On April 17, 1989, the "Pixies" released their second studio album, "Doolittle". This time we chose to tell you one fact about each of the album's 15 songs in chronological order: 1. If you've heard " Debaser " numerous times and wondered what the hell Black Francis is shouting in the chorus, then these are the words “I am un chien! Anda-luuu-sia! ”, Reminiscent of the 1929 short film Un Chien Andalou. Francis was greatly influenced by surrealism during his studies, especially that of Salvador Dalí to whom this film refers. The words "Slicing Up Eyeballs" from the song also refer to one of the first scenes from that short film. The song " Tame " includes heavy sighs and breaths and it refers to a girl with "Cinderella's hips". Some believe it was written about a "prostitute" but Black Francis claims he wrote it about the rich and spoiled college kids who think they deserve everything. The song is based on only three chords. 3. The song " Wave of Mutilation " was described by Francis as a song about Japanese businessmen who commit suicide and murder all their family members while driving their car from the pier into the sea, just because they failed in their business. This is reflected in the lyrics of the song: "Drive My Car Into the Ocean". 4. Each song on the inside cover of the album received a photo of an abstract or surreal image depicting it. The song " I Bleed " received a photo of a picture called - "As Loud As Hell" and shows an old bell with human teeth scattered on it, as the words "it shakes my teeth" from the song. 5. Francis began writing the song " Here Comes Your Man " when he was 15. The song was included in the band's first demo recordings which were handed over to the record company. However, when the band signed a recording contract Francis abandoned the song because he was just ashamed of it. It turned out that the song skipped the first EP "Come on Pilgrim", missed the " Surfer Rosa " album, and also would not have entered this album, had it not been for the insistence of producer Gil Norton. This is one of the band's most catchy and mainstream songs. Joey Santiago plays a 12-string guitar here. 6. Francis is known to be very influenced by the Bible. So the song " Dead " is based on the biblical story of David and Batsheva and opens with the words "You Crazy Baby Bathsheba". Even "Uriah the Hittite" is mentioned there. 7. Francis relates that the song " Monkey Gone to Heaven " was written following the way he understood Hebrew numerology. When man, so he claims is marked as number 5 in numerology, Satan as number 6, and God as number 7. These digits also appear on the album cover. This is the only song by the Pixies that includes strings and the first song in which the band is assisted by guest musicians. 8. The song " Mr. Grieves " includes the name of the album "Doolittle" in its lyrics. Mr. Gribbs is the "death" character invented by Francis and the words "Nuclear Winter" imply that he wins in the end. 9. If you were wondering who " Crackity Jones " is, then he was Francis' crazy and gay partner while living in Puerto Rico. It's the shortest and fastest song on the album that just flies at a rate of 150 RPM. 10. The song " La La Love You " is a kind of love song. Why "kind of"? Because the words "first base, second base, third base, home run" speak of ... "Happy Ending". Whoever sings the song is drummer David Lovering, Francis insisted on letting him sing one song from the album similar to the Beatles tradition with Ringo Starr . 11. It is indeed the 11th song on the album but it is called " No. 13 Baby ". As it is well known, thirteen is not a good fortune in Christianity but very good luck for stoners. "M" is the 13th letter in English and 13 was the code name for marijuana. 12. The song " There Goes My Gun " was intended by Francis to be much faster, something in the style of "Hüsker Dü". But on the advice of producer Gil Norton, Francis agreed to slow it down. It was an exceptional case since most of Norton's advice to Francis was not accepted. For example, Norton offered Francis to lengthen some of the songs that stood in the 2-minute zone. In response, Francis took Norton to a record store and presented him with Buddy Holly's hit album in which most of the songs did not cross the 2-minute barrier. 13. The song " Hey " is a seduction song with an obsession with "prostitution". According to Francis was influenced by stories he heard from his parents about the time when they were young and daring. A live version of the song was released even before the album in 1988 as a gift to Sounds magazine readers. 14. The song " Silver " is the only one on the album co-written by bassist Kim Deal . The one who plays bass on the song is drummer David Lavring, with Kim playing slide guitar. This is the only case in the history of the "Pixies" with this lineup. 15. The song that seals the album " Gouge Away " is influenced by the story of Samson and Delilah. The word Gouged refers to Samson's eyes that were uprooted. Similar to the previous album " Surfer Rosa ", this album is without a doubt one of the most influential albums on alternative music during the nineties. The album is of course also on the list of the 500 greatest albums of all time by "Rolling Stone" magazine. The band replaces producer Steve Albini with producer Gil Norton, who helps them achieve a less raw and rough sound, in an attempt to expose the band to a wider audience. It is sublime to understand how such an influential album sold only 100,000 copies in the first half since its release, and how by 2015 it had sold only 800,000 copies in the US. So that you do not end up with bad taste, we will end with two quotes that may explain to you how big this band is and how much influence it had on other artists: Let's Start with David Bowie : “I never could get over the fact that The Pixies formed, worked, and separated without America taking them to its heart or even recognizing their existence for the most part” And here's what Kurt Cobain had to say: “When I heard the Pixies for the first time, I connected with that band so heavily I should have been in that band – or at least in a Pixies cover band” For Listening: Spotify . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On April 17, 1991, "Nirvana" took the stage at the "OK Hotel" in Seattle, Washington, and in an improvised performance just before the band traveled to Los Angeles to record "Nevermind", it changed the face of rock forever. (Photo: Ed Sirrs) During the show, the band played the song "Smells Like Teen Spirit" for the first time in front of an audience. The version played that evening was raw, mainly because Kurt Cobain has not yet finished writing the lyrics, but even in its unfinished form, one could already hear the tremendous power of the song, which in just four chords but redefined the music world and became the anthem of an entire generation that was later called Generation X. Amazingly, this performance was captured on video so that even today we can watch history in its formation. Dave Grohl referred to this historic performance in one of his interviews and noted that usually when a band plays a new song for the first time, the audience just stands and watches, but in this case, they went berserk. And so in his own words: "The first time we played Smells Like Teen Spirit, the place went bananas and that hadn't necessarily happened before, so I didn't know what it would mean. I just knew sonically, that this is going to make people move. And it did." The song was written by Kurt Cobain in a moment of anger, after his girlfriend Tobi Vail, from the band Bikini Kill dumped him. The title of the song came from a graffiti spray-painted by Kathleen Hanna - singer of the band Bikini Kill, on the wall of Cobain's apartment. She intended to point out the fact that Kurt was now “marked” with the fragrance of his then-girlfriend Deil’s favorite deodorant. The four chords that Kurt chose to wrap the lyrics of "Smells Like Teen Spirit" were not innovative, on the contrary, they were chewy chords used in countless rock songs. Cobainn noted that he was trying to write a song that sounded like the Pixies. Even with the rhythm of the immortal riff, Cobain tried to sound like Boston's song "More Than A Feeling," which according to his own words was a cliché. The song did not even have a bridge. But the combination of simplicity, with roughness, and catchy melody, created the "big bang" which on that historic night changed the face of music forever. After that historic performance, the band will make their way to Los Angeles to record the album "Nevermind" which will be released in September of that amazing year of 1991. The lyrics will be updated, and the song will get the arrangement needed and become one of the greatest and most influential songs ever. To accompany the song, the band will shoot a clip whose idea is based on punk rock kids sowing destruction in high school, a symbol of everything Cobain had despised since his high school days in Aberdeen. The continuous broadcasts of the clip on MTV and the repeated broadcasts on the various radio stations will send "Nirvana", screaming and kicking, straight to the top of the Billboard 200 and more than that to the heart of the mainstream. This song made the band immortal overnight, but most of all it was the trigger for the great revolution of Generation X. Needless to say, "Smells Like Teen Spirit" was ranked No. 9 on "Rolling Stone" magazine's "500 Greatest Songs of All Time," and it also entered the 2017 Grammy Hall of Fame. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Impressions from the performance of the band U.D.O. Havana Club Club 17/4/19 So yesterday the band U.D.O. Of legendary singer Udo Dirkschneider performed at Havana Club TLV. For those of you who do not know who Udo Dirkschneider is, then Udo was the lead singer of the German metal band ACCEPT, an important and highly regarded band in the metal scene of the early 80s, and among those responsible for the development of the speed and thrash metal genres. The band gained much recognition from the early 80s and managed to break out outside Germany with commercial success all over Europe, the USA, and even Japan, where they recorded one of their "Kaizoku-Ban" album in 1985. In 1987, at the height of the band's success, Udo parted ways with the band and decided to embark on a solo career. Accept members not only supported his decision but also helped Udo write the material for his first solo album "Animal House" which was released in 1987 under the band name U.D.O. From then to this day the band released 16 studio albums and 6 live albums. In parallel with his activities in the U.D.O. band, Udo will form a new lineup called "Dirkschneider" which has been performed around the world with materials from the mother band Accept. The latest U.D.O. album was Released in August 2018 and is an excellent heavy metal album very recommended for listening to. The band members noted that the writing of the material for this album was influenced by the mother band Accept and the things are very noticeable in the sound and the musical direction of the album. And for the show held yesterday: The audience, as expected, consisted mostly of veterans of the metal scene in Israel with a very respectable representation of people from the Commonwealth of Independent States (CIA). The leather jackets, patches, shirts, hair, and tattoos left no room for doubt, this is an audience that drinks, eats, and breathes, metal. Before U.D.O. we witness an excellent and surprising warm-up performance by the local "Metal Scent" band, a reincarnation of the Israeli heavy metal band "Reiach Metal" which was formed in 2004 and combined metal with oriental music and even released an album that includes cover versions of well-known Mediterranean songs featuring well-known guest singers in oriental music. "Metal Scenet" proved to be an excellent appetizer to the main course and gave an excellent show with original material at a high level. At the end of the Metal Scent show and after rearrangements made by the stage workers, we were finally privileged to witness the man responsible for the sales of millions of albums over a 40-year career, the metal legend - Udo Dirkschneider. The show opens with "Tongue Reaper" and is immediately followed by "Make the Move" the two opening songs from the latest and excellent album "Steelfactory". The German band continued from there in a relentless bomb shelling of the best of the band's songs during its 30 years of activity. The track "24/7" from 2005, "Mastercuter" the theme song from the excellent album from 2007, "Timebomb" with the thundering and rolling double-bass, and of course the anthems "Animal House" and "They Want War". True, 6 of the 20 tracks played at the show were from the band's latest album, but that did not detract from the level of material played, as this is an excellent album that does not fall short of the level of the good albums of the mother band Accept. Udo's familiar, strong and rough voice did not disappoint and it sounded just like the good old days. Udo an experienced and charismatic performer knew how to sweep the audience who kept roaring the lyrics, including the new songs. But the big surprise of the evening was actually Udo's backing band. The veteran singer made sure to surround himself with 4 young, virtuoso musicians each in his field, whose chemistry was well evident throughout the show. The rhythm section is in charge of Tilen Hudrap on bass and Sven Dirkschneider (the son of..), a strong and powerful drummer who did not embarrass his roots. Guitarist duo Fabian Dee Dammers and Andrey Smirnov provided great playing and gave the audience a spectacular performance with all the possible tricks of heavy metal - solos, licks, tapping, and even synchronized movements Tipton-Downing style. Although most of the musicians have been in the band for a very short time, they looked and sounded like an old and experienced band, a well-oiled machine that gave a crazy show. In conclusion, a great show whoever did not come, lost. Song List: 1. Tongue Reaper 2. Make the Move 3. 24/7 4. Mastercutor 5. A Cry of a Nation 6. Metal Machine 7. Independence Day 8. In the Heat of the Night 9. Vendetta 10. Rising High (Dee Dammers Guitar Solo) 11. In the Darkness 12. I Give as Good as I Get 13. Timebomb (Bass/Drum Solo) 14. Hungry and Angry 15. Heart of Gold 16. One Heart One Soul Encore: 17. Holy 18. Animal House 19. Man and Machine 20. They Want War For a link to a playlist we prepared for you in preparation for the show and turned out to be an exact copy of what was played: Click Here "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

You might not know that he is not just an amazing guitarist, but also a producer, composer, and musician. The band "Hayehudim" says that he is the heart of the band and part of its DNA. Here are some things we found out about the guy: Photo: Avihai Levy 1. His nickname is "Zak", Itzik "Zak" Soulam. 2. He started playing the piano at the age of 6 and at the age of 12 learned to play the guitar from his father, the musician Eli Sulam. 3. In 1990, when he was only 16 years old, Zack joined the rock band "Colorful Black" (Tzivoni Shahor), the band performed once a week at the "Trip" club in Tel Aviv with a rock opera written by Ron Slonim and Eyal Paran, which bears the same name. 4. As a teenager he served as a teacher for hundreds of music students when in 1992, at the age of only 18 he won first place in a national guitarists competition. 5. In 1995, the album "Colorful Black - The Hallucination of Rock by Ron Slonim and Eyal Paran" was released by Hed Artzi with the musical production of Micha Sheetrit, including songs from the show performed by Slonim and Daniel. Beyond the regular line-up (which included Zak) on the album were also playing, Jean-Paul Zimbris and Arkady Duchin, Sheetrit's friends of the band "Natasha's Friends". 6. In the same year, Zak joined the band "Hayehudim" immediately after the release of their debut album "Separate Reality" (Metziot Nifredet), Zak was part of the band's first performances, the most famous of which was performed at the "12th Night Club" and the "Logos" club. 7. In 1998 he released the band their second album, bearing the band's name, and reached gold album status. Photo: Ronen Lalena 8. Immediately after the release of the album, Zak left the band looking for his musical future overseas, in the United States. He moved to New York and very quickly became active in the local music scene. Working with producers such as Ed Tuton, Baby Face, and Frank Fillipetti (Foreigner, Kiss, Fuel, Korn, James Tayor). 9. In those years during his work as a producer and guitarist, Zak worked with top artists such as Suzen Vega, and Dee Snider, as well as in the "Trans-Siberian Orchestra" project with "Savatage" natives. Photo: Dee Snider 10. In early 2000 he participated in the recordings of the American R&B duo album "KC & JOJO", which sold about 10 million copies, as well as the debut album of the Canadian star "Fefe Dobson", which sold about a million copies. 11. In 2002, Zak leaped back to Israel and recorded with "Hayehudim" their third album "Fear of Death" (Pahad Mavet) which was released in July 2002. 12. Here are some other things we found out he did abroad: 13. Performed with soul singer "Ayo" who is a big hit in Europe. 14. Participated in the recording of "Patrice Bart Williams"' album. 15. Performed in the United States with British "Space Hog" frontman "Royston Langdon". 16. Appeared with Dee Snider the legendary singer of "Twisted Sister". 17. As a music arranger and producer has signed on for more than 200 singles. Photo: Avihai Levy 18. As a writer and composer of hundreds of jingles and commercials broadcast worldwide. 19. Movie soundtracks were also part of his work, the most famous one is his guitar solo in the movie "Music and Lyrics" starring Hugh Grant and Drew Barrymore. 20. Served as a musical instructor for Hollywood actors Gerard Butler, Jeffrey Dean-Morgan, and Hugh Grant. 21. In 2005 he founded the American production company "Prysm Music" and produced young pop and rock artists. 22. In 2006 he signed and musically produced the debut album of the rock band "Amaury" which earned it first place in the rock category of VH1. 23. In 2008 he produced Julius' album which won first place in the pop category. 24. In 2009 Zak wrote the music for the acrobatics show "Ariel Angels" together with bassist Michael Weisgalia. 25. He has performed on Broadway shows "Rock of Ages" in New York and "Van Helsing's Curse" in Las Vegas. 26. In 2011 Zak released an instrumental solo album that he wrote and produced. The album features musicians such as Omar Hakim (Madonna, Sting), Sterling Campbell (David Bowie, B-52), Steve Holly (Paul McCartney, Joe Cocker), Jerry Marotta (Peter Gabriel, Elton John), Will Lee (Prince, Eric Clapton) and Danny Lewis (Goverment Mule). 27. In 2014 Zak returned to the band "Hayehudim" (although he was not part of the band's latest album "No More" ) and since then to our joy, he has been part of the band, we are blown away by his performance with the band !! 28. He founded the start-up "SeekMarket" which connects musicians, photographers, directors, and web designers with end customers worldwide. 29. Our first picture in this post was taken during a moment of craziness during the band's performance in Caesarea !! Listen to the latest album that Zak recorded with Hayehudim "Fear of Death" on Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

"Rage Against The Machine's" second album "Evil Empire" is an uncontrollable explosion of the "Rage Quartet". Let's open with a quote from the poet of rage Zack De La Rocha : "I think one of the important things about Rage is that … we can seduce some people in with the music who are then exposed to a different political message." In the first album, the "Quartet of Rage" shared their rage to our ears for the first time, they talked about police violence, family issues, a broken education system, and domestic violence. Four years later... Let's pause here for a minute. It was very difficult to release this album, with many disagreements, and many different directions that each member of the band took. It took a long time to release this album and there were even rumors of a breakup, but that's only because until each of the quartets believed in the song and agreed to it, they did not advance to the next one. So where were we? Yes... After four years in which Rage put out harsh criticism, which they have caused the American audience to rebel or perhaps mostly served as an excuse to drop out of school or take drugs, comes an album with more mature and more international messages. A War Declaration Album! Just holding the album cover you can see the declaration itself, which bears the nickname "Evil Empire", which President Ronald Reagan gave to the Soviet Union in the 1980s. If that's not enough then even before we press play, we open the booklet and discover a long list of philosophical and political books that deal with sensitive issues, which not ashamed to criticize. Zack said that no book from the list appeared in the university library where he studied, and that's part of it. (Photo: Tom Morello On Twitter) This time Zack takes the rage and directs it to other places outside the U.S. as well. He is involved in the rebellion of the "Zapatistas" - A group of Mexican farmers who are trying to unchain themselves from the abuse of the high class which cruelly abuse them. There are three songs that deal with this subject: " Year of the Boomerang ", " People of the Sun " and the bold one " Without a Face ". He of course does not spare the U.S. on which he has a full stomach, criticizing the U.S. military in " Bulls On Parade ", the leaders who use the military to achieve their own interests and trample like an ox everything in their path. Criticism of the American Dream which is a false hallucination that makes people live in a violent illusion in " Tire Me ". A critique that Zack always conveys about the far right in the US, with the entertainment programs that cause brainwashing for the ordinary citizen in " Vietnow ". Criticism of the social inequality between the rich and the poor, between women and men between the culture of abundance and the needy in " Revolver ", " Snakecharmer ", " Down Rodeo ", " Without a Face ", " Wind Below " and " Roll Right ". Zack arrives as a hybrid between Robin Hood and the Terminator on a deadly mission as he mercilessly rips off evil and bestows on the minority and the weak. After we reviewed the messages let's talk a bit about the music and especially about Tom Morello 's guitar. Morello makes more extensive use of his guitar's dynamics here than in the previous album. Amazing use of all the parts of his guitar, from the neck, the pickups, the bridge, the cable itself, and the pedals. Morello uses all parts of the guitar to produce sounds beyond angry and greedy riffs, sounds like drills, machine guns, and even faxes. " Bulls On Parade " combines a funky sound with a wow-wow and a blown-away tempo that reaches new heights. " Wind Below " is driven by a heavy, metallic riff reminiscent of "Led Zepplin's" "Black Dog" And " Revolver " begins with a guitar echo that sounds like it emanates from the depths of the ocean and is reminiscent of Jimi Hendrix 's work before moving into a psychedelic and dull state. As far as we try, it is impossible to describe in words what Tom Morello does with his guitar, it will be ridiculous so we will stop here and you will listen. The Rage quartet not only puts you in a rough or rhythmic groove, it just hits you mercilessly, and beats you non-stop, both physically through the sounds and also mentally through the lyrics. On this album, the quartet establishes its formidable position in the world of music, with first place on the Billboard charts and several Grammy nominations and wins. So now put everything aside, get your headphones on, start making aggressive faces with clenched fists, and 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... There's a very good chance you did not know it even exists... So let us surprise you or... just play surprised so we can continue... This is the band's first cover album! True, to this day they have released quite a few covers but most of them have been released as B-Sides of singles from previous albums. So maybe you can call it a compilation album? Or a cover collection album? The album consists of 13 tracks, 10 of which were recorded over the band's history and three brand new ones, two of which were recorded in the studio and one in a live performance and are also covers of course. It contains cover versions of artists such as: Paul McCartney & Wings , "Cream", Joe Walsh , "Thin Lizzy", "Prince", "Pink Floyd", "The Ramones", and more... In addition to the band's regular lineup, the album has a few guest musicians like the band's first drummer William Goldsmith, amazing guitarist Brian May , and drummer Gregg Bissonette. The tracklist contains some valuable "Rock Assets" such as "Paul McCartney & Wings" - " Band on the Run " which was part of the "Radio 1 Established 1967" collection from 2004, "Cream's" - " I Feel Free " which was the B-side of the single "DOA" from 2005, " Bad Reputation " by "Thin Lizzy" which is one of the new songs recorded for this collection, " Baker Street " by Gerry Rafferty which was recorded live for BBC Radio 1 and released as a B-side of the single "My Hero", " This Will Be Our Year " of "The Zombies" and " Have a Cigar " of "Pink Floyd" featuring guitarist Brian May , that was part of the excellent soundtrack of the movie "Mission: Impossible II". What's interesting about this album is that Dave Grohl shares the vocals with other band members like Taylor Hawkins who takes the lead in three songs - "Cream's" " I Feel Free ", Joe Walsh 's " A Life of Illusion " and " Have a Cigar " by "Pink Floyd", while guitarist Chris Shiflett performs "The Ramones'" song " Danny Says ". The album was released in a limited edition for "Record Store Day". It was also released on CD for Q magazine subscribers. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On April 16, 2021 "Greta Van Fleet" released their second album "The Battle at Garden's Gate". In 2017 they released two EPs, "Black Smoke Rising" & "From the Fires" which launched their amazing single "Highway Tune" and another great one "Safari Song". They managed to have a blasting breakthrough thanks to their 70s classic rock sound and they're very famous compared to Led Zeppelin, vibes. A year later they debuted the album "Anthem of the Peaceful Army" to rise to stardom setting the world ready in 2019 for their "March of the Peaceful Army World Tour", performing in North America, Europe, and Australia. (Photo: Erika Goldring) During that year they paused to record their next album, this album. On a break of two months during their world tour they took the well-known producer Greg Kurstin, which you probably remember from the " Kurstin x Grohl: The Hanukkah Sessions ", and who produced the Foo Fighters' latest album "Medicine at Midnight" and enter the studio. They recorded 12 tracks that flow between their distinguished classic 70s rock to a grunge/post-grunge dynamic. From a first glimpse, it sounds like the Kiszka brothers & Wagner took the slow and long way home. They polished their technical talents with their instruments, doing worldwide performances, establishing great confidence, a talent they want to show off. No significant catchy, strong-beat songs but more free-flowing jam sessions or psychedelic trips. On the lyrics side, when the first single " My Way, Soon " came out, they said that they are strongly influenced by the experiences and emotions they had on their tour. visiting different countries and different cultures, made them think and reflect on different ideas. This album is without a doubt the beginning of an attempt to break away from the sound of "Led Zeppelin", from which the band was accused of copying. "The Battle at Garden's Gate" introduces us to a band that seeks out its identity, tries to solidify its sound, and presents an aspiration to bring "classic rock" back to its natural place. So if you guys dig the 70s "classic rock", this band can drive you crazy. And even if you do not have 64 free minutes, do yourself a favor and at least listen to the epic " Broken Bells ", or at least to " Tears of Rain " whose chord progression in the opening is a bit reminiscent of "Hotel California", we promise you will not regret it. 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 - UK 16.04.1964 / US 29.5.1964 London in the early 1960s became fertile ground for new rock bands that gave voice to the baby boomer generation. Keith Richards  and Mick Jagger  had first met as classmates back in 1950, growing up together in Dartford, Kent. When Jagger’s family later moved to Wilmington, Kent, the two lost touch, and it would take another seven years before fate brought them back together. That moment came on October 17, 1961, on platform two of Dartford railway station. After years apart, Richards and Jagger reunited, and this time their shared love for music led to a partnership that, within a year, would evolve into the formation of "The Rolling Stones". The band’s name was born almost by accident. During a phone interview with Jazz News, Brian Jones  was asked what the band was called. Looking around, he noticed a Muddy Waters record nearby. One of the tracks was titled "Rollin' Stone" , and from that spontaneous moment, the band’s name was chosen. In May 1963, the band signed 19-year-old manager Andrew Loog Oldham following a recommendation from The Beatles. Oldham envisioned the group as the direct opposite of the clean-cut image of "The Beatles". Where "The Beatles" were seen as the “good boys,” Oldham crafted The Rolling Stones into rebellious outsiders, with a raw, cheeky attitude inspired by the gang culture portrayed in " A Clockwork Orange" . Although Jagger and Richards would later become the defining forces of the band, in its early days the central musical figure was Brian Jones . A multi-instrumentalist with exceptional talent, Jones stood out not only within the band but arguably across Britain. His deep musical curiosity led him to shape the idea of a British blues band that would fully embrace the intensity of American blues. Together with Richards, Jagger, Charlie Watts , and Bill Wyman, the band formed a unit that became one of the first in Britain to authentically capture the sound of Black rhythm and blues. At the center of it all stood Jones. "The Stones" fused the gritty blues of Chicago with rock and roll energy. Jagger’s vocal style fit perfectly with Jones’ musical vision. Whether it was tambourine accents, powerful harmonica lines, or expressive slide guitar, Jones constantly expanded the band’s sonic palette. On June 7, 1963, the band released their debut single, a cover of "Come On"  by Chuck Berry. Despite the band’s reluctance to perform the song live and minimal promotional support, the track still reached number 21 on the UK singles chart. Their debut album consisted mostly of rhythm and blues and blues covers, featuring songs by artists such as Willie Dixon, Jimmy Reed, Chuck Berry, and Rufus Thomas. Alongside these covers, the album included one original composition, "(Tell Me (You're Coming Back))" , written by Jagger and Richards. Two additional tracks were credited to “Nanker Phelge,” a pseudonym used between 1963 and 1965 to represent collective songwriting by the band members. In a 1995 interview with Rolling Stone, Jagger reflected on the song, noting that it felt very different from their usual rhythm and blues covers and leaned more toward a pop-oriented direction. The lyrics explore a failing relationship and the singer’s attempt to win back his lover. Among the musicians who participated in the recording sessions were Graham Nash  on backing vocals, Phil Spector on percussion, and Gene Pitney on piano, humorously referred to as “Uncle Phil and Uncle Gene.” The album cover, photographed by Nicholas Wright, followed Oldham’s unconventional vision. It featured no mention of the album title or even the band’s name, a bold and unusual concept for the time. Oldham’s liner notes pushed the band’s image even further, describing them as more than just a group, portraying them as a lifestyle that had captured the imagination of youth and positioned them among the most sought-after acts of the moment. Interestingly, the album was released in the United States on May 29, 1964, under the title " England’s Newest Hit Makers" . This version replaced "Mona (I Need You Baby)"  by Bo Diddley with "Not Fade Away" , originally by Buddy Holly. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On April 16, 1991, "Temple Of The Dog" released its first and only self titled album 1991 was a crazy year, one of the greatest years in music. The year in which the alternative conquered mainstream media. This is the story of one of the magical and masterful albums that came out of the grunge scene in that amazing year. Stay with us for the third episode of the "Class Of 91" series. This is the story of a masterpiece album, of the greatest supergroup that came out of Seattle, which at the time of its release did not know at all that they were a "supergroup". A masterpiece we got from the Seattle scene that wouldn't exist if not for the tragic circumstances that surrounded it. The story of this album begins with a colorful, talented, and charismatic character named Andrew Wood who was a singer, guitar player, and writer for the bands "Malfunkshun" and "Mother Love Bone". Along with him in the band, "Mother Love Bone" were bassist Jeff Ament and guitarist Stone Gossard (who will soon become members of a new band called "Pearl Jam"). The band was formed in 1987 and was one of the first in the grunge scene in Seattle. Everyone at the grunge scene knew who Andrew Wood was. He was unusually charismatic and talented. Chris Cornell said that when "Mother Love Bone" performed in small clubs with only 20 people Andrew would make the audience feel like they were performing in a stadium full of 20,000 people. Wood died of a drug overdose in March 1990, right after the band finished recording their only album "Apple", which Wood did not get to see released. Chris Cornell, who shared an apartment with Andrew Wood, returned with his band "Soundgarden" from a US tour exactly the day Andrew passed away, but a few days later he went on a tour that was already planned for his band in Europe. Cornell thought it would be a good idea not to be around Seattle, thinking it would be easier for him to deal with the grief, loss, and pain. But Cornell immediately realized he was wrong. He had great difficulty dealing with the situation alone and without his friends from the Seattle scene. As a result, the only thing he thought would help him cope with the situation, was writing songs. (Photo: Pearl Jam Facebook Page) Cornell knew that the songs he wrote did not fit the style of "Soundgarden", but he did not want to keep them in a drawer or throw them away without anyone hearing them, so he decided to check with Ament and Gossard who were members of Wood's band if they were interested in creating a song together. In one interview, Cornell said he was very apprehensive that they would think he was trying to abuse Andrew's death and the band's reputation. But finally, he dared to send them a demo he had recorded with two songs: "Say Hello 2 Heaven" and "Reach Down". Jeff and Stone who at the time just started to form what would become "Pearl Jam" really liked the idea. They invited guitarist Mike McCready - Stone Gossard's friend, the three of them met Cornell and Matt Cameron (Soundgarden drummer) and immediately started working on more songs. Since no record company or background production company was involved, there were no expectations from their session together. They felt relaxed, and creative and enjoyed every moment!! Jeff said that they all just wanted to play, nothing more. The connection with Chris and Matt was so natural and fun that in just 15 days they recorded the whole album. Even Eddie Vedder who had just come from San Diego to "audition" for "Pearl Jam" was present at the studio, and "Unknowingly" recorded the first single from the album, "Hunger Strike", and also added background vocals to other songs. In Pearl Jam's "PJ20" movie, Eddie recalls that this was the first time he had heard himself on a real album. (Photo: Tumblr) This album is simply a musical miracle that was part of the sound formation process that defines Grunge. A combination of blues, metal, and alternative, with the influences of "Black Sabbath" and "Led Zeppelin". With a lot of emotions poured into the creative process which screams out from every note in every song, this is a masterpiece, an immortal album whose electric guitar ruff sounds will continue to resonate beyond time... The name of the album was taken from the first sentence of the song "Man Of Golden Words" from "Mother Love Bone". All songs on the album were written by Chris Cornell except "Pushin Forward Back" co-written with Stone Gossard and Jeff Ament, and "Times of Trouble" & "Four Walled World" co-written with Stone Gossard. The quality of writing and performance on the album is amazing, especially because this is a band that played a very short time together and did not have enough time to form. The bands' playing is precise, tight, and full of emotion. But it is not only the music that makes this album so special, It is mostly the singing. Cornell is at his peak, moaning, howling, and screaming his soul out, and it sounds amazing, exciting and ice melting. Most of the songs on the album are slow, melodic, and full of emotion. (Photo: Temple Of The Dog Facebook Page) The album opens with "Say Hello 2 Heaven" which is undoubtedly Cornell's "high peak" throughout his extensive career, vocally and literally. Beyond the fact that Cornell sounds amazing here, this is the highest voice Cornell reached in any of his recordings (listen to the end of the song). One of the exciting moments in the process of creating this album is attributed to the recording of the song "Hunger Strike". This is the last song written and recorded, just because Cornell did not want an odd number of 9 songs. Eddie Vedder had just landed from San Diego and arrived at the studio. It was the first time he met Chris in the studio and he noticed that Chris was struggling with the singing of the lower parts. He does not remember where he got the courage from, but he just went to the microphone and sang the low singing roles and Cornell later noted that Vedder sounded exactly how he wanted to sound. This song was the first single from the album and also became the most successful and famous song from it. Another amazing moment in the studio was while recording "Reach Down". This is one of the great moments of Mike McCready who like Vedder was "the new guy". Mike's headphones fell down in the middle of his amazing 4 minutes guitar solo and Cornell recalls Mike continuing the other half of his solo without hearing the rest of the instruments at all. McCready recalls that Cornell deliberately designed the song to be that long. He really wanted to annoy the record company. Cornell played all the instruments In the demo, even the drums. Jeff Ament noted that everyone then loved "Neil Young & Crazy Horse" and this song was an attempt to produce a 10-minute song in that style. The song "Pushin' Forward Back" was written by Cornell in collaboration with Ament and Gossard. It's one of four songs on the album in which Vedder sings background vocals, and what amazing harmonies he and Cornell have together. This is the first song the band performed live even before the album was released, on November 13, 1990, at the Off Ramp Café in Seattle. Cornell wrote the song "Call Me A Dog" about his then-girlfriend Susan Silver who also was "Alice In Chains" manager at the time. The song was probably meant to describe the problems they had with their relationship even before they got married. Interestingly, the song "Times of Trouble" started from the mythological demo recording "Stone Gossard Demos '91". Stone Gossard, who also wrote the music, named the piece "Troubled Times". The demo tape played by Gossard, Jeff, Mike McCready, and Matt Cameron was intended to help the emerging band look for a drummer and a singer. It was sent to drummer Jack Irons who was asked to join the band. He could not, but he thought Eddie Vedder would suit them as a singer so he passed him the tape which included five songs including this song. Eddie recorded his voice on this song which was named "Footsteps". The song will eventually be released as a B-side to Pearl Jam's single "Jeremy". At the same time, Chris Cornell also recorded his vocals on Gossard's instrumental track from the same demo tape, added harmonica and this is what eventually became the song “Times Of Trouble” familiar to us today. (Photo: Temple Of The Dog Instagram Page) “Wooden Jesus” is built on the mesmerizing drums and percussion of Matt Cameron. A special and different piece with a country-blues scent that includes Cornell playing on Banjo and a great guitar solo by McCready. And there's also "Your Savior" with the funky riff, the slow and bluesy "Four Walled World" co-written with Gossard with Ament's Fretless bass, and the amazing ending song "All Night Thing" with Hammond and piano played by Rick Parashar who also co-produced the album along with the rest of the band. Although the album did not gain success or popularity when it was released, later on, that amazing year of 1991, after "Pearl Jam" and "Soundgarden" released their masterful albums "Ten" and "Badmotorfinger", this album gained much recognition and became a significant and integral part of the Seattle scene soundtrack. 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 - 15.04.1974 “Lynyrd Skynyrd” was a band built on Southern pride. They knew how to love, and they knew how to hate. Ask Leonard Skinner, the gym teacher they disliked so much that they ended up naming the band after him. And above all, they knew how to play rock, infused with touches of blues and country. Ronnie Van Zant, known as both the leader and the band’s enforcer, was a man who demanded the absolute maximum from his bandmates. He pushed them relentlessly through rehearsals, often isolating them from the outside world. That intensity paid off, as it sharpened their playing into a tight and powerful unit. The band’s guitarists were defined by a highly technical style. Van Zant dubbed them the “Three Guitar Army”, and referred to their sound as a “Triple Guitar Attack”. Speaking of Ronnie Van Zant, he was a man full of pride. He would not let anyone walk over him, certainly not Neil Young . Referring to Young’s songs “Alabama” and “Southern Man”, which dealt with racism and slavery in the American South, Van Zant once said that they felt Young was overreaching in his criticism. Deep down, beneath his tough exterior, Van Zant actually respected Neil Young . He saw him as an uncompromising artist, someone unafraid to challenge the South and force it to confront its own realities. The response from Van Zant and his bandmates came swiftly with "Sweet Home Alabama" , a Southern rock anthem that served both as a direct answer to Young and, in its own way, an acknowledgment of the broader conversation about racism. The members of “Lynyrd Skynyrd” were closely identified with the American South, and Van Zant himself would often perform wrapped in the Confederate flag, a symbol that later became strongly associated with the band’s image among fans. Despite this, the band consistently denied accusations of racism. They maintained that they were simply a traditional Southern band, with no racist agenda behind their music or identity. Following a debut album " Pronounced 'Lĕh-'nérd 'Skin-'nérd " that featured the immortal "Free Bird" , their fan base continued to grow rapidly throughout 1973, largely thanks to their role as the opening act on "Quadrophenia" Tour by "The Who" in the United States. Their second album, “Second Helping”, featured Ed King, Allen Collins, and Gary Rossington, who collaborated with Ronnie Van Zant on songwriting duties. Having already developed their musical identity, the band reinforced it on “Second Helping” through Van Zant’s writing, which became more direct, poetic, surprising, and revealing than ever. His lyrics told stories with both contemporary and historical weight, including nods to Neil Young, alongside a refreshing cover of J. J. Cale’s "Call Me the Breeze" . In "I Need You" , a long and slow blues ballad, Van Zant declares unconditional love to his partner just before heading out on yet another tour. In "Don't Ask Me No Questions" , the band channels the sense of inexperience they felt in their early days, as they faced overwhelming demands from agents, managers, and record labels. Despite the criticism and pressure surrounding them, “Lynyrd Skynyrd” also had a few kind words for their label, MCA Records. Producer Al Kooper, in his memoir “Backstage Passes and Backstabbing Bastards”, vividly described the studio where “Second Helping” was recorded as a symbol of Hollywood decadence and indulgence, filled with all the trademarks of the 1970s, from jacuzzis and bedrooms inside the building to groupies roaming the halls and a staff instructed to fulfill every whim of their guests. The story of Curtis Loew in "The Ballad of Curtis Loew" , a Black man who played blues on his resonator guitar and dobro and was considered the finest picker to ever play the blues, was written by Ronnie Van Zant and guitarist Allen Collins. According to Ed King, who joined the band in 1972, Curtis Loew was actually a composite character, inspired by several real people, including Shorty Medlocke, the grandfather of Rickey Medlocke, who had played guitar in an early version of “Lynyrd Skynyrd”. In "The Needle and the Spoon" , Van Zant warns about the dangers of hard drug addiction, a struggle the band itself was already beginning to face. The album closes with the cover of "Call Me the Breeze"  by J. J. Cale. The song tells the story of a man who goes wherever the weather takes him, free from the weight of the world on his shoulders. It was a fitting statement for Cale, who made a conscious effort to keep things simple and stay out of the spotlight, embracing a philosophy of enjoying life’s simplicity and following wherever the wind may lead. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

"Grace Under Pressure", the 10th album by "Rush", was released on April 12, 1984 After Neil Peart 's on Jan 2020, this album took on a completely different meaning for us, if only because of the lyrics Peart wrote for the song " Afterimage ", but more about that later... The album marked a further development in the band's sound and included extensive use of synthesizers and electronic drums, new wave guitars and effects, with parts of the album missing Geddy Lee 's bass playing at all. As part of the Canadian trio's experimenting process, the album's musical style ranges from hard rock, ska, reggae and even new wave. In order to understand the background to this fundamental change in the band's sound, let's go back to the late 70's of the last century. Rush ends the 70s with three progressive albums that include long and very complex songs. During this period the progressive rock genre was declining and gave way to other styles like punk, new wave and reggae. Throughout their musical career Rush has been diligent in developing, experimenting and exploring new areas, making the necessary adjustments in sound and song structure and opening the 80s with the album " Permanent Waves ", which usually included shorter and radio friendly songs and more use of keyboards. The album was a huge commercial success which ensured the band's survival at a time when prog was no longer relevant. The band's change also continued during the next two albums, the masterpiece " Moving Pictures " and the album " Signals ", which already included greater use of synthesizers, sequencers and electronic equipment, at the expense of guitar use. In an interview with Geddy Lee at the time, he noted that although it was the easiest and safest thing to produce a sequel to " Moving Pictures ", they chose to look for other musical directions. "We're a band that has always loved to challenge itself," Geddy declared. But the new musical directions the band chose to experiment with were not to the liking of their regular producer Terry Brown, who wanted to keep riding on the dizzying wave of success of " Moving Pictures ". Disagreements with Brown made the band realize that if they were interested in experimenting with new musical directions they must continue without him, and they began looking for a new producer to replace him. The task was not easy, the band had never worked with other producer than Brown. A lot of familiar names came up, but in the end the band chose Peter Henderson, a choice that turned out to be right for "Rush". The combination between the band's changing musically to Henderson's special and meticulous production, created a synthesized and electronic album with Ska and Reggae influences and a completely New Wave sound that matched the musical era of the 80's. Despite the substantial change in sound and although on this album Rush has completely moved away from their comfort zone and the musical styles that brought them success, this is a very good album that maintains a high and uniform level throughout and includes some of the band's best tracks in its electronic era. The song " Distant Early Warning " opens the album with a simple, catchy and sweeping synthesizer line. The combination of New Wave guitars and synthesizer creates a fresh, innovative and powerful sound for the band, which sounds more relevant than ever and matches the musical style of the 80's. Alex Lifeson 's guitar solo introduces a rock element to the song and reminds us that the band roots comes from the hard rock style. " Afterimage " is an exciting and moving song that talks about the loss of a loved one. The song opens with a thunderous wall of guitar and synthesizer that pulls across the intro and first verse. The music includes elements of reggae, pop and rock. Neil Peart dedicated the song to the band friend Robbie Whelan who served as a assistant engineer at the "Le Studio" on some of the band's albums, including " Moving Pictures " and the lyrics opens up with the words: " Suddenly You Were Gone ... From All The Lives You Left Your Mark Upon ." Whelan was driving on the way to the Le Studio in 1983 when he had an accident and was killed. About a decade later, two major tragedies befell Peart, after his daughter was killed in a car accident and his partner died of cancer less than a year apart. By this point the song has already taken on an entirely different meaning, with a line from it quoted on the back cover of the live album " Different Stages ", in memory of the two. Unfortunately, on Jan. 2020 we were informed of the untimely death of Neil Peart - the greatest drummer of our generation, and in a chilling and inconceivable way the moving words Neil Peart wrote became an eulogy for himself, from now on listening to this song will never be the same. An equally moving song is " Red Sector A " influenced by the story of Geddy Lee 's parents, both Holocaust survivors, who survived the Bergen-Belsen and Dachau concentration camps. Neil Peart heard the story and wrote these moving words about the amazing courage of the survivors. The other songs on the album also maintain a high level of writing and performing ability. The track that closes the first side of the vinyl " The Enemy Within " whose lyrics includes the album's title - 'Grace Under Pressure". This is the third part of Neil Peart 's "Fear Series", which was initially composed of 3 sections that appeared in reverse chronology over 3 consecutive albums of the band. The first, is "Witch Hunt" from the 1981 album " Moving Pictures " also called Part III Of Fear and deals with the way fear can be used to control people. The second, is "The Weapon" from the 1982 album " Signals " and it deals with dealing with external fears such as weapons. And the third, is "The Enemy Within" also called Part I Of Fear, from this album that deals with the inner fears of people who influence their decisions. It is interesting to note that 18 years later the band decided to add a fourth part to what "fear trilogy", as part of the comeback album " Vapor Trails ". This time the song deals with paranoia and fear of the unknown and is called "Freeze - Part IV of Fear". " The Body Electric " opens uop the second side of the album. It is based on the 100th episode of the mythical series "Twilight Zone". Sounds familiar? Right. Because this is not the first time Peart based a song on the mythological series. The album " 2112 " includes the song "The Twilight Zone" which was inspired by two episodes of the same series. Episode 28 from Season 2 and Episode 30 from Season 5. This time Peart was influenced by the 100th episode and wrote a song about a robot that struggled to go free. Anyone who listens to Alex Lifeson 's solo and Geddy Lee 's bass accompanying him on this song will surely find that they are very much influenced by the playing style of The Edge and Adam Clayton from the band "U2" in those years. Right after that comes the track " Kid Gloves " with Alex Lifeson 's Palm Muted guitar riff on an impossible 10/8 beat that brought back memories of Genesis' "Follow You Follow Me" from their album " ...And Then There Were Three... ". It's probably the most rhythmic and song on the album which undoubtedly adds a different color to its relatively gloomy atmosphere. it features one of Alex Lifeson 's beautiful solos and there are quite a few on the album. The track " Red Lenses " is perhaps the most experimental on the album, a bit prog, a bit New Wave but mostly crazy. A combination of instruments, rhythms and styles with Neil Peart 's amazing and versatile drumming that goes between the electronic drum set, the percussion and acoustic set and back, and of course amazing keyboard work that for a moment reminded us of "Talking Heads". Neil Peart also noted that this was the song he had the hardest time working on. He struggled with the words, changed the title many times and had a hard time getting to a finished product that he was happy with. Despite everything he stated that he really enjoyed working on it. Finishes the album " Between the Wheels " with the monotonous and amazing synthesizer riff that just does not come out of the head. The lyrics include the iconic line " Another lost generation " quoted by Ernest Hemingway at the beginning of his book "The Sun Also Rises". In conclusion, "Rush" has undoubtedly come a long way in this album, both in terms of musical style and in terms of production and instruments (electronic drums and synthesizers). Despite escaping the regular patterns that had given them such great success on previous albums, and despite the long distance from their "comfort zone", Rush manages to produce a high-level album that matches the period, which will also help the band survive the 80s and remain relevant. . Anyone looking for the classics " 2112 " and " Moving Pictures " on the album will not find them. At the same time, it is an excellent work in relation to the time in which it was released, and perhaps also the band's best album in its "synth" era. It is interesting to note that in 2009 the band released a live album called - "Grace Under Pressure Live" that includes a performance of the band from 1984 which was until then only available in a video version. This show also came as a bonus disc to the ReplayX3 DVD package. The live album cover is the same only adding the caption "1984 Tour". In 2026 Rush" released the 40th anniversary edition of the album with a new remaster and a fresh stereo mix by longtime collaborator Terry Brown. The mix offers improved clarity, separation, and low-end definition while preserving the album’s character. Notably, this album originally marked "Rush’s" first studio release without Brown in the producer’s role, making his return here particularly significant as he revisits material he wasn’t part of at the time. It also includes the complete 1984 Toronto concert sourced from multitrack recordings, newly mixed for modern formats, alongside high-resolution audio and Dolby Atmos / 5.1 surround versions on Blu-ray. For listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Today we will tell you about the singer and writer Phil Mogg we know from the band UFO. ( Photo: Frank Schwichtenberg) 1. He was born on 15 April 1948 as Phillip John Mogg, in a suburb of London, England. 2. In 1968 he formed the "UFO" together with his two friends, bassist Pete Way and drummer Andy Parker. 3. Initially, the band was defined under the genre of Space Rock and Boogie, but later the style changed to Hard Rock and Heavy Metal. 4. The band's first album was released in 1970. 5. In the early 70s one of the "UFO" warm-up bands was "Scorpions". 6. In 1973 Phil Mogg made the deal of his life. He offered the young and charismatic guitarist of the Scorpions - Michael Schenker to join the "UFO". Michael agreed, left the "Scorpions", and joined the UFO. 7. Immediately upon Michael Schenker 's entry to "UFO" he began to change its sound, with Mogg being smart enough to allow him to influence the band's sound and style. 8. Mogg's collaboration with Michael Schenker lasted from 1974 to 1979, during which "UFO" released 6 important influential albums, the most recent of which is the masterful album " Strangers in the Night ". 9. Unfortunately, Mogg did not get along with Michael Schenker and following a conflict in which each blames the other, Michael Schenker left the band on October 29, 1978, after the band performed in California. 10. Mogg will continue to lead "UFO" at a high level and is the only regular member of the band since its inception, who has also appeared on each of their albums. 11. As part of Mogg's revolving door policy, no less than 41 members will pass through the band over the years, including some more well-known such as Bernie Marsden, Simon Wright, Jason Bonham , and Aynsley Dunbar, and Billy Sheehan. 12. During his career, Mogg has released 22 studio albums along with "UFO", the last of which was in 2017, plus one more cover album, 14 live albums, and 16 compilation albums. (Photo: IMDB) 13. Mogg was also part of the band "Mogg/Way" (with bassist Pete Way ) in which he released two albums in 1997 and 1999, as well as the band "S$ign of 4" with which he released one album in 2002. 14. In 2018 Mogg announced that he was going on a final tour with "UFO" on the occasion of the band's 50th anniversary and that he would then retire. 15. The tour that began in 2019 has not yet ended in light of the Covid-19 crisis. The very last performance of "UFO" will take place on October 29, 2022, in Athens, Greece, where the band made their debut with current guitarist Vinnie Moore eighteen years earlier. 16. The list of musicians who have been influenced by Mogg and "UFO" is extremely diverse and among them (and this is only a partial list) are Slash , Tom Morello , Mike McCready , "Def Leppard", Kirk Hammett , Steve Harris , Billy Corgan and more. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website