On June 23, 1992 "Killers" released their debut album "Murder One". "Killers" (not to be confused with the Alternative rock American band "The Killers"), is a British Heavy metal band formed in 1990 by ex-"Iron Maiden" frontman Paul Di'Anno. Before forming "Killers", Paul Di'Anno had a notable career in the heavy metal scene. As well known, he rose to fame as the lead vocalist for "Iron Maiden" from 1977 to 1981. Di'Anno's powerful and gritty voice contributed to "Iron Maiden's" early success, and their debut album "Iron Maiden" and the follow-up "Killers" are considered classics in the genre. However, due to Di'Anno's personal issues and conflicts within the band, he departed from "Iron Maiden" in 1981. Following his departure, Di'Anno embarked on various musical endeavors. He formed the band "Di'Anno", which released one album and toured extensively. The group showcased a sound different from the traditional New Wave of British Heavy Metal, leaning towards a more Americanized rock sound. After Di'Anno, he joined "Gogmagog", a supergroup project assembled by Jonathan King, including bassist Neil Murray, guitarists Pete Willis and Janick Gers and drummer Clive Burr. Di'Anno then formed "Battlezone", another heavy metal band that released several albums. However, conflicts within the band and issues with drugs and infighting led to its eventual dissolution. Following the breakup of Battlezone, Di'Anno joined "Praying Mantis" for a tour of Japan before forming "Killers" in 1990 along with guitarist Cliff Evans, drummer Steve Hopgood, and bassist John Gallagher. In the beginning they played only "Iron Maiden" songs because they had not written any material, but apparently, that was enough for major record BMG which gave the band a $250,000 contract. Once signed, Killers began writing their debut album, "Murder One," with renowned producer Rob Fraboni. The band relocated to Binghamton, where they worked on the album and developed their own material. "Murder One" showcased the band's musical prowess, blending heavy riffs, melodic hooks, and Di'Anno's distinctive vocals. The album marked a new chapter in Di'Anno's career, as he continued to evolve as a frontman and songwriter. "Murder One" is a sonic journey that immerses listeners in the essence of classic heavy metal, reminiscent of the golden era of the 1980s. The album kicks off with a thunderous opener, the hammer-esque horror-themed "Impaler", channeling heaviness and setting the stage for the exhilarating ride that awaits. Di'Anno's signature raspy vocals instantly transport you back to the early days of "Iron Maiden", evoking a sense of nostalgia and familiarity. The album continues with "The Beast Arises" which opening riff and Di'anno's vocals will remind you of "Accept". Then comes the first cover "Children of the Revolution" which turns T-Rex's hit into a classic 80's heavy metal tune injecting infectious energy into the choruses and adding two blistering guitar solos. "S & M" features a great bass-drum pattern, melodic guitar lines and powerful Di'anno vocals. "Takin' No Prisoners" brings forth shades of "Queensrÿche" both in Di'anno vocal color and melody, with modified elements from "I Don't Believe in Love". "Marshall Lockjaw" is a fast-paced rocker about a futuristic bounty-hunter whose character is featured on the inside booklet of the album. "Protector" drumming intro threw us back to "The Ides Of March" the opening track of "Killers", while the power ballad "Dream Keeper" captivates us with its heartfelt lyrics and showcases one of Di'Anno's most compelling performances on the album. As the album progresses, DiAnno continues to show his vocals diversity, yet again sometimes sounding like Geoff Tate in "Awakening". The album ends with a rendition of the classic epochal power "Iron Maiden's" ballad "Remember Tomorrow". While the cover may not surpass the original, it still adds to the album's charm. The remastered version of the album includes bonus rehearsal recordings of "Impaler", "The Beast Arises", "Marshall Lockjaw", and "Children of the Revolution", along with an acoustic version of "Dream Keeper". These recordings offer a glimpse into the band's preparation process, adds context and enhances the overall experience. "Murder One" represents a pivotal and transitional chapter in Paul Di'Anno's career. It may not possess the cohesive identity of his previous endeavors, but it showcases Di'Anno's relentless spirit to evolve and explore new musical avenues. With its amalgamation of various metal influences and Di'Anno's distinctive vocal prowess, "Murder One" remains an intriguing testament to an artist's journey of self-discovery. Despite its fragmented nature and the shadows it casts on Di'Anno's future trajectory, "Murder One" stands as a testament to his resilience and determination to forge ahead. While it may not be a groundbreaking or genre-defining release, the album offers a glimpse into the artistic evolution of a charismatic frontman, serving as a reminder of his contributions to the metal landscape. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Benjamin is back... Breaking Benjamin's "Dark Before Dawn" album was issued on June 23rd, 2015. So in 2015, Benjamin Burnley made a comeback, he came back all alone, without anyone, after a very difficult period of legal disputes and illness, but he came back big time and for the band's fans, it was the best thing that could have happened. In April 2010 during the band's tour in the US, Burnley started to get sick, he suffered from a combined phenomenon of hangover and flu. The feeling was not foreign to him since he was a very heavy drinker for the past 10 years, but that feeling did not pass after a day or two as usual but lasted longer. Burnley said that after 3 consecutive days of drinking the hangover feeling did not go away and he also started to have symptoms of the flu, headaches, weakness, and fever. He did not even manage to get up and perform. (Photo: billboard.com) At first, he went for tests at his family doctor (he has no supplementary insurance) and the "genius" could not identify what he was sick of, Benjamin tried to check the matter with another doctor but still got no answers. In light of this, he decided to stop everything, take a break from the band and embark on a journey to identify and solve the disease. Well, we did not come here to tell you about Burnley's medical history but there is a reason for it. As a result, he announced that he was taking a break and so was the band until he will found a solution to his medical problem. A year and a bit later the two members of the band, guitarist Aaron Fink and bassist Mark Klepaski received an offer from the band's record company Hollywood Record to release a collection of hits and a remix to their famous single "Blow Me Away" and for that they will each receive $ 100,000. The two members decided to take the offer and the record company did release in August 2011 the album "Shallow Bay: The Best of Breaking Benjamin" as well as a remix of the song in question. When Burnley heard about it, he decided to fire the two members (he fired them via email, they should be thankful there was no WhatsApp then) and sue them for illegal conduct and decision-making without the consent of the band members. Burnley vehemently opposed releasing a completion album and the remix made to the song was his private property only. On the other hand, the two members claimed that Burnley was on a break from the band and had no authority to make decisions or oppose the activities of the other band members. The long conflicts in courts and long complicated arbitration ended in April 2013, it was settled that Burnley gets all the rights to the band name and the two unemployed members can look for their way elsewhere! By the way, three days after Burnley announced the end of the saga, drummer Chad Szeliga announced he was retiring from the band due to disagreements. In parallel with the legal proceedings during the period, Burnley lost his advice and was unable to get answers from the doctors. He visited dozens of doctors and no one was able to identify the problem he had. He said that at one point he was already so frustrated that he took the thick medical folder and slammed it on the floor. Broken and exhausted he decided to turn it all over to create the band's next album in the hopes that it would cure him. He started writing the album while at the same time recruiting a completely new band members: Jasen Rauch guitarist who was in the band RED and contributed to the writing of the album, "Dear Agony", another guitarist who also sings, Keith Wallen from Adelitas Way, a bassist who also sings Aaron Bruch and drummer Shaun Foist who was in the band Picture Me Broken. Apart from the drummer, he knew each member during the band's tour in the past, so he chose them one by one... and to test the dynamics they went on a short tour in 2014, which also included several acoustic performances. (Photo: spotify.com) After a short tour, the members of the new band slightly rubbed in performances together, entered the studio to record the album. The album of course was already written for the most part, except for the opening section and the closing section which Jason wrote. The new members only added their share to the adaptation and lyrics that Burnley had already written on his own. Burnley said in one of the interviews that working with the new lineup was much more fun and creative than with the previous lineup, "So, everyone came to do their job, he knew his role and was goal-oriented and audience-oriented. Here we do everything together with great fun." Burnley is also the one who produced the album, which has happened on previous albums but he never got credit for it. The name of the album is exactly what Burnley went through during the break, from the darkness to the dawn of a new day, with a new lineup he came to prove to himself and especially to fans that the band's all-too-familiar sound was not lost, only improved. Indeed, the album sounds just like the band's previous albums, some would even say that there are songs that are reminiscent of specific performances from previous albums. Breaking Benjamin has its sound, true it sounds or sounds like other bands, but it is still special and consistent throughout all of her albums. Burnley claimed they were not interested in changing that on this album, he did not want to reinvent the wheel or explore new areas. He wanted to put the familiar sound of the band with the power of the new lineup, and we must say that in our opinion he was hugely successful. - Footnote: In the next album you do hear some changes in the sound but it only makes it better !! The album opens with an instrumental opening track that leads to the opening song, which was both the album's first single and the band's most successful - "Failure". The opening explosion in the chorus put you right into the muse of the album. The second single from the album "Angels Fall" brings Burnley's volume with a slightly gloomier style. In general, the strength of the guitars, Burnley's voice, and the style of the drums are the hallmarks of the band that is well felt in "Breaking the Silence", "Close to Heaven", "Bury Me Alive", "The Great Divide". The song "Ashes Of Eden" is slightly different and deviates from the band's familiar style, but gives an extraordinary experience and a new definition to the concept of a rock ballad. The song "Dawn" closes the album optimistically and gives a feeling of incredible satisfaction for the whole experience we went through now. By the way, the song combines the voices of Burnley and his wife with the sounds of their eldest child's heartbeat immediately after he is born. As fans of the band this album was a groundbreaking moment for us. The fear that the band had broken up, that it would not be as it was, and waiting to see what would happen were nerve-racking mortals. When the album came out already on the first listen, we breathed a sigh of relief. As if someone took the ice cream from us, but just added hot chocolate to it from above and gave it back to us tastier and more upgraded. On this occasion, we must commend the great tribute show to the band that took place several years ago in the country and hope it will return again. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

The second studio album "Significant Other" by "Limp Bizkit", was released on June 22, 1999. This is one of the top Nu-Metal explosions accrued at the beginning of 2000. A crazy red-capped singer with a heavy guitar player, heavy beats drummer and bassist accompanied by a "lethal" DJ dropped their music on the world. Their debut album, "Three Dollar Bill, Y'all," released in 1997, didn't create much buzz or attention for the emerging group, despite their close association with "Korn" and their involvement in the Nu-Metal movement. However, there was one song on the album that stood out amidst the sea of mediocrity. Their cover of George Michael's "Faith" quickly gained momentum, receiving extensive airplay on radio stations, clubs, and becoming a massive hit on MTV. After this breakthrough, "Limp Bizkit" became a household name, and the anticipation for their next album reached a fever pitch. On one hand, expectations were high, but on the other hand, many believed that the band was destined to be a "one hit wonder." People anticipated a lackluster album since nothing else from their first album had resonated with audiences except for "Faith." However, these doubts only fueled Fred and his friends to create their best-selling album. "Limp Bizkit" aspired to be rock stars, longing for fame and success. They were determined to turn their dreams into reality. The band aimed to combine strong heavy metal riffs with hip-hop, powerful beats, and effects. Following the success of the renowned "Family Values Tour" organized by "Korn," Bizkit was eager to hit the recording studio. Despite their label's advice to take a break, they enlisted producer Terry Date, known for his work with "Pantera," "White Zombie," and "Deftones," to enhance their sound and dive into the studio. The album's creativity, as the spirit of the band, was led by the two characters... Fred Durst had a turbulent upbringing, often feeling like an outsider and seeking solace in alternative music. Rebelling against authority, he made a surprising decision to join the army but soon dropped out, finding himself homeless and living on the streets. Recognizing his strengths as a vocal and relatable figure with a pouty, angsty demeanor, he knew he would fit perfectly in a high school detention hall anywhere in the Western world. With this in mind, he formed the band around those qualities. On the flip side, there was another significant figure in the band who embodied a completely different persona. This individual was a flamboyant and eccentric individual, often donning body paint and wearing black eye contacts. Despite this striking appearance, they possessed the intelligence and creative vision that drove the band's success. Wes Borland, the creative force behind the band, bore the weight of crafting their music and carrying the artistic burden. Growing up in Nashville, Tennessee, he faced the challenge of not succumbing to the influence of country music and eventually found his musical calling when he relocated to Jacksonville. Wes served as the mastermind behind the band's melodies and overall sound, skillfully blending elements from various genres of rock music. His powerful riffs provided the necessary backbone to support the frontman's at times outrageous and absurd lyrics. Without Wes's instrumental contributions, which evoked the sensation of one's face being slammed into a windshield with the relentless force of countless car wrecks, the lyrical content would not have resonated as effectively. Furthermore, Wes was renowned for his extravagant stage presence, taking charge of all the costumes and makeup preparations himself. While acknowledging the contributions of drummer John Otto, turntablist DJ Lethal, and bassist Sam Rivers, it was the symbiotic relationship between Wes and Fred that kept things running smoothly for the band. This synergy became evident during Wes's temporary departure from the group, but fortunately, he eventually returned, ensuring the band's continued success. Led by these two charismatic individuals, the band found themselves at the forefront of the musical revolution of 2000. They took the well-known formula of sludgy, loud-quiet-loud dynamics popularized by Nirvana, infused it with infectious hip-hop beats, and added a touch of raw, confrontational lyrics addressing disloyal friends, lovers, and sprinkled with provocative sexual and crude humor. Setting the tone for their album, they kicked things off with the opening line, "You wanted the worst, you got the worst." As the summer vacation approached and teenagers eagerly anticipated their break, on June 16, 1999, "Nookie" was released as the first single from the album. Inspired by Fred's own breakup with his girlfriend, the song was a potent blend of sexy and powerful rap-rock hybrid. It struck a chord with the overwhelmed and hormone-fueled bodies of young, wild teenagers, delivering exactly what they were craving. There's no need to feel embarrassed; it resonated with you too! Six days later the album came out and sold 643,874 copies in its first week. In its second week of release, the album sold an additional 335,000 copies. Very quickly it reached the top and conquered the number-one spot on the Billboard 200 chart. The band collaborated with "Korn" vocalist Jonathan Davis and Scott Weiland of "Stone Temple Pilots" on "Nobody Like You". Weiland would frequently visit NRG studios and help Fred with the vocals. "Staind" singer Aaron Lewis provided backup vocals on the song "No Sex", while Scott Borland, Wes' brother, played keyboards on "Just Like This", "Nookie", "Re-Arranged", "I'm Broke", "9 Teen 90 Nine" and "A Lesson Learned". The band allowed Durst and DJ Lethal to explore their hip hop influences by recording with Method Man. DJ Premier of Gang Starr was brought in to produce the collaboration on the song "N 2 Gether Now". Listen to the album on: Spotify, Apple Music. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A few words about Vinnie Paul who is best known as the drummer of "Pantera". (Photo: Mike Pont) He was born in Texas on March 11, 1964 as Vincent Paul Abbott. His father was a producer and writer of country music. In his youth, he learned to play for Tuba, but very quickly made a switch to drums under the influence of his father who explained to him that there is not much of a career for Tuba players. He is the older brother of guitarist Dimebag Darrell, who was born on August 20, 1966. The two formed "Pantera" in 1981. Initially, the band's style ranged from Heavy Metal to Glam Metal, but after singer Phil Anselmo joined the band in 1987, they began to gradually change its style towards Thrash Metal and what would later be defined as Groove Metal. For more on the band's significant transformation process, read two of the four episodes we wrote in the "Transformers of Metal" series here: 1. The Rise of the Transformers 2. Revenge of the Metal Transformers - Revenge of the Fallen After the disbandment of "Pantera", Vinnie Paul and Dimebag Darrell formed "Damageplan", in 2003. In December 2004, during a band performance, Vinnie's brother - Dimebag Darrell was shot dead by one of the spectators, in an incident that shocked the metal world. Following his brother's death, Vinnie Paul was already thinking of giving up on music. He eventually joined the "Hellyeah" supergroup in 2006. Vinnie Paul was found dead at his home in Las Vegas, on June 22, 2018. He had a heart attack on his sleep. He was buried next to Dimebag Darrell in Arlington Texas. On his tombstone, there is a quote from a "Hellyeah" song. During his musical career, Vinnie Paul released 9 studio albums along with "Pantera", one album with "Damageplan" and another 6 albums with "Hellyeah", the last of which was released in September 2019, after his death. Vinnie Paul also collaborated with quite a few artists, one of the most notable collaborations was with David Allan Coe, as part of the album "Rebel Meets Rebel", which also featured his brother Dimebag Darrell and bassist Rex Brown from "Pantera". "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 22, 1979, "Rust Never Sleeps", one of Neil Young's biggest and most influential albums, was released. Neil is accompanied here by his backup band "Crazy Horse". It's an album that defined the sound of rock music and the guitar sound of future generations, an album that was responsible for quite a bit of how alternative and grunge bands will sound in the 1990s, an album that earned Neil Young the title "Godfather of the Grunge". So true, the roots of the rough sound and the dirty distortion sounds are not new for Young. They were planted 10 years earlier, in the album "Everybody Knows This Is Nowhere" released by Neil Young in 1969. At the same time, what was small touches a decade earlier, has already become Young's trademark here, which aims to educate the younger generation And show them what a powerful, rooted, and real "rock" is. It should be remembered that in those years Neil Young's career was not at its peak. Albums like "American Stars' N Bars" (1977) and "Comes a Time" (1978) did not succeed. It was a time when the disco was at high, rock was fading and punk was raising its head. Those same punk bands disliked everything artists such as Neil Young and his friends represented, and were not afraid to express their opinions in public, even in the songs they wrote. For example, in the "Clash" song "1977" the lyrics include the phrase: "No Elvis, Beatles, or The Rolling Stones" - a blatant and direct statement that expresses the mindset of the punk generation who believe that dinosaurs on which rock music is based on are no longer relevant and even extinct. That statement even intensified after Elvis Presley, one of Neil Young's idols, passed away that same year. This was enough for Young who decided to teach the younger generation a lesson while reminding the older generation, who may have forgotten, how to make rock. Although the album includes new songs, it is not considered a studio album in Young's catalog, but rather a live album. A particularly strange statement because the production did everything possible to erase any signs of live performance. Audience voices were almost completely erased, production tricks were performed on the recordings, fade-in and out manipulations were performed on the songs, and space was inserted between the tracks, to give the audience the feeling that this is a studio album for. Interesting that two of the album's songs were not recorded at all during the shows that make the album. The song "Pocahontas" was recorded in the mid-seventies as part of the sessions for the planned unreleased album "Chrome Dreams" and the song "Sail Away" is an outtake from the previous album "Comes a Time". The first half of the album is acoustic, while the second half is electric and rough. Just like the tour that preceded the release of the album and was named after the it - "Rust Never Sleeps". The idea for the album and the tour came from Mark Mothersbaugh, singer of the electro-punk band "Devo". In 1977 Young invited the band members to participate in the comedy film "Human Highway", which he directed. As they go through the recorded material for the project, Young encounters the phrase "Rust Never Sleeps" which Mark Mothersbaugh and the band used. He called them to find out what the sentence meant and they noted that it came from a slogan of a product called Rust-Oleum. This was enough for Young, the sentence stuck in his head and became the name of one of the most remembered and talked about tours in the history of rock 'n' roll and later it was also the name of the album. Young saw the sentence as describing the rust that had caught in his faltering career. The album opens with a streak of three songs recorded at the Boarding House in San Francisco. The opening track "My My, Hey Hey (Out of the Blue)" is simply an acoustic atom bomb. The guitar line played on the bass strings of the acoustic guitar is so simple yet so ingenious! The credit for writing the song along with Young goes to Jeff Blackburn from "The Ducks" - the band formed by Neil Young in 1977 and whose song was written during his friendship in which the song addresses exactly the feelings that accompanied Young before the album was recorded - dealing with his and his friends' declining popularity, passing fame and relevance. The falls in the age of punk and disco. The lyrics include an explicit reference to Elvis Presley and the Sex Pistols in the sentence: "The king is gone but he's not forgotten / This is the story of a Johnny Rotten". This song also features one of rock's most iconic lines ever written: "it's better to burn out than to fade away" - a sentence that signed Kurt Cobain's suicide note from 1994, set Neil Young's title as the grunge godfather in concrete, and sent Him writing an entire album in Cobain's memory - "Sleeps With Angels". This is the quiet version of the electric, the dirty, and rough track "Hey Hey, My My (Into the Black)" that seals the album. The initial performance of this electric version can be found in Young's 12 - minute duet with the Devo band appearing in the movie "Human Highway". "Thrasher" mimics the conceptual line of the first song and also talks about the decline and death of rock 'n' roll. The "dinosaurs" mentioned in the song, according to Young, are Crosby, Stills & Nash who "died" and were forgotten. The song also opens with Young's harmonica exhale reminding us of the opening with the same harmonica sound in the song "Southbound Train" from Crosby & Nash's excellent debut album. A classic folk song that is more focused on recitation and lyrics than on a melody very similar to Bob Dylan. "Ride My Llama" is a short melodic and delicate piece. A ballad that takes us back in time to the "Zuma" days of the mid-1970s. "Pocahontas" reflects Young's preoccupation with Native American culture in America while combining a time travel to the present and an encounter with characters like Marlon Brando. This is a dark fuller song recorded on August 11, 1976, in what was supposed to be the album "Chrome Dreams". The recording of the original version was released only in 2017 as part of the album "Hitchhiker". "Sail Away" ends the acoustic side of the album with a section on the country border which was written and recorded as part of the sessions for Young's previous album - "Comes a Time". The song features Nicolette Larson's wonderfully harmonious and delicate background sounds and it could no doubt have fit perfectly as an excerpt from CSNY's album. We are flipping the vinyl's side, and the music and sound just change from end to end. The acoustic becomes electric, clean and clear becomes noisy and dirty, and we are introduced to "Powderfinger" Which tells the story of a young man trying to protect his family from rioters (apparently during the American Civil War). He realizes that all the older men are unavailable, leaving him to "do the work." After some hesitation, he decides to act, but is eventually killed. The song combines immature riffs with the harmonious background vocals of the Crazy Horse members, and how beautiful the combination of Frank Sampedro and Neil Young is in the harmonic solos. Young initially offered the song to "Lynyrd Skynyrd", but they were not interested. This song was also first recorded in August 1976 and was probably intended to be part of the album "Zuma". The riffs in the song "Welfare Mothers" sound like they were influenced by hard rock, while the song "Sedan Delivery" corresponds with punk a bit. This song was also written and recorded for the first time during the recordings of the album "Zuma" and it was also originally intended for "Lynyrd Skynyrd", but this time Lynyrd preferred not to take the song. The album "Rust Never Sleeps" was acclaimed and also commercially successful. It entered "Rolling Stone" Magazines of the top 500 Albums of All Time and even Colin Larkin's Top 100 Albums List. Needless to say, the album won a maximum rating of 5 stars in almost every possible music magazine. Later in 1979 Neil Young and the Crazy Horse will release the complementary live album "Live Rust" and at the same time a live video of the album under the same title, which perhaps proves that the current album was supposed to be a studio album, otherwise why the duplication on another live album immediately afterward. Along the way, with the start of the next decade, Young will continue to experiment and take new and extreme musical twists, which will include a techno album, an electronic album, and a rockabilly album. About this in the following reviews ... For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Okay, so after our review on "The Black Sheep of the Black Sabbath" earlier this week, we felt we owed you compensation. A review of a "Bomb" album by this great band. And this time it is not just a "bomb", it is a 10-ton bunker penetrating bomb, because it's the Ronnie James Dio lineup reunion album, which is also considered Black Sabbath's heaviest album released June 22, 1992. So here is our review on "Dehumanizer"... Like any good story, our story begins with a great quarrel. In November 1982, after two huge and successful albums, Ronnie James Dio leaves the band, taking drummer Vinny Appice with him to form the band "Dio". The reason for leaving the band is in one word "ego". During the mixes for the live album "Live Evil", a "Black Cat" walked between members of "Black Sabbath", with Tony and Geezer accusing Dio of sneaking into the production room at night to increase the volume of singing relative to the rest of the instruments. In addition, Dio did not like the picture that was meant to be on the front cover. Bassist Geezer Butler also accused Dio and Vinny of secretly working on a solo project without updating the rest of the members. Add to that we'll add the fact that Dio asked to be more involved in the mixes and production of the album and the other two refused, and you get an "Egotrip" salad in antagonism sauce, and believe us, it was not tasty. Dio's departure was so full of negative emotions that it was clear to everyone that the chance of these four returning to play together was almost as good as the chance of true peace in the Middle East. And what did we do? We were saddened, and overwhelmed, mourning the loss of a mighty and meteoric lineup that was expected to be greatness. But as in any other mourning process, after the denial, came the anger, followed by the depression, and finally the acceptance. The acceptance that we probably could not do anything to save this relationship, because after all these are musicians at the highest level who each have a more inflated ego than a hot air balloon. And after the reception came to the consolation. Comfort in the form of the masterful debut album, "Holy Diver", the masterpiece of the band Dio which came out in 1983 followed by another album and another album of this great band and we forgot, and we forgave. Then a miraculous thing happened, apparently the four friends also forgot and forgave, because during the tour of Dio's album "Lock Up the Wolves", he invited Geezer Butler to take the stage with him and perform the song "Neon Nights". At the end of the show, Geezer contacted Dio and asked him if he would be interested in making another album with the band. Dio jumped at the chance to create another masterpiece with Black Sabbath, and the two met up with Tony Iommi and began to conduct what was going to be the album that Dio himself would consider one of the best albums he was ever part of. (Photo by John Harrell) The first sessions for the album were held with legendary drummer Cozy Powell playing with Sabbath on the latest album "Tyr" from 1990, but a strange accident took Powell out of the equation. His horse died and fell on Powell as he crushed his pelvis, in a way that did not allow him to be part of the album. Recordings of songs from the album in which Cozy Powell's drums, exist in bootleg albums from the period. Dio was quick to offer drummer Simon Wright, who played with him and with "AC/DC", among others, to replace Powell, but Iommi and Butler turned down the offer. Finally recruited Vinny Appice who played with the band on its latest album with Dio from 1982 - "Mob Rules", and was also part of Dio's band in its early years. The choice of Appice greatly influenced the album musically. Although in fact, it is exactly the same band that was part of the album "Mob Rules", the music is fundamentally different from it. This is one of Sabbath's heavy albums, whose heaviness is attributed, among other things, to Appice's powerful and aggressive drumming. The style on this album is more similar to the music of Dio's band on his next two albums - "Strange Highways" and "Angry Machines", than to the two masterpieces with "Black Sabbath" from the early 80s. Interestingly, the renewed idyll between Dio and Iommi and Butler was not entirely perfect, because at one point during the recordings, Iommi and Butler considered replacing Dio with singer Tony Martin, again due to professional disagreements. After several attempts to record with Martin, Iommi and Butler decided that it would be better for them to "smooth things over" with Dio, in favor of the project. And how lucky that the quartet managed to solve the chemistry problems between them, because as we said at the beginning of the review, this is literally a "bomb" of an album !!! The album opens with "Computer God", which immediately after the short intro designed to put the listener in the mood, explodes right inside us with the powerful and aggressive drumming of Appice that shakes all the bones in your body. Iommi enters exactly eight bars behind him with a riff that flips you directly to the "God of the Computers" and when Dio starts singing that he is "waiting for a revolution" you want to dive headlong into the speakers and shout with him "The revolution is here !!!". Then, 1:10 into the song after Dio finishes the sentence "Touch tomorrow, ENERGIZE", Butler's "energy bomb" lands on your head with an amplified bass line playing ping pong in your gut. This mini piece consists of 3 main parts, when at 3:00 into the song all this power that has exploded before us since the opening is reduced, refined, and drained into one minute of softness, calm, and serenity, a kind of mini ballad, melodic and moving, straight from Ronnie James Dio who proves that his sonic range stretches from the depths of the "Midnight Sea" of the "Holy Diver" to the summit of the "technological paradise" of the "Computer God". And just then, when you have already allowed yourself to relax a bit and lower all the defenses, suddenly out of nowhere the Appice firing machine shoots you a bundle directly from the snare drum (4:00 min) and when you're sure it's the end and it could not be more powerful, suddenly the tempo doubles (Min 4:20) Just to company Iommi with another immortal solo in the dark corridor leading straight into the arms of the "Computer God" waiting for you at the end of the song. Then, "After All (The Dead)" opens with Iommi's moaning guitar that sounds like a cello connected to distortion, and we enter the cemetery gates to a dark and gloomy song on the verge of Doom, which for a few small moments had It sparks from the theme song from the band's first album (especially at 1:03 minutes). The third track "TV Crimes" actually completes the trilogy of different styles that can be found on this album and proves the diversity it has, which ranges from the speed metal of "TV Crimes" and "Time Machine", through the classic heavy metal of "Master of Insanity" And "Computer God" to the doomed tracks like "Letters From Earth" and "After All (The Dead)". Other notable tracks on the album that you must not miss in any way are "I" and "Too Late". Very unfortunate this little union of the Dio lineup survived only a few months because our story ended just as it began, in a quarrel rooted in a testosterone-wrapped ego. In November 1992 just five months after the album was launched Dio leaves the band slamming the door again, after his friends asked to go on a joint tour with Ozzy Osbourne and serve as the latter's warm-up show, as part of what was to be his last tour. The plan was that during the show, Ozzy would go on stage and sing 4 songs with the band, but that was already too much for Dio's ego, who simply left the tour. The one who eventually replaced Dio in several shows, was none other than Metal God, Rob Halford. And just like the wheel of life that revolves around life and death, 14 years later Dio reunited with the other three members again in the band "Heaven & Hell", released a good album named "The Devil You Know" and went on a long tour with them that included "Black Sabbath" songs from Dio era, which was documented Also on two different live albums. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"Marillion's" fourth and final album with singer Fish - "Clutching at Straws", was released on June 22, 1987. This is a concept album, similar to its predecessor "Misplaced Childhood", which we wrote about last week. Musically, this album is not much different from the previous three albums, only the general atmosphere here is much more melancholy and dark. Another change compared to previous albums is the fact that despite the frictions and quarrels that began to arise between the band members during the recordings, their playing is much more professional, cohesive, and mature, and this is probably the added value of this album, which is on a par with the previous album "Misplaced Childhood", Some say even surpasses it by points. Lyrically, the plot story focuses on the character of Torch, a 29-year-old unemployed singer with a not-so-simple life, who finds solace in alcohol to escape the sad reality in which he lives, a ruined marriage, a breakup, and a failed career. When Torch gets drunk he manages to write songs and "laments" about his life, but that doesn't help him get up and get out of the situation he is in. He always ends up drunk in bars or unconscious in hotel rooms, with no hope or regulation. Fish has managed to transcend himself here and write the deepest words in his career, which are based in one way or another on his personal life. The Jester from the album "Script For A Jester’s Tear", the boy from "Misplaced Childhood" and now also Torch of the current album, are all characters that are reflected in Fish's complex personality, and this fact only makes listening to this album a shaky journey in Fish's veins. Now add to that the melancholy melodies and darkest music that "Marillion" has created for you, and you have a masterpiece designed to shake and excite you. Interestingly, Fish referred in the accompanying booklet to the 1999 reissue of the album to the fact that part of his soul and being is within the concept story of the album, and so he said: "The concept was maybe too close to home", which proves that the lyrics were a kind of autobiography or, A self-fulfilling prophecy. Even the album cover hints that this is a kind of reflection on Fish's life. You can see the local pub and some of Fish's heroes there, including Jack Kerouac the writer who is even mentioned in the song "Torch Song", John Lennon, James Dean, and more. (Photo: Frans Schellekens) The album opens up with "Hotel Hobbies" by Mark Kelly's keyboard buzz and with what sounds like Peter Trewavas' bass improvisations aiming to put us in the mood for the first episode of the story of Torch, the failed singer who is a descendant of the Jester from "Marillion's" previous album covers. The song describes Torch's life in hotels, the cocaine on the mirror, the Happy Hour, the prostitutes at the bar, and the ticking of the pen that reminds him that he is alive during his attempts to write a song. A classic neo-prog song that just comes to life with the mighty entrance towards the second verse and accompanies almost the entire length with Steve Rothery's vibrato effect on the guitar, what a perfect playing and how much emotion this is is amazing guitarist can convey through. Torch's story progresses through "Warm Wet Circles" the song that shows us how Torch really deals with alcoholism. A song about the loss of innocence, a song that introduces us to situations in Torch's life in which the "hot and wet circles" likened to alcohol gives him momentary comfort, a warm and loving hug designed to dissipate. On the one hand, they are like his mother's warm hug ("it's like his mother's hug"), and on the other hand, he knows they will lead him to his death just like a bullet fired from a gun in Central Park ("like a bullet hole in central park"). The third track "That Time of the Night (The Short Straw)" opens quietly and dramatically with Mark Kelly's keyboards and Rothery's moaning guitar settling on Peter Trewavas' dominant bass. This song that introduces us to Torch's "Short Straw" - "Torch's Broken Barrel" that begs for help, gradually develops until Fish's amazing entrance at 2:37 that screams his soul and asks: "If you ask me how I feel on the inside ...", Without a doubt one of his best performances on the album and in general, a vocal performance that only intensifies towards the end with the backing vocals of Tessa Niles. We slow down a bit of pace with the atmospheric and quiet "Going Under" which is just the trigger for the bouncy section "Just For The Record" that follows. What a beauty of a Mosley drumming gives here and how beautiful Steve Rothery's guitar line and Mark Kelly's crazy solo that sends us like a cannon shell straight to the days of "Fugazi". The sixth track "White Russian" which seals the first side of the vinyl, is one of our favorites on the album. What amazing Fish words reminiscent of the burning of synagogues, the Holocaust, and the Uzi guns on the street corner. "Where are we going from here? ..." Fish asks, pointing an accusing finger at those who allowed the rise of neo-Nazism in Europe. And what an amazing turn this song gets at 3:55, just a brilliant segment with an ending on the epic frontier with Steve Rothery’s amazing solo. The other side of the vinyl opens up with the first single from the album - "Incommunicado" a song full of contrasts, on the one hand, a bouncy upbeat rhythm and "cheerful" keyboards, and on the other sharp words that refer to all the bad in the music industry, its shortcomings, and pressures on an artist to succeed. And from the general to the individual, in the specific case the pressures exerted by the American record company - Capitol Records on "Marillion". Fish mentioned the impact of "The Who" on the song and keyboardist Adam Wakeman (the son of) noted Mark Kelly's solo here as a great inspiration. Just like Torch's life in the concept story, we move from the party rhythm of "Incommunicado" to the melancholy rhythm of "Torch Song". The song, which refers to this character of the story, with the sounds of laughter and drinking in the pub that are heard far in the background, behind the jazzy and so special bass of Pete Trewavas, is accompanied by precise descriptions of the dismal 29-year-old Torch's condition. He stands on a stage like a superstar but feels like zero, the addiction to the "bitter drop" and the doctor's warning about his liver condition and that if he continues like this he will not reach the age of 30. We continue to the piano rhythm for an encounter with one of the most powerful songs on the album, which also opened the performances in the tour that accompanied it - "Slàinte Mhath" - which means "cheers" in Gaelic. The song is led by Ian Mosley's amazing and intelligent drumming and Steve Rothery's circular guitar sentence, while Fish gives us an "interim summary" and tries to explain to us what "the story has been until now". The next track - "Sugar Mice" is not only one of the highlights of the album but is one of the highlights of the band. A soft and caressing melodic composition in the first half of the song accompanies the moving words that tell us about the bitter fate of Torch who is doomed to live on the road, away from his children, a longing life and suffering of an artist who falls victim to the industry and finds himself comforted by the "bitter drop" arms. Fish is at his peak here in terms of writing, with sentences penetrating an armor: "If you're looking for my address, I'm at No. 1, at the end of the well sitting with the broken angels, clinging to a straw and licking the wounds ...", and when Torch (Fish) turns to his children and says they Can only blame him no one eye will stay dry. "Your daddy took a raincheck. Ain't no one in here that's left to blame but me, Blame it on me, blame it on me". From there we move on to the amazing ending of the story, with "The Last Straw". The song takes us back to the hotel corridors of "Hotel Hobbies" with which we opened the album and ends with the duet between Fish and Tessa Niles, who repeat like a mantra the phrase "we are still drowning", "holding on to a straw" .. as if trying to say what was is what will be. The wheel turns and the story of the failed singer who we met at the hotel, with the alcohol and cocaine on the mirror, despite everything and despite everything, is still drowning, clinging to a request ... still drowning .... Despite the seemingly dismal ending, "Marillion" insisted on ending the album with an ironic statement. An 8-second segment called "Happy Ending" in which Fish is heard shouting "No!" And then laughs and grins... The album "Clutching at Straws" is a tremendous end to the first period of "Marillion". A masterpiece album that is the band's "Swan Song" in a lineup with singer Fish. An ingenious and one-of-a-kind composition that had all the ingredients needed to leave history. The band that is largely responsible for bringing the progressive back to the world music map. No wonder this album has managed to enter Rolling Stone magazine's 50 greatest progressive albums of all time, as, beyond the creative climax expressed here, this album best expresses the bridge between the classic progressive and the new and up-to-date one. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 22, 1971, Joni Mitchell released her fourth album, "Blue". The album is the pinnacle of Johnny Mitchell's work and is considered by many to be one of the best albums ever released by a singer. Just to be clear, the album holds the 3rd and most respected place, out of the 500 greatest albums of all time updated list of the "Rolling Stone" magazine (before "The Dark Side Of The Moon", "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" and many more), The highest entry of a female singer on the list. This is an album that received a perfect score, by almost all the important critics, who also praised the singer's writing ability and composition. The genius of the album is in its minimalism. Almost all of the songs in it are accompanied exclusively by guitar and/or piano and yet they echo strongly for more than five decades to this day. Musically it is a folk, rock, and pop album, very melodic and with a lot of softness and emotion. In terms of lyrics, this is a very personal album, which refers mainly to the relationships that Mitchell had with her various spouses. The story of this album begins in January 1970, when Mitchell decides to stop performing for a year and focus on writing and painting. At the same time, Mitchell travels around Europe, a trip that will also be fertile ground for the classics she will write during his trip. While on the island of Crete, she writes the songs "Carey" and "California", the first being influenced by her relationship with Cary Raditz who is also mentioned in the "California" song as "Red-Neck from the Greek Island". The songs "My Old Man" and "River" were probably influenced by her relationship with Graham Nash and the songs "Blue" and "All I Want" were written about singer James Taylor. (Photo: Jim McCrary) The album was ready for marketing as early as March 1971, but at the last minute Mitchell decides to remove 2 of three old songs that did not get on her previous albums and replace them with two new songs: "All I Want", which opens up the album and "The Last Time I Saw Richard", Which is the last song on the album and was probably written about her first husband Chuck Mitchell. The only old song left on the album is "Little Green" written by the singer back in 1967. The album opens up with "All I Want" a folk/pop song with a beautiful melody, which includes the use of the string instrument "Appalachian Dulcimer". The song was probably written about the singer James Taylor with whom Mitchell was dating at the time and it includes reference to specific cases in the relationship, such as the sweater that Mitchell knitted for Taylor and which he proudly wore. Taylor who also plays guitar in the song denied in a 2008 interview that the song was written about him and claimed that the song was written before the two even met: "I want to knit you a sweater" says Mitchell, you will judge who is telling the truth. From there we continue to "My Old Man" which was probably written about Graham Nash, this is the first song on the album with only piano. "Little Green" is a pure folk song, perhaps the saddest on the album, referring to Mitchell's daughter - Kelly Dale whom she gave for adoption in 1965, because she was unable to raise her. Kelly and Mitchell reunited in 1997 but their relationship did not survive. It is the only "old" song written for the album back in 1967, but did not find its place on her previous albums. (Photo: Central Press) “Carey” is a rhythmic song relative to the rest of the album tracks and it also features richer arrangements than most of the songs. Mitchell's dulcimer and voice are backed by the bass playing of none other than Stephen Stills and Russ Kunkel's percussion. The song was written about Cary Raditz whom Mitchell met in the caves at Malta, south of Crete. The first side of the vinyl closes with the theme song, "Blue" a kind of sad lament led by a fluid and moving piano playing. Rumor has it that the song was written about David Blue, a musician who was an acquaintance of Mitchell's. The other side of the album opens up with "California" written during Mitchell's stay in France and tells of her longing for home. The song is backed by the acoustics of Mitchell and Taylor, the percussion of Russ Kunkel, and the still-pedal playing of Sneaky Pete Kleinow. The same Kerry from the previous song also appears in the second verse of the California song. "This Flight Tonight" was written about Mitchell's remorse as she boarded a flight and left her lover. The song received a cover version by the Scottish Hard Rock band "Nazareth" on the 1973 album "Loud 'n' Proud", which was produced by Roger Glover from "Deep Purple". By the way, Nancy Wilson from "Heart" admitted that the riff of "Nazareth" in this song, was the inspiration for the song "Barracuda". "River" is one of the most beautiful and moving on the album. Piano Ballad - almost a Christmas song, about longing for cold weather. The song received a famous cover version by the band "Travis", also Scottish (-: "A Case of You" was probably written about Mitchell's breakup from Graham Nash, but some argue that it was actually written about Leonard Cohen. The album is sealed with "The Last Time I Saw Richard", a piano ballad that tells of Mitchell's brief marriage to Chuck Mitchell and her struggle to survive as a folk singer in the mid - 60s. Unlike many masterpieces that were discovered by the audience and critics long after their release, "Blue" was commercially successful already at the time of its release. Thanks to this success Mitchell decided to return to the stage and live performances. The album also allowed her creative freedom and she did indeed continue to develop musically and later produce some of the most interesting works in her glorious career. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 22, 1979, "Queen" released their first official live album, "Live Killers". This double LP captured the band at the peak of their late-'70s live power—flamboyant, furious, and filled with the kind of theatricality only Freddie Mercury could deliver. The album was recorded across various European dates during their "Jazz" tour and reflects a band that had already become a dominant force on stage, but was still years away from the massive stadium spectacles of the '80s. "Queen" produced the album themselves, working on the mixes in Munich. Despite some editing and overdubbing, the album retained a raw, urgent live feel, with ambient crowd noise, Mercury’s spoken interludes, and guitar squeals all left intact. "Live Killers" captures the raw energy of "Queen" in their natural habitat—on stage. But it also drew mixed reactions from fans and critics alike. While the album highlights the band’s incredible musicianship and Mercury’s magnetic vocals, the sound production was often criticized as thin or distant. Some fans also questioned a few of the track selections. Still, despite these flaws, the album has endured as a fan favorite—an essential document of "Queen" during their peak touring years. The album opens with the fast version of "We Will Rock You", taken originally from "News of the World". Unlike the iconic slow stomp of the studio cut, this live rendition is explosive and punk-influenced—short, sharp, and defiant. From there, "Let Me Entertain You", which appeared in its original form on "Jazz", keeps the momentum high with a more guitar-driven edge in the live setting. Brian May shreds with abandon, Roger Taylor smash through the rhythm, while Mercury leads the charge with his usual swagger. "Death on Two Legs", the scathing opener from "A Night at the Opera", arrives with even more venom on stage. It begins with a famously censored line—Mercury’s furious intro referring to their fired manager: “This is about a dirty, nasty old man, we call him motherfucker, you know what motherfucker means?” is replaced with a series of beeps, adding both mystique and rebellious tension to the performance. It flows into a medley including "Killer Queen", "Bicycle Race", "I’m in Love with My Car" with Roger Taylor on lead vocals, and "Get Down, Make Love"—songs drawn respectively from "Sheer Heart Attack", "Jazz", and "News of the World". The medley format breathes new life into the tracks, with altered transitions and heavier instrumentation. "You're My Best Friend", taken from "A Night at the Opera", is a charming addition to the setlist and a rare live showcase for bassist John Deacon's songwriting. With Mercury handling the piano and lead vocals. "Now I’m Here", originally from "Sheer Heart Attack", is intensified live, its echo-heavy vocal sections and riffs hitting even harder in front of an audience. "Love of My Life" is a centerpiece of emotional power. Stripped of the lush studio arrangement from "A Night at the Opera", this version is presented with Brian May's acoustic 12-string and Freddie’s delicate delivery. But the real magic happens when the audience joins in—Freddie steps back and lets the crowd carry entire lines, transforming the song into a shared moment of beauty and unity. It’s not just a performance—it’s communion, and one of the most powerful examples of the bond between Queen and their fans. The acoustic line continues with "’39", which provides a surprising and heartfelt change of pace. Featuring Brian May on acoustic 12 string guitar and Roger Taylor on tambourine, the live version adds a storytelling charm that deepens the song’s time-traveling, folk-inspired character. "Don’t Stop Me Now", from "Jazz", comes across with a slightly rougher vocal edge, yet it retains its upbeat, irresistible spark. The extended version of "Brighton Rock", first heard on "Sheer Heart Attack", becomes a vehicle for Roger Taylor drumming and Brian May’s guitar wizardry. His solo is stretched into an atmospheric, multi-layered odyssey of delay effects, tapping, and harmony that transforms the track into something entirely its own. The final side of this double album delivers an unrelenting burst of energy. It begins with "Bohemian Rhapsody", dramatically reimagined for the stage with seamless transitions between the ballad, operatic, and rock sections. That flows into the thunderous "Tie Your Mother Down" and the frenetic "Sheer Heart Attack", both delivered with ferocious speed and volume. The set culminates in the slow-stomp anthem "We Will Rock You" and the majestic "We Are the Champions", wrapping up with Mercury’s iconic farewell and the ceremonial "God Save the Queen". "Live Killers" was a commercial success, reaching No. 3 on the UK Albums Chart and going double Platinum in the U.S. Although critics were mixed—some citing sound quality and editing—fans embraced it as an energetic snapshot of the band in their pure rock-centered glory. Over the years, it has been re-evaluated as a vital piece of "Queen" history, especially since many of the live arrangements differ significantly from the studio versions. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Although he is currently recognized as a member of "Deep Purple", his keyboards playing can be heard on over three hundred albums (!!!), which places him as one of the most recorded musicians of all time. (Photo: Flickr) Ladies and gentlemen today we are going to tell you about legendary keyboardist Don Airey, who was part of so many lineups and contributed his talent to a long line of masterpiece albums. Here are some interesting facts about him: 1. He was born in Sunderland England on June 21, 1948, as Donald Smith Airey. 2. He was greatly influenced by his father Norman Airey's love of music and began playing the piano at the age of 3. As a teenager, Airey switched to other keyboard instruments including the Hammond organ. 3. Although he studied classical music, he also specialized in other musical styles, performing in local clubs with rock and jazz ensembles. 4. He continued his musical education at the University of Nottingham, where he graduated with a degree in music and also received a diploma from The Royal Northern College of Music. 5. In 1971 he traveled the world playing on cruise ships, to Africa, the USA, and the Far East. 6. His first major appearance in a rock band was with Cozy Powell's band, whom he joined in 1974. 7. In 1976, Don joined the fusion band "Colosseum II" and recorded the albums "Strange New Flesh", "Electric Savage" and "Wardance" with them. 8. Don later briefly joined "Black Sabbath" and played keyboards on the album "Never Say Die!". 9. He will then respond to Cozy Powell's call and join "Rainbow". He was a member of the band for 3 years and took part in the albums "Down to Earth" and "Difficult to Cure". 10. At the end of his tour with "Rainbow", in 1980, Don played in Ozzy Osbourne's "Blizzard Of Ozz" album and among other things created the masterful intro to the song "Mr. Crowley". 11. Don will board Ozzy's "Crazy Train" and stay with him for another three years, during which he will play in the albums "Diary of a Madman", "Speak of the Devil" and "Bark At The Moon". 12. During the 80's Don became a sought-after session player for many artists and among other things participated in the albums "Out In The Fields" by Gary Moore and the album "1987" by "Whitesnake". 13. In 1987, Don joined "Jethro Tull" touring Europe and the United States. 14. He left "Jetro Tull" in January 1988 to compose his solo album "K2", recorded with Gary Moore and Cozy Powell. Since then Don has released 5 more studio albums as part of his solo career. 15. From 1989 to 1991, he returned to work with Gary Moore and among other things played keyboards and served as arranger on the album "Still Got the Blues", which became the best-selling blues album ever. 16. In 1991 he also participated in the "Painkiller" album of "Judas Priest" and later also in the albums "Demolition" and "Nostradamus". 17. In 1997 he adapted and conducted "Love Shine a Light" for "Katrina and the Waves" and helped them win the Eurovision Song Contest as representatives of the United Kingdom. 18. In 2001 came the opportunity to join "Deep Purple". Don managed - on a day's notice - to replace his friend Jon Lord ahead of "Deep Purple's" tour. 19. Since then Don has participated in all of "Deep Purple's" studio albums and he continues to perform with them to this day, around the world. 20. As we wrote at the beginning, Don has recorded hundreds of albums, including those of the following artists: "ELO", Brian May, Bernie Marsden, Graham Bonnet, "Wishbone Ash" Tony Iommi, Bruce Dickinson, Uli Jon Roth, "UFO" and more. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Incubus' very talented guitarist is Mike Einziger and he was born on June 21, 1976 !! So let's learn how talented, diverse, and educated the guy with whom we share the same nationality. = His full name is Michael Aaron Einziger and he was born in Los Angeles, California. = Until the second grade, he studied and was educated in a Jewish school called "Kadima". = He held his bar mitzvah party at "Valley Beth Shalom" and continued to attend a Jewish school three times a week in the afternoon. = His mother was a piano teacher and he grew up with music circling him at all hours of the day. (Photo: Incubus) = At the age of eight he started taking guitar lessons but quit very quickly because the teacher taught him children's songs and Mike wanted to learn to play rock songs. He returned to play the guitar at the age of 12 and taught himself to play by hearing. The first song he learned to play was the theme song from the James Bond movies. = In 1991, during his studies at Calabasas High School, he formed with his friends Brandon Boyd, José Pasillas II, and Alex Katunich the band "Incubus". (Photo: Con Keyes) = They started playing in clubs around Los Angeles as they formed themselves their very special musical identity. = In 1995 DJ Gavin Koppell joined the band and they released their first EP "Let Me Tell Ya 'Bout Root Beer" which included two songs. = The band's debut album "Fungus Amongus" was released in 1995. The album was heavily influenced by the punk metal style, they even wrote in the album booklet thank you note to the bands Red Hot Chili Peppers, Primus, and Mr. Bungle. They also gave themselves fake names like Happy Knappy, Salsa, Fabio, and Dirk Lance. = A year later, the band signed a seven-record contract with Epic Records. = In 1997 the band released their second EP called "Enjoy Incubus" which aimed to promote the band during their tour as an opening show for the band Korn. = Later that year Incubus released their second album (and the first on a major record label) called "S.C.I.E.N.C.E." Here the band began to change its direction to heavier sound with riffs from Nu Metal. The album was not a great success but sold relatively well for an album that did not receive airplay on radio or television. = After a short break, the band released their third album "Make Yourself" in October 1999. This is the breakthrough album with the hit single "Drive" which was played all over US radio stations. Here the band has already started to go more in the direction of alternative rock and Pop Rock. = In 2001 the band released their fourth album "Morning View" which was also a great success with the singles "Wish You Were Here" and "Nice to Know You". = That same year, Mike composed the soundtrack for a romantic comedy film called "Sol Goode" released in 2003. = In 2003, Mike and his friends founded an organization called "The Make Yourself Foundation" which aims to support and contribute to various charities and organizations for the benefit of the environment and society in the United States and around the world. = That same year, Mike formed the band "Time Lapse Consortium" which created psychedelic and funk jazz-style music. They have performed in several clubs and even released one album. = In the same year Mike participated in Ziggy Marley's debut album called "Dragonfly". = In 2004 the band released their fifth album "A Crow Left of the Murder..." (an album we unfortunately did not manage to review yet) and it continued the band's success with the previous two albums. = In 2006 the band released their sixth album "Light Grenades" which was their first album to reach number one on Billboard. = In 2007, Mike produced Coconut Records' "Nighttiming" album. A musical project by actor Jason Schwartzman that combines elements of rock, pop, and electronic. = Mike is a graduate of Harvard University where he studied the history and philosophy of physics (how to say... it's not rocket science... yes it is!). = And if that's not enough then he also went back to study music theory there !! This is what motivated him to write classical music. = In the early 2000s Mike began to develop a disease called "Carpal Tunnel Syndrome" which causes severe pain to the point of inaction on the palms of the hands. Around 2007 during a performance in Munich his condition deteriorated to the point that he could no longer play, out of frustration he began to break his guitar on stage and went down before the end of the show. That day he realized he needed surgery and indeed that year he underwent surgery and fully recovered. = During that period he was not allowed to use his hand and therefore also not play, so he invested in a project called “End.> Vacuum”. This is a composition project for an orchestra, classical music. The composition consists of four sections and its total length is 40 minutes and was performed by the Los Angeles Chamber Orchestra. = In 2009 the band released a compilation album called "Monuments and Melodies". = In the same year, Mike recorded the role of guitar on Thirty Seconds To Mars' album "This Is War". = In 2011 the band released their seventh album called "If Not Now, When?" Which is a completely different album from anything the band has released up to that time. = In 2012 he collaborated with musician Avicii and together they created the song "Wake Me Up!" Released on the album "True". = In 2017 the band released their eighth album called “8”. = Mike is known as a guitarist who likes to use analog effects. Between the guitar and the amplifier are connected a variety of instruments, some ancient and some modern, mostly analog, with which he creates the crazy sounds in the band's albums and especially in live performances. Listen to Incubus latest album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Editor's Choice... For those who are not familiar with the band Pierce The Veil, this is a great place to start, the second album of this talented, diverse, and dynamic band "Selfish Machines" was released on June 21, 2010 !! We became acquainted with the band following the song "King for a Day" from the band's third album "Collide with the Sky" which was released in 2012 and gained a lot of exposure on YouTube. But then we went back to their previous albums and this album grabbed us really hard, it is a kind of identity card of the band that is not afraid to use its talent to explore different and weird styles, dynamics, and rhythms including the use of the infamous tool - Autotune. Leading the band is mainly Vic Fuentes who is the lead singer, guitarist, and writer. Together with producer Mike Green they took the quartet material and created this excellent album that reached number one on the Billboard US Heatseekers albums chart. Vic wrote most of the songs on the album except for three songs he co-wrote with Tom Denney who was a member of the band "A Day to Remember". It's very difficult to define the style of the band, in our opinion it is so diverse, unpredictable, and out of the box in such a large and modern way that it's just amazing. The iTunes team defined it as follows: "blurs emo, prog rock, and post-hardcore" But Vic defined it as an album for the band's listeners and fans that is super fun and will go wild with live performances that the audience will sing along with the band. (Photo: Fearless Records) The album opens with "Bestios" which has a crazy Latin beat with roars and popping riffs that just throw you off the chair even before you reach the caressing chorus, less than a minute has passed and you have already been driven by a variety of different rhythms and vocals. The song describes a relationship that was written from the girl's point of view. The next track "Southern Constellations" is the opening section to the third song "The Boy Who Could Fly" which opens with a crazy rhythm of guitars and drums and returns the band to its punk roots. Note that in the band's music, it is very difficult to keep track of the sound of the guitar, it is very strongly mixed with other elements and especially with the drums (try to isolate and see), by the way, Mike Fuentes is Vic's brother and drummer of the band (as of today he is out of the band due to sexual harassment to one of the band's fan), playing this song and all songs with one bass pedal. What a beauty of dynamics there is to this song that breaks at once in the chorus with Vic’s screams, such fun to sing along with. Moving on to "Caraphernelia" which is also a song based on a relationship that Vic had with his ex-girlfriend. His friend Jeremy McKinnon from the band "A Day to Remember" gives his growling abilities here and turns this song into an interesting and winding combination of punk / metal and hard rock, a sheer pleasure... The fifth song on the album "Fast Times at Clairemont High" is an egoistic song by Vic that says that if "I can not have you then no one can". The name of the song is a tribute to the movie "Fast Times at Ridgemont High" but changed according to the name of the high school where the Fuentes brothers studied. Another Latin influence is felt in the song "The New National Anthem" which opens with a Spanish guitar fret. A kind of elastic love song, nice and not sticky! Where will you find a song that starts with a Spanish fret, continues to distortions, and even screams later, an amazing "fruit salad" !! We already understood that a relationship is a subject that Vic deals with a lot in songs, you can understand, he was still a teenager. In the song "Bulletproof Love" he combines his love for songs that have a happy dynamic and a fun rhythm with dark and difficult lyrics, there is a lot of that in the band's albums and it is very special. This song was written as a kind of suicide note about a guy who is obsessed with a girl he can't get... The next song was written as a sort of buffer on the album, "Stay Away from My Friends" is a quiet song based on keyboards and acoustic guitar. The band wanted to give the listener a moment of rest from the frenzy of the first part of the album and therefore created it in a completely different way from the songs before and after it. The ninth song on the album "I Don't Care If You're Contagious" which returns to the band's crazy/messy/diverse dynamics, is a song written by Vic following the story of a fan who lost her partner in a car accident. Vic wrote the song from a friend's point of view. What a beautiful opening to the song "Disasterology", a simply superb song !! Following the next song, "Million Dollar Houses (The Painter)", the band received a lot of fire and harsh reviews due to the use of Autotune which sounds obvious here, but for us it is ridiculous !! Use whatever you want and can to create your music, period! What a beauty of song structure, opening, verses, passages, and chorus, we just love this combination that so characterizes this quartet. The song that closes the album, "The Sky Under the Sea" returns once again to the band's punk origins with excellent drumming by Mike, one of our favorite drummers (not so much right now!!). Great ending to a great album !! Not many know this band and we set ourselves a goal to change that, so even if it sounds too messy to you, not classic, maybe even too "teen", we highly recommend you to give this band a chance. A very talented quartet with a very special style !! You are also welcome to read about their latest and all-too-fine album "Misadventures". Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website