After 6 years of silence (the band's longest), "Red Hot Chili Peppers" returns with their 12th album "Unlimited Love" on April 1, 2022. This is the band's first album since the return of John Frusciante , whose last album with the band " Stadium Arcadium " was released in 2006. Frusciante first joined the band in the late 1980s, at a time when they were injured and bleeding, following the death of Hillel Slovak . As a devout fan of the band, Frusciante managed to shape the root Funk of his favorite band into something more melodic that would lead to their big break. John Frusciante has since become an integral part of the band's DNA, although he left it twice, first in 1992 at the height of their commercial breakthrough, after " Blood Sugar Sex Magik ". He returned in 1998 and pushed them to new heights, during their most prolific period that began with " Californication ", so his return on this current album raises high expectations. Does the guitarist who has been so influential on the sound and style of the band and who has tried to make its music more ambitious and artistic do so a third time? On this album, the band returns to work with legendary producer Rick Rubin, who has worked with the "Red Hot Chili Peppers" on the masterpiece albums " Blood Sugar Sex Magik " [1991], " Californication " [1999], " By the Way " [2002], " Stadium Arcadium " [2006]. The band noted that the work on "Unlimited Love" was uplifting and enjoyable. When they started writing the material for the album, they listened to old songs by bands like "The New York Dolls" and "The Kinks" and gradually began to come up with new ideas. They added that they spent hours in the studio, together and separately, to make the best album they could and that they were just grateful for the opportunity to be together in one room. "Unlimited Love" recreates the natural brotherhood of "Red Hot Chili Peppers". It sounds lively, varied, and liberating, but make no mistake, none of the songs in it sound like the big "hits" that were strongly burned into our minds in the 90s and the beginning of the current millennium. The last time Frusciante recorded the double album " Stadium Arcadium " with the RHCP, in 2006, we got thunderous anthems and memorable hits that conquered mainstream radio. In "Unlimited Love", which comes almost 40 years into the band's career, RHCP no longer has to prove itself, so all they have left to do is just enjoy the music. They still sound like no one but themselves. In fact, they sound just like themselves. The goal of Flea , Anthony Kiedis , Chad Smith , and John Frusciante , is to continue from the point where they left off, act as if it was not too late, and go back to their old magic without effort, and if some "hits" came out of it along the way, that'll be great. To the credit of the "Red Hot Chili Peppers," it will be said, that all their strengths are still on this album. Starting with Flea 's lead and bouncy bass, Chad Smith 's precise and powerful drumming, Anthony Kiedis ' direct and blunt lyrics that refuse to mature, and of course Rick Rubin's ingenious production and the long and varied list of songs reminiscent of their masterpieces. But above all, there is the added value of John Frusciante , which crushes us time and time again. Listen to his moaning and minimalist guitar on " Not the One ", notice how beautifully he combines funk and jazz in " Aquatic Mouth Dance " or incorporates psychedelic motifs and replaces the chords with feedback from his guitar in " The Great Apes ", not mentioning his mighty solo there, and you might be able to understand some of his genius. The first single from the album " Black Summer ", was released on February 4, 2022, and it proves the band's motto on this album. Have fun and enjoy doing it together, without stress or commitment. At the same time as the album's release we got the second more sophisticated single " These Are the Ways ", which moves away in its chorus from the funk and gets closer to the post-grunge, but the motto of "Enjoying the Moment" is still preserved here, no matter what style the band plays: The album features 17 songs spanning over 73 minutes. Song list: 1. Black Summer 2. Here Ever After 3. Aquatic Mouth Dance 4. Not The One 5. Poster Child 6. The Great Apes 7. It’s Only Natural 8. She’s A Lover 9. These Are The Ways 10. Whatchu Thinkin’ 11. Bastards of Light 12. White Braids & Pillow Chair 13. One Way Traffic 14. Veronica 15. Let ‘Em Cry 16. The Heavy Wing 17. Tangelo For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On April 1, 1976, "Rush's" fourth album "2112", was released. This is the band's fourth album in a span of two years, since the release of their debut album " Rush ". Following the release of the band's third album " Caress Of Steel ", Mercury Records was not satisfied with the sales of the album and attempted to end the band's contract. After a massive campaign of persuasion, the record company agreed to give "Rush" one last chance, but demanded that the band will go in a more commercial direction. The band members, of course, did not really care about the record company's demands. They were sure they were going to record their last album and preferred to go with their heart and music to the end. So, instead of "bending over" and creating a fun and sweet record, full of "friendly" and commercial songs that would fit the radio, they opened the album with a 20-minute sci-fi epic consisting of seven parts, that tells a dystopian science-fiction story set in "2112", based on the book "Anthem'" by Ayn Rand. The epic musical piece opens up with an instrumental section ( Overture ), which is intended to introduce the listener to the atmosphere of the futuristic story. A synthesizer effect followed by a simple but sweeping riff by Alex Lifeson , with a solistic and unique Geddy Lee 's bass playing and a thunderous and rolling drumming by Neil Peart , with a small tribute to Tchaikovsky's "1812" (4:07). This intro serves as a build-up for the second part of the musical piece ( The Temples Of Syrinx ). The encounter with the "priests of Syrinx" - the bad guys of the story, who took over the planet and led a collective culture that forbids, among other things, listening to music. It is worth mentioning that the album's inner sleeve combines the lyrics of the songs and other reading parts that together complete the full fabric of the story. From there we move on to the third part of the musical piece ( Discovery ), where the protagonist of the story finds a guitar in a cave behind a waterfall. The protagonist of course does not understand what instrument he has found, he begins to play it and is fascinated by the sounds that emanate from it. Enthusiastically, he ran to the priests of Syrinx to tell them about the miracle he had discovered. In the fourth part, the protagonist introduces the guitar to the "Priests" ( Presentation ). It is impossible not to be impressed by Geddy Lee 's amazing vocal range that moves in the dialogue between the soft and caressing voice of the protagonist to the rough screams of "The Priests". The priests protest the "discovery" of the protagonist, who they claim helped the deterioration of the race and they smash the guitar to pieces in front of his eyes. In the fifth part ( Oracle: The Dream ), the protagonist falls into a deep sleep and sees in his dream the prophet (Oracle) who foretells the existence of a different, free and optimistic human culture, freed from the shackles of the "priests of Syrinx". The sixth part ( Soliloquy ) is the hero's monologue, who lusts for the life that the Prophet introduced him to in his dream. The hero can no longer come to terms with the world as ruled by the "priests" and puts an end to his life. The seventh and final part ( Grand Finale ) is a "fast and furious" instrumental piece designed to illustrate a fearsome war. The section ends with the words "Attention All Planets Of The Solar Federation We Have Assumed Control" and allows the listener to choose the ending. Were humans able to win the revolution that would overthrow the evil establishment, or did the "Priests of the Syrinx" suppress the revolt? Although the musical piece "2112" captures the full focus of the album, it is impossible to ignore the other side of the vinyl, which includes 5 great songs. It opens up with " A Passage to Bangkok ". The ultimate stoner song that is supposed to describe a fun journey to all the good places to smoke "marijuana". The title of the song corresponds with the novel "A Passage to India" by E.M. Forster. Alex Lifeson remembers starting to write the melody on acoustic guitar and claims he was influenced by Led Zeppelin's song "Kashmir". After that comes " The Twilight Zone ", in which Neil Peart based its lyrics on 2 episodes of the mythological series "The Twilight Zone", of which he was a big fan. The first, "Will the Real Martian Please Stand Up?" (Episode 28 from Season 2, aired on May 26, 1961), takes place in a diner where the seller at the counter is a three-eyed person. The second, "Stopover In a Quiet Town" (Episode 30 from Season 5, first aired on April 24, 1964), tells the story of a couple who gets drunk at a party and wakes up in an empty house in a deserted city with no residents and at one point they look up and see a huge child, then they realize they have turned into toys. The third track on the second side of the vinyl " Lessons ", begins acoustically and folky. It is somewhat reminiscent of similar pieces by "Led Zeppelin", but it develops into a Hard Rock track with hoarse singing by Geddy Lee . The musical roller coaster ride continues throughout the song, with excellent bass work by Geddy Lee , heavy riffs by Alex Lifeson , and a solo that accompanies us to the end. Rarely in the "Rush" catalog, this song was written solely by Alex Lifeson , lyrics, and music. " Tears " is a romantic and minimalist ballad written exclusively by Geddy Lee . This is the band's first song using a mellotron played by the band's cover designer Hugh Syme. Geddy Lee noted that the song was meant to add a bit of variety and depth to the album. The album ends up with a big bang with " Something for Nothing ", a song that opens slowly and calmly but quickly becomes rhythmic, powerful, and energetic. The lyrics are based on graffiti that Neil Peart saw in Los Angeles during the band's visit to the city. As is well known, freedom of will and liberty are topics that preoccupied Neil Peart , and therefore the caption "Freedom is not for free" immediately caught his eye and soon after became the ending song of the masterpiece "2112". 40th Anniversary edition: In 2016 an expanded edition of the album was released, to mark the 40th anniversary of the album's release. This expanded edition a few covers of the band's songs, the most notable of which is " Overture " performed by Dave Grohl , Taylor Hawkins , and producer Nick Raskulinecz, a fan of the band who produced the album " Snakes & Arrows " and plays here on bass. Another interesting cover version is that of "Alice In Chains" which performed " Tears ". The version was released as a single in 2016. It was the first song the band recorded since the album " The Devil Put Dinosaurs Here ", which was released 3 years earlier. You can also find Steven Wilson's cover version of the song " The Twilight Zone ", "Billy Talent"'s cover for " A Passage to Bangkok " and more. In conclusion, "2112" is an excellent album that greatly influenced the development of the prog-metal genre. Although the band thought the bold move of recording an inconspicuous concept album would lead to the elimination of their musical career, "2112" proved to be a huge success not only in Canada and the US but also in Europe and around the world. "2112" even gave the band full creative freedom in the albums that followed and allowed the band to continue experimenting and developing musically for 40 years of a glorious musical career. For Listening: Spotify , Apple Music . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

A Sneak Peek... And this time, about a fateful phone call that Kirk Hammett received on April 1, 1983, while sitting on the toilet... (Photo: Mick Huston) So on April 1, 1983 (yes, yes, unlike " Modern Talking " this time it's not a prank), Kirk Hammett got a phone call while sitting on the toilet. On the line was - Mark Whitaker, manager of "Exodus" who asked him if he was interested in auditioning for "Metallica". Hammett, who was sure it was an April fools hoax, replied "Yeah, right," and hung up. But the manager insisted and called again. He explained to Hammett that "Metallica's" manager Jonny Z had asked him to call and offer him the job of the lead guitarist of "Metallica". Hammett asked why "Metallica" was interested in replacing Dave Mustaine and Whitaker replied: "His tone sucks, his playing… He's a f --- ing drunk." (Photo: Consequence on Twitter) Whitaker offered to send Hammett Metallica's "No Life 'Til Leather" demo tape by express mail, so he can get ready for the audition, but Kirk Hammett made a few phone calls and got it the next day. He learned all the material by heart and a week later he flew to audition with his amp and guitar. The one who picked him up from the airport was the manager of "Metallica", he drove him to the rehearsal room, Kirk Hammett did his thing and was immediately notified that he is now a part of the band. Guitarist Gary Holt and members of "Exodus" held a farewell party for their friends, full of alcohol. Gary Holt who was a very close friend of Kirk Hammett and even learned a trick or two from him, was at first stunned and disappointed, but later he praised Hammett and even realized that this way he would have greater control over the band, that he wanted to take in an even more extreme direction. 11 days later Dave Mustaine was Fired From Metallica . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On April 1, 1985, the German duo "Modern Talking" released their debut album - "The 1st Album". This is without a doubt one of the leading and most influential albums on the Synthpop of the 1980s, and it is also considered the band's breakthrough album. The story of the album began in 1983 in Berlin, Germany. Dieter Bohlen, who was a producer and composer at the record company "Intersong", decided to team up with singer Thomas Anders and carry out an ambition that had been in his head for a long time. To move from the position of the producer to the position of a performer - to the front of the stage. Then on October 29, 1984, something befell the world of Electronic Pop when the duo released their first single - " You're My Heart, You're My Soul ". Surprisingly and unexpectedly the single was insanely successful. Although it took it 3 months to reach the top of German music, it won first place and stayed there for 6 consecutive weeks, with a total of 25 weeks in the charts, half a year !! This is the band's most successful single to date with sales of more than 8 million copies. And what an amazing song it was. Synchronized and precise beats reserved only for a German drum machine. A cotton ball of programmed synthesizers that hug you from every direction and melodic vocals with amazing vocal harmonies. Following the meteoric success of the first single, the duo released their second single from the album on March 13, 1985 - " You Can Win If You Want ". This single also went straight into the top ten in Germany, and after 3 weeks occupied first place, in a way that strengthens the status of the due. Less than a month later the subject of our review was released and of course went straight to number one in Germany, where it spent four weeks continuing on an 18-week streak in the top ten. But the duo did not stop there and in a direct flight, they also conquered the top of the charts in Switzerland, Austria, Belgium, France, Norway, Sweden, and the Netherlands. This masterful album consists of 9 tracks written by Dieter Bohlen and all of which except for the ballad " There's Too Much Blue in Missing You ", are rhythmic, bouncy, and sweeping. Dieter demonstrates here his excellent writing ability, keeping meticulous compositions as simple as possible to fit the greatest common denominator possible. The monotonous sounds composed by Dieter are enveloped by Thomas with his caressing, soft voice, which ranges from a candied apple to cotton candy. No ear will remain indifferent to the collection of songs that exist on this album. Even if you resist with all your might you will not be able to stop your body from moving from side to side and your feet to follow one another. The songs from this album conquered Europe like a ruthless hurricane and dominated the dance floors unchallenged. Even the remote Ashkelon has swept away. We could not resist them and went out to purchase the album in "Ha-Mashbir Latzarchan", located in the center of the pedestrian mall in the city. The duo's photos adorned the covers of "Lahitun" and "Maariv LaNoar" magazines and their posters were sold on every corner. The due's songs were played continuously, from the mythological radio show "Chadas, Chadis Vemechudash" with Shosh Atari and produced by Tony Fine, through the "Od Lahit" TV show and from there to the "Colosseum" and "Cinema" clubs. But the duo dubbed in Israel as "Dibur Chadish" decided not to stop for a moment, and a few months later, in September 1985, they released their biggest hit " Cheri, Cheri Lady ", which was released on the band's second album "Let's Talk About Love". Now with a hand on your heart, is it true that just reading the name of the song makes you hum it? Do you understand how immortal this song is??? So let's do it together again now - "Cheri, Cheri Lady...." The duo continued to release hits like " Brother Louie ", " Atlantis Is Calling (SOS for Love) ", " Geronimo's Cadillac " and more, but towards the end of their sixth album a lot of tension began to form between the two and Dieter decided to call it off after their sixth album "In the Garden of Venus", released in 1987. But that was not enough to end the two's wonderful career, as ten years later, one of the biggest comebacks in the history the synthpop came about. The duo returned to work together and released 6 more albums that reached the top of the charts in Germany and garnered much success, though not like the first albums. But still. Hard to believe but this is the story of this historic album that came out today ** April 1, 1985, ** and was also the opening chord to the successful career of the duo "Modern Talking". And now do not stop yourself, you must loosen up a little, Just Push Play : And if you also want to dance to the sounds of " Cheri Cheri Lady " then Click Here : And if you've gotten this far, you're probably already understood that this's the April fools hoax by "Face/Off". We are happy to delight and entertain you in these tumultuous days. All the facts in this review are true, the overwhelming descriptions and exaggerations are not! And for those who wondered, the album was released on April 1, 1985. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 31, 2023, "Crown Lands" released their second studio album "Fearless".  "Crown Lands" are. The Canadian duo, built around Cody Bowles ( lead vocals, drums, percussion, flutes, didgeridoo) and Kevin Comeau ( guitars, bass, bass pedals, keyboards, backing vocals) , emerged in the late 2010s with a sound rooted in heavy blues and classic hard rock, quickly drawing attention for their ability to channel a much larger sonic presence as a two piece. Their early material leaned heavily on retro influences, but even then, there was a clear push toward something more expansive and progressive. Their second studio album - "Fearless" is the record where "Crown Lands" stop sounding like a gifted revivalist act and start sounding like a band with the nerve to turn influence into identity. Recorded with producer David Bottrill, it arrives with the kind of scale that usually belongs to bands twice their size and twice their budget. The obvious point of comparison is "Rush", and there is no value in pretending otherwise. "Crown Lands" clearly draw from the same progressive grammar that powered "2112"  and "Hemispheres" : extended structures, dramatic shifts in mood, rhythmic detail, Simultaneous synchronized playing on multiple instruments, and a refusal to treat hard rock as something that has to stay simple to hit hard. But "Fearless" works because it does not freeze in homage. Where "Rush" often chased precision with almost architectural discipline, "Crown Lands" play with more looseness in the attack, more dirt in the groove, and more theatrical heat in the delivery. That difference matters, because it gives the album a pulse of its own instead of reducing it to a very well executed impression. That is why the 18 minute "Starlifter: Fearless Pt. II"  lands so well. It is the kind of opener that could have collapsed under its own ambition, but the song keeps moving. The riffs have weight, the transitions feel purposeful, and Cody Bowles play the drums and sings it with enough conviction to keep the whole thing from drifting into prog cosplay. Kevin Comeau fills the song with all the rest. Guitar lines that do more than decorate, through playing on bass guitar, bass pedal, and keyboards that expand and diversify the sound and respond to Bowles' drumming in a way that recalls the conversational chemistry of classic "Rush" without simply tracing it. As can be seen from the video, one of the most striking elements of the album is the band's performance approach, which is based on synchronized playing on multiple instruments at the same time, sometimes constantly switching between them in real time. This is one of the strengths of "Crown Lands" and to illustrate it, they recorded a video for each song from the album performed live in the studio, where you can clearly see their level of precision, coordination and impressive control over a variety of instruments, which makes their music not only "just" complex but also tangible and alive. At the center of the album is the second epic work, "Context: Fearless Pt. I"  which serves as a deliberate homage to "Rush", unfolding as a multi-part composition that weaves in stylistic nods to different eras of the band’s work. The track’s connection runs deeper than influence alone, with early demo sessions involving Terry Brown, followed by further development alongside Nick Raskulinecz and David Bottrill, all of whom played key roles in shaping "Rush"’s own studio legacy. But In between those two giant works is where "Fearless" really proves it has range beyond the inevitable references. "Dreamer Of The Dawn"  has real forward motion and a bright melodic charge. It will remind you of "Rush" in so many ways, but there is still something more innovative about it, produced by the evolving identity of "Crown Lands". "The Shadow"  leans into a more compact and muscular structure, that leans closer to classic hard rock than the album’s more sprawling progressive pieces. The band’s multi-instrumental coordination becomes especially clear, reinforcing how much of the track’s impact comes from precision rather than studio layering. "Right Way Back"  gives the record a needed jolt of directness. It is one of the most immediate tracks on "Fearless", built around a driving, almost circular groove that gives it a sense of constant forward motion. Compared to the album’s more expansive compositions, the structure here is tighter and more direct, but it still carries the band’s progressive instincts through subtle rhythmic shifts and layered instrumentation. What makes the album sustain a high level over time is "Crown Lands"’ understanding that technical ability is only impressive for a short while unless it serves something greater. Bowles’ high register will naturally remind listeners of Geddy Lee , but he is clearly not trying to imitate him. The opening of "Reflections"  will almost certainly bring to mind that of "Xanadu" by "Rush", and the guitar playing echoes Alex Lifeson , yet there is still an added depth here, something the band brings from within rather than borrowing. The jaw-dropping instrumental " Penny " showcases another side of the album, a more intimate and direct one. It's a track that moves away from the complex progressive structures in favor of a more folky, melodic, and emotional approach. Then "Lady Of The Lake"  opens another door entirely, pulling in a more mythic, classic hard rock atmosphere (Zeppelin-like) without losing the album's progressive backbone. It shifts the tone of "Fearless" into something more atmospheric and mythic, drawing on imagery that feels rooted in folklore and classic fantasy. "Citadel"  closes the album on a more expansive and reflective note, bringing together many of the album’s core ideas into a single, evolving piece. The song leans into a grand, almost cinematic structure, gradually building from atmospheric passages into heavier, more assertive sections, giving it a sense of ascent that mirrors its title. By the end, "Fearless" feels like a career pivot. The self titled debut showed how naturally "Crown Lands" could handle heavy blues rock. This one shows how far they can stretch their writing without losing the song underneath the concept. In the story of the band, "Fearless" is the moment where admiration for "Rush" stops being the headline and starts becoming part of the foundation. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 31, 1976, "Led Zeppelin" released their seventh studio album - "Presence". It's an album that quite a few fans will tend to skip, but it's an excellent album, no less, and our enjoyment of listening to it only grows with time. It is different from Zeppelin's musical landscape, both in terms of sound and production. It starts with the sound of Jimmy Page 's guitars, it continues with Robert Plant 's vocals and it even reaches the playing style of John Paul Jones . So let's tell you 25 facts about this band's different and special album: 1. It was an unplanned album by the band, which was scheduled to go on a world tour to promote the double masterpiece album " Physical Graffiti ". 2. An accident involving Robert Plant on a trip to Rhodes, Greece forced the band to change its plans and work on a new album instead of a tour. 3. The album was recorded while Robert Plant was in great pain, sitting in a wheelchair. 4. Neither Jimmy Page nor John Bonham were at their peak and were suffering from a severe addiction to alcohol and drugs at the time. 5. Due to tax weights, the album was recorded in a small and crowded basement of a Munich hotel, which made it even more difficult for Robert Plant . 6. The main idea was to go back to the band's Hard Rock roots, so this is the band's first album not to include keyboards and acoustic guitars, other than the song " Candy Store Rock ". 7. The album was recorded and mixed within 18 days. The band was under pressure to vacate the studio, that was scheduled for the recording of "The Rolling Stones'" "Black and Blue" album. 8. In order to finish the production work on time, Jimmy Page negotiated with "The Rolling Stones" and received from them two more days in which he only worked on the guitar parts. Towards the due date, Page stayed in the studio for 18-20 hours every day in a row, until he fell asleep. 9. The album cover as well as the inside covers were inspired by Stanley Kubrick's film "2001: A Space Odyssey", and include images of people with an obelisk-shaped black object, which was defined on the inside cover as the "object". 10. The album cover designer thought of calling the album "The Obelisk" after the object that appears on the covers. He felt that the object represented power and "presence", just like the band. 11. The album was ready for release the day before Thanksgiving. Therefore, Robert Plant suggested calling it "Thanksgiving". 12. Both names were rejected in favor of a name that displayed the power and "presence" of the band. 13. All the songs on the album were written by Robert Plant and Jimmy Page , except for " Royal Orleans ", which was written by all four band members. 14. The opening song " Achilles Last Stand " is one of the band's longest songs in its entire repertoire and is the longest opening song in all of its albums. 15. The song includes a combination of 6 different guitar channels to create the "big" sound of the guitar. 16. The lyrics were written by Robert Plant after his trip to Morocco, Greece, and Spain. The music was written under the influence of oriental and Spanish music. 17. John Paul Jones plays on 8-string bass and uses a very unique playing technique with a pick to create the galloping sound. 18. " For Your Life " was written about Robert Plant 's friend who became addicted to drugs. Jimmy Page rarely plays here on the 1962 Fender Stratocaster guitar. 19. The song " Royal Orleans " is based on a hotel in New Orleans, that was a favorite of the band. It tells of a guy who picks up a girl at a bar and the next day finds out she's a man. Just like "It's not a lady, it's a gentleman" by Shalom Hanoch... 20. Contrary to fan rumors and speculation, the song " Nobody's Fault but Mine " was inspired by blues singer Blind Willie Johnson. Jimmy Page 's special guitar sound in the intro was achieved by combining 3 different guitar recordings each in a different octave. 21. " Candy Store Rock " was influenced by 1950s rock. Robert Plant wrote the lyrics while borrowing from Elvis Presley's songs. The song was written within an hour at a studio in Munich. This is one of Planet's favorite songs from the album. 22. The lyrics to the song " Hots On for Nowhere " with the rockabilly riff were written by Robert Plant in Malibu during the injury recovery period. They were written about his relationship with Jimmy Page and Peter Grant the band manager. 23. " Tea for One " was written by Robert Plant about the difficulties he went through during the band tours. "Tea for One" illustrates the loneliness and longing for home. It's a blues song that is very reminiscent of the legendary "Since I've Been Loving You". 24. The album went straight to number one on the Billboard album charts, but did not stay there long. 25. It does not include "hits" and most of its songs were not played in the band's live performances. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 31, 1980, "Scorpions" released their seventh studio album "Animal Magnetism". Following the breakthrough of "Lovedrive" , "Scorpions" entered a phase where expansion gave way to control. Instead of pushing further into the bright, high-energy direction that defined that album, "Animal Magnetism" tightens everything down, leaning into groove, tension, and atmosphere. It feels like a conscious recalibration, one that reveals a band more interested in discipline than excess. That shift is reflected in the recording approach. Working again with Dieter Dierks in Cologne, the sound becomes denser and more grounded. The guitars of Rudolf Schenker  and Matthias Jabs move away from sheer momentum and toward weight and repetition, while Klaus Meine  adapts his vocal delivery to match, sounding more restrained and deliberate throughout. Compared to "Lovedrive" , the album feels tighter, darker, and more controlled. The opening "Make It Real"  sets that tone immediately, balancing melody with a firm rhythmic backbone rather than explosive energy. It leads into "Don't Make No Promises (Your Body Can't Keep)" , which carries a sharper edge, driven by a more aggressive riff and a sense of forward motion that briefly lifts the album’s intensity. From there the album slow down with "Hold Me Tight" , where the band leans into a more direct, repetitive structure. With "Twentieth Century Man" , the mood begins to shift. The pacing settles, and the groove becomes more deliberate, emphasizing repetition and tension over speed. That darker direction fully takes hold in "Lady Starlight" , the album atmospheric ballad where Rudolf Schenker  steps forward with a rare lead guitar performance. The phrasing is measured and expressive, adding a different emotional dimension to the album with a strings and horns arrangements . The second half opens with "Falling in Love" , which brings back a more immediate and energetic feel, though still grounded in the album’s controlled approach. Starting with a short A cappella "Only a Man"  follows by pulling the tempo back again, allowing the tension to build gradually rather than explode. That sense of control reaches its peak in "The Zoo" , built around one of the band’s most recognizable riffs. The talk box effect played by Matthias Jabs adds a mechanical texture, reinforcing the song’s urban feel, while the slow groove demonstrates just how much power the band can generate without speed. The album closes with the title song "Animal Magnetism" , a track that strips everything down to its core corresponding with the psychedelic-krautrock early days of " Lonesome Crow ". Its slow, deliberate pacing and minimal arrangement create an uneasy, almost hypnotic atmosphere, leaving a lasting impression that defines the record’s identity. The cover artwork, controversial upon release, mirrors the album’s themes of instinct and control, reinforcing the tension that runs through the music. Positioned between "Lovedrive"  and "Blackout" , "Animal Magnetism" does not aim for immediacy. Instead, it's proving that restraint can be just as powerful as intensity. It stands as a crucial step in the evolution of "Scorpions", even if it often sits in the shadow of the albums that surround it. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 31, 1978, "Genesis" released its ninth album "... And Then There Were Three ...", which began their "journey" from the heart of the consensus of Progressive Rock to the bear hug of Pop and mainstream. Very symbolically this "journey" of "Genesis" from Progressive Rock to Pop, is well reflected in the sequence of songs on the album. It begins with " Down and Out " - a complex prog-rock section composed of asymmetrical time signatures and frequent rhythm changes and ends with the big hit " Follow You Follow Me ". These two pieces, co-written by all three members of the band, symbolize the two ends of the musical spectrum of "Genesis". The first is the complex progressive from which the band comes from and the last is the simple and catchy pop to which it aims. This is the album that gave the band their first big hit " Follow You Follow Me ". After that, there was no way back. The band members tasted the sweet taste of success and realized that to reach a larger audience they needed to change. They enjoyed the hug they received from the audience following the release of the song and it felt like an addictive drug, that was slowly leading the band away from its Progressive roots. This process also fits well with the spirit of the musical period, which was completely unforgiving towards complex and long songs. Punk raised its head in Britain, Disco and Pop dominated the charts, so this journey "from Genesis" to mainstream" was necessary to survive the progressive "Ice Age" that befell the musical world. The name of the album refers to the number of band members who were reduced in this album to only three, after the departure of guitarist Steve Hackett . In July 1977, "Genesis" completed the tour to promote the album " Wind & Wuthering " and the band turned to the studio to work on their second live album "Seconds Out". While producing the final mixing for the album, Hackett left the band with the goal of continuing his solo career. He enjoyed working on his first solo album "Voyage of the Acolyte" and especially the result. He felt that "Genesis" did not allow him to reach his full potential and that the musical direction in which it was going is forcing him to musically compromise, so he decided to leave. In the absence of Steve Hackett , the band considered adding a guitarist to their shoes, but Mike Rutherford felt confident enough in his skills to take on the lead guitar parts beyond playing the bass, feeling he would even enjoy the challenge. Indeed, in the end, the trio decided not to add more musicians. They had the necessary experience in writing and performing some of the great pieces of the band in the past and they felt they could do everything themselves in the studio. The fact that they managed to survive the departure of the charismatic leader Peter Gabriel , only contributed to their confidence that they could do it again. Later the band members will describe the recordings of the album as a pleasant experience. As a band of three, each had a clear and defined role, which reduced friction and clashes and contributed to the creative process. As mentioned, the album marked a change in the band's style, moving from the Progressive roots towards shorter and simpler songs, that suited the period. In addition, the change in the band's sound is noticeable on this album. In the absence of Steve Hackett , Mike Rutherford wanted to formulate his style of playing. He did not try to follow Hackett's unique guitar style. Rutherford was also not a lead guitar player, so naturally, the guitar parts became thinner and simpler on this album, leaving a large space for Tony Banks ' keyboards, which became more thick and heavy and dominated the album's sound. "... And Then There Were Three ..." does not rank highly among heavy prog fans. To be honest, this album is not even really loved by the band members themselves, especially not by Phil Collins . It may not be one of the band's perfect albums, but we certainly do not understand what the fuss is about, we love it very much. (Photo: Graham Wood) The album features some great tracks, also in terms of the more "Progressive" "Genesis". One of them is the mighty opening track " Down and Out ". A complex track that begins quietly with Tony Banks ' keyboards "carpet", but very quickly evolves with Mike Rutherford 's catchy guitar riff at 0:30 and Phil Collins ' brutal drum attack that lands on us after four bars and gives the signal for the ensuing onslaught. A section with asymmetrical time signatures, rhythm changes, syncopations, and breaks led by Tony Banks ' heavy keyboard riff and Phil Collins ' powerful drumming, which also manages to match his singing to the absolute madness that takes place in this song. Immediately after that comes the quiet " Undertow " written by Tony Banks . This is the first song on the album written solely by Banks and the "Genesis" first which was written by a single band member. The band originally planned to develop the song even further, but the basic track of guitar, drums, and piano, along with the simple chorus, was strong enough to leave it as it is. Banks plays a Yamaha electric grand piano. Interestingly, he wrote a two-minute introduction to the song, but encountered disagreement from his friends, who thought there were enough keyboards on the album. Banks did not give up and reworked the track as part of "From the Undertow", taken from his first solo album "A Curious Feeling". We increase the tempo with " Ballad Of Big " originally called "Ballad Of Big Jim". The one who wrote the lyrics is Phil Collins who followed the humorous writing of "Genesis" from the days of Peter Gabriel , telling of a giant named Jim who is scared of everyone. The swing continues with the next quiet song " Snowbound ". Originally the song was more rhythmic and Phil Collins even recorded his drum roles at a much faster pace, before the band decided to slow them down to suit the style of the song. Collins and Rutherford described the song as "romantic", with lyrics about a man wearing a "snowman" outfit to hide from people, but while inside the costume, he becomes paranoid and discovers he can not get out. " The Burning Rope " ends the first side of the vinyl. This is one of the most beautiful and more Progressive tracks on the album. While Tony Banks was writing the song, he decided to shorten it instead of stretching his arrangements to an extended piece, as he wanted to avoid being compared to the "One for the Vine" from the previous album. The song features a guitar solo by Mike Rutherford , which he claims was a challenge for him, though he was pleased with the result, which he thinks is his best on the album. The other side of the vinyl opens up in a storm with " Deep in the Motherlode " and Tony Banks ' great keyboard work. How much beauty in one song? The melodic and catchy keyboard line, the monotonous and mesmerizing rhythm, the quiet transition section, the eruption that followed, and Collins' amazing singing - just a musical charm. The song was written by Mike Rutherford and tells the story of a man's journey through the gold rush in America. Interestingly, the words "Go West young man" refer to the sentence of Horace Greeley, who, on July 13, 1865, published the article: "Go West, young man, go West and grow up with the country." The swing continues with the next soft track " Many Too Many " released as the second single from the album. This song marks the departure of "Genesis" from the progressive rock style, as it features the band's last use of a Mellotron ever. " Scenes from a Night's Dream " brings us back to a faster and happier rhythm. It is based on a childhood dream inspired by the cartoon character "Little Nemo", which Collins bought the book about for his brother. The song evolved from a musical idea by Tony Banks who wrote the first draft of the lyrics, but he gave up in the middle because he felt they did not fit. Instead, the band settled for the lyrics that Collins suggested, which also influenced the different melodies which included more harmonies. " Say It's Alright Joe " was among the last written for the album. Mike Rutherford started writing it but at one point got stuck until Tony Banks added the keyboards and thus they all hit back to work on the song. " The Lady Lies " shows how talented Mike Rutherford is as a bassist. Listen to his wonderful work in this song under all the keyboards carpets and you will understand what an excellent and underrated bassist he is. The music and lyrics written by Tony Banks tell the story of a man who saves a woman from the mouth of a monster, but later the woman seduces him and leads him to an unknown fate. The album ends up with the hit " Follow You Follow Me " led by a guitar riff written by Mike Rutherford adorned with the flanger effect. Rutherford testified that his wife was the inspiration for the song, following the longing and distance from her on the band's tours. The song became the band's first hit which entered the top ten in the UK and its first hit in the top 40 in the US. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Forever Young... (Photo: Paul Natkin) Today we would like to pay tribute to one of our favorite guitarists Angus Young, with some interesting facts: 1. He was born in Glasgow, Scotland on March 31, 1955. 2. He has seven other brothers and sisters, including Malcolm Young who was born two years before him and founded "AC/DC" with him. 3. The five boys in the family were involved in music. The elder, Stevie, played accordion and saxophone, Alex and John were the first to play guitar. Alex also formed the band "Grapefruit". George followed them and became a member of "The Easybeats". Malcolm and Angus were influenced by George and also chose the guitar. 4. In June 1963, after a very hard and snowy winter, Angus' extended family emigrated to Australia. 5. He dropped out of school at age 15 and started working in a soft porn magazine "Ribald". 6. The first instrument he played was a banjo, he arranged it so that it would have six strings. 7. Later his mother bought him a second-hand old and battered classical guitar. 8. He bought his first "Gibson SG" guitar in 1970. It was also a second-hand guitar. Angus still owns it and it is one of his favorites. 9. He did not always play on "Gibson SG". He started with Gibson Les Paul and he also has a Fender Telecaster in his arsenal ... 10. His favorite musicians as a child were Chuck Berry and Louis Armstrong. He loves jazz and has repeatedly noted that Armstrong is one of the greatest musicians of all time. 11. Chuck Berry was also the one who inspired Angus' "Duck Walk" on stage. 12. His first band was "Kantuckee". He later went on to make a different variation of the band called "Tantrum". 13. The first album Angus played with Malcolm, even before the formation of "AC/DC", was "Tales of Old Grand-Daddy", by the band "Marcus Hook Roll Band". 14. The band was formed by their younger brother George Young, who played bass and piano, and George Vanda, who was George's friend who played the lead guitar. The band also included Angus' older brother, Alex Young, on saxophone. 15. In 1973, Angus and his brother Malcolm Young formed "AC/DC". He was 18 and Malcolm was 20. 16. He chose the band name along with Malcolm after his sister Margaret saw the words "AC/DC" embedded on the back of her sewing machine. 17. The band's first album " High Voltage ", was released in 1975, in Australia only. 18. The album was produced by George Young and his friend Harry Vanda, who were the two main songwriters for the "Easybeats", and among other things wrote its biggest hit "Friday on My Mind". 19. George and Harry will assist and later produce all of the band's albums up to 1979. 20. The idea to wear schoolboy clothes was given to Angus by his sister Margaret, since Angus used to play the guitar as soon as he returned from school and even before he took off his school uniform. 21. Before receiving his sister's advice, Angus appeared on stage dressed as Spider-Man, Zoro, Gorilla, or Superman which received the nickname - "Super-Ang". 22. In the first publications about the band, Angus was introduced as born in 1959 and not 1955, to add to the image of his schoolboy. (Photo: Michael Putland) 23. Beyond the famous duck walk Young used to take off the top of his school uniform during the show, put his fingers over his head as an image of a devil with horns, and sometimes show his butt to the audience. 24. During the filming of the song "Who Made Who" Angus discovered that he suffers from a fear of heights. It happened when the director asked to tie him with a rope and lower him from a great height to the stage. 25. Angus was a good friend of the well-known virtuoso keyboardist Keith Emerson from the Progressive rock supergroup "ELP". Emerson supported and encouraged Angus and his friends during their difficult time after Bon Scott 's death. 26. Angus does not drink alcohol, he is more likely to be caught drinking milk, he swallowed gallons of it when he was young and loves it to this day. 27. He is responsible for quite a bit for the band's unique sound and was a major part of writing a significant portion of its songs and immortal riffs. His energetic playing style has influenced many guitar players. 28. Angus usually plays through a Marshall amplifier without any guitar effects. 29. He probably influenced "Green Day" because he appears on the album cover of " Dookie " on the right side on the roof, playing the guitar. 30. His favorite song to play from the band's repertoire is " Back In Black ". 31. He was inducted into the "Rock and Roll Hall of Fame" along with "AC/DC" in 2003. 32. That same year, on June 13, the newsletter CMU UNLIMITED MEDIA mistakenly announced that Angus had passed away at the age of 48. 33. Angus released along with "AC/DC" 17 studio albums, 4 live albums, and one EP. 34. "AC/DC" has sold over 200 million albums worldwide making it one of the best-selling bands in the world. 35. The album " Back In Black " alone has sold about 50 million copies worldwide and is in second place in the list of best-selling albums of all time. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Today we would like to tell you about the singer and musician Ehud Banai, one of the most important and influential artists in Israeli music. (Photo: Udi Even Haim) 1. He was born on March 31, 1953, in Jerusalem to actors Yaakov Banai and Miriam Banai. 2. As early as 1962 he starred in the Israeli film "Sinia" in which he played a Badaui boy. 3. He served in the Nahal and as part of his service, he stayed at Kibbutz Nir Eliyahu where he lost his good friend Bnei Brak, an event that is reflected in his books and poems. 4. For many years Ehud tried to break into the music industry, he tried to win the support of many producers, he tried to get accepted to the band "Natural Selection" and even almost collaborated with Zohar Argov, but all failed. 5. Only in 1985, when Ehud was at the age of 32, did he succeed in breaking into Israeli music and broke to successful with the two songs: "City of Refuge" and "The Golden Calf" which entered his debut album "Ehud Banai and the Refugees" two years later. 6. In the same year he wrote the lyrics to the famous hit of the "Mashina" band "Night Train". 7. In 1986, Ehud participated with his band "The Refugees" in the rock opera "Mami" which was a great success, where he collaborated with guitarist and creator Yossi Elephant, who will later accompany him in the band "The Refugees". "שימוש על פי סעיף 27א לחוק זכויות יוצרים" 8. In 1987, Ehud released his debut album "Ehud Banai and the Refugees", which is considered one of the most important albums of the time and a milestone in Israeli music. He released the album together with guitarist Yossi Elephant and several other friends who felt like "refugees" of Israeli society, given the refusals they received and the difficulties of integrating into Israeli music. 9. The album combines protest and rage songs with longing for different times and journeys that Ehud shares experiences. Immortal songs came out of the album such as: "Your Time Has Passed", "Black Work", "Markistan" and "Mix the Plaster". 10. In 2012 the students of the music school "Muzik" released a tribute album called "Black Work" which included cover versions of the songs of the album. 11. In 1989, Ehud released his second album "Close". If the first album was characterized by an innovative sound that combines rock music with oriental music, in this album Ehud gives oriental music a more dominant influence. The album included prominent songs such as: "1 Pear Street", "Everyone Knows" and "Northern Winds", and it was produced and played by Ehud on several instruments, joining him the musician Oved Efrat who is known for the band "The Click", "Light as Demons" and more. 12. In the same year, Ehud also released a record with his father, Yaakov Banai, called "Under the Jasmine Discourse" and dedicated to legends with Persians, adapted and told by Ehud's father. On the record, Yaakov tells stories he heard from his grandfather, Eliyahu Banai, and Ehud accompanied him on playing the ood. 13. In 1992, Ehud's third album "The Third" was released. The album included successful singles such as: "David and Shaul" which he wrote about his friend the guitarist Yossi Elephant who has since passed away, "Florentine", and "Do not be afraid". 14. In 1996, Ehud's fourth album, "Soon", which included the songs "Running Film", "Published", "I'll Bring You", "Come Home", and Ehud's biggest hit to date, " Mahri Na" which is also known in the words that open it "the boy is thirty years old". 15. In 1998, Ehud's fifth album "Tip Tipa" was released, which was a collection of songs and instrumental pieces from various films and recordings. Among other things, the album includes the songs "Tip Tipa", "Spark of Love", "The Star of the Gush Dan District" and more ... 16. In 2001, Ehud published a book called "Remembering Almost Everything", which includes impressions from various travels, events, and anecdotes from the course of Ehud's life. 17. In 2004, Ehud's sixth album "Answer Me" was released, this is Ehud's most successful album which included the hits: "Canaanite Blues", "Today", "Borders", "Brooklyn" and "Hebroman". Following the album, Ehud won the title of Singer of the Year on the annual Hebrew chart of the radio station Reshet Gimel, and the titles "Singer of the Year", "Lyricist of the Year" and "Album of the Year" at the Channel 24 Awards. 18. In 2005, Ehud put on two plays, "The Butterflies of Concrete" and "The Butterflies of the Sprout", in which he performed under the name "Ezra Tisona". In these shows, he played with his band mainly cover versions of songs by composers who influenced him. 19. In 2006 he released a triangular collection called "Continues to Travel". A collection of 39 songs as performed in live performances. 20. In 2008, Ehud released an album of songs called "New Song". In this album, the lyrics are based on traditional lyrics - hymns, piyyutim, and prayers. The inspiration for the album was drawn by Banai from his branched family, the synagogues on the street where he lives, and the culture of which he was a part. 21. In the same year, a documentary film called "Must Move - Ehud Banai and the Refugees" was also released, directed by Avida Livni. A film that describes Ehud's path to his debut album, the difficulties, frustrations, and considerations he went through until the collaboration with guitarist Yossi Elephant and the creation of the album. 22. In 2011 Ehud released his eighth album "Shards of Night". The album has 14 tracks that stand out: "I go", "Like a bird and Sarah" and "Until next time". 23. In 2012 he published a book called "This is the Place", consisting of six short stories ranging from his present life to memories of his past. 24. In the same year, his album "On Another Horizon" was also released, with renewed recordings of his songs in new arrangements by musician Ami Rice. The album also included two new songs: "The Environment", "Time and Situation" and "Through a Song". 25. In the same year, Ehud began hosting a weekly program on the Gali Tzahal radio station called "This is the Place", in each program Ehud deals with one topic, and combines songs and stories on this topic in the show. 26. In 2016, together with the band "The Snake Fish" he released the single "Earthquake". 27. In 2017 he released together with Berry Sakharof the album "She Performed Like the Wind", which includes 12 songs translated from Ladino, mostly by Sakharof and Banai. 28. In the same year, Ehud also released a studio album called "EB = MC²", together with the English musician Michael Chapman. 29. In 2018, Ehud received the "Lifetime Achievement Award for Creator" in the name of Ehud Manor. 30. In January 2020, Ehud released a new album called "Approaching". 31. Ehud has written music for quite a few movies, including: "A Sick of Love from Gimel Housing", "James' Journeys in the Holy Land", "The Lonely Samaritan" and more ... 32. In 2021 he was a guest on the song "On the Verge of the Well" from the album "A Piece Of Light" by Berry Sakharof and Dudu Tassa. Listen to Ehud's latest album "Going Up" on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

He stands out as one of the most exceptional, highly regarded, and influential guitarists in the realm of Israeli rock. Additionally, he possesses notable talents as a skilled writer and composer. This remarkable blend of technical prowess, emotional expression, and melodious creativity is instrumental in shaping Iron Flock's contributions to Israeli music. Photo: Dror Berko The sheet falls short in capturing the extensive legacy of the iconic guitarist Yitzhak Klepter, also known as "Churchill." Here are 50 facts shedding light on both the man and the legend: 1. Born on March 31, 1950, in Haifa. 2. From an early age, he immersed himself in music, with a musical household where his mother sang, his father played the violin and guitar, and his brother handled the accordion. 3. His first instrument was the accordion, picked up at the age of 7. 4. Transitioned to playing the guitar at the age of 13, a musical companion ever since. 5. Formed the "Churchills" band at 15, along with Chaim Romano, Miki Gavrielov, and others, adopting the band's name from Klepter's school days nickname, "Churchill." 6. Became one of the pioneering "rhythm bands" in Israel during that era, performing in clubs across the country. 7. In the early days, Klepter focused on rhythm guitar, with Chaim Romano handling lead guitar duties. 8. Remained with the band until May 1968, when he enlisted in the IDF. 9. Concurrently, Klepter led guitar for another rhythm band, "The Styles," where he coined the band's name. This period also marked his friendship with guitarist Uzi Fox. 10. Post-IDF service, worked as a session guitarist, contributing to various artists anonymously due to contractual constraints. 11. Joined the "Apocalypse" band in 1971 alongside Zohar Levy, Eli Magen, Gabi Shoshan, and Miri Aloni, releasing their sole album in 1972. (Photo: YouTube) 12. The album achieved considerable acclaim, even earning the "David's Violin" award. It features enduring Klepter solos in tracks such as "The Tree Is Tall," "Under the Eucalyptus Tree," "There Is No Room for Two on a Power Pole," and "Open the Door for Me." 13. Despite the artistic triumph, the band faced commercial challenges, leading to its dissolution. Klepter returned to his role as a studio player. Notably, he played and arranged some tracks on Arik Einstein's "Jasmine" album, including "How Good You Came Home." Additionally, he contributed to Zvika Pick's second album in the song "Signs." 14. Subsequently, Klepter attempted to form a trio with Zohar Levy, his fellow member from the "Apocalypse" band, along with Shlomo Yidov. 15. In 1973, he abandoned the trio idea and joined the "Kaveret" band, heeding the persuasions of Danny Sanderson. Photo: Ilan Besor 16. Drawing from his background in "rhythm bands," Klepter brought his wealth of experience to the "Nahal Veterans" group. Conversely, the band represented a departure in style for Klepter, involving more accessible and humorous material. 17. Within the band, Klepter contributed to memorable melodies such as "Yu Ya," "She Is So Beautiful," "Tango Frogs," "That's How She Is in the Middle," and "Go Tell Grandma." He also composed and sang solo in the song "The Idiot." 18. Klepter had the opportunity to perform with the band at the 1974 Eurovision Song Contest, presenting the song "I Gave Her My Life." 19. In 1976, "Kaveret" disbanded, leading to a decline in Klepter's financial and mental well-being. 20. A turning point for Klepter occurred in 1978 when Jonathan Geffen extended an invitation to participate in his show "Living Room Talks." Klepter contributed songs like "Bedouin Love Song," "Green Island in the Sea," "Forever I Will Wait," and the segment "Picture." 21. During the same year, he composed "Simple Account" and "Let's Stay" for Gidi Gov's debut album. 22. 1978 proved to be a bustling year for Klepter as he also collaborated on a song from the album "The Sixteenth Lamb." 23. In 1979, he teamed up with Shlomo Yidov and Shem Tov Levy to form the ensemble "Tuned Sound," which featured the unforgettable theme song written and sung by Klepter. 24. In 1980, Zvika Pick's album "The Mirror" was released, featuring the participation of Klepter. 25. That very year marked the commencement of Klepter's solo career. It began with a broadcast record released in 1980, followed by his debut album "Isaac" which included tracks like "My Love Is Not His Love," "Me and Then," and "We Met." 26. In 1981, he wrote and composed the song "If You Are Around" for Eric Sinai's album "Heavy Shadow." 27. 1982 saw Klepter as a member of Yigal Bashan in the duet "We Are Both Together." 28. During the same year, he engaged in his first substantive collaboration with Arik Einstein on the album "Sitting on the Fence." Klepter composed all the songs on the album and received credit for the album title. 29. Continuing the collaboration with Einstein, the album "Fragile" was released in 1983. Once again, all the melodies were crafted by Klepter, who earned credit on the album cover. 30. Klepter's collaboration with Einstein extended to several albums, including "Time Out," "Loves to Be at Home," "On the Border of Light," "I Was Once a Child," "I Have Love," and more. 31. Notably, in 2011, Arik Einstein released the collection "Arik Einstein, Sings Yitzhak Klepter." 32. The collection comprised songs composed by Klepter for Arik Einstein, along with a cover of Einstein's song "Tuned Sound" and a new song, "Laboratories for Freedom," co-composed by Klepter and Guy Bucati. 33. The collection's booklet emphasized Arik's initiative, expressing how he rediscovered the magical and special nature of their collaboration upon revisiting their albums together. 34. In 1984, Klepter released his second studio album in his solo career, "Alone." Unfortunately, the album faced commercial failure, leading Klepter into a period of depression and contemplation of retirement. 35. Serendipitously, "Kaveret" reunited that year for a significant show, thrusting Klepter back into the limelight and improving his financial situation. 36. Over the next four years, Klepter continued composing songs for various singers, including Gali Atari, Arik Sinai , and Rivka Zohar . 37. In 1988, he released his third solo album, "Sustaining," featuring the hit "Free Imagination." However, this album also experienced commercial setbacks. 38. From the late 1980s and early 1990s, Klepter shifted his focus to composing for other artists, including Chaim Moshe, Yael Levy, and Roni Turgeman. 39. In 1993, he released his fourth solo album, "Those Streets." During the same year, he also unveiled his collection "Isaac, Alone, Holds On," encompassing songs from his first three albums. 40. 1998 saw Klepter's participation in another reunion of "Kaveret," resulting in the release of the album and DVD "Kaveret in the Park." 41. The members of "Kaveret" organized a fundraiser for Klepter two years later to support him during the recovery from surgery to remove a cancerous tumor from his head. 42. In 2008, Klepter received the Lifetime Achievement Award as a composer in the field of Hebrew songs. 43. During the same year, he was further honored with an entire episode of the show "A Star Is Born" dedicated to his songs, where he also made an appearance. 44. In 2009, his live album "Free Imagination" was released, featuring a recording from 1989. 45. In that same year, another live album, "We Met," featuring Klepter, Alon Olarchik, and Ephraim Shamir, was released. 46. In 2013, Klepter participated in yet another reunion of "Kaveret," performing in five different shows across the country. 47. Throughout the 2000s, Klepter collaborated with various artists, including Arik Sinai, Gali Atari, Nurit Galron, Shlomi Shaban, Hadag Nachash, and more. In 2019, he collaborated with the band "Swan Band." 48. In 2012, Klepter recorded a remake of the song "Free Imagination" for the soundtrack of the movie "Cannon Flesh." 49. Klepter also composed music for several other Israeli films, such as "Road Without a Dead End" (1982), "Lena" (1980), and "Fictitious Marriage" (1988). 50. In his later years, Klepter faced health challenges, particularly chronic lung disease. He passed away on December 8, 2022, at the age of 72, in his home. We have prepared a playlist that includes selected songs he has written and/or performed during his tremendous career. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Guitar legend Eric Clapton was born on March 30, 1945, in Ripley, England. This is the first time in our entire review history that we have been left speechless. (Photo: Ron Pownall) 22 studio albums as a solo artist. 23 studio albums as part of groups and lineups. 16 live albums as a solo artist. 21 compilation albums and boxes. 14 soundtracks. 9 lineups in which he was a member of, including: 1. The Yardbirds. 2. John Mayall & the Bluesbreakers. 3. Cream. 4. Blind Faith. 5. Delaney & Bonnie & Friends. 6. Derek and the Dominos. 86 recorded collaborations with various artists , including (and this is only a partial list): "The Beatles", George Harrison , John Lennon , and the Plastic Ono Band, Paul McCartney , Ringo Starr , Artha Franklin, Roger Waters, Phil Collins , Sting, Stephen Stills , Carlos Santana , Elton John , Rod Stewart , Brian Wilson , Kate Bush, Buddy Guy, B.B. King, J. J. Cale and more and more... How do you even begin to review such a legend? There is no doubt. The famous graffiti writer from 1966 was right! - "CLAPTON IS GOD", otherwise there is no logical and rational explanation for this man's tremendous catalog, especially considering that for four years, from 1970 to 1974, which was supposed to be the pinnacle of his career, he was inactive due to drug and alcohol problems. (Photo: Classic Rock In Pics on Twitter) So this time we decided to pick up with tweezers 35 interesting facts about "The Guitar Legend", Eric Clapton: 1. Until the age of 9 he was sure his mother was his sister. His mother Patricia gave birth to him at the age of 16 as a result of a relationship with a married man, and he was raised by his grandparents. 2. The first band he joined at age 17 was "The Roosters". 3. He was nicknamed "Slowhand" in the days of the "Yardbirds", which he joined when he was only 18. This was due to the time it took him to replace the guitar strings, which he often tore due to his playing style. "Slowhand" is also the name of his fifth solo album. 4. Clapton was very critical of his playing and it almost made him abandon music in 1965. At the age of 20, he was interviewed by a newspaper and he asked not to be flattered because he does not think he plays well. He later traveled to a remote village, secluded himself, and played for hours on end every day until he felt ready and joined "John Mayall & the Bluesbreakers". 5. John Mayall used to change guitarists "like socks", Clapton was the only one who was not fired by him. After releasing the album " Blues Breakers with Eric Clapton " Clapton left and formed "Cream". 6. "Cream" which is considered the first supergroup in music, was named so because its three members were thought to create the best blues ensemble in the world. The "whipp cream" of music, the crème de la crème. 7. However, one day when Clapton was sitting in a restaurant reading an article in the "Rolling Stone" magazine about "Cream", in which he was defined as the "master of clichés", he fainted on the spot. When he woke up he decided to break up the band. 8. Clapton wasted no time and immediately after the breakup of "Cream", he turned to form the next supergroup with Stevie Winwood - " Blind Faith ". 9. Clapton did not want to sing at first in "Blind Faith", not even the ones he wrote. He noted that Winwood was very angry with him, but he just felt he was not a good enough singer. 10. The band's first-ever performance was held in front of over one hundred thousand people in Hyde Park, London. 11. In an interview about "Blind Faith" Clapton noted that the band made all his friends very rich, but in his case, all the money went to drugs. 12. Clapton disbanded "Blind Faith" after falling in love with their warm-up band "Delaney & Bonnie". He started performing with them and later he will admit that he owes his solo career to Delaney who convinced him that his voice is a gift of God and he must use it. 13. The members of Clapton's next supergroup - "Derek and the Dominos" met during the Delaney & Bonnie & Friends tour. These were Bobby Whitlock (vocals and keyboards), Carl Radle (bass), and Jim Gordon (drums). Another guest player who also influenced Clapton's playing and helped write the riff for the famous "Layla" was Duane Allman of the "Allman Brothers". 14. Clapton wanted to be an equal member of this band when he saw before his eyes "The Band" as a role model. 15. Some say that the band's name was born due to a typo since it was supposed to be "Eric and the Dominos". 16. He released his first eponymous solo album " Eric Clapton " in August 1970. 17. Clapton did not receive credit for one of his most famous solos. It was "While My Guitar Gently Weeps" of "the Beatles" " White Album " in which he was a guest. Due to contractual issues between the record companies, he could not get credit for his contribution. 18. Clapton and George Harrison have written two of the greatest love songs of all time about the same girl - Patty Boyd. George Harrison 's "Something" and Eric Clapton's "Layla". 19. He wrote the song "Tears In Heaven" in memory of his son Conor, who fell from the 53rd floor of an apartment building in New York when he was only four years old. The song first appeared on the soundtrack of the movie "Rush" and was released as a single about a week before the recording of Clapton's famous Unplugged performance. 20. Clapton's Unplugged Album is the best-selling live album of all time. 21. His second album as a solo artist "461 Ocean Boulevard", is named after the house where he lived in Miami. The house is photographed on the album cover. The "Bee Gees" later moved into the house. 22. Clapton is a living legend not only on Earth but also in space. There is an asteroid named after him - "Clapton 4305". 23. The song "Here Comes the Sun" written by George Harrison for the Beatles, was written in the backyard of Clapton's home. 24. He is the only artist to have been inducted into the "Rock Hall of Fame" three times. In 1992 for his membership in the "Yardbirds", a year later for his membership in "Cream" and in 2000 as a solo artist. 25. Clapton is also the only artist to have been part of three successful and influential supergroups: "Cream" with Ginger Baker and Jack Bruce, "Blind Faith" with Steve Winwood, Ginger Baker , and Ric Grech - "Derek and the Dominos" with Jim Gordon, Bobby Whitlock and more. (Photo: Hulton Archive) 26. Not many know, but there was also a fourth supergroup, in which Clapton first collaborated with Jack Bruce and Steve Winwood. "Eric Clapton and the Powerhouse" was the band formed before "Cream" in 1966. They were privileged to record several songs that entered the "What's Shakin" collection released in June 1966. 27. During his Great depression in the early 1970s, when he was heavily addicted to heroin and alcohol he played a whole show lying on his back and with a microphone lying next to him. 28. On June 24, 1999, Clapton sold 100 guitars from his private collection, including "Brownie", the guitar he played on the recording of the song "Layla". he donated the $ 5 million he received from the sale to the "Crossroads" organization he founded to help drug and alcohol addicts. 29. Clapton's favorite guitar and the one he played most often in the years 1970 to 1986 is called "Blackie" and it consists of three different "Fender Stratocaster" guitars. Clapton purchased 6 "Fender Stratocaster" guitars during his visit to Nashville during the "Derek and the Dominos" tour. One he gave to George Harrison , the second to Pete Townshend , and the third to Stevie Winwood. Of the remaining three he created "Blackie", taking from each of them his favorite part. 30. Clapton had a relationship with Sheryl Crow , who is rumored to have written the song "My Favorite Mistake" about him. 31. He played alongside Stevie Ray Vaughan the night he was killed in a helicopter crash. Clapton relinquished his seat in a helicopter that crashed in Vaughan's favor. Two Clapton crew members crashed along with Vaughan. Clapton was initially reported killed since he was supposed to be on the helicopter. 32. Clapton was among the first to use a wah-wah pedal as an effect for his guitar. It was on the album "Disraeli Gears" by "Cream". He inspired Jimi Hendrix to incorporate the pedal into his playing. Hendrix was known as a fan of "Cream". 33. The admiration was mutual. Clapton who saw Jimi H endrix 's live in 1966, was in shock from his playing. He noted that Jimi "blew his head off". 34. Clapton is ranked second on "Rolling Stone" magazine's 100 greatest guitarists of all time. 35. During his career he has sold over 100 million albums and won 18 Grammy Awards. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website