A Sneak Peek... And this time, the song that became a huge hit not by its original writer and created a whole new musical genre. On January 20, 1965, "The Byrds" recorded their version of Bob Dylan's "Mr. Tambourine Man". It was later included on the band's first album, released later that year, on 21st of June 1965. Dylan released the song on his fifth album "Bringing It All Back Home", on March 22, 1965, meaning, two months after "The Byrds" recorded it. How did this happen you ask? The Byrds manager Jim Dickson, brought a demo version of the song to the studio. The demo was recorded by Bob Dylan during the sessions for his fourth album "Another Side of Bob Dylan" from 1964. "The Byrds" based their version on the demo version that did not find it's way to Dylan's fourth album. It turned out that the song was recorded by them before it was released by Dylan himself. The band members initially refused to record the song, as they thought it had no potential to succeed. Finally, the song was recorded after dropping some of the lyrics written by Dylan and with the addition of Roger McGuinn's iconic 12-string guitar, with the single itself being released on April 12, 1965. It is interesting to note that the band itself did not play the song, except for Jim McGuinn who sang and played guitar and Gene Clark and David Crosby who sang background vocals. The reason for this was that the band was then only at the beginning of its journey, and its managers thought they were not good enough yet to make the recording, therefore invited professional studio players to perform the craft. The first single from the band's first album became a hysterical hit that changed the face of rock forever and created a new folk-rock musical genre. This song also constituted the first worthy American response to the unchallenged control of British bands in the music world at the time. Another amazing statistic about this song, is that it is one of the only songs that has entered the list of the 500 greatest songs of all time by "Rolling Stone" magazine twice. once as performed by "The Byrds" and the second time performed by Bob Dylan. In this case "The Byrds" surpassed Dylan when they reached 79th place on the list, compared to Dylan's 107th place. To listen to a song: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 21, 1985, "Mötley Crüe" released their third studio album, "Theatre of Pain". This album marked a dramatic shift for the band—both musically and visually. Following the dark, aggressive tone of "Shout at the Devil" that made them "Satan-worshippers", the band took a turn toward glam metal, embracing a more theatrical image and sound. The change wasn’t just a stylistic pivot; it was a survival strategy. In the aftermath of Vince Neil’s tragic car accident that claimed the life of Hanoi Rocks’ drummer Nicholas "Razzle" Dingley, and with internal tensions and substance abuse rising, "Theatre of Pain" became a turning point for "Mötley Crüe". The album was recorded at "Cherokee Studios" in Hollywood with producer Tom Werman, who had also worked on the previous album. Nikki Sixx, who took a growing role as the band’s creative driver, channeled much of his inner turmoil into lyrics that were darker than the album’s glammy packaging suggested. Tommy Lee remained a powerhouse on drums, adding punch to even the most pop-oriented moments' and Mick Mars showed his versatility and talent, even though the band had been seriously considering replacing him. From a musical standpoint, "Theatre of Pain" softened the band’s earlier heavy-metal edge. The gritty riffs were still there, but the production polished them for MTV and radio. This was the album that helped launch glam metal into the mainstream, even as it drew criticism from hardcore fans for abandoning the band’s original ferocity. The album opens with "City Boy Blues", a swaggering track that nods to the band’s roots in sleaze and street rock with a slight twist enhanced by the slide guitar solo and cowbell. The raw energy here sets the tone for an album full of attitude, even if the riffs feel more polished than punchy. "Smokin’ in the Boys Room", a cover of the 1973 hit by "Brownsville Station", was the album’s breakthrough single. Its rebellious schoolyard theme and campy video made it a favorite on MTV and gave the band their first Top 20 hit. The change in style is noticeable not only by the choice to unclude a cover song from the 70s (they already did this on the previous album with "the Beatles'" "Helter Skelter"). However, this time the band shed all the dark atmosphere with the help of Mickey Raphael's harmonica solo, the slide solo and the claps part that scream mainstream. The song’s infectious, chant-along chorus made it a cultural bridge between 70s rock nostalgia and 80s glam excess. Interestingly, this rebellious spirit also found echoes across the globe—in Israel. In 1981 the legendary band "T-Slam" paid homage to this aesthetic in "רדיו חזק (Loud Radio)", a track that mirrored the same adolescent defiance and anthemic energy. The old and original "Mötley Crüe" steps in in the third song - "Louder Than Hell", that offers a heavier respite amid the glam. Originally written during the "Shout at the Devil" era (under the title "Hotter Than Hell"), the song brings back crunching guitars and sinister tones, and is one of the few tracks on the album that retains the band’s earlier intensity. "Keep Your Eye on the Money" rides a tight groove with sharp lyrics about fame and temptation, hinting at Nikki Sixx’s growing lyrical maturity. It's one of the album's underrated gems. But it was "Home Sweet Home" that became the album’s emotional centerpiece, although some that were present in the studio were unhappy with the band's decision to record a ballad and release it as a single. A piano-driven power ballad that exposed a softer side of the band, it became a template for the glam metal ballads that would dominate the second half of the decade. The song was written by Nikki Sixx and Tommy Lee which also plays the piano. At the time, the song underperformed on the charts, but its video was a fan favorite and it later became a staple in the band’s live shows and greatest hits collections. "Tonight (We Need a Lover)" and "Use It or Lose It" are straight-up glam rockers—fun, flamboyant, and built for arenas. They may not carry the depth of the band's later or earlier material, but they capture the spirit of mid-80s debauchery that defined the "Crüe" lifestyle. "Save Our Souls" is perhaps the darkest and most underrated track on the album, with Sixx addresses his heroin addiction. Driven by a haunting riff and slide guitar licks by Mick Mars, it stands out as one of the more interesting songs on the album. "Raise Your Hands to Rock" make a heavy use of acoustic guitars and nods toward Country music, but later it returns to the Glam metal slot with the catchy chorus that chants the word "Rock" just like "Twisted Sister" did a year before you with the hit "I Wanna Rock". The album closes with "Fight for Your Rights", an attempt at anthemic commentary that falls short lyrically but tries to channel the rebellious energy that the band built its name on. "Theatre of Pain" received mixed reviews upon release. Critics were divided, and even the band has expressed reservations about it in hindsight—Nikki Sixx once referred to it as a "pile of rubbish." Still, it achieved 4 time platinum status in the U.S., reached No. 6 on the Billboard 200, and helped solidify the "Crüe’s" place in the glam metal pantheon. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Okay, so after yesterday's post about the sale of David Gilmour's guitar collection on June 20, 2019, we felt we must tell you that the Guinness record for that sale for a single guitar was broken on 21 June 2020. (Photo: Frank Micoletta) This record has been held for a year by the Black Strat guitar - Fender Stratocaster 1969, on which Gilmour played from the album The Dark Side of the Moon to the album The Final Cut, and which we told you about only yesterday, here. So on June 21, 2020, the guitar played by Kurt Cobain was sold during the famous 1993 MTV Unplugged show, was sold for a fantastic $ 6,010,000, compared to the $ 3,975,000 paid for David Gilmour's Black Strat. This is a 1959 Martin D-18E acoustic guitar in which Australian businessman Peter Freedman, president of Rode Microphones, won an auction with an initial amount of $ 1,000,000. The guitar came with its original case bearing a sticker that Kurt Cobain pasted on it. (Photo: AFP) Friedman noted that the purchase of the guitar was for him a "once-in-a-lifetime opportunity" and that he intends to present it at exhibitions around the world. The auction house "Julien" noted that during the sale 5 Guinness records were broken, among them the one we mentioned as well as the highest price paid for an item for one Memorabilia. If you're wondering how this item got to auction at all, when it's clearly the farthest step from what Cobain himself represents, then in May 2018 Cobain's daughter Frances Bean Cobain lost the guitar in her divorce lawsuit to her partner Isaiah Silva. He claimed at trial that Frances gave him the guitar as a gift and therefore it should be his property, Frances, of course, denied the claim but it did not help her, the judge gave Silva the famous guitar. The divorce saga was dirty, long, and famous, at one point Silva accused Frances of planning to murder him and steal the guitar back !! "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"Deep Purple's" self-titled third album was released on June 21, 1969. This is the band's last album in its first lineup also known as MKI, which included lead singer Rod Evans and bassist Nick Simper, who will later be fired from the band in favor of a different sound and style change. The musical style of the album ranges from progressive rock and psychedelia to heavy rock and classical music, with the general trend being beyond a heavier sound and greater presence of guitar roles, than on the previous two albums. The change in sound was mainly due to the increasing involvement of guitarist Ritchie Blackmore in the writing process. At the end of 1968, the band went on tour in the United States to promote their second album, "The Book of Taliesyn". The band returned to England on January 3, 1969, and immediately began working on material for their third album, But the materials the band worked with were far too complex to serve as a 3-minute "hit". To satisfy the record company, the band entered the studio on January 7 and recorded the song "Emmaretta", which was written about Emmaretta Marks who was part of the show "Hair" and which Evans met during the US tour. The song was released as a single in February 1969. The song did not match the style and spirit of the emerging album, so it remained as a single and was not included in the album. During those sessions, the band also recorded the heavier and more experimental "The Bird Has Flown" and this song will find its way to the album. After letting the record company what it wanted with the single "Emmaretta", the band was free to continue writing the material for the third album. The band's management managed to arrange a window for the recordings during February and March of 1969. The pressure on the band was heavy. It was the third album in less than 18 months of activity, while during the writing of the materials and recordings, the band had to go on tours. Despite this pressure and the short time they had left to write and make the recordings, the band managed to write 7 new tracks, more than the number of original tracks the band put into each of their two previous albums. The pressure positively acted on the band members apparently, because the original materials they managed to produce were not only more in terms of quantity but certainly also in terms of quality. (Photo: John Minihan) The album opens up with "Chasing Shadows" written by Jon Lord and Ian Paice and is led by the rolling drumming and African rhythms that Ian Paice brought to the song. "Blind" was written by Jon Lord about one of his nightmares. Lord's harpsichord playing in this song is no less wonderful. Immediately after that comes the ballad "Lalena" - the only non-original song on the album, written by Donovan. The band gave the song its own interpretation with drumming on the edge of swing and a somewhat jazzy playing by Lord with one of his beautiful and melodic solos. The song will of course become a familiar "hit" of the band, here in Israel as well. The short instrumental piece "Fault Line" was influenced by the earthquakes the band experienced in Los Angeles during their last tour there, and it features a psychedelic and interesting effect in the form of a backward recording of Ian Paice's drum moves. "The Painter" is a classic 12-box blues, written by the band to satisfy the growing demand of British audiences for blues-rock-based pieces. The song was recorded in a live studio without any editing and features a powerful and beautiful "electrifying" bluesy guitar solo. It is worth mentioning, that until the time of recording the album, Ritchie Blackmore used a Gibson guitar, during the recordings Blackmore gradually switched to a Fender Stratocaster guitar, which was used by the guitarists he admired. This guitar will become Blackmore's hallmark during the band's heyday and beyond, and in fact to this day. By the way, according to various sources, Blackmore bought his first Stratocaster guitar from Eric Clapton, but it was an engineered version of the Stratocaster that made it difficult for Blackmore to play, because it's neck was a Fender Telecaster guitar, with a Stratocaster body and pickups. Opens the other side of the vinyl is another blues-rock track "Why Didn't Rosemary?", Which was influenced by Roman Polanski's classic film starring Mia Farrow "Rosemary's Baby", and which the band members watched together at the cinema. The band admitted that the song was influenced by American blues artist Otis Spann. Although this is a blues song, it is not a blues in the classical structure as in the previous song, as it includes 14 bars in the verses and 17 bars during Blackmore's guitar solo. Then comes the wonderful 12-minute piece "April". This is the longest track to be included on the band's studio album, written primarily by guitarist Ritchie Blackmore about the month he was born in. The piece consists of 3 parts with the main part being an instrumental in the style of classical music composed by Jon Lord and performed by a classical orchestra. The first piece is played exclusively by Lord and Blackmore, with Ritchie Blackmore playing guitars, acoustic and electric, and Jon Lord on organ and piano. The second section is, as mentioned, the orchestrated and classical section composed by Lord and includes, among other things, the use of instruments, flute, clarinet, and strings. The third and final section also includes singing by Rod Evans. The band wrote on the album cover that they "hope the April piece will convey a message of reliving personal memories from a beautiful but sad (for us) month". The album did not receive satisfactory sales at the time of its release, partly due to the criticism that the album's cover drew. The cover is an excerpt from a 15th-century painting "The Garden of Earthly Delights" by the German-Dutch artist Hieronymus Bosch. The painting, which shows what hell looks like, was perceived by the American public as an anti-religious and immoral painting, which also includes nude figures. It is interesting to note that the same painting, only in its colorful version, adorned the cover of the album "One Nation Underground" of The psychedelic folk band "Pearls Before Swine" two years earlier, but in that case, the cover was not criticized at all. By the way, the fact that Deep Purple's album has a black and white version of the painting is not intentional and accidentally originated. The sharp-eyed among you will surely notice that the band's miniature figures was inserted Into Bush's painting. This album is actually the "Swan Song" of the band MKI's lineup. After the album's release, the band went on a US tour, during which keyboardist Jon Lord guitarist Ritchie Blackmore and drummer Ian Paice met to discuss the band's future. The three unanimously expressed a desire to make a significant change in the band's musical direction. It was clear to the three of them that singer Rod Evans and bassist Nick Simper would not fit the new style the band is going in, so it was decided to replace them. As we know, in June 1969 (the month of the album we are reviewing was out). Ian Gillan and Roger Glover were chosen to replace Simper and Evans, but at this point, their identity was still kept secret as well as the intention to fire them. As already written in the pages of the history of rock, the said change in the band's composition and style, will soon lead it to worldwide success and the writing of tremendous works that will form one of the pillars of the hard rock and metal genre. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Joey Kramer is an American musician best known as the drummer of the rock band "Aerosmith". Here are some facts about Joey Kramer: (Photo: Mauricio Santana) = Joey Kramer was born on June 21, 1950, in The Bronx, New York City, United States. His birth name is Joseph Michael Kramer. = He is Jewish and celebrated his "Bar Mitzvah" at the age of 13. = Kramer started playing drums at the age of 14. = Kramer has cited drummers like Ginger Baker, Gene Krupa, Buddy Rich, and Ringo Starr as his early influences. Their playing styles helped shape his drumming technique and musicality. = In the early 1970s, Kramer was a member of "The Institution" a "New Jersey" garage band founded by Philip Rubin, J. Howard Duff, Richie Lester, and Marv Coopersmith. = Joey Kramer, along with Steven Tyler, Joe Perry, Tom Hamilton, and Ray Tabano, formed "Aerosmith" in 1970. The band went on to become one of the most successful rock bands in America. = "Aerosmith" 1st Gig was held on November 6, 1970. = Kramer is credited with originating the name "Aerosmith". In his memoir, Kramer revealed that he idly conceived the name "Aerosmith" while listening to Harry Nilsson's album "Aerial Ballet" in 1968, two years before the band was formed. = Kramer's drumming style is characterized by his powerful grooves and precise rhythms. He incorporates elements of blues, rock, and funk into his drumming, creating a unique sound for "Aerosmith". = As a member of "Aerosmith", Kramer has been part of numerous chart-topping albums and hit songs. Some of their most popular songs include "Dream On," "Walk This Way," "Sweet Emotion," and "I Don't Want to Miss a Thing". = Kramer was a part of all 15 "Aerosmith" studio albums. = One of Kramer’s most iconic drum intros can be heard in "Aerosmith’s" hit song “Walk This Way”, which remains a classic rock anthem to this day. = In recent years, Joey Kramer has faced some health challenges. In 2019, he suffered an injury that led to him being unable to perform with "Aerosmith" for some time. = Kramer made a guest appearance in the 22nd season (2010–11) of "The Simpsons", in the episode "The Ned-Liest Catch", as a former partner of Bart's teacher Mrs. Krabappel = Kramer's son's Jessey also plays drums. He filled in for Joey in 2005 at several "Aerosmith" shows while Joey was recovering from strained muscles. = Outside of his music career, Joey Kramer has ventured into entrepreneurship. He owns a coffee business called "Rockin' & Roastin'", which offers organic and fair-trade coffee blends. = In 2010 he released "Joey Kramer Hit Hard," also known as "Hit Hard," a music game for iOS. It is the first game in its series and shares its name with Kramer’s memoir, "Hit Hard: A Story of Hitting Rock Bottom at the Top," which was published in June 2009. = "Aerosmith", with Joey Kramer as a member, has been inducted into the "Rock and Roll Hall of Fame" and the "Songwriters Hall of Fame". They have also received multiple Grammy Awards throughout their career. = Joey Kramer has been married twice. His first marriage was to April Kramer, and they had two children together. After their divorce, he married Linda Kramer in 2009. = In 2020, Joey Kramer made headlines when he sued his bandmates over a dispute regarding his return to "Aerosmith" after recovering from his health issues. The legal matter was eventually resolved, abut he did not continue to perform with the band. = In May 2023, the band announced a farewell tour called "Peace Out: The Farewell Tour" that will not include original drummer Joey Kramer. The tour was rescheduled to begin in September 2024 due to Steven Tyler injury in his vocal cords. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 20, 2019, David Gilmour broke several Guinness World Records when he put his collection of guitars up for sale. This is a huge collection of 127 guitars that Gilmour has played over the years, including the guitars he has played on "Pink Floyd" masterpieces albums. The sale was made through the famous Christie's auction house in New York and in the end, a fantastic and inconceivable sum of $ 21,490,750 was raised. Among the guitars sold was the Black Strat guitar - Fender Stratocaster 1969, on which Gilmour played on the albums "The Dark Side Of The Moon" through "The Final Cut". This guitar sold for a whopping $ 3,975,000 and broke the record for the highest sum a guitar ever sold. Another record broken that day is the highest amount in which a Gibson Les Paul guitar was sold. This was a 1955 gold-colored Les Paul guitar on which Gilmour played the song "Another Brick in the Wall, Part 2" and it sold for $ 447,000. Gilmour donated all the money from the sale of his guitar collection to ClientEarth - a green organization that engraved on its banner the protection of the planet. For a partial list of the guitars sold that day go to the link: Click Here "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek... And this time ... on the album "XXX", the 12th album of "Asia", which was released on June 20, 2012. This album is especially dear to us from the band's rich repertoire and it somehow closes a circle with the band's debut album "Asia", which was released exactly 30 years earlier in 1982. Why this album is closing a circle? Because beyond the fact that it came out exactly 30 years after the debut album, it's the Supergroup's latest album in its classic lineup 'with Carl Palmer, Steve Howe, John Wetton and Geoff Downes. A year after its release, guitarist Steve Howe will leave the band and in 2017, singer and bassist John Wetton will pass away, in a way that leaves this album as the last piece of music we received from the four talented members who founded "Asia". Even if you do not have time to listen to the whole album, do yourself a favor and listen to the excellent opening song "Tomorrow the World". An amazing and complex piece with airy instrumental parts that loads the song with dynamics and a beautiful atmosphere. Almost 7 minutes of great music, combining the band's familiar pop-rock with progressive rock. It starts with a piano-guitar intro that contributes to the "build-up" towards the entrance at 0:50, and when it arrives, boom! What a sweeping rhythm, what a deep and clear singing of John Wetton that accompanies himself with the beating bass. We are sure that the keyboard riff that follows (1:16) will remind you of its sound and vibe of "The Final Countdown" by "Europe", but what happens next is much more dynamic and deep. The wonderfully melodic C-Part at 2:44, the break to the quiet section at 3:35, and the crazy keyboard-guitar solo that followed, what a beauty of playing especially that of Steve Howe who undoubtedly gives one of the most beautiful solos in his entire career (And there's another one like this that starts to warm engines at 5:46). But this album is definitely not just this one great song. The moving "Bury Me in Willow" with John Wetton's passionate singing was chosen by "AllMusic" as one of the three recommended songs on the album. The rhythmic "No Religion" is a classic "AOR" song, with touches of prog and we do not really know why (maybe the rhythm), but "Face on the Bridge" reminded us at times of "Coldplay". And there is "Al Gatto Nero" who offers us catchy pop-rock with a little drum solo that Carl Palmer pulls out of his sleeves, "Ghost of a Chance" with the symphonic vibe and the emotional playing of Steve Howe and more. It is interesting to note that the album was also released in an expanded version that includes the bonus track "Reno (Silver and Gold)", an excellent track in itself that fully integrates with the rest of the album, so maybe this is why the band chose not to put it at the end, as it is an integral part that does not affect the flow of the album. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Here are some interesting facts about Michael Anthony best known as the bassist and backing vocalist for the hard rock band "Van Halen": He was born Michael Anthony Sobolewski on June 20, 1954, in Chicago, Illinois. He moved to California as a child and grew up in Arcadia, California. His father was a trumpet player, which influenced his early interest in music. Michael began playing trumpet, then guitar, and finally switched to bass during high school. He attended Arcadia High School, performing in several local bands. He studied at Pasadena City College, where he met Alex Van Halen and Eddie Van Halen. Michael joined the band "Mammoth" in the early 1970s, replacing Mark Stone. The bans soon became "Van Halen". Beside playing bass Anthony was also the band's backing vocalist. He Provided backing vocals on hits like "Panama", "Ain’t Talkin’ ‘Bout Love", and "Why Can’t This Be Love". Anthony Played on "Van Halen"’s debut album (1978), a groundbreaking release in hard rock. He continued on "Van Halen II" (1979), further establishing his vocal and bass role. Anthony performed on "MCMLXXXIV" (1984), one of the band’s most successful albums. He played synth bass on the song "I'll Wait" Anthony stayed in "Van Halen" even after David Lee Roth left the band and Sammy Hagar joined in 1985, and played on "5150" (1986), which is the band's first No. 1 album. He continued on "OU812" (1988), through "For Unlawful Carnal Knowledge" (1991), which won a Grammy. His last studio album with the band was "Van Halen III" released in 1998. He was replaced by Wolfgang Van Halen in 2006. Anthony is known for using the iconic Jack Daniel’s bass, shaped like a whiskey bottle. He maintained a strong creative and personal connection with Sammy Hagar post-"Van Halen". Anthony played in Hagar’s solo backing band "The Waboritas" during the late 1990s and early 2000s. He joined the short-lived supergroup "Planet Us" in 2002–2003 with Sammy Hagar, Neal Schon, Deen Castronovo, and Joe Satriani. Anthony co-founded the supergroup "Chickenfoot" in 2008 with Sammy Hagar, Joe Satriani, and Chad Smith of "Red Hot Chili Peppers". They released "Chickenfoot" (2009) and "Chickenfoot III" (2011), receiving strong reviews. In 2014, Anthony formed "Sammy Hagar and The Circle" with Jason Bonham, Vic Johnson, and Sammy Hagar. In 2015 they released "At Your Service", a live album featuring "Van Halen" and solo-era classics. In 2019 "The Circle" released "Space Between", their debut studio album, reaching No. 4 on the Billboard 200. In 2021 they released "Lockdown 2020", a quarantine covers album recorded remotely. On 2022 they released "Crazy Times", produced by Dave Cobb and showcasing new original material. Anthony runs Mad Anthony’s Cafe, his own brand of hot sauces, BBQ tools, and merchandise. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Deftones' "White Pony" album was released on June 20, 2000. In terms of the band's history, this album is an important turning point. Although after the first two albums, they were put into the same nu-metal slot along with Korn, Limp Bizkit, and the like, Deftones did not really feel like they belonged. They have always felt more influenced by New Wave bands like The Cure and Depeche Mode and on this album, you can feel the impact well, an amazing combination of energies, sounds, and New Wave atmosphere with heavy and slow metal. Let's start with the name of the album because that's where it all really started. The name even started earlier from the graphics... Chino Moreno decided that the white pony symbolizes the Deftones. A band that was different from everything that happens in the music around it and not just in the genre with which it is associated, but in the music in general of those years. He liked the fact that the term "white pony" has a lot of meanings and definitions like a nickname for a cocaine drug or if you have a dream about a white pony then it means a sex dream. The band loved the idea and the name accompanied the recordings from the beginning. Even before the members entered the recording studio they knew they wanted to do something different this time, they felt they needed to find their identity and create something more uniform and complete. Even before writing, they wanted to take a producer other than Terry Date who had produced their previous two albums to help them find a new way. After a rather short search, the band decided that the change should come from within, from the members themselves and not from the producer. (Photo: Frank Maddocks) The band members entered the studio and all together started writing for the album, none of them came with pre-made songs, an initial sketch, or a demo. The recordings took four months in which they recorded 11 songs from scratch, and according to Moreno, the start was not very easy. Moreno wanted to look for something different and more diverse than the power, noise, and heaviness of the previous two albums, he was also looking for softer and more melodic sides. But Stephen Carpenter the lead guitarist of the band who very much loves and is influenced by the Swedish extreme metal band Meshuggah insisted on making a heavy and strong album. At first, he was not willing to compromise on softer and more pleasant melodies that Moreno offered. There were not easy wars and it took Moreno a long time to convince Stefan that one can be heavy even in softer sections. This is the band's first album that Moreno came to without any concept or special theme on which he wanted to base his writing. He decided to write the lyrics on imaginary stories unrelated to him as in previous albums, with no special theme but a collection of imaginary motifs that are incorporated into the writing of the songs. And it all came together in the song "Change (In the House of Flies)", which is also the first single released from the album. Moreno who this is the first album where he took on the role of accompaniment guitar started playing something improvised along with Stefan, then came in with the keyboards Frank Delgado which is also his first album as a full member of the band, after he joined the bass session by Chi Cheng and drummer Abe Cunningham and everything connected perfectly as if Tinkerbell had arrived and sprinkled magic powder over all the band members. At that moment everyone felt the connection and everyone realized that this is exactly the "atmosphere" they were looking for, this is the sound, and this is the melody and character of the music that should accompany the album. By the way, this song is the band's best-selling single to date. Moreno used here the metaphor of a butterfly that becomes embodied in a beautiful creature and then the main character takes him home and tears off his wings until he dies. If we already mentioned "atmosphere"... then the members wanted to give this album a different atmosphere also in terms of dynamics and sound in addition to the guitars and drums. There are quite a few tracks on this album, like in the songs: "Change (In the House of Flies)", "Digital Bath", "Passenger", "Pink Maggit" and "Knife Prty" which put the listener in inexplicable curiosity. As the album progresses the addition of the heavy and weird sounds takes the listener to new places and unfamiliar districts. Some even compared the sound of this album to Pink Floyd's "Dark Side Of The Moon" album. Another song that was significant in terms of recordings on the album is the song "Passenger" which features James Keenan, the singer of "Tool", "Puscifer", "A Perfect Circle", and more. Although other members are hosted here such as Scott Weiland in the song "RX Queen" and singer and actress Rodleen Getsic in the song "Knife Prty", but with James the experience was different. Moreno and James are friends from the acquaintances they had together at Ozzfest and James invited his friends to him to Los Angeles, they are jammed in James' home studio and were thrilled by his way of working. Their work style was very "drunk" and "lazy" and he on the other hand was very systematic, consistent, and accurate. Within three days they had finished recording the song but did not know much about what to do with the vocals. James who took the reins also took the microphone and began to sing. The band members recorded the song with drooping jaws and returned home. Despite the amazing result, Moreno had a lot of doubts about James' inclusion on the album. He did not want to use his name as a celebrity to promote the album or create around it some kind of aura unrelated to the music itself, but eventually, he relented and the song was inserted into the album. A funny story from the recording process is that even though they lasted four months, it would probably have been possible to finish the album much faster if the members had not played the video game "Tony Hawk's Pro Skater". Moreno said they would play for hours on end in a game that was in the studio, there were days they would not even record but only play despite Terry's many pleas. This is the band's most successful album to date, it was awarded its only Grammy Award for Best Metal Performance in 2001 with the song "Elite". Moreno highly recommends listening to this album with headphones to feel the sounds and special atmosphere of the album, so listen to it, put headphones on your ears, and click on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Linkin Park's fifth album was released on June 20, 2012, is this an album back to its origins? Although the reviews have talked about combining Linkin's first two albums with the last two albums to this album, we actually think differently, we think this album is Linkin's natural evolution. Just to refresh your memory, the band's first two albums "Hybrid Theory" released in 2000, and "Meteora" released in 2003, absolutely exploded powerfully and made the band one of the most popular and big bands in the early 2000s when Nu-Metal flourished. The next two albums, "Minutes to Midnight" released in 2007, and "A Thousand Suns" released in 2010 were a sharp turn in the band's musical style, softening is the right word. The band began to explore the world of electronics, the world of sound layers, and the world of melody in other and completely different regions than before. So true, the power of the electronics and drama of the effects sounds much smaller than in the previous album and indeed the guitar work is a bit reminiscent of the first albums but there is no doubt that the whole sound, electronic layouts, lyrics, and dynamics of the songs are light years away from the first two albums. The recordings for the album lasted about a year with Mike Shinoda and Rick Rubin again working as co-producers on the album. Rick as before gave full freedom of action to the veteran team with Mike's leadership and he only met them once a week to give feedback and advice on certain points. The band members wrote and worked on the album during the tour of the previous album and even though they were already worn out from the shows they felt like they had a “muse” and the creativity poured out of them. Chester Bennington said that despite the attrition and exhaustion they decided they were not stopping the flow of creativity and continued to work on the album only in lower gear. Mike said they felt they were taking everything they had learned to date and were able to improve the sound and dynamics of the songs. This is what he said in an interview about the album: "It doesn't lose any of the creativity of the newer stuff and it brings in the energy of the older stuff. It's kind of a comprehensive sound. I feel like we've been able to take all the stuff we've learned on the way and put it all together in each song and still keep it fresh and forward-thinking." So for us, this album is not a combination of the first two albums with the two albums that came after them but is the sound development of the band after what they learned, researched, and experienced in the four albums that preceded this album, the sound of evolution seems to us to be the right definition. (Photo: James Minchin) Another thing, if we take Linkin's last four albums, we feel that this album is a lighthouse spring, the summit of the parabola. In the two albums before it, the band went in different electronic and melodic directions, and with the two albums that followed it, the band broke towards extreme rock and then broke again towards extreme pop, this album feels most sane to us in the new era of Linkin, a band that went through a lot In its career it finds the balance of everything it has learned, tried and performed until that album. This album of course took first place on the Billboard chart and sold over two hundred thousand copies in its first week. In addition, it also topped the charts in 17 other countries making it Linkin's only album to conquer so many charts peaks throughout their careers. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Editor's Choice... And this time, "Double Vision" - "Foreigner's" second album, released on June 20, 1978. "Foreigner" got its name due to the fact that it is an Anglo-American band whose half members are British while the other half comes from the USA. In 1976 Mick Jones suddenly finds himself out of work. His band "Spooky Toth" disbanded and another band - "Leslie West Band" he later joined, also disintegrated. He decided to take things into his own hands and start a new group. In the recruiting process the musicians he chose to accompany him, were keyboardist Al Greenwood, bassist Ed Gagliardi and singer Lou Gramm - the "American" half, while former multi-instrumentalist Ian McDonald from "King Crimson", drummer Dennis Elliott and Mick Jones himself was the British half. "Foreigner" first album was released in 1977 and was an immediate success. The album produced hits like "Cold as Ice", "Feels Like the First Time", "Long, Long Way from Home", "Starrider and more, which soon made it one of the best-selling debut albums in the US. The band members, who did not expect such dizzying success, suddenly realized that they had to write more material in order to fill the setlist for a full-length performance, and thus were born the first songs written for their second album. One of these songs was the theme song "Double Vision" which was written back in 1977 during the tour that accompanied the first album. The idea for the song came to singer Lou Gramm while watching a game of the New York Rangers hockey team. During the game, one player collided violently with goalkeeper John Davidson in a way that forced the latter out of the game. The broadcaster noted that the unfortunate goalkeeper is suffering from "Double Vision" and boom! Lou Gramm had an idea for a song that also became the album's theme song. This album continues the excellent formula of the previous album. Melodic, energetic, and sweeping hard rock pieces that combine all the goodness of "Led Zeppelin", "Styx" and "Bad Company", alongside saccharine ballads on the verge of pop. This album just drips sex from start to finish. Mick Jones noted in a 2009 interview that "Foreigner" is a band that has always written about feelings and relationships and that he does not remember ever writing about serious topics like politics. The lyrics of the songs Graham wrote and composed for this album will prove that Mick Jones is absolutely right. Songs like "Double Vision" with Jones' bouncy reef, Ed Gagliardi's beating bass, and Dennis Elliott's thunderous, rolling drumming that just pulls this whole cart after him, the opening song of the album "Hot Blooded" whose riff reminds us of the band "Free" And that Lou Gramm's poetry in it corresponds with that of Paul Rodgers in the band mentioned and in "Bad Company", or "Blue Morning, Blue Day" which fantastically combines hard rock and pop, all songs are dealing with sex and the relationship between him and her. Have we already mentioned ballads? It is interesting to note that the two most prominent on this album were written by Jones exclusively and without the help of Lou Gramm and the other members. The track "You're All I Am" sung by Graham in his deep and delicate voice reminds us of the soft-rock or pop-rock bands like Chicago. The second track "I Have Waited So Long" is sung by Mick Jones and the influences of Paul McCartney and the Wings scream from every note of his. Ahh, and this album features the only instrumental piece by the band "Tramontane" written by keyboardist Al Greenwood and the multi Instrumentalist - ex "King King Crimson" - Ian McDonald. This album continued the momentum of the previous album and despite the cold reviews it even surpassed the previous album in terms of success and sales, and to this day it is considered the band's best-selling studio album. It is interesting to note that this album was recorded in the mythical studio "Sound City" where many masterpieces were recorded such as "Fleetwood Mac, "Appetite for Destruction", "Undertow", "One Hot Minute", "System of a Down", "Rated R", "Rage Against The Machine", "Holy Diver", "After the Gold Rush", "Nevermind" and more and more. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

The "Black Sheep" of "Black Sabbath"! On June 20, 1995, "Black Sabbath" released their 18th studio album "Forbidden". The album is considered by many to be the worst album by "Black Sabbath". Music critic Bradley Toreano of the "Allmusic" website even gave the album 1.5 out of 5 stars and wrote that "with boring songs, awful production (from Ernie C), and uninspired performances, this is easily avoidable for all but the most enthusiastic fan". Another magazine called the album "embarrassing" and claimed it was "the band's worst album". Just to be clear, the album sold only 191,000 copies in the US from its release until 2013, for comparison the album "13" that came out after it sold almost the same amount in the US in just the first week of its release. So you're probably asking yourself why we even mention this album? 1. Because without knowing the bad how do we know to appreciate the good? 2. Because even though this is a relatively weak "Black Sabbath" album, we think the reviews were too harsh with it. This is the band's fifth and final album with singer Tony Martin, which also included legendary drummer Cozy Powell and bassist Neil Murray, who returned to the band after 5 years of absence (since the album "Tyr"). This is the band's latest album up to the album "13" released in 2013 and the reunion with Ozzy Osbourne. The album features a bizarre collaboration with ICE-T, who contributed his voice to the album's opening song "The Illusion of Power", and with Ernie C - the lead guitarist of "Body Count" produced the album. The intention in connecting with Ernie C may have been good, to give "Sabbath" a more up-to-date and contemporary sound and make it accessible to a younger audience, but the result was not good enough. With all due respect to the last two from the band "Body Count", the connection of rap-metal with the classic heavy metal, did not work this time. When one chooses to start the album with the collaboration with ICE-T, one should know that probably the devout listeners who expect to receive the classic Sabbath, will not even continue to the second track. But if you were tough and managed to survive the first song barrier, some surprises await you along the way, songs like "Get A Grip" (whose riff is reminiscent of "Aerosmith's" "Love in an Elevator"), "Can't Get Close Enough" with the mesmerizing opening, the epic "Kiss of Death" with the awesome guitar intro, the theme song of course, as well as Iommi's solos in the songs "Loser Gets It All" and "Won't Cry for You", are beautiful moments on this album. The band members didn't really like the album either. Tony Martin admitted that this album was a "filler" that knocked them out of the recording contract, fired the singer, and pushed the band to reunite. Cozy Powell did not like the sound and there were rumors that the band was even going to record a new version of the album. Tony Iommi admitted that this album was quite "terrible" and that he was not happy with it. He excused this by leaving Ernie C to do the production and that he was not really there to look after him. He also noted that Cozy and Neil were still bound by other contracts that did not allow them to actually contribute to the writing process, and that it was done mostly by him, by keyboardist Geoff Nicholls and singer Tony Martin without them having time to stop, ponder and re-examine the material they wrote. Weak or not, it's still "Black Sabbath", it's the legendary Tony Iommi and he's accompanied by one of the great drummers in rock and one of the most powerful singers in metal. In conclusion, if the weakest album of "Black Sabbath" sounds like this, so were are more than satisfied. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website