, and electronic music. The single "Quiet Quiet Baby", in the disco style, was a success. = In the same year, Cohen starred in the Israeli film "Something Total" = In 2001, Maor renewed the relationship with Oren Lutenberg and the two formed the "HaBlayanim" band. In 2003 the band released their only album "Songs of Wars", here too the two made use of humorous style and electronic elements, and its two singles "Chauvinist" and "Gola Gola" were successful. Also playing on the album was "Zikney Tzfat"'s Tom Mochich, Peter Roth, and Jean-Paul Zimbris, while Barry Sakharof gave a guest appearance on the song "The Demon". = In 2005 Maor's second solo album, "Flowers of Evil - Maor Cohen Sings Baudelaire" was released. The album features songs from Charles Baudelaire's classic poetry book, "Flowers of Evil," translated by Dori Manor and composed by Maor. The album came out in disc-book format and received mixed reviews, with some critics objecting to the solidity with which Cohen presents Baudler's scandalous songs, and some defining the album as a masterpiece very reminiscent of Arik Einstein's first albums (also in Cohen's voice). The album included the singles "The Return" and "The Blood Fountain" and was accompanied by a tour called "Cabaret from Baudelaire Songs". = In the same year, Cohen acted in the telenovela "Telenovela Ltd.", in which he played a telenovela director who is plagued by a great tragedy. = In 2005, Maor, together with his friends from the "Zikney Tzfat", Yuval Keiner, and Tom Mochiah the band "Israelis / Action / Sex". Here, too, humorous texts are used but this time it is combined with influences of rock from the sixties. The band released two albums, "Kings of Sex" in 2005 and "Fax Romana "in 2010. = In 2006 Maor wrote and composed for Arik Einstein the song "Mazkeret" which was included on the album "Moments". = That same year he participated in the Hebrew version of the comedy show "Whose Line Is This?" = In 2007 Maor participated in the successful comedy series "Mesodarim" where he plays a clumsy character named "Berald". The series included musical tracks from Maor's projects such as "Gola Gola" and "Shir du-de-hai". The series aired for the second season in 2009. In addition, Maor played a lead role in the comedy series "Crime Animals" this year alongside Gal Zaid and Yoram Levinstein. = In 2008 Maor joined the permanent team of "Eretz Nehederet" in its fifth season and as of 2022, he is still participating in the show. = In 2008 Maor released a first and double compilation album called "Discgraphic". Which included songs from his solo career, as well as songs from the various ensembles in which he participated. Photo: Ronen Fadida = In 2010 the film "This is Sdom" was released in which Maor participated alongside other actors from "Erets Nehedert". In the same year, he participated in the comedy film "Half a Tone Bronze". = In 2011, Maor was chosen to be the presenter of "Domino's Pizza Israel". = In 2012 he wrote and participated in the comedy series "Parliament" together with some of the actors of "Eretz Nehederet". = In 2013, Maor's third solo album "The Great Freedom" was released, also in the musical production of Peter Roth. The song "Returning to Life" from the album which was released 9 months before the album was very successful. = In 2015, Maor released the EP "Maybe?". After years of making music with other people, Maor wanted to go on a musical trip of a mini-album and performance, and this time alone. He felt it was his little duty to the audience, to accept him one on one in front of them, for better or worse. = In the same year, Maor participates in the "Children's Star" album of the "Boom Pam" band. = In 2018, Maor released his fourth solo album called "A Transparent Place", in a musical production by Ofir Kenner. = In 2021 Maor collaborates with the poet Udi Sharbani and the two released the album "As You Hear". The album consists of ten songs and four tracks, with Maor responsible for all the melodies and Udi Sharbani for all the lyrics. Among the songs on the album: is "Learning Graphology", "Long-shot for Comedy, Close-up for Tragedy", "Gentle and Short", "There are many like me, but there is nothing like me when I am with you", "Silhouettes", in the end, it got tired ". = In 2022, Maor participated in a TV series about Aviv Geffen's life called "The Moon Years" in which he played the role of Shalom Hanoch. 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On the 10th anniversary of Gary Moore's passing, his family chose to mark the occasion with a new album, "How Blue Can You Get", released on April 30th, 2021. The album features 8 previously unreleased songs that are being released here for the first time. The iconic Northern Irish musician and singer-songwriter have left behind him a huge catalog of music from his esteemed solo career, "Thin Lizzy", "Skid Row", "Colosseum II" and many more collaborations. On the tenth anniversary of his tragic death, his family entered the archives of the legendary guitarist and found several songs that had not yet been heard and were not released, as well as cover versions of familiar songs. 4 of the eight songs are new original songs, like the ballad "In My Dreams" and the melancholic track "Looking at Your Picture" and the moving ending song of the album "Living With The Blues". In addition, we get 4 cover versions of Blues songs: the album begins with a roar with Freddie King's "I'm Tore Down" in Moore's live performance, before slipping into Memphis Slim's "Steppin' Out". Other cover versions are "Done Somebody Wrong" by Elmore James and of course the seven-minute theme song "How Blue Can You Get", originally by B.B. King from 1964. The album also includes an alternative version of "Love Can Make A Fool Of You" taken from the extended version of the album "Corridors of Power". Song list: 1. I'm Tore Down 2. Steppin' Out 3. In My Dreams 4. How Blue Can You Get 5. Looking At Your Picture 6. Love Can Make A Fool Of You 7. Done Somebody Wrong 8. Living With The Blues "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Welcome to the Metal Music school of the 21st century, you are required to turn the volume to maximum, pay attention and follow every note !! Everybody in metal music is saying that "Gojira" is one of the significant metal bands that the world needs to pay attention to, after you click play on the link at the bottom you will understand why!! As a result of all this pioneering brilliance, much more is expected of Gojira than perhaps any other mainstream metal band. "Fortitude" arrives amid a flurry of entirely justifiable hype, much of it elicited by the huge success of the band's previous album, "Magma". That record was arguably a little less adventurous than some of the band's earlier efforts. Still, via the irresistibly catchy likes of "Stranded" and "Silvera", Gojira confirmed that they could deliver anthems and crowd-pleasers while maintaining the individuality and creative integrity that has always been a hallmark of their work. "Fortitude" offers plenty of those joyous, none-more-Gojira moments that no other band could hope to emulate. Both "Born For One Thing" and "Another World" delivered the goods in advance of the full album, and while neither leaped out as an instant classic, both are full of nimble but cudgeling rhythms and those unmistakable churning riffs and bursts of harmonic scree. "Amazonia" is the band in languorous groove mode, evoking Killing Joke's scorched earth power in the verses before serving up a lurching, descending riff that feels destined, in the not-so-distant future, to have huge crowds banging their heads in unison. "New Found" is another gem, with an opening riff to kill for and a mid-song drop in tempo that facilitates a genuinely gorgeous and epic climactic fade. Even better, "Sphinx" sounds like classic Gojira, but upgraded and somehow even ganglier than previous high points. Any reservations you might have while listening to "Fortitude" will vanish as soon as closer "Grind" erupts, administering at least two more magnificent riffs and enough bullish energy to slap back a tsunami. The album sounds like one that could propel them the rest of the way to the top. They’re no strangers to melodies and hooks, but they’ve never crafted anything like this. Combining the comparatively direct approach of The Way Of All Flesh with the more expansive atmospherics of the last album Magma then throwing in a few complete curveballs, this is the most immediate yet surprising full-length they’ve produced to date. (Photo: Jimmy Fontaine) Lyrically they’ve emerged from the introspection and meditations on mortality that characterized "Magma", turning back out to the world around them. Gojira has always addressed environmental themes and they return to them here. Despite the fact that mankind appears to be lurching towards disaster, though, the overall feeling is not despair or even rage. Instead, there’s a sense of hope and positivity – an invocation of the power that still resides in the individual and the collective as the planet faces an existential crisis. This is an important album, not only because it extends Gojira’s palette and cements their place as one of metal’s most skilled and uncompromising bands. They’re also one of the most inspiring as they call for strength, for action and above all for fortitude. Listen to the album now on Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On April 29, 1981, "Van Halen" released their fourth studio album "Fair Warning". There is a moment, just seconds into "Mean Street", where "Van Halen" make their intent on this album unmistakably clear. The guitar intro is not merely intricate, it is hostile, sharp, almost confrontational. "Fair Warning" does not chase the brightness of "Women and Children First". It cuts inward, darker, leaner, and far more suspicious of its own mythology. What gives this album its lasting relevance is the way it deliberately refuses to meet expectations. Eddie Van Halen strips away the showmanship without sacrificing brilliance. His playing here feels more architectural than explosive, building tension through rhythm as much as through lead work. The strange opening of "Mean Street" is a masterclass in controlled aggression. By contrast, "Unchained", which opens the second side of the vinyl, is built around a riff that seems simple and immediately catchy, but only on the surface. As the song unfolds, it thickens and grows more tangled, becoming massive and complex, to the point where it is not entirely clear how it functions as the central element that turns the track into the album’s defining hit. Lead vocalist David Lee Roth adjusts himself to the shifts the band is pushing here. Where he once played the carefree ringmaster, his delivery now feels sharper, more sardonic. On "Dirty Movies" he leans into a rap-influenced narrative style, delivering lines with a smirk that edges toward cynicism, while "Hear About It Later", which closes the first side, reveals a rare melodic restraint that allows the chorus to breathe. "Push Comes to Shove" stands as the album’s unexpected card. Driven by the hypnotic bass work of Michael Anthony, it slips into a relaxed groove with reggae touches, showcasing both the band’s versatility and its willingness to explore beyond its core sound. It is followed by the album’s first single, "So This Is Love?", which injects a different kind of energy. Built around a loose, unforced groove, it leans closer to funk than metal, carrying a deceptive lightness that masks tightly controlled rhythmic precision. The instrumental "Sunday Afternoon in the Park" acts as a brief yet significant disruption in the album’s flow. It abandons the band’s familiar rhythmic clarity in favor of something far more abstract and unsettling. Layers of synthesizers drift with an almost industrial coldness, while the guitar lines feel suspended in space. It is a genuinely strange piece, a moment of unease that leads directly into the aggression of "One Foot Out the Door", the punk-leaning closing track. "Fair Warning" is far from the most accessible "Van Halen" album, nor was it meant to be. It captures a band actively interrogating itself, choosing discomfort over repetition. That decision is precisely what gives the record its edge, allowing it to stand apart within the band’s already formidable catalog. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website