Editor's Choice... And this time the Pixies' "Surfer Rosa", released on March 21, 1988. This is a groundbreaking album that changed the face of alternative rock and influenced many bands and artists in the 1990s. Artists like Billy Corgan and P.J. Harvey and bands like "Blur," "Bush," "Radiohead," "Dinosaur Jr.," "Nirvana" and even the Israeli "Mashina", said it was one of the inspirations that influenced them. Not for nothing did Thom Yorke from "Radiohead" pointed out that this is the sexiest record he has ever heard. It is no coincidence that Kurt Cobain admitted that the "Pixies" were his great inspiration and that the album " Nevermind " was an attempt to copy the melodies of the "Pixies". Sound strange to you? If you listen to the song " River Euphrates ," for example, you will understand. Cobain will later also work with Steve Albini - the album's producer - in an attempt to sound like the "Pixies", in the album " In Utero ". Even David Bowie was a big fan of this album and of the "Pixies" and recorded his cover version for the song " Cactus ", which he released in 2002 as part of the album "Heathen". Just two months after the release of the mini-album "Come On Pilgrim", in December 1987, the band entered the studio to record this musical marvel, which was recorded within 10 days and has a minimum production cost of $ 10,000. (Photo: Rob Verhorst) Producer Steve Albini earned only $ 1,500 and refused to accept royalties for his work, but his impact on production was amazing. Albini came up with the idea to move the recording equipment to the bathrooms in the studio, to record Kim Deal 's vocals in the songs " Gigantic " and " Where Is My Mind? "He was the one that transmitted Black Francis' vocals through a guitar amplifier in the song " Something Against You " in order to achieve an immature and rough sound. These were some of his little tricks and ideas that gave "Surfer Rosa" the added value needed to make it an album that left such a big mark and influenced almost every alternative band in the 1990s. The album's musical style is a blend of Classic Rock, Punk, Noise, Hard Rock, Psychedelic Rock, "Surfer Rock" and even Pop. Quiet-noisy dynamics. A mix of soft acoustic and rough electric, heavy and fast sections alongside light and slow parts. The music does not sound like anything that came out at that time, the writing is uncompromising, kicking, and uncensored. In short a must-have album! So if you do not know this album yet, do yourself a favor and listen to it now: Spotify , Apple Music . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 21, 2000, "Pantera" released their ninth studio album "Reinventing the Steel". After our four chapters on "Cowboys from Hell" , "Vulgar Display of Power" , "Far Beyond Driven" , and "The Great Southern Trendkill" , it is hard not to look at "Reinventing the Steel" as the epilogue to the saga of the "Transformers of Metal". Framed those earlier albums as a story of mutation, rebellion, revenge, and fracture, this album feels like the moment when the machine does not seek a new form, but instead returns to its core design. "Pantera" no longer needed to prove they could transform. By 2000, they were busy proving that beneath every reinvention there was still an iron will, a street level groove, and a sound no one else could counterfeit. By the time "Pantera" reached this record, they had already completed one of the most dramatic evolutions in metal history. The same band that once drifted through glam metal had become a defining force in groove metal to a point we decided to call them the "Transformers of Metal", because they reshaped themselves more radically than almost any major act of their era. Yet "Reinventing the Steel" is different from the albums that came before it. Instead of another violent mutation, it sounds like consolidation. It gathers the swagger of "Cowboys from Hell" , the muscular attack of "Vulgar Display of Power" , the brute weight of "Far Beyond Driven" , and the hostile darkness of "The Great Southern Trendkill" , then hammers them into a leaner and more direct statement. Recorded at Chasin Jason Studios in Arlington, Texas, the album was produced by Dimebag Darrell , Vinnie Paul Abbott , and Sterling Winfield. That detail matters, because "Reinventing the Steel" was the first "Pantera" studio album since " Power Metal " not to be produced by Terry Date. You can hear the result immediately. The album feels less polished than its predecessors and sounds noticeably more “alive.” The riffs of Dimebag Darrell  are sharper, rougher, and hit with real force, while the drums of Vinnie Paul Abbott  explode with a live, in-the-room energy. Phil Anselmo  is no longer as interested in the theatrical extremity that defined "The Great Southern Trendkill" , and the bass of Rex Brown carries a colder, more restrained presence. It is a drier, tougher production, and it suits the material perfectly. Lyrically, "Reinventing the Steel" is mostley written about the band itself. Songs like "We'll Grind That Axe for a Long Time"  (speaking of how they have kept it "true" throughout the years) and "I'll Cast a Shadow"  ( about their influence on the genre), reflect a band looking back at its own path. But more importantly, these songs serve as the closing statement of the "Transformers of Metal" series. Meanwhile, tracks such as "Goddamn Electric"  and "You've Got to Belong to It"  reinforce the bond with their audience and the culture that sustained them, with references to "Black Sabbath" and "Slayer" underlining those roots. The opening strike of "Hellbound"  leaves no doubt about intent. It is one of those riffs that does not merely begin a record, it throws the door off its hinges. The riff and guitar effect echo the atmosphere and sound of "Cowboys from Hell" , bringing the journey full circle to where it all began. Dimebag Darrell  locks into a churning pattern that feels half machine and half barroom brawl, while Vinnie Paul Abbott  gives the song its stomp and bounce. From there, "Goddamn Electric"  turns into a declaration of faith in heavy metal itself. The title alone sounds like a mission statement, and the track gains even more voltage from Kerry King's guest outro guitar part recorded in a bathroom after "Slayer" performed at "Ozzfest" in Dallas on July 13, 1999. This is the "Transformers of Metal" planting their flag and reminding the so called Decepticons of the music business that they never crossed over, never softened, and never forgot where they came from. "Yesterday Don't Mean Shit"  and "You've Got to Belong to It"  bring back the hard strutting confidence that always separated "Pantera" from mere extremity merchants. This was never a band built only on aggression. They understood how groove could become a weapon, how repetition could become hypnosis, and how attitude could turn a simple riff into an anthem. These songs do not reach for the unhinged collapse of " The Great Southern Trendkill ". Instead, they sound like a band tightening the bolts, trusting the hook inside the heaviness, and finding power in discipline. Then comes "Revolution Is My Name" , the album's centerpiece and one of the defining songs of late period "Pantera". Everything that made the band great is here: the swagger, the groove, the tension between precision and chaos, the sense that the whole track might lurch off the rails but never does. The riff is pure Dimebag Darrell , catchy enough to lodge in your skull and heavy enough to flatten whatever stands in front of it. The song earned a Grammy nomination for Best Metal Performance, and it is easy to understand why. It carries the band's identity in concentrated form. The second half of the album keeps the pressure on. "Death Rattle"  is all menace and motion, "We'll Grind That Axe for a Long Time"  reads like a creed of endurance and loyalty, and "Uplift"  injects a filthy southern swing into the album's steel frame. By the time we reach "It Makes Them Disappear" , the atmosphere has already grown heavier and more ominous, leading us directly into the closing track "I'll Cast a Shadow" , whose symbolic weight is amplified by the fact that this would become "Pantera’s" final studio album, standing as a dark and stubborn promise that the band’s influence would endure beyond the fractures already beginning to form around them. "Reinventing the Steel" is not the most revolutionary record in the "Pantera" catalog, and that is exactly why it works. After the rise, the revenge, the domination, and the internal corrosion mapped out across our "Transformers of Metal" series, this album sounds like the final reaffirmation of identity. It is "Pantera" stripping away excess and standing on the strength of the riff, the groove, and the bond between four players who, even while cracking apart, could still make metal sound massive. If "The Great Southern Trendkill"  documented the beginning of the disintegration, then "Reinventing the Steel" documented the last great act of defiance. The transformation was complete. The steel was reinvented. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

He is a guitarist, a producer, a singer and is known to you mainly from the band "Mashina", but certainly not only. Photo: Uri Misgav 1. He was born in the "Kiryat Shalom" neighborhood of "Tel Aviv", on March 21, 1962 and grew up in the "Bavli" neighborhood. 2. He got his first guitar from his parents, who saw his great attraction to music. 3. He met Yuval Banay during his military service when he guided recruits in the "Shevta" camp. 4. The two used to spend vacations at the "Penguin" club, and under the influence of the bands that played there such as "Minimal Compact" and "Jean Conflict" they decided to form a band. 5. They wrote the entire first "Mashina" album at the "Shevta" army base. 6. After their release from the army, in 1983, they founded the band "Mashina" and began performing at the "Penguin" club. Photo: Eldad Refaeli 7. In 1985, the debut album of "Mashina" was released, most of its songs were written and composed by Bracha. 8. Since then he has released 9 more studio albums with the band, including masterpieces such as "The Association for the Study of Mortality" (Haamuta Lecheker HaTmuta), "Monsters of Glory" (Miflatzot HaTehila), "Goodbye Youth Hello Love" (LeHitraot Neurim Shalom Ahava) and more. 9. In 1991, Bracha produced the album "Who Killed Agnetha Faltskog" (Mi Ratzach Et Agnetha Faltskog) by "Nosei Hamigba'at". 10. In the same year he composed the song "Private Parking" for Dori Ben-Zev's album. 11. After "Mashina" broke up in 1995, Bracha began working with Rami Fortis on a new album. In 1998, the two released a cover version of the song "Illusions" by Nissim Sarousi, which was included in the "Avoda Ivrit" collection. 12. Later that year, the two released the album "Race on the Edge", in which "Mashina" members Michael Benson, Avner Hodorov and Yuval Banay participated. 13. In 1999, Bracha produced the album "Batyavon" of Ram Orion's band "Betrei Zozei" from the band. 14. In 2000, Bracha arranged and played in Eran Tzur's album "Purpose at the bottom". 15. In 2001 he produced and participated in the arrangement of the songs in the album "Run Child" of the band "Knesiyat Hasekhel" ("The Mind Church"). 16. In 2003 he released his first solo album, "Chaplin Charlie", co-produced with Shahar Even Tzur. 17. In the same year "Mashina" was reunited and Baracha wrote together with Banay two new songs in honor of the union - "Something small and good" and "And perhaps now". 18. In 2012 he served as a mentor together with his friend Yuval Banay at the TV show "The Voice". 19. In 2016, Bracha released his second solo album "Maadim Machvir", in which he was accompanied by the band "Cain and Abel 90210". 20. In the same year, he participated in playing on the album "The Illuminated Path", Eran Tzur's fifth solo album. 21. In 2018, he and his friend Yuval Banay released a cover version of the song "Love in the end of Summer". 22. With the outbreak of the Covid-19 in 2020, he wrote, composed and recorded the song "Corona". 23. During the Covid-19 crisis he teamed up with musicians Eran Tzur and Danni Makov to establish the group "Tripoli". They released an album named after the band in 2021. 24. In 2021 Bracha released a new single called "Yeled Tov". 25. During the year 2022, he came out with an acoustic and intimate show called "On the way to the sea" (Baderech El Hayam), in which he performed some of his best songs and talked about The characters and stories behind the songs. 26. In 2024, Bracha released two singles, "Hey, It's Me" (Hey Ze Ani) and the other "Blue and White" (Kachol Lavan), which was written during the "Iron Swords" war. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 21, 1983, "Pink Floyd" released "The Final Cut", and indeed it was the "final cut" of the classic lineup of "Pink Floyd". Although the title of the album proudly bears the band's name, in fact, it is a Roger Waters' solo album. A hint of this solo project can be seen on the back cover of the album where it reads: " The final cut - a requiem for the post-war dream by Roger Waters performed by Pink Floyd - David Gilmore, Nick Mason, Roger Waters ". The reality was not far off. The band keyboardist Richard Wright was fired by Waters during the recordings of " The Wall " and was replaced by two keyboardists. Andy Bown on the Hammond organ and Michael Kamen on the piano. Michael Kamen will also produce the album alongside Waters and he is the one responsible for combining the symphonic sections with the rock music on the album. Drummer Nick Mason , who supposedly appears as a member of the band on the back cover, hardly played on the album and his contribution was mainly limited to effects that are included in the recordings, as these are also mostly "recycled" from effects that the band used on previous albums. He was replaced by drummer Andy Newmark - a sought-after session player and former member of "Sly And The Family Stone". Any idea or suggestion by David Gilmour was rejected by Waters, who controlled the project at a high hand. Gilmour also had to give up on the credit he deserved as an assistant producer of the album. Waters' takeover even led Gilmour to filter out something like: "If you need a guitarist, just call ...". Despite all this, David Gilmour will participate in singing along with Waters in the song " Not Now John " and will contribute some mind-blowing solos. Despite everything we mentioned above, this is still a good album, especially compared to Waters' solo albums. The sales figures were not bad at all either, and the album gained gold status within a month in the UK and platinum status within two months in the US. In terms of materials, most of the songs on the album are "leftovers" from " The Wall ". Waters' original intention was to release an album called "Spare Bricks" which, as its name implies, would serve as a home for those "bricks" who remained after " The Wall " was built. The album was to focus on Waters' father - Eric Fletcher Waters who was killed in 1944, in a battle that took place during World War II, near Anzio, Italy. Waters did not get to know his father and later learned that he had conscientiously refused to go to war. However, then came the Falklands War, Margaret Thatcher set out to fight Argentina over a piece of land 8,000 miles from home, and that was enough to drive Waters crazy and make him change the original plan. This album became an anti-war and even anti-establishment and government album. Waters' focus was mainly on Margaret Thatcher, but not only. The album is aimed at other "hated" politicians such as Leonid Brezhnev , Leopoldo Galtieri, McCarthy, Nixon, Reagan and even Menachem Begin mentioned in two songs from the album. Although this is not a full concept album like " The Wall ", it is still not possible to treat every song and song in it as an independent one like a piece from the whole. If " Tommy " was defined as the first rock opera, then probably this album is defined as the first rock requiem - a classic rock funeral lament, ranging from rebuke to disappointment, between anger and pain, between rage and coming to terms with the loss. (Photo: Soundandvision.com) This album is a kind of journey to which Waters takes us and not for nothing the first and last song opens up with the effect of a passing car. This album should be considered as a whole and it is highly recommended to read the lyrics in order to get into Waters' head and understand the context that runs like the second thread between a large part of the songs, although as mentioned this is not a concept album in the full sense of the word. Although musically there is seemingly no connection between the songs and no substantive recurring motif as in " The Wall ", this connection exists in lyrics that connect some of the songs as well as small musical references from the opening song that recurs in two more songs from the album. The journey opens with " The Post War Dream " and the passing car effect, with the TV announcer in the background reporting that the ship that will replace the "Atlantic Conveyor" sunk in the Falklands War, will be built in Japan. In the song, Waters refers to Jesus, his father, and Margaret Thatcher who for his part is responsible for shattering the dream and the hope that the horrors of World War II will not return. Michael Kamen's classic influences are already evident in this song. The opening track connects with the effect of a door creaking of the second track " Your Possible Pasts " - an outtake from the album " The Wall ". The lyrics are even mentioned in the movie "The Wall", where the protagonist Pink reads the content. A very dynamic song that ranges from melancholy verses to an angry chorus and one immortal solo by David Gilmour . " One of the Few " is one of the two short ones on the album. It is another outtake from " The Wall ", which even stars the character of the teacher from " The Wall ", a former gunner who returned scarred to civilian life. The third song connects to " The Hero's Return " in which the protagonist tries to live with the post-war trauma and deal with the loss of his teammates. " The Gunner's Dream ", one of the breaking and moving songs on the album, is about the disappointment of an unfulfilled dream. The dream of a world free of tyranny, terror and wars versus the harsh reality. The album also addresses the terrorist attacks on the Irish underground in Hyde Park in 1982 and includes the thrilling saxophone solo and Waters' famous scream that just falls apart at around 4:10 and screams his soul out loud. The first side of the vinyl ends up with " Paranoid Eyes " which again refers to dealing with the post-war trauma and the struggle to continue living despite the hardships. The protagonist is described as hiding behind "paranoid eyes" who fear ridicule from those around him. The song is very reminiscent in spirit with some songs from " The Wall ". The other side of the album is mostly dealing with the effects of the war. It opens with the missile whistle effect that accompanies us until the explosion in the song " Get Your Filthy Hands Off My Desert ". This is the shortest song on the album which mentions Brezhnev and Afghanistan, Menachem Begin and Beirut and of course Margaret Thatcher. The song ends with a vocal melody reminiscent of the melody in the song " The Post War Dream " starting at 1:03. From there we are carried on the wings of piano and strings to the song " The Fletcher Memorial Home ", another one of the most moving songs on the album, especially in the devastating solo of David Gilmour . It is a kind of musical " J'Accuse…! " Waters directed at world leaders, through which he expresses his disgust with them, for their desire to cause wars and destruction only out of ego and political needs. We move to " Southampton Dock " which tells of the famous pier during World War II, where the family members said goodbye to the soldiers sent to the front. It's a song with clear folk influences, a style "Pink Floyd" has not "visited" since the early 1970s. It again has a reference to the song " The Post War Dream " starting at 1:11. The next track is the theme song " The Final Cut ". This is without a doubt one of the most beautiful songs on the album, thanks in no small part to the part after the rifle shot at 1:18, which is very reminiscent of an excerpt from the song "Comfortably Numb" from the previous album. No wonder this is another outtake from that masterful album. A simple and penetrating melody that blends perfectly with the lyrics of the song, talking about a lonely, rejected, and depressed person who, towards the end of the song, even thinks of suicide, but does not have the courage to make the "final cut". " Not Now John " is the most rhythmic on the album and is the only one in which David Gilmour sings along with Waters as each of them plays a different character who tells the story. The song includes a melodic reference to the song " One of the Few ". This part of the song is quieter, where Waters is the lead singer. The song's upbeat and drive remind us of "Young Lust" from " The Wall ". This is the only single released from the album and it also deals with war, greed, and corruption. The album is signed as it opens with the moving car effect that opens the song " Two Suns in the Sunset ", in which Waters expresses his concern about a nuclear holocaust when the second sun at sunset is actually a mushroom cloud resulting from a nuclear explosion. This song features an asymmetrical time signature and frequent rhythm changes. Due to its complexity, the one who played the drums was Andy Newmark, similar to the song "Mother" from the album " The Wall ", where the one who played drums was Jeff Porcaro. The album was accompanied by a short 19-minute film that includes four video clips for the songs "The Gunners Dream", "The Final Cut", "Not Now John" and "The Fletcher Memorial Home". The film was directed by Waters' brother-in-law and the main actor in it is the same actor who played the teacher in the movie " The Wall ". The former gunner who fought in World War II and became a violent teacher, sits in the living room and watches TV with his wife from the movie "The Wall," and is tormented by the news coverage of soldiers returning from the war, when his son is not among them. Link to the film: Here . For Listening: Spotify , Apple Music . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 21, 2025 "Rush" released their 50th anniversary box "Rush 50": When "Rush" released their debut single in 1973—a scrappy cover of Buddy Holly’s “ Not Fade Away ” backed with the raw, original “ You Can’t Fight It ”—no one could’ve predicted they’d evolve into one of the most complex, uncompromising, and unique band in history of rock music. Fifty years later, "Rush 50" isn’t just a compilation; it’s a carefully assembled time capsule tracing every twist and turn of the band’s monumental journey. "Rush 50" is a "Narrative Told Through Sound". It captures the trio’s evolution from bluesy Zeppelin-esque hard rockers to philosophical prog giants, synth-pop experimenters, before returning to guitar-driven hard rock and finaly heavy-prog. This is not just another “greatest hits” set like "Chronicles" or "Retrospective" trilogy, nor is it a collection of rarities. Instead, "Rush 50" unfolds chronologically as a sonic memoir, capturing key studio tracks, rare live performances, and fan-favorite moments from all phases of the band’s career. Every one of "Rush’s" 19 studio albums is represented, plus the 2004 " Feedback " covers EP and live staples. The result is a 50-track journey that includes ten previously unreleased or exclusive versions, plus a thoughtful blend of original album cuts, alternate takes, and electrifying live recordings. Among the studio exclusives are two alternate mixes—“ Working Man ,” and “ One Little Victory ”, a beautiful alternate version of “ The Trees ,” and both sides of that elusive 1973 debut single “ Not Fade Away ” / “ You Can’t Fight It ”, featuring original drummer John Rutsey . These early tracks offer essential context, and while the band themselves were never thrilled with them ( Alex Lifeson calls them “terrible” in the liner notes), they reveal just how far "Rush" evolved within only a few years. Rutsey’s contributions are respectfully acknowledged here—not just on the debut single, but through hard-hitting live versions of “ Need Some Love” and “ Before and After ,” recorded at a Canadian high school in 1974 and made famous in the "Beyond the Lighted Stage" documentary. These recordings stomp harder than their studio counterparts, hinting at the energy that made "Rush’s" early gigs so impactful. But the true transformation begins with Neil Peart ’s arrival in late July 1974. His early live recordings from a Cleveland show—like the blazing previously unreleased “ Garden Road ” and an R&B cover of “ Bad Boy ”—already display the intensity and intellect that would define "Rush’s" golden era. Within months, his drumming and lyrics launched the band into orbit, as heard on a searing live-in-studio take of “ Anthem ” (previously unreleased). From there, "Rush 50" soars through a cascade of milestones, when the songs are arranged chronologically in the order they were recorded. The sprawling “ 2112 : Overture / The Temples Of Syrinx ", a thunderous 1976 rendition of “ Something for Nothing ” recorded at Massey Hall reflect a band operating at peak power and the anthemic “ Closer to the Heart ”. The musical journey continues with a frantic Neil Peart 's " Drum Solo " recorded at Hammersmith Odeon in London in 1978, A particularly tight, crowd-energized 1979 version of “ La Villa Strangiato ” from Pinkpop Festival shows the trio’s technical wizardry meeting rapturous audience connection. Contrary to tired clichés, "Rush’s" synth-heavy ‘80s output emerges as some of their most emotionally resonant work. “ Subdivisions ” marks a watershed moment, ushering in a new era with cerebral lyrics and atmospheric textures. Tracks like " Red Sector A ", “ The Big Money and “ Time Stand Still ,” prove that complexity and accessibility can coexist. Later years get their due, too. The 1993 grunge-era rocker “ Stick It Out ” from " Counterparts " sounds punchy and vital, the heavy chord progression at the bridge of " Test For Echo " saddnly fits perfectly with the band's chronological development, while 2007’s “ The Main Monkey Business ” displays the trio’s latter-day instrumental prowess. A particularly poignant moment comes on track 47, “ Headlong Flight .” Lifeson’s guitar riff nods explicitly to “ Bastille Day ” from 1975—a clever musical callback that ties early and late "Rush" together in one dramatic punch. These hidden connections highlight the thoughtfulness of the curation and the narrative quality of the entire set. The final track is perhaps the most emotionally loaded. Captured during the last moments of their final show at the Forum in Inglewood on August 1, 2015, the medley of “ What You’re Doing” / “ Working Man” / “Garden Road ” feels like a full-circle goodbye, as the last ever notes to be played by the band. But it’s what happens after the music that stuns: Neil Peart , normally reticent and reclusive, walks to the front of the stage to join Geddy and Alex—breaking the band’s long-held tradition. The crowd roars, and so does your heart. It’s not just the end of a set; it’s the end of an era. "Rush 50" is an astonishingly rich retrospective—not just of a band’s discography, but of their spirit, humor, ambition, and bond. Geddy Lee joked, “I’m exhausted just reading the effin’ list,” and you might be too. But what a ride. Whether you’re a devoted fan or a curious newcomer, this collection delivers a comprehensive, heartfelt celebration of a band whose influence remains profound, and whose music still pushes boundaries, decades on. Track List: 1. "Not Fade Away" ** 2. "You Can’t Fight It" ** 3. "Working Man" (Vault Edition) ** 4. "Need Some Love" (Live at Laura Secord Secondary School, St. Catharines, Canada – May 1974) ** 5. "Before And After" (Live at Laura Secord Secondary School, St. Catharines, Canada– May 1974) ** 6. "Bad Boy" (Live at Agora Ballroom, Cleveland, Ohio – August 1974) * 7. "Garden Road" (Live at Agora Ballroom, Cleveland, Ohio – August 1974) * 8. "Anthem" (Live at Electric Lady Studios, New York – December 1974) * 9. "Fly By Night" 10. "Bastille Day" 11. "2112: Overture" / "The Temples Of Syrinx" 12. "By-Tor & The Snow Dog" (Live at Massey Hall, Toronto, Canada – June 1976) 13. "Something For Nothing" (Live at Massey Hall, Toronto, Canada – June 1976) 14. "Closer To The Heart" 15. "Xanadu" (Live at Hammersmith Odeon, London – February 1978) 16. Drum Solo (Live at Hammersmith Odeon, London – February 1978) 17. "The Trees" (Vault Edition) * 18. "La Villa Strangiato" (Live at Pink Pop Festival, Netherlands – June 1979) 19. "In The Mood" (Live at Pink Pop Festival, Netherlands – June 1979) 20. "The Spirit Of Radio" 21. "Natural Science" (Live at Manchester Apollo, Manchester – June 1980) 22. "A Passage To Bangkok" (Live at Manchester Apollo, Manchester – June 1980) 23. "Tom Sawyer" 24. "Limelight" (Live at Maple Leaf Gardens, Toronto, Canada – March 1981) 25. "Vital Signs" (Live at Maple Leaf Gardens, Toronto, Canada – March 1981) 26. "YYZ" (Live at The Forum, Montreal, Canada – March 1981) 27. "Subdivisions" 28. "Red Sector A" 29. "Witch Hunt" (Live at Maple Leaf Gardens, Toronto, Canada – September 1984) 30. "New World Man" (Live at Maple Leaf Gardens, Toronto, Canada – September 1984) 31. "The Big Money" 32. "Time Stand Still" 33. "Distant Early Warning" (Live at NEC Arena, Birmingham – April 1988) 34. "Superconductor" 35. "Dreamline" 36. "Stick It Out" 37. "Test For Echo" 38. "The Rhythm Method" (Live at World Music Theatre, Tinley Park, Illinois – June 1997) 39. "One Little Victory" (Remixed) 40. "Cygnus X-1" (Live at Maracanã Stadium, Rio de Janeiro – November 2002) 41. "The Seeker" 42. "Between The Wheels" (Live at Festhalle Frankfurt, Germany – September 2004) 43. "The Main Monkey Business" 44. "Workin’ Them Angels" (Live at Ahoy Arena, Rotterdam – October 2007) 45. "Freewill" (Live at Quicken Loans Arena, Cleveland, Ohio – April 2011) 46. "Red Barchetta" (Live at Quicken Loans Arena, Cleveland, Ohio – April 2011) 47. "Headlong Flight" 48. "Manhattan Project" (Live at US Airways Center, Phoenix, Arizona; American Airlines Center, Dallas, Texas; AT&T Center, San Antonio, Texas – November 2012) 49. "Jacob’s Ladder" (Live at Air Canada Centre, Toronto, Canada – June 2015) 50. "What You’re Doing" / "Working Man" / "Garden Road" (Live at the Forum, Los Angeles, California – August 2015) * * Previously unreleased ** Previously unreleased on CD & LP For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Today we will tell you about one of the most influential drummers in progressive rock Carl Palmer: (Photo: Jean-Pierre Nadeau) 1. He was born in Birmingham, England, on March 20, 1950, as Carl Frederick Kendall Palmer. 2. Palmer began taking drum lessons as a young teenager. He studied with James Blades - one of Britain's best-known classical percussionists. The classical training with Blades undoubtedly contributed greatly to Palmer's masterful technique. 3. Palmer's drumming style was developed from a wide range of musical influences. Among Palmer's early drumming influences were Joe Morello, Philly Joe Jones, Art Blakey, Gene Krupa and Buddy Rich . 4. His first band was originally known as "King Bees", but later changed its name to "Craig". 5. In 1966 the band released their first recording, a single called "I Must Be Mad" and and a B-side called "Suspense". 6. At the same time Palmer did his first session work, when he played the song "Love Light" by the "Chants", a band from Liverpool. 7. Later in 1966 Palmer joined the band "Chris Farlowe and the Thunderbirds". 8. In 1969, Palmer joined "The Crazy World of Arthur Brown" during a US tour, after original drummer Drachen Theaker left the band abruptly. 9. Later that year Palmer left the group along with keyboardist Vincent Crane and the two formed the power-progressive-trio "Atomic Rooster", along with vocalist/bassist Nick Graham. 10. The first album of "Atomic Rooster" was released in early 1970. It was a powerful album that relied quite a bit on Palmer's bold drumming. 11. Meanwhile, Palmer received an invitation from Keith Emerson to audition for a new band he was forming and left "Atomic Rooster" in the summer of 1970. 12. This was the "Emerson, Lake & Palmer" supergroup, consisting of Palmer, keyboardist Keith Emerson - formerly of the band "The Nice" and bassist/guitarist/singer Greg Lake formerly of "King Crimson". 13. Palmer was part of the group "ELP", starting with the debut album - "Emerson, Lake & Palmer" from 1970, until it disbanded for the first time in 1980 and released masterpiece albums with it such as: "Tarkus", "Pictures at an Exhibition", " Trilogy ", "Brain Salad Surgery", "Works Volume 1+2" and more. 14. Interestingly, the band was nominated for "Best New Artist" at the 14th Grammy Awards, making them the first progressive rock band to achieve this feat. 15. The band developed a very special sound and style that influenced many prog bands, from a style that merged art rock, jazz, electronics, pop, rock and classical music. 16. In 1974, Palmer began collaborating with the jazz trio "Back Door". He produced their fourth album, "Activate" from 1976. In addition, He co-wrote the song "Bullfrog" with them, which also appears on ELP's "Works Volume 2" album. 17. After the first breakup of "ELP" in 1980, Palmer formed "PM" with blues-rock guitarist John Nitzinger. They would release one album called "1:PM" in 1980. 18. At the beginning of 1981 Palmer joined bassist and singer John Wetton who founded together with guitarist Steve Howe and keyboardist Geoff Downes, a new supergroup called "Asia". 19. The band released their debut album " Asia " in 1982 and was nominated for Best New Artist at the 25th Annual Grammy Awards, making them the second and last progressive rock band to achieve this feat. Palmer became the second artist to be nominated twice for this award, after David Crosby . 20. Palmer left "Asia" in 1992, after four studio albums, to join the "ELP" reunion. 21. Beginning in 1992, Palmer together with "Emerson, Lake & Palmer" released two more albums and a total of 9 studio albums with the band. 22. Palmer reunited with the four founding members of "Asia" in 2006. They celebrated their 25th anniversary, and have since released four new studio albums, "Phoenix" in 2008, "Omega" in 2010, " XXX " in 2012 , and "Gravitas" in 2014. 23. In 1982 Palmer played drums on the song "Mount Teidi" taken from the album "Five Miles Out" by Mike Oldfield. 24. Palmer was known for his virtuosity during the drum solos in his live performances. The big attraction in the seventies to the nineties was removing his shirt during his solos. 25. In 1988 he founded the group "3" together with his friend Keith Emerson and the singer-guitarist/bassist Robert Berry. Together with the band he released the album "To the Power of Three" that same year. 26. In 1999 Palmer will join the group "Qango" where his friends John Wetton and Geoff Downes played together with guitarist Dave Kilminster. In 2000 they released a live album called "Live in the Hood", which included one original song and songs from each of the members' bands. 27. In 2001, Palmer formed "Carl Palmer's ELP Legacy" with guitarist Sean Baxter and bassist Dave Marks. With this lineup, he performed instrumental versions of "ELP" songs. 28. In the same year, he also founded the "Carl Palmer Band" with which he released a series of three albums "Working Live, Volume 1" and "Working Live, Volume 2" in 2003 and "Working Live, Volume 3" in 2010. 29. Palmer is a "patron" of the "British Classic Rock Society", which promotes progressive rock concerts. 30. Palmer was the 11th drummer inducted into "Modern Drummer" Magazine's Hall of Fame. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

A Sneak Peek... On March 19, 2001, the debut album of the French metal band "Gojira" was released. The name of the album is taken from the phrase "Unknown Land" which refers to the area within each person, where, according to Hindu legend, "Brahma" hid the deity he took from humanity as a punishment for abusing it. The album was written by singer, guitarist and band leader, Joe Duplantier during two years in which he broke away from civilization and lived with his girlfriend, in an isolated hut he built in the middle of the forest without electricity and financial income. The guy who appears on the cover is guitarist Christian Andreu. The album was reissued in 2009 and won another reissue in 2016. Joe said that in hindsight it looks really weird because the lyrics of the album speak of love, confidence and good humanity but the music that accompanies them is very "dark" and sounds like Death Metal. Listen to the album at: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

It may sound a little weird and not everyone knows it either, but the Grunge scene in Seattle did not start with "Pearl Jam", "Nirvana", "Soundgarden" or "Alice in Chains". It's not that we're trying to downplay them (God forbid), these are the bands that gained worldwide popularity and commercial success, but there were other bands and artists who lit the spark and founded the Grunge scene in Seattle. (Photo: Lance Mercer) One of the showy, charismatic, funny, and talented characters was the character of Andrew Wood . So let's get to know him and along the way, we'll get some understanding of how the Grunge scene started: 1. His full name is Andrew Patrick Wood, he was born in Columbus on 8 January 1966 and grew up on Bainbridge Island 2. He is the youngest of three siblings with the other two being: Kevin and Brian. 3. He grew up in a very musical family with both parents encouraging their children to learn and play different and varied instruments. 4. Wood grew to be a fan of Elton John , Queen, Kiss, and Aerosmith. 5. He started smoking and drinking at the age of 12. 6. In 1980 when he was only 14 he formed with his brother Kevin his first band "Malfunkshun". (Photo: Lance Mercer) 7. Initially the band consists of four members, the two brothers with one on guitar and the other a singer, and two other members on drums and bass, Dave Hunt and Dave Rees. 8. The other two members stayed for just one show and left the band. Andrew decides to take over the bass, and the two join Regan Hagar on drums and become a powerful trio! 9. Not just powerful... a powerful alter ego trio! Inspired by Kiss, the three wear (literally) different characters on stage with heavy makeup and glamorous clothes. The most notable of which is Wood who went on stage with his mother's evening clothes and gave himself the stage name "L'Andrew the Love Child". 10. The band was known for its grandiose performances that made any 20-person club in Seattle feel like a 20,000-seat stadium. Wood was insane and unpredictable on stage, many times he would wander with his bass among the people in the audience, some say it was so mesmerizing that it was feared that they were enchanted. 11. During this time Wood developed a very great dependence on drugs as their use increased until in 1985 at the age of only 19 he hospitalized himself in a rehab facility for the first time. 12. After leaving rehab, the band records the songs "With Yo 'Heart (Not Yo' Hands)" and "Stars-N-You" for the famous compilation album "Deep Six". During the recordings, Wood brought with him a number of costumes and when asked why he brought them since there is no audience, he replied... that he must get into character. 13. The album "Deep Six" released in September 1986 is a milestone in the local music scene in Seattle, it is a collection of the five leading bands in that period in Seattle and contains 14 songs. The "founding fathers" who participated in the recording of the album are: Malfunkshun, Melvins, Skin Yard, Soundgarden, and Green River. 14. The band "Malfunkshun" did not release any albums of their own during its activity at that time. When they approached the record company Sub Pop, which led the local scene, they encountered a refusal that was explained by the fact that they were not "Grunge" enough !! Read below about the band's album release... 15. At that time Wood recorded a number of songs on a tape called "Melodies and Dreams" which he would duplicate into 20 copies and on the cover he put a picture of his face with the makeup. He scattered them among the local record stores that sold all the tapes within days. 16. In 1987, shortly after the release of the album "Deep Six" the band ceased operations, and Wood and drummer Reagan began collaborating with "Green River" band members Stone Gossard and Jeff Ament . 17. At the time Wood was sharing an apartment with Chris Cornell . Wood asked him to bring to the apartment his girlfriend Xana La Fuente who worked in a clothing store. It turns out that Chris also worked at that clothing store at the time and what actually happened was that the two were the ones who paid for the living, while Wood was sitting all day in the boiler room writing music. (Photo: Chris Cornell Facebook) 18. Chris admired Wood's talent and ability to write without barriers, inhibitions, or fear of criticism from others. In one interview he said that while he was writing two songs Wood was writing ten. Wood felt and behaved the same way about the dress and the way he appeared, he was brave and confident (we are talking about age 22...). 19. Back to the quartet... At first, they started performing with covers under the name "Lords of the Wasteland" but very quickly they realized the potential inherent in them, and then the change began... 20. In early 1988 Wood decided to form the largest rock band in America of the '90s. The quartet that included Wood, Jeff, Stone, and Greg Gilmore (from Skin Yard) who replaced Regan, added Bruce Fairweather (from Green River) and gave itself the name " Mother Love Bone" . (Photo: Lance Mercer) 21. With two talented guitarists by his side now, architects of the Seattle music scene, Wood's writing, and creative possibilities have grown and expanded significantly to an entirely different level. 22. A very strong buzz was created in Seattle over the band and many record companies began the pursuit of the signing of the Fantastic Five. In November 1988, the band signed a contract with Mercury Records / Stardog, a subsidiary of PolyGram. 23. In March 1989 the band released an EP with six songs called "Shine", making them the first band in Seattle to release an album under a major record label. The album was a success and the sales volume was large, which only reinforced the buzz around the band and its success. 24. At the end of 1989 the band members returned to the studio in California to record their debut album "Apple" , the album included 13 songs and was written mostly by Wood & Stone. The album was scheduled to be released in March 1990. 25. At that time Wood came out of drug rehab for the second time but shortly afterward and only a few days before the planned release of the album, on March 19, 1990, when he was only 24 years old, Wood passed away as a result of an overdose. His girlfriend found him lying in their apartment on the floor and was rushed to the hospital where he died three days later. 26. Chris Cornell returned from his tour with "Soundgarden" and discovered that his good friend and roommate had passed away. He immediately went on tour because he thought it would be easier for him to deal with the grief, but a few months later he returned and was still depressed and sad. As a result of the inability to deal with the grief he decides to write and together with the members of "Mother Love Bone," he releases the band/album "Temple Of The Dog" in memory of Wood. 27. In 1995 Stone collected 13 "Malfunkshun" songs and released them under his label Loosegroove Records with the album name being "Return to Olympus". 28. The song "Chloe Dancer / Crown of Thorns" from the EP "Shine" is part of the soundtrack of the movie "Singles" . 29. In 2005 director Scot Barbour released a documentary called "Malfunkshun: The Andrew Wood Story" documenting Wood's career. 30. In 2011 the album "Melodies & Dreams" was released which is a collection of songs that Wood recorded but were not released commercially. 31. In 2016, a double album was released that includes a collection of songs by Mother Love bone from various sources such as live performances, studio recordings, "Shine" and more. We invite you to watch the documentary "Hype!". Which really shows what happened at that time in Seattle and how the Grunge scene was created. Listen to the double album "On Earth As It Is: The Complete Works" on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 19, 1971, "Jethro Tull" released their fourth and excellent album "Aqualung". Although the album is attributed to the Prog-Rock genre, it has an amazing and unique combination of several genres, including Folk, Blues, Psychedelia, Jazz, and even Hard Rock. It was the album that bridged between the Folk-Rock era of "Jethro Tull" and its Progressive era, which will go into gear already on the next album " Thick as a Brick ". It was different in sound and style from the band's three previous albums, a change that can be attributed to several factors: First, changes in the band's lineup The previous bassist, who also served as the band's keyboardist - Glenn Cornick, had left and was replaced by Jeffrey Hammond, a friend of Ian Anderson . Another change was Keyboardist John Evan, who served as a sessions musician for the band, but joined as a full member on this album. Second, the musical influences on the band members at the time, were of two different musicians, seemingly from opposite genres, but they had a common denominator. On the one hand, the band condensed the heavy electric sound that dominated albums like "Benefit" and "Stand Up". Songs like " Aqualung ", " Locomotive Breath " or " Hymn 43 " included heavy sound and rough riffs that could completely be associated with the Hard Rock genre. These influences are attributed, in our opinion to the fact that this album was recorded at exactly the same time and place where the album " Led Zeppelin IV " was recorded. The studio where these two mythical albums were recorded simultaneously, had two recording rooms. The smaller one was rented by members of "Led Zeppelin", while the members of "Jethro Tull" recorded in the next and larger studio. We have no doubt that guitarist Martin Barre, who contributed to the metallic sound that exists in certain parts of the album, was influenced by the sounds emanating from the next room. Moreover, in our humble opinion, the solo of the theme song " Aqualung " would not have sounded as it did without Martin Barre's desire to impress his colleague Jimmy Page . Interestingly, this solo is ranked 25th in the "Rolling Stone" magazine's list of the 50 greatest solos of all time. On the other hand, the band added more folk and acoustic elements to its songs. Songs like " Cheap Day Return ", " WoWonderingloud " and " Slipstream " are completely folk and acoustic. Ian Anderson argued that the transition to more folk and acoustic pieces was influenced by singer and songwriter Roy Harper, among others, who is also the common denominator of the two polar genres in Jethro Tull's sound. As mentioned, the song "Hats Off to (Roy) Harper", which seals the album " Led Zeppelin III ", is dedicated to singer Roy Harper, from whom the members of "Led Zeppelin" were also influenced. There is a reference to this album as a concept album. Although Ian Anderson has stated that this is not a concept album, it is impossible to ignore the fact that some of the songs on the album have a connecting thread. For example, the first side of the album includes songs based on disturbed characters in society. The opening song " Aqualung " was influenced by photographs of a homeless, taken by Ian Anderson's wife near the River Thames . During the shooting, the strange sight of one of the homeless people caught their eye, and his character was the inspiration for the album's theme song. The album cover, too, corresponds with the same character, who many mistakenly thought was Ian Anderson . The cover was painted by American artist Burton Silverman, and the record company "Chrysalis Records" purchased the painting from him for only $ 1,500. The album continues with the schoolgirl, the prostitute, from the song " Cross-Eyed Mary ", in which the character "Aqualung" is mentioned again, when later we meet the controversial character " Mother Goose ". Other songs from the first side are more personal and constitute a sort of autobiography of Anderson, including " Cheap Day Return " which refers to Anderson's meeting with his father. The other side of the album mainly deals with issues of faith and religion. The album was even supposed to be called " My God ", but eventually, the title served as the subtitle of the whole second side of the vinyl, which is dominated by the religious theme. Songs like " My God ", " Hymn 43 " and " Wind Up " - are a type of protest songs that treat religion disparagingly, while songs like " Slipstream " and " LocomChristianity " are a kind of critique of the church and the place of God in christianity. "Aqualung" was the band's breakthrough album and the first to enter the top ten in the sales charts. It's "Jethro Tull's" most successful, and is also considered by many to be their best album. It is without a doubt one of the highlights of the band which has influenced many bands and artists. Songs from the album won cover versions of bands such as "Helloween", "Styx", "W.A.S.P", and even "Iron Maiden", which released the song "Cross-Eyed Mary" as a B-side to the single "The Trooper". The album received good reviews from various music critics. It entered the "Rolling Stone" magazine's 500 greatest albums of all time and is considered a classic in the progressive rock repertoire and in general. 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On March 19, 1987, Ozzy Osbourne  released his second live album "Randy Rhoads Tribute". The story behind "Randy Rhoads Tribute" is inseparable from the extraordinary and tragically brief career of guitarist Randy Rhoads . When Ozzy launched his solo career after leaving "Black Sabbath", it was Randy Rhoads who helped redefine his sound. Their work on "Blizzard of Ozz"  and "Diary of a Madman"  fused classical technique, neoclassical phrasing, and aggressive heavy metal riffing into something that felt entirely new at the dawn of the 1980s. Rhoads quickly became one of the most celebrated young guitarists in rock, admired not only for his blazing speed but for the precision and musical sophistication he brought to metal guitar. But that meteoric rise was cut devastatingly short in March 1982 when Rhoads died in a plane crash during a tour stop in Florida at the age of 25. The loss sent shockwaves through the metal world and left fans clinging to bootlegs of the early Ozzy tours that captured his playing on stage. Released five years later, "Randy Rhoads Tribute" served both as a memorial and as the definitive document of that early Ozzy band. Much of the material comes from recordings made during the 1981 "Diary of a Madman" tour, particularly a powerful performance in Cleveland. The lineup captured on the album features Ozzy on vocals alongside Rhoads on guitar, Rudy Sarzo on bass, Tommy Aldridge on drums, and Don Airey on keyboards. Producer Max Norman worked with Ozzy and Sharon Osbourne to assemble and polish the recordings while keeping the raw intensity of the performances intact. The result is a live album that sounds remarkably clear and energetic, allowing every nuance of Rhoads' playing to come through without sacrificing the atmosphere of a roaring arena show. From the opening moments of "I Don't Know"  the album establishes the chemistry that made this lineup so formidable. Ozzy's frantic vocal delivery rides atop Rhoads' razor sharp riffing while the rhythm section drives the song forward with relentless energy. "Crazy Train"  remains one of the defining moments of the album. The instantly recognizable opening riff slices through the live mix with enormous power, and the song explodes into a massive crowd response. Rhoads expands his solo beyond the studio version, adding additional runs and melodic flourishes that showcase his remarkable command of the instrument. The dramatic "Mr. Crowley"  provides one of the most celebrated performances on the album. Don Airey's eerie keyboard introduction sets the tone before the band crashes into the song's towering riffs. Rhoads' extended solo passage blends classical phrasing with searing electric intensity, producing one of the most iconic guitar moments in heavy metal history. Just before the album takes a slight turn, we witness the explosive power of "Suicide Solution" , which becomes a platform for an extended and deeply expressive guitar solo. The shift arrives with a short set that revisits Ozzy’s earlier material from his "Black Sabbath" days. Songs like "Iron Man" , "Children of the Grave" , and "Paranoid"  take on a sharper and faster edge through Rhoads’ reinterpretation of Tony Iommi ’s legendary riffs, demonstrating how effortlessly he bridged the past and future of heavy metal. In addition to the live material, the album also features studio outtakes of "Dee" , revealing Randy Rhoads’ delicate, classically inspired approach to the acoustic guitar and offering a more intimate glimpse into his musicianship. Interestingly, before his passing, there were plans to record a full live album consisting entirely of "Black Sabbath" songs, but Rhoads and drummer Tommy Aldridge opposed the idea, feeling it would be a step backward creatively. Those plans were ultimately abandoned following Rhoads’ death, though the concept later resurfaced in a different form with the release of Ozzy’s " Speak of the Devil " later in 1982. The album cover reinforces the purpose of the release as a tribute rather than a conventional live record. The stark stage photograph captures Randy Rhoads and Ozzy in a dramatic moment during a live performance, emphasizing the energy and chemistry that defined their partnership. "Randy Rhoads Tribute" ultimately stands as one of the most moving live albums in heavy metal history. It preserves the magic of Ozzy Osbourne 's early solo band while immortalizing the brilliance of a guitarist whose influence continues to shape generations of players. More than three decades after its release, the album remains the clearest window into what made Randy Rhoads so special. His playing is fearless, melodic, and deeply musical, proving that even in a career that lasted only a few years, he left behind a legacy that still resonates throughout heavy metal. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 19, 1990, Robert Plant released his fifth studio album "Manic Nirvana". After rebuilding his solo career during the eighties, Robert Plant entered the new decade determined to sharpen his musical direction. While earlier releases experimented with contemporary production and synthesizer textures, "Manic Nirvana" marked a deliberate return to a more guitar driven sound. The album reflects Plant reconnecting with the blues rooted energy that helped define his earlier career. Although aiming for a more basic sound, Robert Plant continued with most of the lineup of musicians from the previous album "Now And Zen". Guitarist Doug Boyle brought a heavier and more aggressive tone that helped shape the album’s sound, while keyboardist Phil Johnstone added atmospheric textures that balanced the raw guitar work. Drummer Chris Blackwell and newcomer bassist Charlie Jones provided a tight rhythmic backbone throughout the sessions. The album was recorded primarily at Olympic Studios in London with production handled by Plant together with Tim Palmer. The goal was to capture a more immediate and organic rock sound rather than the highly polished studio sheen that dominated late eighties rock. The album immediately bursts into life with "Hurting Kind (I've Got My Eyes on You)", a powerful opener driven by muscular guitar riffs and one of Plant’s most commanding vocal performances of his solo career. The track blends classic rock 'n' roll with hard rock swagger and modern production, quickly becoming one of the most recognizable singles of the album. Elsewhere, Plant experiments with a wide range of musical textures, but the foundation remains rooted in a return to a guitar driven sound. "Big Love" introduces swirling guitars built on rhythmic patterns and percussion that highlight Plant’s fascination with world music influences. "S S S & Q" delivers one of the album’s most direct rock moments, driven by gritty guitar work and a groove that practically demands headbanging. At the same time, the album branches into different directions. "She Said", which appears only on the CD version, is built around a funky riff. The opening of "Tie Dye on the Highway" throws us forward in time toward the acid dance rock of "Screamadelica", before its catchy riff pulls things back to Plant’s roots. The intro of "Anniversary" leans on eighties style keyboards, adding a darker and more introspective tone to the album. The cover of "Your Ma Said You Cried in Your Sleep Last Night" adds a nostalgic twist to the record, taking Plant back to the roots of sixties rock and roll. The performance retains the melodic simplicity of the original while injecting a rougher, more energetic edge, highlighting Plant’s ability to reinterpret a classic with a modern and personal touch. The album closes with "Watching You", a track that blends African style drumming with modern rock, incorporating Moroccan music samples. Its layered sound and hypnotic rhythm provide a powerful finale that captures the restless energy running throughout the album. Although it did not reach the same level of commercial success as his earlier releases, "Manic Nirvana" remains an important chapter in Robert Plant’s solo career. It marks a turning point where he began moving away from the polished production of the eighties and toward a more organic and roots oriented direction that would define much of his later work. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written By: Moti Kupfer Release date - 19.03.1990 "All I ever wanted, All I ever needed, Is here in my arms, Words are very unnecessary, They can only do harm" Martin Gore’s lyrics convey a sense of preserving the status quo, to the point where even words themselves can shatter that fragile perfection, almost the opposite of what led to "Violator", the seventh studio album by "Depeche Mode", released on March 19, 1990. After the release of their previous album "Music for the Masses" in September 1987, "Depeche Mode" realized they had a much larger fan base than they had initially imagined. They embarked on a U.S. tour that culminated in a massive performance in front of 70,000 people in Pasadena, California. The tour itself was documented in the film and live album "101", but this was only the beginning for "Depeche Mode", who were determined to capitalize on this growing audience. At the same time, the 80s were coming to an end, and synth-pop, which had dominated the decade, was beginning to give way to dance music and rock. "We wanted to take a different direction with this album, for the songs to come across in a more direct way and not to be so fussy.", said Dave Gahan. "Depeche Mode" understood that their working method from the 80s had been fully exhausted. Martin Gore realized he could no longer keep feeding the rest of the band with a spoon by writing everything himself, including the demos, a situation that had begun to create tension within the group. Daniel Miller, the owner of "Mute Records", also recognized the need for change, and brought in a producer who was considered an emerging force at the time, Mark "Flood" Ellis. "I felt we needed a different perspective. Flood was very technical, very musical, very open-minded, and not constrained by rules", Miller said about the producer he brought in. Mark Ellis was perfectly in sync with the mentality of "Depeche Mode". He introduced a new approach to instrumentation, blending electronic elements with more traditional sounds. Beyond Ellis, who managed to guide the division of work among the band members, it was also remixer François Kevorkian and Dutch photographer Anton Corbijn who helped create a calm and focused working environment. "Personal Jesus", the album’s lead single, driven by its bluesy guitar riff, set the tone for what this record would become. It is an album that blends synth-pop with gothic rock, dance, and alternative music. In many ways, it marked a dramatic shift in both the band’s sound and mindset, with a stronger reliance on guitars over their traditional synthesizers. The idea for "Personal Jesus" came to the members of "Depeche Mode" while touring the United States, where they were exposed to countless television channels, each trying to sell its own "religion". Another influence came from an interview Martin Gore watched, in which Priscilla Presley described her relationship with Elvis. The next single, released five months later, was "Enjoy the Silence", which explores a relationship through the power of silence. After all, we all know that when things feel uncomfortable, we tend to fill the space with words, but when true understanding exists, even a glance can be enough. Once again, there is a brilliant fusion of dark synth-driven rhythms with beautifully layered guitar work, all carried by the intimate vocal delivery of Dave Gahan. And of course, it is impossible to ignore the outstanding music video, also directed by Anton Corbijn, in which Dave Gahan appears dressed as a king, wandering through vast landscapes, sitting on a chair at the peak of a mountain with the world spread out before him, searching for a moment of peace. Other songs on the album explore themes of religion, such as "Policy of Truth", as well as sexuality, sometimes in a sleazy and provocative manner, as heard in "Blue Dress". Among the other standout moments on the album is "World in My Eyes", which opens the record with a minimalist yet hypnotic electronic groove. "Halo" continues the dark, sensual electronic direction, featuring rich production and deep layers of sound. "Waiting for the Night" stands out with its slow, atmospheric approach, almost meditative, offering a moment of tense calm within the album. "Clean", which closes the record, brings a heavier and more introspective mood, filled with a sense of melancholy that hints at the less glamorous side of success. "Violator" was not just another successful release, but a true turning point for "Depeche Mode". It marked a sharp transition from the catchy synth-pop of the 80s to a deeper, darker, and more mature sound, one that successfully bridged the worlds of electronic music, rock, and alternative. Its influence was felt far beyond the band itself, as many artists in the electronic and alternative scenes drew inspiration from it throughout the 90s and beyond. Moreover, the album cemented "Depeche Mode" as a band capable of evolving without losing its identity, remaining relevant even as the musical landscape around them shifted rapidly. The album was given the deliberately provocative title "Violator" to create the impression of something heavier, almost like a hard rock or metal record. The sales were massive, with the album reaching triple platinum status in the United States alone, selling over three million copies. However, not everything ran smoothly in the kingdom of "Depeche Mode". There is always a price for such success, and as the rise of grunge began gaining momentum, the question remained whether the band would be able to stand firm against the changing tides. That, we will explore in the next review. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website