His career connects the birth of punk in New York, and the rise of epic heavy metal on a global scale. Here are some interesting facts about Ross the Boss: (Photo: sonicperspectives.com) • Born Ross Friedman on January 3, 1954, in the Bronx, New York City, into a Jewish, working class family with deep European roots. • His father’s family emigrated from the Austro Hungarian Empire in the early 20th century, while relatives who remained in Europe were murdered during the Holocaust, an awareness that shaped his identity from a young age. • His grandfather, a refugee, decided the family would speak only English rather than Hungarian, which Ross never learned, reflecting a conscious break from Europe in favor of American survival. • He attended Hebrew school at the Jacob Schiff Center on Valentine Avenue in the Bronx for four years leading up to his bar mitzvah, retaining a lifelong familiarity with Hebrew prayers and traditions. • Ross grew up immersed in hard rock and blues, drawing early guitar inspiration from Ritchie Blackmore and Buck Dharma, and developing a heavy downstroke driven rhythm style. • In 1973, co founded "The Dictators", an entirely Jewish, Bronx born band that predated the formal punk movement and stood apart from the transplanted CBGB scene. (Photo : chaoszine.net) • Ross recorded influential albums with "The Dictators" including "The Dictators Go Girl Crazy!" (1975), "Manifest Destiny" (1977), and "Bloodbrothers" (1978), blending hard rock power with street level wit and attitude. • Became a fixture at CBGB, performing there 35 times over the years and helping define the sound and culture of early New York punk rock. • In 1978, recorded "Bloodbrothers" at the Record Plant while Bruce Springsteen and the E Street Band were working next door on "Darkness on the Edge of Town", leading to Springsteen contributing the album’s spoken count in. • In 1980, left "The Dictators" temporarily to join French hard rock band "Shakin’ Street", placing him on "Black Sabbath’s" " Heaven and Hell " tour as an opening act. • During that tour, Ronnie James Dio personally introduced him to Joey DeMaio , who was working at the time as part of the tour’s technical crew and aspiring to form his own band. • Ross jammed backstage with DeMaio inside "Black Sabbath" dressing rooms, directly leading to the formation of "Manowar" later in 1980. • He became a founding member of "Manowar" and played guitar on the band’s first six studio albums: "Battle Hymns" (1982), "Into Glory Ride" (1983), "Hail to England" (1984), " Sign of the Hammer " (1984), "Fighting The World" (1987), "Kings of Metal" (1988). • Ross helped establish the musical blueprint of epic heavy metal and early power metal, combining massive riffs, heroic melodies, and mythic themes. • He has repeatedly cited "Battle Hymns" and "Hail to England" as the records that effectively launched power metal, pointing to guitar tuning and song architecture as defining elements. • Ross departed "Manowar" in 1989 following internal tensions, closing one of the most influential chapters in classic heavy metal history. • In the early 1980s, produced early "Anthrax" material and played a key role in securing their deal with "Megaforce Records". • Later described not producing "Metallica", when given the opportunity, as one of the biggest regrets of his career. • Ross reunited with Andy Shernoff and Handsome Dick Manitoba (Of "The Dictators") in 1990 for "Manitoba’s Wild Kingdom", releasing the album "...And You?" which received strong critical attention and MTV rotation. • He maintained a long standing creative partnership with Albert Bouchard of "Blue Öyster Cult", mainly in the hard rock and punk infused project "The Brain Surgeons", releasing the albums: "Black Hearts of Soul" (2004) and "Denial of Death" (2006). • He appeared on the final weekend of CBGB in October 2006, performing the last rock song ever played on its stage, "Blitzkrieg Bop", alongside Tommy Ramone. • In 2007 Ross was a guest guitarist on "Atlantean Kodex's" album "The Pnakotic Demos". In 2011 he contributing guest guitar work on "Burning Starr" final studio album "Land of the Dead". • In 2012 Ross co-founded the epic heavy metal supergroup "Death Dealer" with former "Manowar" drummer Kenny "Rhino" Edwards, releasing the albums: "War Master" (2013), "Hallowed Ground" (2015), and "Conquered Lands" (2020). • Ross formed his own band "Ross the Boss" in the mid 2000s, allowing full artistic control over songwriting and direction. • "Ross the Boss" released acclaimed albums including "New Metal Leader" (2008), "Hailstorm" (2010), "By Blood Sworn" (2018), and "Born of Fire" (2020), praised for their authenticity and classic metal spirit. • He performed in Tel Aviv in 2015 as part of The Metal All-Stars, describing the experience as deeply satisfying. • Ross was inducted into the Hall of Heavy Metal History in 2017 for his contributions to speed metal and epic heavy metal guitar. • In 2020 he played guitar in the song "Battle Hymn" by the Swiss all-female traditional heavy metal band "Burning Witches" album "Dance with the Devil". • On February 9, 2026, Friedman revealed that he had been diagnosed with amyotrophic lateral sclerosis (ALS). Just over a month later, on March 26, he passed away from the illness at the age of 72. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Musician and singer Perry Farrell is a versatile artist that we want to tell you a few facts about: (Photo: The New York Times Style Magazine) 1. He is a Jew named Peretz Bernstein, born in Queens New York on March 29, 1959. 2. When he was only 3 years old his mother committed suicide. 3. This tragic event accompanied him years later. He wrote the songs "Then She Did" and "Twisted Tales" by "Jane's Addiction" about her. 4. The musical influences on him as a teenager were quite varied. "The Beatles", "The Rolling Stones", "Led Zeppelin", "Sly & The Family Stone", David Bowie , Iggy Pop , Lou Reed , and more. 5. After high school, in the early 1980s he moved to California. He lived in a car, surfed, and worked casual jobs like renovations and waitresses, while at the same time trying his luck at music. 6. He managed to mingle with local musicians and underground bands in Los Angeles, including "Red Hot Chili Peppers" members. 7. In 1983 he became the singer of the post-punk band "Psi.Com". The band managed to release a tape called "Worktape 1" in 1984 and an EP called "Psi.Com 12" in 1985, before disbanding. 8. Immediately after the dissolution of "Psi.Com" Farrell met Eric Avery through mutual friends. The two began playing together and these were the first buds of "Jane's Addiction". 9. Farrell chose the name of the band as a tribute to his roommate Jane Bainter. 10. After an exchange of drummers and guitarists, the band was formed with Stephen Perkins, who was a friend of Eric Avery's sister on drums, and Dave Navarro who was Perkins' friend on guitar. (Photo: Places-concert.com) 11. The band started playing in clubs in Los Angeles and soon became the hot thing in the evolving alternative scene of L.A. 12. It was not long before the band began receiving offers for recording contracts from several record companies. The band finally signed with Warner Bros., in January 1987. 13. The band recorded their first album in a live performance, at the mythical "Roxy Theater", on January 26, 1987. the recordings cost only $ 4,000. 14. In August 1988, Farrell and the band released their second album, which is their first studio album - "Nothing's Shocking". The album has won many accolades and even entered the list of the 500 greatest albums of all time by "Rolling Stone" magazine. 15. Aside from writing the lyrics and participating in the composition of the music, Farrell also designed the iconic album cover and sculpted the girls on it. 16. In August 1990, the band released their third album " Ritual de lo Habitual ", which caused a great sensation in the alternative scene and drew rave reviews from the audience and critics. 17. The barking dog in the song " Been Caught Stealing " from the album, was Farrell's dog running around the studio. 18. This album is also on the list of the 500 greatest albums of all time, as well as the list of "1001 Albums You Must Hear Before You Die". In this case, too, Farrell designed the album cover beyond his contribution to writing the material. 19. But just then, at the end of 1991 when the band was its pick and in the height of its success and popularity, "Jane Addiction" fell apart, partly due to Farrell's drug problems. 20. Before the band disbanded, Farrell, along with Ted Gardener and Marc Geiger, created the "Lollapalooza" festival, which was intended to include, among other things, the farewell show of the band. Other artists that performed at that first festival included ICE-T and "Nine Inch Nails." 21. Farrell will be responsible for the establishment of two more related festivals. Kidzapalooza - Children's Festival in 2005 and Purimpalooza - Purim Festival in 2006. 22. In 1992, Farrell formed the alternative band "Porno for Pyros" together with drummer Stephen Perkins from "Jane's Addiction". 23. The band released their first album "Porno for Pyros" in 1993 and their second album "Good God's Urge" in 1996, but disbanded immediately afterward due to the band's guitarist's illness. 24. In 1997, "Jane's Addiction" reunited and went on a tour with Flea of ​​the "Red Hot Chili Peppers" as their bassist. This union also spawned the compilation album "Kettle Whistle" which features two new songs by the band. 25. In 1999 Farrell embarked on a solo career with the compilation album "Rev", which also included two new songs. 26. In 2001 Farrell released his first solo album "Song Yet to Be Sung", featuring lyrics influenced by Kabbalah. 27. Farrell is considered to have helped bring back the "Coachella" Festival after its cancellation in 2000. After the festival's commercial failure in 1999 and its cancellation in 2000, Farrell approached his fellow festival organizers with a proposal to reunite "Jane's Addiction" for a performance in honor of the festival. 28. "Jane's Addiction" has indeed reunited in honor of the occasion and since then a tradition of reunions has begun every year that the festival took place. 29. Following the success of the reunion of "Jane's Addiction" in honor of the "Coachella" festival, the band continued to perform in the years 2001-2003. 30. The reunion and tour gave birth to a comeback album - "Strays" which was released in 2003 and was a great commercial success. The album was produced by Bob Ezrin. 31. But internal frictions between the band members led to another disbandment in 2004. 32. That same year Farrell formed the band "The Satellite Party", with his wife Etty Lau Farrell. 33. The band released its first album in 2007 and it has collaborated with many artists such as: John Frusciante , Flea , Jack Irons, Peter Hook, and Fergie. 34. As part of his solo career Farrell released free songs to download from the internet. One of them "Go All the Way (Into the Twilight)" managed to enter the soundtrack of the movie "Twilight", in 2008. 35. That same year, "Jane's Addiction" reunited once more with the four original members, on the occasion of winning an award from NME Magazine. 36. In April 2009, a collection album by "Jane's Addiction" was released. It was called "A Cabinet of Curiosities" containing demos, cover versions, and rare recordings. 37. After Eric Avery left the band in 2009, Farrell and his remaining friends released the studio album "The Great Escape Artist", in 2011. 38. In 2011 Farrell came to perform in Israel with "Jane's Addiction". 39. In 2019, Farrell released the solo album "Kind Heaven". 40. Farrell is known as a lover of Israel. In 2009, he sang at a "benefit for victims of terror and a solidarity event for Israel", named "Stand with Israel". He also tried to bring the "Lulhapaluza" Festival here in 2013, but due to financial and logistic problems, it did not materialize. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

"Suede's" debut album was released on March 29, 1993. The tension between American and British artists has existed since the middle of the last century. It was a struggle for prestige between the two mighty cultures east and west of the ocean. Over the years the dominance has passed just like in a swing, from one side of the ocean to the other, one was influencing the other, affecting, changing, evolving, and pushing one another to perfection. This tension was healthy and it contributed greatly to the development of music as each side nourished and fertilized the other. In the early 1990s, America's hand was on top. The Grunge revolution was at its peak the Alternative ruled the market and the dominance of American artists was at high. Bands from the United States dominated the charts, sales, radio, and television stations, while the British lineups, for the most part, failed to produce a strong enough alternative for the American market. "Suede's" eponymous debut album managed to shift the weight, if only slightly, to the other side of the ocean and was one of the first albums to begin the process of tilting the cape towards Britain. Before "Oasis" and "Bush" and before the breakthrough of "Blur" and "Radiohead", it was "Suede" who kept the British embers burning, and were an alternative to American dominance. The band's debut album soon became the UK's fastest-selling debut album in about a decade, breaking into big sales charts. In 1993 the band won the Mercury Award for "Best Album of that year", and enjoyed great popularity in the UK, Europe, and even Japan. The "Melody Maker" gave the band a cover photo in a magazine released on April 25, 1993, and noted in the headline: "Suede the best new band in the UK". "Select" Magazine also gave the cover of April's issue to "Suede", and in the media, the album was presented as the hottest debut album since "Never Mind The Bollocks" by the "Sex Pistols". (Photo: Pastdaily.com) This album is on almost every prestigious album list, including: "Rolling Stone" Magazine's 500 Greatest All-Time Albums, an identical "NME" Magazine's List, and the Magazine's "100 Greatest Albums of All Time". The list of the 250 greatest albums of all time by "Q" magazine" and the" 1001 albums you should hear before you die" list. The band, was formed in 1989 by bassist Mat Osman, singer Brett Anderson , and his guitarist partner Justine Frischmann. They added a talented 19-year-old guitarist named Bernard Butler to its ranks in 1992, and immediately afterward became the hottest new thing in music in 1993, and garnered widespread media coverage. Four singles were released from the album. The first to introduce the world to the band's rough and immature sound with Brett's voice slightly reminiscent of David Bowie , was " The Drowners ". The single, which was released in May 1992, even before the release of the album, was a relative success on the charts, but was praised by critics when both "NME" magazine and "Melody Maker" named it "Single of the Year". In September 1992, the band released their second single " Metal Mickey ". A more rhythmic song than its predecessor, which has already proven that the band's qualities are not one-off. Guitarist Bernard Butler noted that his inspiration for writing the song was "The Shoop Shoop Song" which was re-performed in 1990 by singer Cher. As for the song's solo, Butler said he was influenced by "The Kinks'" "You Really Got Me" song. About a month before the release of the album, in February 1993, the band released their third single " Animal Nitrate " and by then it was already clear to everyone that this band was going to provoke a revolution in the United Kingdom and in general. It was the single that took the highest spot among those released from the album. The title of the song refers to an inhaled drug called "Amyl Nitrite", although singer Brett Anderson said the song is more related to other drugs like ecstasy and cocaine. The idea for the song was created when Anderson went through a period in which, he said, "Drugs took the place of people." The name of the song during the recordings was "Dixon", as the guitar part in the chorus was influenced by the BBC series "Dixon of Dock Green". It is interesting to note that Anderson opposed the release of the song as a single and wanted " Sleeping Pills " in its place, but the Nude Records" manager insisted and was right. The fourth single " So Young " was the last written for the album. It happened in the studio during the recordings and this is in contrast to the other songs on the album that were written earlier. This song was also written by Anderson about drugs, which he said were part of the lives of so many young people in London. "I sang about them because I wanted to document them, and because there seemed to be something to sing about. I hope I never did it in a blithe, stupid way. I could see lives being destroyed, I was lucky. I jumped out their balloon before it rose too high". These four singles were the beginning of the revolution that this excellent debut album will bring about. They put "Suede" on the map and set the tone for the Britpop attack that would land on the US shortly thereafter. For Listening: Youtube , Spotify "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 29, 1982, "Scorpions" released their eighth studio album "Blackout". "Blackout" captures "Scorpions" at the exact point where their evolving sound became fully realized. Building on the foundation laid by " Lovedrive " and "Animal Magnetism", the band delivers a record that is sharper, heavier and more focused, while maintaining the melodic clarity that would soon push them to global success with " Love at First Sting ". The album’s creation was marked by serious uncertainty. During the recording process, Klaus Meine  suffered severe vocal issues that threatened his career. Demo recordings were completed with Don Dokken, however, none of those recordings are featured on the album and Dokken is only credited with backing vocals. Following treatment Klaus Meine returned and delivered one of the most intense vocal performances of his career. That struggle is embedded in the album’s sound, giving it a constant sense of pressure and release. Recorded at Dierks Studios and produced by Dieter Dierks, the lineup of Klaus Meine , Rudolf Schenker , Matthias Jabs, Francis Buchholz and Herman Rarebell performs with precision and force. The production is clean and direct, allowing the guitars to cut through while maintaining a strong rhythmic backbone. The album opens with the title track "Blackout" , immediately establishing an aggressive and forceful tone. The riff is sharp, the tension remains high throughout despite the tempo changes, and Klaus’s vocals attack and burst forward, with no sign at all that he had undergone vocal cord treatment, especially when hearing his wild screams toward the end of the song. Then comes the second single released from the album, "Can't Live Without You" . The song is driven by a steady, almost monotonic groove from the rhythm guitar, along with short lead guitar phrases. The chorus feels like it was made for stadiums, designed specifically to generate crowd response. The songwriting is relatively simple, the arrangement is compact, but the energy is through the roof. Then comes one of the album’s biggest hits and its lead single, "No One Like You" . The catchy guitar line in the intro builds into a powerful chorus that perfectly balances melody and intensity. It became "Scorpions" breakthrough hit in the United States, reaching number one on the Mainstream Rock chart. The song was originally written in German by Rudolf Schenker and Klaus Meine , and its meaning was largely changed during the translation into English. As the album continues, it expands its musical diversity without losing the band’s identity. The heavy "Dynamite"  drives forward at a fast pace, while "China White"  moves with a hypnotic slowness, introducing darker themes and dynamic shifts. The riff of "Arizona"  sounds like an early attempt to create the ultimate riff of "Rock You Like a Hurricane" , which would appear on the next album, and "When the Smoke Is Going Down"  closes the album on a restrained note, maintaining the band’s tradition of incorporating catchy, melodic ballads into their records. The artwork, created by Gottfried Helnwein, directly reflects the album’s title. Contrary to what many fans believed, the person on the cover is not Rudolf Schenker , but Helnwein himself, with bandages wrapped around his head and forks stuck into his eyes. The album "Blackout" sharpens the elements introduced in " Lovedrive " and lays the groundwork for the major breakthrough that would come with " Love at First Sting ". It is not just a transitional album, but a clear statement of the band’s evolving identity, which may also explain why it is ranked at number 73 on Rolling Stone’s list of "The 100 Greatest Metal Albums of All Time". For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 28, 1973, "Led Zeppelin" released their fifth studio album - "Houses of the Holy". Let's tell you some interesting facts about the album that for some reason Facebook likes to censor its cover: This is the first studio album that does not bear the band's name. 2. This is also the band's first album featuring all the lyrics in Inner Sleeve. Even the album known as " Led Zeppelin IV " included only the lyrics to the song "Stairway To Heaven". 3. What's more interesting is, that this is the band's first album that did not include "coping" from other artists, as has been done on all of the band's previous albums. 4. The name of the album is a tribute to the band's fans who used to call the halls in which the band performed "Houses of the Holy". 5. The album cover was influenced by Arthur C. Clark's book "Childhood's End". 6. Although many children appear to be on the cover, in practice only a sister and da brother - Samantha and Stephen Gates, were photographed at the Giant's Causeway site, in Northern Ireland. 7. The "Giant's Causeway" site includes more than 40,000 hexagonal basalt pillars and following the album cover, it was declared as a world heritage site. 8. The song " Houses of the Holy " did not enter the album it appeared on the band's next album " Physical Graffiti ". 9. The album marks the return of legendary producer Eddie Kramer behind the console. Although all of the band's albums mention Jimmy Page as the producer, Kramer's contribution to the sound design on the album " Led Zeppelin II " was substantial. Due to friction with the band, Kramer was absent on the albums " Led Zeppelin III " and " Led Zeppelin IV ", but he returned to collaborate with the band on this album. 10. Much of the album was recorded at Mick Jagger's cottage "Stargroves", in the Hampshire countryside. Starting with the third album, the band began recording their albums outside of traditional studios to soak up a different atmosphere. They got the idea from "The Band", who recorded some of their albums at the "Big Pink" house located in West Saugerties New York. 11. The opening song " The Song Remains the Same ", was originally an instrumental track called "The Overture". Jimmy Page designed the song as a mini-suite and it was even played at the band's October 1972 shows in Japan, under that name. 12. The song's opening is influenced by "Tinker Tailor Soldier Sailor" written by Jimmy Page for "The Yardbirds". 13. The band will use the title of the song to crown their first double live album and the film of the same name, released in 1976, recorded during the band's three performances in 1973 at Madison Square Garden. 14. Robert Plant 's singing in the song was accelerated a bit in the original recording. 15. Jimmy Page uses Gibson's famous double-neck guitar "EDS 1275" with 12 and six strings. He also uses this guitar in the next song on the album. 16. " The Rain Song " was influenced by the legendary George Harrison . He loved the band and even befriended its members. At one of the meetings he complained to John Bonham that "Zeppelin" did not have a real ballad, so Jimmy Page decided to give him one and noted that the first chords were taken from "the Beatles" song "Something". 17. Bassist John Paul Jones plays the Mellotron and drummer John Bonham plays the drums using brushes. 18. " Over the Hills and Far Away " was written about the lifestyle of the hippies and includes a mention of it on the words - "Open Road". 19. The lyrics were also influenced by Tolkien's "The Hobbit" which describes the adventure of the Hobbit. 20. The song evolved from the song "White Summer" by "Yardbirds". A song that "Zeppelin" played in live shows after the end of "the Yardbirds". 21. Page started writing it back in 1970 and he accompanies the song with an acoustic guitar throughout. 22. " The Crunge ", which closes the first side of the vinyl was originally written by John Bonham , who tried to create a rhythm that would be impossible to dance to. Robert Plant improvised with words influenced by James Brown such as - "Take it to the Bridge" and in his singing style, while Jimmy Page completes the celebration with the funky guitar. Jimmy Page wrote The Riff back in the days of the "Yardbirds", in 1965. 23. The lyrics "Ain't gonna call me Mr. Pitiful, no I do not need no respect from nobody", were influenced by the song "Mr. Pitiful" by Otis Redding, referring to his well-known song "Respect" performed by Aretha Franklin. 24. In stark contrast to what Bonham tried to achieve in the previous song, the other side of the album opens with " Dancing Days ". The song was inspired by the pastoral landscapes of the "Stargroves" cottage. Technician and producer Andy Kramer even remember the band members simply dancing to its sounds. 25. The song began as a tribute to Indian music that Jimmy Page heard during his visit to India. 26. "Stone Temple Pilots" performed a cover of this song in 1995. 27. " D'Yer Mak'er " started from John Bonham 's attempt to combine reggae with doo-wop, leaving room for off-beat improvisation. 28. Contrary to popular belief, the title of the song is not a distortion of the lyrics "Dear Maker" but a joke of the band about Jamaica, from which the reggae came from. The title is pronounced "Jamaica," as spoken by the locals and it's also a play on "Did you make her?" In a Jamaican accent. 29. The band never played the song live, it was very difficult to recreate. 30. " No Quarter " was first composed by John Paul Jones in 1971 for the band's fourth album. The song demonstrates John Paul Jones ' contribution in both playing and the variety of instruments. 31. The title of the song means "No Mercy" in military slang. 32. The title of the song was used for the mini-album Union of Jimmy Page and Robert Plant " Jimmy Page and Robert Plant - No Quarter ", from 1994. It insulted John Paul Jones dearly since he did not receive an invitation to join the reunion and the song that characterizes him was used as the album title. 33. "Tool" performed a cover of the song on the album "Salival" from 2000. 34. Robert Plant noted that " The Ocean " was written about the girl who won his heart. This was his daughter Carmen who was then 3. The lyrics include the phrase "Girl who won my heart". 35. The song opens with the voice of John Bonham saying: "We've done four already but now we're steady and then they went, 1, 2, 3, 4". Bonham's reference was to the number of takes that they have already been recorded. 36. This is one of three songs from the album where all the band members got credit for writing. The other two are " D'yer Mak'er " and " The Crunge ". 37. Excerpts from the song were sampled by the "Beastie Boys" in the song "She's Crafty", from their debut album. 38. In response Robert Plant sampled excerpts from the song on the track "Tall Cool One", taken from his album " Now And Zen ". For Listening: Spotify , Apple Music . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 28, 1994, "Pink Floyd" released their 14th studio album "The Division Bell". Let's start with the fact that the name of the album perhaps best explains the controversy surrounding it. Some welcomed the album and the first real collaboration between the three remaining members of "Pink Floyd" during the post-Waters era, while some argue, to this day, that it is a "blasphemy" and that the band without Waters does not deserve to be called "Pink Floyd" at all. "The Division Bell" is rung in or around parliament to signal a division (a vote) to members of the relevant chamber so that they may participate, to choose a side, take a stand, vote for or against a particular law, hence its name - Division, split, dispute! Such a bell exists in the British Parliament located in the Palace of Westminster in London, and once every member of the House of Commons or House of Lords rings, there are eight minutes to choose a side and vote for or against a particular resolution. Disclosure: We did not need eight minutes to choose a side. It was immediately clear to us. We chose music! We have no problem with the fact that the band went on without Roger Waters, it happened before. "Pink Floyd" was initially led by Syd Barrett who dominated both the writing, the musical style that he took towards the psychedelic, and the singing and stage presence. The breakup from Syd Barrett brought a fundamental change in the band's DNA and musical style. Did it give legitimacy to any of the fans to claim that it was not the same band? Does this allow them to say that the band does not deserve to be called "Pink Floyd"? A musical composition is like a living organism, it changes, it adapts itself to the existing situation, and this does not necessarily mean that any such change also requires a change of identity and/or name. Some bands stay with the same lineup throughout their career and still change their style from end to end. See the Canadian band "Rush", for example. On the other hand, some bands make substantial lineup changes, drastically change their style, and still deserve to maintain their identity and name. See "Deep Purple" and its first three first lineups or "Genesis" which have been reduced from five to just two members and changed their style drastically more than once, for example. Do not misunderstand us, we appreciate Waters' great contribution to the band. We believe that a large part of the band's albums during its golden age would have not sounded the same without his great talent. Even David Gilmour himself said more than once that Waters is a better writer than him. But at the same time, we believe that the three remaining members and equally talented friends, have much to give even without him, and this amazing album is triumphant proof of that. So true, this album is not " The Dark Side Of The Moon " and it is also not " Wish You Were Here ", but it is definitely an excellent album that deserves to be released under the "Pink Floyd" brand and not by any grace! Yes, we are aware that Gilmour has made a supreme effort to look and sound like the good old "Pink Floyd". He enlisted orchestral arranger Michael Kamen and producer Bob Ezrin that work on " The Wall ", to help him reach the band's familiar and beloved sound. He hired recording technician Andrew Jackson who worked with the band during the Waters days and he even turned to renowned cover designer Storm Thorgerson who had been designing all of the band's covers since 1968. We are also aware that in order to fill Waters' lyrics writing, Gilmour enlisted the help of his (then) girlfriend and later wife, journalist, and writer Polly Samson, who wrote most of the lyrics for the album (and that is why this album lacks Waters' protest lyrics). All that is well known, and still, we have no problem with it. For us it's still "Pink Floyd" and it's still an excellent album, even compared to the band's previous material! This album produces the first real collaboration since the 1970s, between the three remaining band members. An album that on the one hand corresponds with the classic "Pink Floyd" and on the other hand brings musical innovation and updated sound. Why do we say that this is the first collaboration? Because Richard Wright was not a full member of the band in the album " A Momentary Lapse of Reason ", he did not play in all its tracks and he did not contribute anything to the writing process. (Photo: Pink Floyd's Facebook Page) "The Division Bell" opens up with the instrumental track " Cluster One " - the first written by Gilmour/Wright since "Mudmen", which appeared on the album "Obscured By Clouds", from 1972. The first minute and more is dedicated to sounds originating from the recording of "Solar Wind", until 1:43 minute: Richard Wright 's finger lands on the keyboard, and the signal is given for the magical and peaceful dialogue between the guitar and the piano to start. It develops, until the Hammond organ carpet joins in at 3:43 and blends well with the Gilmourish fender guitar, and so it's hard not to think of the wondrous "Shine On You Crazy Diamond". " What Do You Want From Me " is already screaming "Pink Floyd" from every note and instrument. Starting from Richard Wright Hammond's organ, which corresponds with excerpts from " The Dark Side Of The Moon ", to David Gilmour 's guitar reminiscent of " The Wall " as well as the instrumental track "Raise My Rent" from his debut album (Listen from 0:59 of the instrumental). Even Guy Pratt's (who's married to Richard Wright 's daughter) bass is dressed up like Waters'. It's a slow and mesmerizing blues piece that just penetrates the bones. Some argue that the lyrics are a message to the band's fans in which Gilmour sings, among other things: "What do you want from me? Should I sing until I can't sing anymore? Play these strings until my fingers are raw?" But Gilmour noted in an interview that the song generally addresses interpersonal relationships. The lyrics to the song " Poles Apart " refer to Syd Barrett - in the first verse and to Roger Waters in the second. It opens up with the words "Hey you" a Waters' song from "The Wall". It's an acoustic folk piece that corresponds in part with "Pink Floyd's" of the early seventies and includes a "carnival" transition section by Richard Wright that only adds to the nostalgia and charm of the song, connecting us back to the third and philosophical verse and from there to David Gilmour 's amazing solo. " Marooned " is another instrumental track by Gilmour/Wright and is the only one of the bands to ever win a Grammy. It's amazing to think it's a mostly improvised piece that started with a jam session of Gilmour and Wright, which meant to include sounds depicting an island in the great sea, with seagull sounds produced by Gilmour's guitar using the Whammy pedal, reminiscent of the guitar whistles of "Echoes" from the album " Meddle " and the sounds of waves crashing on the shore. " A Great Day for Freedom " was originally called "In Shades of Gray". It refers to the great hope after the fall of the "Berlin Wall" and the disappointment that followed. The band's fans interpreted the song as reflecting on the relationship between the three band members and Waters, and the fact that they were released from his dictatorship and got their creative freedom back, but David Gilmour denied it. The song combines the melancholy piano with a more optimistic melody and lyrics and features a fine Gilmour solo at the end, somewhat reminiscent of that of "On the Turning Away" from the previous album. " Wearing the Inside Out " was originally called "Evrika" and includes lead vocals from Richard Wright alongside David Gilmour , for the first time since "Time" from the album " The Dark Side Of The Moon ". It's the only song on the album where Gilmour was not given credit for writing. Richard Wright composed the song and Anthony Moore wrote the lyrics. It's an exciting song about Wright's drug addiction, the crash and loneliness that followed, and the deep depression he experienced after his divorce from his wife and him being fired from the band by Waters. We do not know why, but the guitar in the intro of " Take It Back " reminds us more of "U2" than "Pink Floyd". It's a song Gilmour co-wrote with his future wife, Bob Ezrin, and Nick Laird-Clowes from "Dream Academy". Gilmour uses the E-bow here to create the floating and special sound of the guitar, which is also probably the reason it reminds us of The Edge and "U2". From there we move on to " Coming Back to Life ", the only song on the album written solely by David Gilmour. Gilmore claimed he wrote it about his then-girlfriend and writer of most of the lyrics on this album - Polly Samson. The song opens with David Gilmour 's bluesy and wonderful guitar sentences against the backdrop of Richard Wright 's Hammond, which may have inspired the opening of Freddie on the Morning" - " Ha-Chaverim shel Natasha 's" song, which came out six months later. The song develops until its more rhythmic ending and another "electrifying" solo by Gilmour. " Keep Talking " is one of the most beautiful songs on the album. It includes quotes from Stephen Hawking's "robotic" voice, was taken from a TV commercial. This piece was sampled again as part of the song "Talkin' Hawkin" which was released on the band's last album - "The Endless River". The lyrics speak of the evolution of ancient man, up to the fundamental change, the moment he began to speak. To illustrate how essential speech was in human development this song includes "speech" in four languages. One, the Stephen Hawking's sampled voice, the second, David Gilmour 's voice, the third, the women's backing vocals, and the fourth, Gilmour's guitar voice through the "talk box" effect that Gilmour has not used since the " A nimals " album. Just listen to Richard Wright 's solo throughout the song and how beautifully he recalls his tender days from the mid-1970s. The song reached number one on the Billboard magazine's chart and stayed there for six consecutive weeks. We're nearing the end of the album with the folk-acoustic " Lost for Words "ת whose lyrics are a sarcastic look of Polly Samson at the relationship between Waters and Gilmour. The song opens with the low, deep organ sound interrupted by the sound of a slamming door and continues with Nick Mason 's pulsating bass drum reminiscent of the "Dark Side Of The Moon". Gilmour's folk guitar playing starting at 0:45 reminds us of another giant guitarist - Mark Knopfler . It is interesting to note that Gilmour plays on the bass guitar as well. The album is signed up with the icing on the cake - " High Hopes ". A mighty song that has a place of honor on the band's greatest song of the all-time list. It was the first song the band started working on and the last one they finished. The sound of the church bell that is heard starting at the end of the previous song is played by Nick Mason and accompanies us almost throughout the song. The monotonous piano is synchronized with a slight syncope with the sound of the bell and simply mesmerizes the listener to the point that it is not noticeable that it is a track of more than 8 and a half minutes. How beautiful is the passage played with the nylon guitar strings on David Gilmour's classical guitar and what an amazing solo he plays on the "Steel Lap Guitar", with the beautiful orchestral arrangements. The lyrics are a sort of nostalgic autobiography of David Gilmour from his childhood, leaving his hometown, and his first days with the band. They refer to Syd Barrett and talk about the things Gilmour has won and lost in life. During the song, the words "The Division Bell" are mentioned. The writer Douglas Adams and David Gilmour 's friend suggested the name for the album. The song also ends with the words "The endless river / Forever and ever", which correspond with the song "See Emily Play" and the words "Float on a river / Forever and ever", with the words "The endless river" also serving as the title for the next and final album of the band. Thus there is a kind of double closer, since as mentioned this is the first song they worked on and the last one they finished. For Listening: Spotify , Apple Music . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 24, 1980, "Genesis" released their tenth studio album, "Duke". True, this is not one of the masterpieces of "Genesis" from Peter Gabriel 's era. It's also not one of the band's classic albums from the early Phil Collins era with Steve Hackett 's crushing lead guitar. But it's an album we're always like to go back to. An album that will always have a warm place in our hearts. Just before Phil Collins bursts into his solo career and becomes an artist with the largest amount of hits in the top 40 of American Billboard, "Genesis" enters the studio to record their tenth album. It will be an album where the band will make an adjustment in their musical style and adopt a more commercial sound, the album that will bridge between the band's progressive era to its pop-rock era, the album that will help them stay relevant during the eighties, and beyond! The band's first album to conquer the top of the charts. The album's story begins during the tour to promote the band's previous album " ...And Then There Were Three... " The heavy burden of the tours and the long time far from home, influenced Phil Collins ' marriage. Even before the tour began, Andrea warned him that if he fully surrendered to the busy schedule of the band he would not be there when he returned. And she did. In late 1978, Andrea took the kids and moved in with her family in Vancouver, Canada. Collins was torn on the inside. On the one hand, he was sure "Genesis" was facing their big break, and on the other hand, he was afraid to break up the family. He finally informed his bandmates that he was taking a few months off, to try and save his marriage and flew to Vancouver. Tony Banks and Mike Rutherford gave their friend all the time he needed and began working on independent projects. Tony Banks on his first solo album "A Curious Feeling", with drummer Chester Thompson and Mike Rutherford on his first solo album - "Smallcreep's Day", both incidentally recorded in the same studio. (Photo: Atlantic) In April 1979 Phil Collins returns to England, having failed to save his marriage. He returns broken and crushed and finds solace in his side project "Brand X". At the same time begins to pour all his emotions into the music and lyrics in writing new songs. He turns these songs into demos at his home in Shalford, Surrey. Beyond singing and drumming, he plays the piano and synthesizer and begins to take an interest in the sounds that can be produced from the drum machine he has acquired. A few months later, Tony Banks and Mike Rutherford moved into Phil Collins ' home to begin writing the material for Genesis' next album. They come emptied of materials after using them for the newly recorded solo albums. They were stunned by the amount of material Collins managed to create and record demos for, but it was clear to everyone that not all of them would fit into a "Genesis" album. The three conclude that each of them will contribute two songs to the album and the rest they will write together. It was the first time the three had written in such a way. They were accustomed to writing together. Collins suggested five songs, one of which was " In the Air Tonight " which was rejected by Tony and Mike. Tony Banks will later admit that he regrets that. The selected Phil Collins songs were " Misunderstanding " - the third and bouncy single released from the album and which Collins admitted was inspired by three songs: "Sail On, Sailor" by "The Beach Boys", "Hot Fun in the Summertime" by "Sly and the Family Stone" and "Hold the Line" by "Toto". The second song Phil Collins managed to put on the album was the moving and crushing ballad " Please Don't Ask ," which he wrote about the crisis in his marriage life. This is the most personal song Collins has written and is probably among the most intimate songs we are familiar with. Collins simply puts his soul on a tray and puts us into the shattered house, hoping the words and music that came from the heart will enter his wife's heart and save his marriage, but in vain. Like Collins, Banks, and Rutherford also brought two songs each. Banks contributed " Heathaze " and " Cul-de-sac " and Rutherford " Man of Our Times " and " Alone Tonight ", with the rest of the album's songs co-written by the three members. Not many know, but this album was originally designed to be split in two, with the entire first side supposed to be an entire half-hour epic piece called " Duke's Suite ," which tells the story of an imaginary character named Albert. The piece was supposed to include the six tracks the band co-wrote together - " Behind the Lines ", " Duchess ", " Guide Vocal ", " Turn It On Again", " Duke's Travels " and " Duke's End ", while the other side was supposed to include the six The songs each of the members wrote separately. However, the fear that such an epic would not suit the spirit of the time, as well as the fear of being compared to the band's progressive era and the "Supper's Ready" masterpiece, led to the decision to split the piece into sections that would be easier to digest. It is interesting to note, that the band even treated these songs as one overall piece, during the tour to promote the album, with the six tracks played in sequence and presented by Phil Collins as "The story of Albert". The album opens with the mighty " Behind the Lines " which serves as a bridge between the band's progressive era and the pop-rock era and as a transition point between the 1970s and 1980s. The instrumental opening with the frequent rhythm changes, syncopations, breaks, and hallucinatory time signatures is definitely reminiscent of the Progressive "Genesis", when starting at the singing part around 2:15 min. we just cross the bridge to another musical period and a new decade. This song was not released as a single but it was a must-have song in the band's performances, which got even more sweeping and exciting on stage. It is interesting to note that the song will also appear in a slightly different version on Collins' solo album "Face Value", which was released a year later. The first track of the album connects with " Duchess " - one of the most beautiful songs on the album and even dare to say, one of the most beautiful of "Genesis". Phil Collins used, for the first time on the "Genesis" albums, a Roland CR-78 drum machine. The song tells the story of the rise and fall of a star-studded diva, from the beginning of her career, through the glory and meteoric success, and to the declining and cruel disregard of the audience. The song was released as the second single from the album but in the shortened version that does not include the instrumental intro. " Turn It On Again " was originally shorter and was supposed to be used as a transition part, but the band loved it and eventually made a song out of it, its length was doubled to make it a stand-alone track. The song originally started from an outtake that Mike Rutherford did not use for his album "Smallcreep's Day", connected with an outtake from Tony Banks ' solo album. It was the first single released from the album and was a huge success in the band's performances. The lyrics were written by Mike Rutherford and are about a man who's obsessed with watching television which makes him convinced that the characters he watches on TV are his friends. This is one of the most complex songs on the album, which features hallucinatory rhythmic changes and asymmetrical time signatures, that vary between all parts of the song. It is interesting to note that "Dream Theater" performed it as part of the "Big Medley" on the album "A Change of Seasons". The album ends as it opens, with two instrumental pieces that remind us that this is still one of the greatest progressive bands of all time - " Duke's Travels " and " Duke's End ", which were also supposed to end the original epic piece. In these excerpts, you can hear the virtuosity of the three band members, especially Collins and Banks who even manage to thread a tribute to "King Crimson", in the last seconds of the first of the two tracks. In conclusion, although this is not a progressive album in the full sense of the word, it corresponds well with the genre and with the band's progressive era. It includes some amazing pieces, that sound great even after more than 40 years of listening. Not for nothing, Tony Banks noted that this is his favorite "Genesis" album. As we mentioned this album is also very much loved by us and always fun to come back to. It has a bit of both worlds in it. A combination of the lightness and sweetness of Phil Collins and "Genesis" from the eighties, along with the complexity of the seventies, and this combination is definitely balanced and in the right doses. For Listening: Spotify , Apple Music . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

He's one of the most talented and influential keyboardists we know, he composes with supreme grace, and "Genesis" probably would not have sounded as they are without his genius. (Photo: Theaudiophileman.com) Let's tell you a few facts about Tony Banks' the all-too-talented musician: 1. He was born Anthony George Banks in East Sussex England, on March 27, 1950. 2. He was the youngest of five children. 3. His mother was a pianist and exposed him to classical music from the age of six. 4. His older brother exposed him to modern music. 5. His parents encouraged him to study piano. The first lessons were given to him at school, already at the age of 8. At first, he did not like it. 6. His two favorite composers as a child were Maurice Ravel and Sergei Rachmaninoff. 7. At the age of 13 he continued his piano studies with a privet teacher who exposed him to other genres and styles beyond classical music. At this point, he began playing songs by ear, after listening to them on the radio. 8. At the same time he continued his piano lessons as part of his enrichment studies at the private school "Charterhouse School", where he also met Peter Gabriel . 9. Banks also taught himself to play the guitar. 10. In 1965 he co-founded a band called "Garden Wall", with his classmates Peter Gabriel and Chris Stewart. 11. In 1967 the band disbanded and Gabriel, Banks, and Stewart teamed up with Anthony Phillips and Mike Rutherford and began working on new songs. 12. The first song he co-wrote with Gabriel for the new band was " She Is Beautiful ". 13. The demo tape of the song was sent to their friend Jonathan King who was so pleased with the result that he rushed to have the band sign a recording contract. 14. King suggested the name "Gabriel's Angels" for the band, but the rest of the members were not enthusiastic so they compromised on King's alternative offer - "Genesis". 15. Following King's recommendation, the band worked on Pop songs with an emphasis on the "Bee Gees" sound, a band that King liked. Indeed, one of the first songs Banks co-wrote with Gabriel was " The Silent Sun ", in which the "Bee Gees" sound of the '60s can be heard. The song became the first single the band released. 16. On March 7, 1969, the band released their first album, " From Genesis to Revelation ", which went in the same direction as King recommended, but failed commercially. 17. Following the commercial failure of the album, the band members moved on to other pursuits. 18. During 1970 Banks and his friends returned to work together and in June that year began recording their next album " Trespass ". Banks' contribution to this album was great, from writing a large portion of the songs to singing and adding additional instruments like organ, acoustic guitar, and 12-string guitar. 19. In 1971, the band backed by Phil Collins and Steve Hackett released the masterpiece album " Nursery Cryme ". Hackett who was constantly looking for new sounds advised Banks to use the mellotron and the band did purchase one. Banks' use of the wondrous instrument enriched the sound of "Genesis" and substantially greatly influenced the result. 20. In 1972, "Genesis" released another masterpiece album - "Foxtrot". Banks' influence on the sound and style is felt from the mellotron sound in the opening song " Watcher of the Skies " to the solos in the final musical piece " Supper's Ready ". 21. Banks continued to be a key player who greatly influenced the band's sound and style on subsequent albums as well, with his contribution being particularly prominent in parts such as the instrumental opening in the song " Firth of Fifth ", the instrumental section in the song " The Cinema Show ", both from the album " Selling England By The Pound ", the amazing solo in the song "I n The Cage " from the album "The Lamb Lies Down on Broadway" and more. 22. Banks' dominance continued even after the departure of Peter Gabriel , starting with the album " A Trick of the Tail " to the album " Duke ", and can be heard in songs such as " Afterglow ", " Mad Man Moon ", " One for the Vine ". 23. Even when the band entered their Pop era of the 1980s, Tony knew how to lead and shape its sound, as in the case of using the technique that connected the MIDI to a drum machine to turn the keys on and off and thus produce the vibrating sound as in the 1983 song " Mama ". 24. Even during this period Banks knew how to wrap the simple Pop pieces in more complex compositions as he did in songs like " Home By The Sea/Second Home By The Sea " or " Domino ". 25. Along with his significant contribution to the band on keyboards, Banks also played guitar on songs such as " The Musical Box ", " The Cinema Show ", " Entangled " and the opening of " Supper's Ready ". 26. In addition, Banks served as a background vocalist to Gabriel and later to Collins in "Genesis". In the band's outtake song " Shepherd " from 1970, he serves as the lead singer along with Gabriel. 27. Banks is one of the only two constant members of "Genesis", who was part of all of their albums. 28. Banks is considered one of the greatest and most influential keyboardists and is ranked 11th on the "Music Radar" list of the greatest keyboardists of all time. 29. In 2015, Banks received the title of "Prog God", as part of the "Progressive Music Awards". 30. Banks has released 15 studio albums along with "Genesis" and another 6 as part of his solo career. 31. In addition, Banks released two soundtracks for movies and two more albums as part of the bands "Bankstatement" and "Strictly Inc". 32. Banks has several interesting collaborations, including the song " Shortcut to Somewhere " with former "Marillion" frontman Fish and " I Wanna Change the Score " with Nik Kershaw. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Sneak Peek... "Silverchair's" debut album "Frogstomp" was released on March 27, 1995. The three members of the band were only 15 years old when they released this album under the Australian record label "Murmur", named after "R.E.M.'s" first album. The album was recorded in live form in the studio with no further productions or computer adaptations, except a clean analogy of music that went into the console and came out on disc. The name of the album is taken from the name of a pop song that Daniel Johns saw on the back of an album collection of pop songs from the 60s. The album garnered a lot of harsh reviews for trying to emulate "Pearl Jam" or "Nirvana" in a very bad way, although some praised the confidence of the three to create a shameless "imitation" album. Listen to the album on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 27, 1984, "Scorpions" released their ninth studio album "Love at First Sting". "Love at First Sting" represents the precise moment where "Scorpions" exploded into global dominance selling over 3 million copies in the US alone. Building on the melodic expansion of "Lovedrive" and the sharpened attack of "Blackout", the band arrived at a sound that was both disciplined and arena-ready, balancing precision with immediacy. The recording process, however, was far from straightforward. During 1983, the band briefly entered a period of instability, with Francis Buchholz and Herman Rarebell temporarily absent as alternative lineups were explored. Early sessions in Stockholm featured former "Rainbow" members Jimmy Bain on bass and Bobby Rondinelli on drums, alongside additional involvement from Neil Murray during this transitional phase. These recordings were ultimately abandoned. After a short U.S. tour, "Scorpions" regrouped and returned to producer Dieter Dierks’ studio in Stommeln, West Germany, restoring the classic lineup. At the same time, Klaus Meine was emerging from one of the most uncertain periods of his career. During the recording of "Blackout", he lost his voice to the point where even speaking became difficult. Multiple doctors advised him to abandon singing altogether, but he refused to accept that outcome. After undergoing two vocal cord surgeries, he gradually rebuilt his voice, returning just in time for the sessions that would shape "Love at First Sting". The album opens up to with "Bad Boys Running Wild" . The guitar sound in the first two seconds sounds like Liquid Metal waterfall and than everything explodes with Rudolf Schenker 's catchy riff, driving the track with a tight, percussive rhythm guitar approach. Herman Rarebell’s drumming locks into a steady groove, while Matthias Jabs injects melodic precision through his lead work. Klaus Meine  delivers a vocal that feels both controlled and hard-earned, reflecting the physical challenges he had recently overcome. The album’s defining statement arrives with "Rock You Like a Hurricane" , a track engineered for maximum impact. Hermann Rarebel co-wrote the song with Klaus Meine about a girl he had a one-night stand with. The riff is immediate and commanding, while the arrangement builds tension before releasing into one of the most recognizable choruses in hard rock. Meine’s phrasing balances aggression with melody, capturing the band at full confidence and clarity. The shift into "Coming Home"  reveals a more dynamic side of the band, gradually expanding from a restrained opening into a soaring melodic release. You can actually hear what Klaus Meine vocal cords went through in his slightly hoarse voice at the beginning of the song. A shift in tone appears with "I'm Leaving You" , where the band leans into a more groove-oriented approach. The track carries a looser, almost swaggering feel compared to the album’s more anthemic moments, with such a melodic singing all along. That momentum continues with "The Same Thrill"  the fastest song in the album, which maintain the album’s high-energy drive through tight riffing and direct, hook-based structures. The second side of the vinyl starts with "Big City Nights" , which channels the exhilaration of life on the road through a hook-driven structure that feels both spontaneous and meticulously constructed. With it's radio friendly chorus it was released as the 3rd single from the album and the guitar solo is performed by Rudolf Schenker . "As Soon as the Good Times Roll" comes right after with a breathing riff that leaves plenty of room for the bass to shine. "Crossfire"  introduces a heavier and more serious tone, reflecting Cold War tensions through a more aggressive rhythmic push and a darker lyrical perspective The emotional core of the record is anchored by "Still Loving You" , where restraint and gradual escalation define the arrangement. Meine’s performance carries additional weight in light of his earlier vocal struggles, and the band supports that intensity with a carefully layered progression that builds toward a powerful climax without excess. "Love at First Sting" stands as the defining breakthrough in the career of "Scorpions". It is the album where their technical precision, melodic instincts, and global ambition converge into a fully realized identity. Emerging from lineup uncertainty and personal setbacks, the band delivers a focused and powerful statement that continues to define both their legacy and the era in which it was created. For Listening: Spotify  | Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 26, 1996 "Stone Temple Pilots" released their fourth studio album "Tiny Music... Songs from the Vatican Gift Shop". By the time "Tiny Music... Songs from the Vatican Gift Shop" hit shelves in 1996, "Stone Temple Pilots" had already cemented their place in rock history with " Core " (1992) and " Purple " (1994). But instead of playing it safe, they took a sharp left turn, delivering an album that was as much a rejection of expectations as it was a creative explosion. Where " Core " was heavy and grunge-soaked and " Purple " balanced melody with muscle, "Tiny Music" pushed "STP" into new territory, blending glam, psychedelia, and alternative rock with a sun-soaked, lo-fi aesthetic. Not only that but, Singer Scott Weiland embraces a higher, raspier vocal approach on much of the album, contrasting with the deeper tones of earlier records. The band also expands their sonic palette, incorporating instruments like organ, vibraphone, and trumpet, further enhancing the album’s eclectic feel. Right from the opener, “ Press Play ,” it’s clear this is a different kind of "STP" record. A groovy instrumental that hints of what lies ahead. Ans as the album progress Scott Weiland ’s voice, often filtered through effects, swims through Dean DeLeo ’s layered, jangly, and reverb-heavy guitars, while Robert DeLeo and Eric Kretz craft grooves that are funkier and jazzier than before. The album’s lead single, “ Big Bang Baby, ” ditches grunge for a garage-rock stomp, complete with distorted vocals and a swaggering, almost bubblegum chorus. “ Trippin’ on a Hole in a Paper Heart ” brings back some of the band’s heavier instincts but keeps a quirky, psychedelic vibe. “ Lady Picture Show ” is perhaps the album’s most direct nod to classic rock, with its "Beatles"-esque melodies and lush arrangements. “ Art School Girl ” uses almost Bossa nova rhythem during the verses, and the instrumental " Daisy " is in country-western style. Meanwhile, " And So I Know " and “ Adhesive ” showcases an almost jazzy, avant-garde side to "STP", with Weiland’s poetic lyricism floating over dreamy instrumentation. Beneath the eclecticism, however, was a band in turmoil. Weiland’s ongoing struggles with addiction cast a shadow over "STP’s" future, and his personal battles meant the band couldn’t fully tour to support "Tiny Music". As a result, while the album received praise for its ambition and reinvention, it didn’t enjoy the same commercial success as its predecessors. Yet, over time, it has come to be recognized as one of "STP’s" most daring and underrated efforts. "Tiny Music... Songs from the Vatican Gift Shop" is a bold, often beautiful record that defies easy classification. It’s the sound of a band pushing against expectations, embracing risk, and creating something unique in the process. Though its reception was mixed upon release, its legacy as a defining moment in "STP’s" career has only grown stronger. If "Core" and "Purple" established "STP" as a top-tier ’90s rock act, "Tiny Music" proved they were willing to evolve beyond the grunge era into something far more eclectic and enduring. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 26, 2021, "Smith/Kotzen", the debut album of the new project "Smith/Kotzen", was released. This is a collaboration between Adrian Smith "Iron Maiden's" guitarist, and Richie Kotzen, known among others as the guitarist of "Poison", "Mr. Big" and "The Winery Dogs". The two recorded a few songs in the West Indies, in February 2020, when hints of the collaboration between the two also began. Kotzen said that he and Smith come from a background of blues-rock and classical rock and they found the common denominator there. This album showcases the influences and roots of the two gifted guitarists, but with a contemporary and up-to-date sound. Richie and Adrian's friendship started years ago just by chance, and at one point Adrian Smith 's wife suggested they write songs together. The chemistry between the two was so clear and the matter developed very quickly into a co-written full album. Richie and Adrian share the vocals on the album, and beyond their guitar roles, they also share the bass guitar parts throughout the album. Israeli drummer Tal Bergman, Richie's old friend, plays drums on " You Don't Know Me ", " I Wanna Stay " and " 'Til Tomorrow ", with Richie himself playing five more songs. In the song " Solar Fire " comes a very special guest: Nicko McBrain , who sits behind the drums and helps his longtime friend Adrian . We got the first single from the album back in December 2020. The first track " Taking My Chances ", was received with excitement by the fans of the two guitarists and proved that there is definitely something to look forward to. On February 23, 2021 we were surprised to receive a completely different "animal", in the form of " Scars ", a heavy blues piece that sounded to us like a combination of Stevie Ray Vaughan and Joe Bonamassa . On March 10, 2021, the third single " Running ", was released. A rhythmic and catchy rock-pop track. By then it was already clear. This album is probably going to be rich and varied in terms of style. Indeed, " Some People " has a bit of a Funky parts, " Glory Road " presents us with the old-fashioned Blues with a catchy and new scent, " Solar Fire " makes good use of Nicko McBrain 's abilities, increases the rhythm and hardens it a bit with Hard Rock vintage, " You Do Not Know Me " makes us press the clutch and downshift until the solo battle at the end, " I Wanna Stay " is a song with a special "Pop" tone and " 'Til Tomorrow " ends the album in an epic way. Despite the apparent diversity between the album's songs, it can be said that there is still a connecting thread between them all, and these are the roots of the "Blues" that are always there in the background. Song list: Taking My Chances Running Scars Some People Glory Road Solar Fire You Don’t Know Me I Wanna Stay ‘Til Tomorrow For Listening: Spotify , Apple Music . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website