On June 19, 2001, "Stone Temple Pilots'" fifth album "Shangri-La Dee Da", was released. Here are 10 interesting facts about this album: 1. The album was produced by Brendan O'Brien who produced STP's first album and also RHCP's first album, these two albums kicked off his career as a producer. He produced almost all of STP's albums, Pearl Jam, Neil Young, Bob Dylan, "AC/DC" and many more. 2. The album was written and recorded in a villa (dream house) that the band turned into a studio - Malibu Mansion located on the beach in California, where the band's previous album "No.4" was also recorded. 3. This is the band's most experimental album. It cruises between genres of rock, psychedelia and even pop, with influences from The Doors, The Beatles, and even David Bowie. It is very different from their previous album but reminiscent of the album "Tiny Music" (Photo: Wallpaperflare.com) 4. Before the release of the album Scott Weiland announced that the album will be released as a double album, but aspirations aside and reality aside (and Scott is known for the "aspirations"), the record company "Atlantic Record" objected to this for fear of lack of focus and diversity, so it came out as a regular album. 5. Another thing the record company objected to was Scott's desire to dedicate the album to the memory of Andrew Wood (the late singer of "Mother Love Bone") and indeed it did not happen. 6. Somewhere in the warehouses of Chapman Baehler, a photographer who has accompanied "STP" throughout most of his life (which we hope have not been burned) there are photographs and videos documenting the production of this album. Chapman was supposed to make a documentary about the process of making this album, he and his wife filmed the whole process but the film did not materialize and was not produced. 7. The most successful single from the album, which is about the only song from the album they play in shows, is "Days Of The Week" which reached number 4 on the Mainstream Rock Tracks chart. The song talks about Scott's addiction to heroin and the way it affected his relationship with his partner Mary Forsberg. 8. This was the first single released from the album. The band did not want it because they thought it was too poppy. They wanted the song "Coma" released instead. But the record company insisted and won, and rightly so. 9. The song "Hollywood Bitch" was written by Scott and bassist Robert Deleo. This is the second and final single from the album whose riff was written even before the release of the album "Purple". 10. This album marked the beginning of the band's big hiatus until 2008 when the first reunion was formed and two years later the band's sixth album was released (which was actually their last album with Scott). Listen to the album at: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 18, 1982, "King Crimson" released their ninth studio album, "Beat". This was the first time in the band's career that "King Crimson" retained the same lineup for two consecutive albums—Robert Fripp, Adrian Belew, Tony Levin, and Bill Bruford. Coming just nine months after the innovative "Discipline", the band rushed into "Beat" with little new material in hand and growing internal tensions. Wit only 29 Minutes of music (they had to add another 7 Minutes of improvisions) they leaned deeper into a fusion of progressive rock, new wave, and abstract experimentation. Inspired by Adrian Belew rereading Jack Kerouac's "On the Road", "Beat" was intended as a tribute to the American Beat Generation of the 1950s. But in the end, it turned outas a personal album of Adrian Belew who wrote most of the material. Belew’s lyrics reflect a growing fatigue with life on the road—hotel rooms, airports, and emotional isolation. The album opens with "Neal and Jack and Me", a sharp and jittery piece that captures the complicated friendship between Kerouac and Neal Cassady., trading guitar jabs and spoken-word imagery over a tight rhythmic core. "Heartbeat" follows with surprising warmth—a rare moment of emotional directness that offers one of the most melodic and accessible entries in the band's catalog. "Sartori in Tangier" dives headfirst into instrumental abstraction, pairing Middle Eastern motifs with polyrhythmic percussion and textured layering. It draws its title from Kerouac’s novella "Satori in Paris". "Waiting Man" channels the growing fatigue of Belew with life on the road with it's with hypnotic loops. "Neurotica" revisits New York’s manic energy with a darker lens, echoing earlier material like "Thela Hun Ginjeet". It erupts in a frenzied, anxious blur—an ode to urban sensory overload where Belew’s spoken lines spiral into madness against Fripp’s fractured soundscapes. The soft and understated "Two Hands" a minimalistic ballad co-written with Belew's wife Margaret speak of longing and emotional vulnerability floating over sparse instrumentation. Then comes "The Howler", with a menacing vocal performance and chaotic, animalistic groove—an embodiment of the Ginsberg poem it references. Finally, the freeform improvisation of the instrumental - "Requiem" closes "Beat" with abstract textures and sonic dissonance, collapsing into formless noise. The expanded edition of the album also includes the bonus track "Absent Lovers", a mysterious, slowly unfolding instrumental that echoes the melancholic beauty of separation and longing. "Beat" followed the brilliance of "Discipline", but its rushed creation, internal conflicts, and creative fatigue affected the final product, so not surprisingly it's been overshadowed by the band's groundbreaking discography. For listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

The album "Helloween" is the sixteenth studio album by the German power metal band "Helloween", released on June 18, 2021. This album is the first to come out with the band "Pumpkins United" lineup, which marked the return of original member Kai Hansen on guitars and vocals and Michael Kiske on vocals in 2016, in addition to a five-member band that has been active since 2005. He is the first to feature Hansen since "Keeper of the Seven Keys: Part II "and the first with Michael Kiske since "Chameleon" released in 1993. This album was released six years after its predecessor "My God-given Right" (the longest gap between two albums from the band), the album is also the first to feature more than one singer, such as Hansen, Kiska, and Andy Dries, who all appeared as soloists on previous albums, and now share leading vocal roles. It all started with the announcement of a world tour in 2016. The media got excited, the fans were ecstatic. It was not just a reunion of the band, it was a lineup that included seven iconic band members: Andi Deris, Michael Kiske, Michael Weikath, Kai Hansen, Markus Grosskopf, Sascha Gerstner, and Daniel Loeble. It was a dream come true for fans around the world and everyone had one wish: "Stay together!". The band made those fans' dreams come true with the first single released on April 2, 2021, called "Skyfall". An epic work was written by Kai Hansen and whose album version is at 12 minutes. The piece tells of an alien landing on Earth and a dramatic chase accompanied by a breathtaking clip which is without a doubt the most complex and invested clip in the band's history, which also includes 3D animation. By the way, as part of the buzz surrounding the big comeback, the members decided to produce the album right in the same studio in Hamburg where "Master Of The Rings", "The Time Of The Oath" and "Better Than Raw" were recorded, with a completely analog recording technology that is also A kind of "back to the roots". The return to the roots can already be felt in the opening song "Out For The Glory" - a pure classic "Helloween" song, a complex epic and dynamic piece, with frequent rhythm changes, full of thunderous drums, sawing guitars, and chilling vocals. The quiet opening to the second and excellent song "Fear Of The Fallen" is perhaps a little misleading, because it's a crazy energy bomb that nicely continues the momentum. Andy Dries' delicate intro vocals quickly lead to another quick slice of glorious power metal. The guitar work in this song is just "electrifying", the vocals take off and the harmonies between Dries and Kiske are just amazing as the driving force behind it all is the rhythm division of Grosskopf and Leobele. Before the end, we will mention the "Israeli connection" which refers to the artist Eliran Kantor who is responsible for the amazing cover of the album. The album includes 12 excerpts over 65 minutes, and in special versions, there are also bonus tracks. Tracklist: Out For The Glory Fear Of The Fallen Best Time Mass Pollution Angels Rise Without Chains Indestructible Robot King Cyanide Down In The Dumps Orbit Skyfall Digibook & Vinyl version: 01. Golden Times 02. Save My Hide Earbook version: 01. Golden Times 02. Save My Hide 03. Pumpkins United Personell: Michael Kiske – Vocals Andi Deris – Vocals Kai Hansen – Guitar and Vocals Michael Weikath – Guitar Sascha Gerstner – Guitar Markus Grosskopf – Bass Daniel Loeble – Drums For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On July 17, 2001, the second studio album by "Muse" - "Origin of Symmetry", was released, and this is definitely one of the great, bold, and successful rock albums of the 2000s. This is an album where the sound and style of "Muse" began to take shape and crystallize. An album in which the band stretched its boundaries and went "all in", both in terms of the experimental writing that combined several genres and in terms of the range of instruments the band used which included mellotron, church organ, and even animal bones, nylons and bubble wrap. It's an album that turned the small band from the fishing town near Devon, England into a stadium monster and one of the most interesting and important bands of the millennium. Looking at the level of writing, accuracy, and performance of "Origin of Symmetry", it is hard to believe that we almost missed all this goodness called "Muse", if they had not won a young bands competition in 1994, when they were still called "Rocket Baby Dolls". "Origin of Symmetry" comes about two years after the debut album "Showbiz", which was released in May 1999. After the release of "Showbiz", the band went on a long tour, during which the material for what would become one of the band's greatest albums was written. As they ride on top of the relative success of their debut album "Showbiz", Christopher Wolstenholme, Dominic Howard, and Matt Bellamy felt confident enough to give free rein to their desires. They went with their musical truth and decided to go wild with a tremendous epic piece that combines a crazy variety of styles, ranging from classical music and opera, through space rock and progressive rock to electronics, alternative, psychedelia, hard rock, and metal. A real feast for the ears. The main contributors to this "psychic" end result besides the band members, were the producers John Leckie, who pushed the band to experiment with new musical instruments and styles and stretch their sound boundaries to the limit, and David Bottrill who worked with bands like "Tool", "deus" and "King Crimson". We must say that this album was a complete surprise for us. It's not that we did not hear the tremendous potential on the debut album "Showbiz", but we certainly did not expect to get such a complex, unique and different album. To tell the truth, when "Showbiz" went on the air, we also followed the critics' opinions. We too made the obvious comparison to "Radiohead" and also for us Matt Bellamy's shivering voice sounded a little bit like Jeff Buckley. Not that there is anything wrong with these comparisons, these are two of our favorite artists in the 1990s, but this comparison stood in a shabby and pale light against the mighty album "Origin of Symmetry" released in 2001. It was a crazy album. Something that sounded like nothing else from that period, a combination of so many genres that were our favorites, put in a blender and mixed well, to the crystallization of this masterpiece that on the one hand was very innovative, but on the other hand, brought us back to "origin", and contrary to the album title, which was influenced by Michio Kaku's book, did not left a single drop of "symmetry" in these "origin", just like its inner cover with Darrell Gibbs' illustration depicting people walking into a giant white cube with the tiny letters above the door saying "Chaos." You could say that compared to the previous album, everything "Origin of Symmetry" became more "extreme". The deafening feedbacks, the distortion on Christopher Wolstenholme's bass that also became more dominant, Bellamy's Manson "Custom Made" guitar that included a built-in "Z.Vex Fuzz Factory" effect and contributed to the rough sound, the immense stretch of Matt's voice that sometimes sounds even operatic, Dominic Howard's drum set that was expanded to include a variety of percussion and even the recording method, mainly in "Live" in the studio, in order to try and recreate the energies and powers that "Muse" has on stage. We always say that when you do something from the heart, it must be expressed in the result. "Origin of Symmetry" is probably one of the best examples of this, but it probably wouldn't have happened if "Muse" hadn't been confident enough and got encouragement from the record label and producers. This confidence allowed them to write the music they wanted to create and not the music they were expected to write. The final product is one of the great and important albums of the first decade in the current millennium, which to this day, over twenty years later, shakes us time and time again. From the pianos of the opening song "New Born", to the mellotron carpets in the final track "Megalomania", it is a crazy colorful celebration of genres and sounds that penetrates the cerebral cortex to the temporal lobe and causes hallucinations and changes of consciousness and sometimes even uncontrollable convulsions. Each song on this album touches a different nerve in our body and sends us to a different place on the globe, back and forth in time across the musical history. "Micro Cuts" and "Space Dementia" send us to experience the classical influences of Bach and Rachmaninoff and experience a bit of opera, the classical guitar in "Screenager", which refers to the influence of "screens" on teenagers, for moments sends us to Spain and the Middle East, "Hyper Music" full of "punk" rage and the leading riff of "Plug In Baby" corresponds with Bach's famous "Toccata". The bass work on "Darkshines" sounds to us like an interpretation of "Another One Bites the Dust" with Latin / Spanish influences and all this beauty is before we even mentioned the amazing cover of "Feeling Good", which became famous with the help of Nina Simone. At first, Matt Bellamy did not want it on the album because he thought the band should not include covers on the album, but he eventually changed his mind since his girlfriend at the time loved Nina Simon. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek... And this time on "Van Halen's" album "FUCK". Yes, yes, you did not imagine, there is such an album, it was released on June 18, 1991, and its full name is "For Unlawful Carnal Knowledge". This is the band's ninth album and its third in the second lineup with singer Sammy Hagar. This album was released when the whole issue of censorship of lyrics in music and "Parental Advisory Explıcıt Content", was in the headlines. Sammy Hagar wanted the album to have a shocking title. He chose the name "FUCK" but then he got off of it and agreed to go for the title whose only acronym is the word "FUCK". Even the tour that accompanied the album was called "F.U.C.K. 'n' Live". This album marked a kind of return to the roots of Heavy Metal, with most of the songs being led by Eddie Van Halen's guitars. Even the synthesizers that dominated the previous albums were converted here to pianos. Listen to the song "Judgement Day" for example and you'll immediately know what we are talking about. One of the classic examples of using the piano at the expense of a synthesizer is in one of the great songs on the album - "Right Now" which opens with the keystrokes. Sammy Hagar who recounted the moment this song was written, remember he was in the studio with Eddie Van Halen and they were both in separate rooms. He heard Eddie working on the keyboard section and was immediately turned on, he realized they were actually in the same head and they were writing the same song only separately. He entered the room where Eddie was playing and simply started singing the words that were flowing in his head at that moment. To this day Sammy thinks these are the best lyrics he has written for a Van Helen song. Eddie noted that the roots of the keyboard section go back to the days of the album "1984" and the period in which he wrote the song "Jump", which reinforces the conscious decision to use the piano instead of a synthesizer, otherwise the keyboard sound in this song would have sounded like "Jump". The song "Poundcake" that opened the album, was also the first to be released as a single and jumped straight to number one on Billboard. The sound of the guitar whistling with which the song opens up, was achieved by an electric screwdriver that Eddie Van Helen operated very close to the guitar pickups. Interestingly, in the song "Top of the World" which was released as the second single from the album, the riff which can be heard at the end of the song was used on the song "Jump". For this reason, the band used to play the two songs together in performances, when at the end of the hit "Jump" the song "Top of the World" began. The song features guitarist Steve Lukather who is known among others from the band "Toto" but is far far beyond. An interesting fact is that the last time Eddie and Steve played together was in the song "Beat It" by Michael Jackson, with Steve on rhythm guitar and Eddie in solo. The instrumental section "316" refers to the birthday of Wolfgang Van Halen - Eddie's son who was born on March 16th, 1991. Wolfgang is known to later become the band's bassist and 30 years later, in 2021, he released his excellent solo album "Mammoth WVH".. For Listening: Spotify, Apple Music Follow us on Facebook or Subscribe to our website "Face/Off" - Israel's Rock Blog & Podcast

If you woke up this morning a bit upside down and forgot what the definition of a "living legend" is, there is no need to scroll through it or search the dictionary. He is here in front of you, and he is celebrating a birthday today, so let's make a lot of noise and respect for Sir Paul McCartney. (Photo: Chaos And Creation In The Backyard Poster) 13 Studio albums with the Beatles (one of them double). 20 Solo albums. 7 Albums with "Wings". 7 Classical music albums. 3 Albums with "The Fireman". 2 Soundtracks for movies. 2 Electronic music albums. 40 Appearances in films. All this and more we did not even mention live albums, collections, collaborations, titles, and awards. So in case you haven't noticed, "living legends" today are a rare and endangered species. So when such one has a birthday, wouldn't you honor him? So, In honor of the birthday of the most melodic "Beatle", we have prepared a playlist of his best works for you. Follow the link and enjoy: Click here. Ahhh .... and we forgot to tell you some facts about him as well. This time we collected 20 special ones: 1. His first name is James. Paul is his second name. 2. The first instrument he ever played was a trumpet. 3. As a child he was twice tested to be a choir boy and failed. He only passed for the third time. 4. Originally he served as guitarist in "The Quarrymen", which later became "The Beatles". Only after Stuart Sutcliffe left the band did he move to the bass player position. 5. He co-wrote with John Lennon over 200 songs over about seven years, 54 of which marched in charts over the world. 6. He initially suggested the song "Yesterday" to British singer Chris Farlower but he refused because it was too quiet and slow for him. 7. The song "Yesterday" is also the pop song that has won the most cover versions in the world. He has over 2,000 of these. 8. McCartney is also responsible for writing the Beatles' shortest song - "Her Majesty" - length 0:23. 9. Due to the combination of Paul's screams, the hard riff, and the heavy bass in the song "Helter Skelter" he wrote, the song is considered by many to be the first Heavy Metal song. 10. When working on his first solo album after "The Beatles", he used the pseudonym Billy Martin when he booked a place at "Abbey Road" Studios. 11. He was on a flight over New York City when the twin towers disaster occurred on 9/11. He saw everything from the plane window. 12. In 2012 he was the reason behind a mini-union of Nirvana members Dave Grohl and Krist Novoselic in a performance held in Seattle. It was the first time the two had played together in 15 years. Pat Smear was there too. 13. It is known that Paul is a multi-instrumentalist who plays almost every possible instrument, but did you know that he was the drummer in the song "Sunday Rain" by the "Foo Fighters"? And what’s more amazing is that he hadn’t heard the song even once before, he just came to the studio and played the song without any prior preparation. 14. Well, Paul's list of titles is endless, but did you know that they also include the title of "Detective of Honor" from the NYPD? 15. He holds the all-time record of an artist who has appeared before the largest audience for a fee. That was in 1989 in Rio de Janeiro, Brazil, in front of 350,000 people. 16. Paul McCartney holds through MPL the rights to over 3,000 songs, including all the songs written by Buddy Holly, the songs of the musical "Grease" and more. 17. He is also one of the richest musicians in the world. His fortune is estimated at $ 1.2 billion. 18. McCartney holds the record for the largest number of hits to reach number one on the US Billboard 100. 29 songs in total. He holds a similar record in the British chart with 25 songs reaching number one. 19. McCartney is the man with the most Grammy nominations 78 in number, the strangest of which is probably the nomination for best rap song. Yes, it happened following his collaboration with Kanye West in 2015. 20. Everyone knows McCartney also has an acting career, but did you know he's starred in one of the "Pirates of the Caribbean" movies? It was the fifth film in the series - "Pirates of the Caribbean: Dead Men Tell No Tales" in which McCartney played Jack Sparrow's uncle. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 17, 1985, the album "Misplaced Childhood", "Marillion's" third studio album, was released. Let's start with a small confession. We will always have a warm corner in our hearts for a Marillion. Despite parting ways with Fish at the height of their success, despite going in the direction of "Trip Hop" on the "marillion.com" album from 1999 and despite the "Gaza" (yes, yes a 17 minute work on "Gaza") from the album "Sounds That Can t Be Made "from 2012. We will never forget that this band revived a glorious genre that was dying until it was about to pass away. There is no doubt! All neo-prog, post-progressive, prog-metal bands, owe their very existence to a Marillion, and that alone is enough for you to keep reading, even if you are not a fan of the genre. So, to understand why this band deserves so much respect, let's go back to the beginning, as always. From the end of the 70's punk is on the rise, disco reigns supreme, the new wave and electronic are beginning to establish themselves and around the corner the British heavy metal revolution, which is only in its infancy, is about to erupt. There is no place for progressives in the music world at that time. This distress is causing the giant bands of the genre, like Jethro Tull, Yes and Genesis to look for new directions and they are indeed flirting with pop and mainstream as can be heard on their albums from the early 80s. At the same time, a band was formed and adopted the name "Silmarillion" after the book series by fantasy writer J. R. R. Tolkien. This band decides to swim against the current, go against the flow, not succumb to pressures and not be influenced by existing trends. Contrary to all expectations and against all odds, the band manages to get a recording contract and release their first single in 1982 and their excellent debut album "Script for a Jester's Tear" in 1983, not before changing its name to Marillion to avoid a copyright lawsuit. In the same year, Marillion manages to fill out "Hammersmith Odeon" in London and film there the final performance of the tour, a performance that will later be released on VHS tape in October of that year and become a cult show, also in the our own library. Marillion was warmed up by none other than the amazing Peter Hammill from Der Graaf Generator. At the beginning the various music critics and magazines did not know how to define the band at the beginning. For example, metal magazine Kerrang included the band in a video collection along with hard rock and heavy metal bands. Others saw the Fishh singer and his charismatic performance on stage as an imitation of Peter Gabriel in his heyday at Genesis. They did not know how to characterize the band's style, so they had to invent a new name for it. Neo-Prog because it was clear to everyone that the progressive had been dead for long. But to the devout lovers of this mighty genre it was clear that this was in fact "Same old Bess in a new dress" and that the style of music they loved so much had been revived, just like the Phoenix that catches fire only to rise again from its own ashes. But that was not enough, because the band swept away not only the audience that had been thirsty all these years for progressive music, but also young bands which suddenly popped up like mushrooms after the rain. The highlight of this renewed musical revival, was in the band's third album from 1985 - "Misplaced Childhood", the subject of our coverage, as for the first time in years he was released a full concept album and even in progressive rock style. When we talk about a full concept album we mean one piece, one long song that includes a number of sections that connect to each other in Crossfade, with one central theme common to all the tracks on the album. To understand the daring and magnitude of the achievement, try to think about who genres ruled the music world in the mid - 80s and understand how Marillion were unique. But this whole story does not end here, because at the peak of the band's success immediately after the release of the album and the release of the single "Keyleigh", which conquered the tops of the charts all over the world, this band stands on the stage of the Ramat Gan Stadium and played the first side of the concept album from beginning to end, and there are no words to describe the catharsis your faithful servant experienced during that performance. So what do we have in this album that makes it so special? The album is based on the childhood and adulthood of singer Fish, who conceived the plot from beginning to end during a long 10-hour acid trip, he claimed. The album addresses issues related to the singer's life, such as lost love, sudden success, internalization and acceptance and lost childhood, until its optimistic end. For example, the song "Kayleigh" was written about Fish's girlfriend who goes by the name Kay Lee and the change in the name is meant to obscure her original identity. The "Heart of Lothian" refers to the county in Scotland from which Fish comes. The song "Lavender" refers to another love story in Fish's innocent childhood and so on. The album opens with the soft and delicate "Pseudo Silk Kimono" led by Mark Kelly's synthesizer and Steve Rothery's guitar effect, and we're already out with Fish for the adventure of a lifetime. Immediately after that he meets us in the cross-fade hit "Kayleigh" and it is very difficult to ignore the polished and sweeping guitar melody of Steve Rothery that actually leads the whole song. The third track "Lavender" is one of the most beautiful and beloved on the album and the reference to the familiar folk song Lavender Blue is clear, only that here everything gets a "progressive" taste. In the fourth song we finally come to a short progressive work in 5 parts "Bitter Suite" which is steeped in heavy dynamics and a lot of rhythm changes, just like is written in the 'progressive" manual book. The fifth track "Heart of Lothian" sounds like a direct sequel to its predecessor, with excellent guitar work by Steve Rothery and a calm and soft fade-out keyboard that finishes the first side of the album. The other side of the album opens with Rothery's melancholic guitar howl in "Waterhole (Expresso Bongo)". A piece that becomes rhythmic with Ian Mosley's complex and rolling drumming and Mark Kelly's xylophone keyboards that just make you want to get up and dance. Immediately after that came "Lords of the Backstage" with the unusual syncopations that is actually a corridor to a five-part mini-suite that came right after it. The "Blind Curve" mini-suite is one of the best and most exciting pieces on this album. How can one remain indifferent to the voice of a Fish that simply penetrates your heart, wanders you between the ascents and the rooms and leaves you suspended between peace and pain. How can you ignore Steve Rothery's perfect solo, starting at 1:48? A solo that puts him on a par with the "feel", warmth and emotion that David Gilmore has in playing, and this is no exaggeration. And what about the instrumental and melodic segment starting from the 4:20 minute of the mini suite? Simply perfection in its incarnation. The track "Childhoods End?" is perhaps the most "poppy" track on the album led by Pete Trewavas' bouncy bass playing and funky beats throughout the verses. The title of the poem includes a question mark and the negative answer to the question is at the end of the poem. Finishes this excellent album is "White Feather" with the New Wave fragrance and the guitars a-la "U2" and "Big Country". The album "Misplaced Childhood" marks the band's highlight. Unfortunately, this highlight is also the one that will eventually eliminate it (at least in this successful lineup). The band will move on from here to a fourth album with Fish "Clutching at Straws" from 1987, after which Fish will leave the band due to musical disagreements. Fish will return to the album in 2015, to celebrate 30 years, as part of the "Farewell to Childhood" series, in which he played with his band from beginning to the end. The performance was part of the triangular album "Farewell to Childhood: Live in Europe 2015-2016" which Fish later released. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Here are 40 facts about "Synchronicity" by "The Police": 1. This is the fifth and final studio album by "The Police", released in June 17, 1983. 2. The album was recorded at AIR Studios in Montserrat, a small island in the Caribbean. 3. "Synchronicity" was completed in just eight weeks, with six weeks dedicated to recording and two weeks for mixing. 4. The band was well-prepared, always having at least 20 songs written and recorded as demos before entering the studio. 5. "Synchronicity" was produced by The Police along with Hugh Padgham, who had previously worked with the band. 6. Sting wrote some of the album's initial songs, including "King of Pain", "Every Breath You Take", and "Wrapped Around Your Finger", while staying at Ian Fleming's Goldeneye estate, finding solace during a difficult period in his life. 7. The band members were not on good terms during the recordings. actually, Sting, Andy Summers, and Stewart Copeland actually worked in separate rooms. 8. Stewart Copeland recorded his drum parts just half an hour after hearing each song. Despite imperfections, his initial drum pass remained unchanged while other band members would re-record their parts. 9. "Synchronicity" marked a shift in "The Police's" sound towards a more polished and sophisticated production style. 10. But, After the overstuffed sound of "Ghost in the Machine", which brought synths and horns into the mix, "The Police" tried to strip things back. Most of the songs worked with three instruments only, but lots of overdubs. 11. The album's title, "Synchronicity," was inspired by the book "Synchronicity: An Acausal Connecting Principle", by Carl Gustav Jung and by Arthur Koestler's book "The Roots of Coincidence". 12. It reached number one on the charts in several countries, including the United States and the United Kingdom. 13. It is actually the band's first and only No. 1 album. It remained on the charts for a total of 17 weeks. 14. The album was nominated for a total of five Grammy Awards awards in 1984, including "Album of the Year". it won three. 15. The album sold more than 10 million copies, over eight million of which un the US. 16. It was included in the "Rolling Stone" magazine's lists of the "100 Best Albums of the Eighties". It is also included in the "500 Greatest Albums of All Time" list of the "Rolling Stone" magazine. 17. In 2009, Synchronicity was inducted into the Grammy Hall of Fame. 18. The "Rock and Roll Hall of Fame" compiled it in the list of "The Definitive 200" albums. 19. In 2023, the album was selected for preservation in the "United States National Recording Registry" by the Library of Congress as being "culturally, historically, or aesthetically significant." 20. "Synchronicity" was included in the book "1001 Albums You Must Hear Before You Die". 21. Five hit singles were released from the album. "Every Breath You Take", "King of Pain", "Wrapped Around Your Finger", and "Synchronicity II". 22. "Every Breath You Take" is the most well-known song from the album and became a massive hit worldwide. it won two Grammy Awards in 1984 for "Song of the Year" and "Best Pop Performance" by a Duo or Group with Vocal. 23. The song initially sounded like a "Yes" song in Sting's demo, but the band worked hard to develop the right structure, resulting in their first and only No. 1 hit in America. 24. While some perceived it as a sweet love song, Sting intended it to convey themes of surveillance, ownership, and jealousy. 25. Sting earns significant royalties from Puff Daddy's Grammy Award-winning song "I'll Be Missing You" due to illegal sampling of "Every Breath You Take". Sting receives 100% of the royalties, generating an estimated $2,000 per day, totaling close to $2 million annually. 26. Andy Summers played the iconic guitar part for "Every Breath You Take" in one take. 27. By May 2020, the song had surpassed the previous record holder, "You've Lost That Lovin' Feeling" by the Righteous Brothers, with over 15 million radio plays. 28. "Wrapped Around Your Finger" is another popular track from the album, showcasing intricate instrumentation and poetic lyrics. Sting sings about being “caught between the Scylla and Charybdis.” - two figures from Greek mythology. 29. A roadie named Tam Fairgrieve fell asleep during recording, leading the band to playfully wake him up using his snoring sounds, which were later incorporated into the song "Synchronicity II". 30. The connection between "Synchronicity I" and "Synchronicity II" remains a closely guarded secret by Sting. 31. The song "King of Pain" explores themes of emotional turmoil and inner struggles. It was initially written by Sting on a small Casio Synthesizer, but then Stewart Copeland suggested playing it on the xylophone. 32. "Tea in the Sahara" tells a haunting story inspired by the novel "The Sheltering Sky" by Paul Bowles. 33. Even though the band decided to strip things back to the core of three instruments it doesn’t mean they stopped experimenting. Sting got an oboe which he taught himself to play in a short period of time for the song "Tea in the Sahara". 34. Guitarist Andy Summers wrote “Mother”. It was inspired by his actual mother, about his intense relationship with her, and was written to be ironic, funny, and crazy. It also drew influence from "Captain Beefheart's "music, and its off-the-wall style. 35. “O My God” calls back to two earlier "Police" songs. The first verse and chorus are based on “3 O’Clock Shot,” an unreleased song of the pre-Police band "Strontium 90". also, Around the 2:58 mark Sting quotes some lines from “Every Little Thing She Does Is Magic”. 36. "Murder by Numbers" was recorded in a single take, with the band spontaneously capturing their performance in the studio. 37. the song "Miss Gradenko" was named after the secretary of the recording studio where the album was made. 38. "Walking in Your Footsteps" incorporates a tribal rhythm and addresses themes of human evolution and ecological concerns. 39. The album cover features a series of precisely positioned photographs with overlays of red, yellow, or blue. However, there are numerous versions of the cover depending on the album pressing. 40. "The Police" announced their decision to disband shortly after the release of "Synchronicity". The band Actually Played Their Then-Final Concert Less Than a Year After "Synchronicity's" Release. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 17, 1997 "Megadeth" released their seventh studio album "Cryptic Writings". It was a journey of musical exploration and emotional resonance. The last album to feature the band's classic lineup of Dave Mustaine, David Ellefson, Marty Friedman, Nick Menza. In 1997, Megadeth continued their musical journey started in "Youthanasia", that would divide fans and challenge their own creative boundaries. "Cryptic Writings" emerged as an album that showcased the band's willingness to experiment, leaving behind the tried and tested formulas of their earlier works. A Time of Renewal and Musical Maturity: Three years after they released, "Youthanasia" "Megadeth" found themselves in search of renewal. In a surprising move, they enlisted producer Dan Huff, known primarily for his work in country music and went down to record the album in Nashville, Tennessee. This decision sparked curiosity and skepticism among fans, as they questioned the direction their beloved band would take, especially after the musical changes in the last studio album. Indeed, The album features tracks with accessible song structures and altered lyrics, aimed at radio airplay and a wider audience. However, "Cryptic Writings" revealed itself as an album of maturity, showcasing the unity and growth of the band members, particularly Dave Mustaine. Explorations in Sound: From the very beginning, it becomes evident that "Megadeth" aimed to push the boundaries of their sound and walk on unfamiliar grounds like Hard Rock, Heavy Metal and even Classic Rock And Pop oriented songs. "Trust" kicks off the album with a riff and drum pattern reminiscent of "Metallica's" "Enter Sandman". The song instantly grabbing attention with its catchy riff and acoustic soft bridge. It's an introspective track that delves into the complexities of relationships tainted by lies and deception. The song had significant airplay and "MTV" and reached No. 5 on the Billboard Mainstream Rock Tracks chart, becoming "Megadeth's" most successful single to date. It was also nominated for "Best Metal Performance" at the 1998 Grammy Awards. The emotional and musical journey continues with "Almost Honest", featuring a guitar riff reminiscent of "Yes'" "Owner of a Lonely Heart", a catchy bass line and poignant vocals. It was the second single of the album, that like the first single, entered the top ten on "Billboard's Mainstream Rock chart". Mustaine stated that the song is about how people treat one another, which contains a message that "it's difficult for people to be honest". Finding Beauty in Experimentation: "Cryptic Writings" invites listeners into a realm of musical experimentation. "Use the Man" surprises with its cheeky acoustic chord progression, before Mustaine's familiar voice takes charge. It's an unexpected twist that adds a touch of nostalgia and keeps us engaged. With lyrics about drug addiction, the song begins with a sample of "Needles and Pins" by "The Searchers", which was removed for the radio edit and remaster. The first half of the song is more rock-oriented, while the second half has a Thrash Metal faster tempo. The exploration continue with "A Secret Place" which starts with a "Def Leppard's" intro riff and you can even listen to Marty Friedman playing the Sitar. It was one of the last songs written for the album, describing losing touch with reality. The "Aerosmith-like" rocker "Have Cool, Will Travel" with the harmonica solo, talks about school shootings. interesting to note, that the remastered version a snippet of the schoolyard song "The Wheels on the Bus", was added to its introduction. "Mastermind" which is one of the catchiest on the album, has a killer bassline and a “Jump in the Fire” meeting "Walk This Way" guitar riff. "I'll Get Even" starts with the Lou Reed's "Walk on the Wild Side"-like bassline and continues with a David Bowie "China Girl"-like baseline which is another proof of the album's more rock-oriented sound. Respecting the Band's Legacy: While "Megadeth" may have shed some elements of their earlier Thrash Metal sound, the album doesn't abandon their roots completely. Songs like "She-Wolf" (although using the "Iron Maiden" twin guitar melodic solo in the end) written about a woman that "Megadeth's" manager dated at the time, "FFF" (Fight For Freedom) which riff sounds like "Motorbreath" and "The Disintegrators" showcase glimpses of the band's original ferocity, with powerful riffs and Marty Friedman's lyrical guitar work reminding us of their greatness. These moments pay homage to their thrash metal heritage, balancing the new directions explored throughout the album. A Personal and Professional Evolution: Dave Mustaine once remarked that "Cryptic Writings" marked "Megadeth's" ascent into professionalism. Comparisons to "Metallica's" "Load" and "Reload" released at the time, do not diminish the band's unique identity. Instead, they offer a reflection on "Megadeth's" trajectory and the challenges faced by a band seeking growth and reinvention. Through this album, "Megadeth" gracefully navigated the balance between evolution and preserving their signature style. Conclusion: "Cryptic Writings" stands as a testament to "Megadeth's" boldness and willingness to explore new musical territories. It may not be their most classic or instantly gratifying album, but its emotional resonance and depth grow with each subsequent listen. From the catchy "Trust" to the glimpses of their thrash metal roots in "The Disintegrators", this album captures a pivotal moment in "Megadeth's" journey. It invites us to reflect on the passage of time and embrace the evolution of our favorite artists. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

The sixth album by the French metal band "Gojira" was released on June 17, 2016, the album named "Magma" is a milestone for the band and an innovative and refreshing album in our humble opinion. We're not surprised if this is the band's first album you know... The name of the album describes with incredible precision what is going on inside, a molten rock composed of dynamics that are spreading and changing. It is sometimes a boiling and dynamic liquid that flows and moves slowly like a powerful river and sometimes it erupts and becomes a violent and destructive explosion. This is exactly how the four Gojira members created the album, it is sometimes fast and aggressive and sometimes slow and gentle. This time the band members approached the album differently. On previous albums, they would prepare the songs in advance, rehearse and sharpen them and only then come to the studio to record the tracks. For this album, the band members decided to work on everything from scratch together and record while creating. They built a new studio in Queens, New York, and immediately after construction in 2015, they went in to start working on the album. Each one brought with him different demos, riffs, rhythms, and texts all from everything, and threw them inside into a large bowl. From that, they built 10 strong and powerful tracks for a great album! A tragic incident affected the recordings that were stopped in the middle. The mother of guitarist, singer, and bandleader Joe Duplantier and his drumming brother Mario Duplantier, died of cancer during the recordings. The difficult experience greatly influenced Joe's writing and the lyrics of the songs. His brother said that the recording process was a kind of outlet for their sadness and longing every time he reads his brother's lyrics he bursts into tears. (Photo: Jimmy Fontaine) This album is also a turning point in the band's style. The comparison is a little too big but we can not help but see the similarities. As in "Metallica's" "Black Album", here too the members decided to downshift, creating shorter, less complex songs with more melody and dynamics of clean singing. If in previous albums you would find songs that range from 5 to 9 minutes with strong elements of rock and progressive metal, accompanied by vast growling, here you will find a more focused album with songs ranging from 3 to 6 minutes and a combination of growling with clean vocals, riffs, and rhythms that will make your heart to feel like a concrete brick that just drops you to the floor. The song that opens the album "The Shooting Star" already lowers your jaw to the floor and you feel all your muscles in your body become heavy until the first part of the song enters, and then suddenly you fill up in the air and start hovering above the ground with a completely surprised facial expression. It's not exactly a typical opening song, it's heavy and slow and even carried at times, but it's exactly what these guys want you to feel before they drop "Silvera" on you. A violent volcanic eruption throws boiling lava at you and calls for you to wake up from conformism and norms. The boiling lava stream comes in the next song to the edge of the cliff and creates a merciless waterfall and we are only in the third song "The Cell". A crazy rhythm of drums and guitars is stopped at once and alternately just to allow Joe to roar his soul and unload his pains and anguish over his mother's death. He wrote this song right after her death. The goal here was to let you have a little taste of what is happening on this album, like in a good movie we do not want to continue to spoil you, so we will stop here and let you continue on your own... Just to mention, as we mentioned before... "Gojira" is an important band in our landscape and has an impact on the artists and bands of today as well (see Myles Kennedy and Trent Reznor). They were nominated for two Grammy Awards with this album and were an opening show for "Alter Bridge", "Slipknot" and more... Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 17, 2016, "Red Hot Chili Peppers" released their eleventh studio album, "The Getaway". This album marked a notable shift for the band—a deliberate departure from their long-standing collaboration with Rick Rubin, and the embrace of a more ambient, textured production under Danger Mouse (Brian Burton) and Nigel Godrich. It was also their second and final studio album with guitarist Josh Klinghoffer, and a moment of transformation in both sound and spirit. At the time of the album’s recording, "Red Hot Chili Peppers" were still processing the mixed reception to "I’m With You". The departure of John Frusciante had forced the band into unfamiliar creative territory, and while Klinghoffer had already proven himself a worthy musician, the chemistry still felt in transition. With "The Getaway", the band attempted a new path forward—not through their old funky bravado, but with introspection, sonic polish, and subtle reinvention. Danger Mouse replaced Rick Rubin for the first time since 1989, giving the album a cinematic, synthesized tone. Nigel Godrich (known for his work with "Radiohead") added atmospheric layering to the mixing. The recording featured orchestral arrangements, understated percussion, and groovy yet restrained basslines—most of them written by Flea in collaboration with Danger Mouse on piano. The writing process leaned more into melody and mood than rhythmic punch, opening new doors for Anthony Kiedis’ more personal lyrics. The album opens up with the title track "The Getaway", and it is already clear that the band takes a more subdued route, with the echo-laced guitar, haunting synths, the pulsing drum machine-like sound and Anna Waronker's backing vocals. The song speaks of love, memory, and escape, all wrapped in restraint rather than explosive energy. "Dark Necessities" starts with melancholic piano lines and Flea’s trademark groove bassline. Together with the clap sound and lush strings, all grounding the emotional weight of Kiedis’s confessional lyrics. The song became the band’s 13th number-one hit on the Billboard Alternative Songs chart. "We Turn Red" is one of the few tracks that harken back to their earlier funk roots. It brings in a looser, quicker tempo and rap-style verses. Still, the production holds it back just enough to keep the album’s overall mood consistent. "Goodbye Angels" emerges as one of the most cinematic tracks, beginning softly and exploding into a towering crescendo. Klinghoffer’s guitar work shines here—ambient and immersive, ending in a searing solo that shows just how much ground he covered in his final moments with the band. "Sick Love" stands out as one of the most emotionally transparent songs, with piano assistance from Elton John which was also co-written by John and longtime collaborator Bernie Taupin. With clear nods to "Bennie and the Jets", it plays like a heartbroken letter from a man acknowledging his own toxic patterns. The vulnerability is refreshing, and the Stones-inspired sway makes it instantly memorable. "Go Robot" turns the funk into a disco daydream—tight bass lines, electronic textures, and processed vocals. Kiedis’s quirky delivery fits well within the song’s danceable atmosphere, showing that "Red Hot Chili Peppers" can still have fun without returning to chaos. "Dreams of a Samurai" closes the album with a sprawling, seven-minute epic journey that fuses psychedelia, jazz, and brooding rock. It’s one of the band’s most adventurous closers—a surreal curtain call that lingers long after it fades. Unlike previous records that danced on the edges of chaos, "The Getaway" is a more carefully composed and emotionally coherent album. The chemistry between Flea and Chad Smith remains tight, even as they tone down their playing in service of atmosphere. Josh Klinghoffer becomes the album’s secret weapon—painting each track with subtle melodic color. Kiedis, now in his fifties, dials back the rapid-fire bravado for a more introspective, restrained tone. The shift in production style is perhaps the album’s biggest statement. Danger Mouse and Nigel Godrich avoid the raw energy of past albums and instead build lush, layered soundscapes. Pianos, strings, vintage synths, and ambient effects all merge into a moody, rich environment. While this choice may alienate fans of "Blood Sugar Sex Magik" or "Californication", it offers a welcome evolution for a band that could’ve easily stagnated. The album was certified Gold in multiple regions and sparked a world tour that would become Klinghoffer’s last with the band before the return of John Frusciante. While it doesn’t redefine the band’s legacy, "The Getaway" provides a needed breath of fresh air in their discography—an emotionally resonant, sonically lush entry that finds "Red Hot Chili Peppers" shedding their skin without losing their soul. For listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek... And this time ... about the "Monterey Festival" that was held today in 1967. On June 16, 1967, the "Monterey International Pop Music Festival" was opened. It was an optimistic time, an era of love and innocence, and the three days of the Monterey Pop Festival in California began. All income from this festival was donated to charity as all the artists who performed at it did so for free and on a full volunteer basis, except for Ravi Shenkar who received a $ 3,000 fee for his performance from the festival organizers, due to his long performance. All the other artists were given a 40-minute slot per show, with some giving shorter performances like The Who who finished their performance after just 25 minutes. This festival will later be remembered as one of the first major rock festivals in the United States. The first rock festival - Mount Tamalpais - was held about a week before, also in California. It was also the first festival where artists such as "The Who", Jimi Hendrix, Janis Joplin, Otis Redding, Ravi Shankar, and more, would make their first major appearance in the US. Also appearing at the festival were artists such as "The Byrds", "Grateful Dead", Simon & Garfunkel, Steve Miller Band, "Canned Heat", "The Mamas & the Papas", Janis Joplin, "Buffalo Springfield" and more. Singer and guitarist John Phillips, from The Mamas & the Papas, and producers Lou Adler and Alan Pariser along with journalist Derek Taylor, conceived, planned, and produced all the festival arrangements in just one week. The same John Phillips from "the Mamas & the Papas" also wrote the immortal song "San Francisco, (Be Sure To Wear Flowers In Your Hair)" in order to promote the festival. The song would later become a Scott Mackenzie hit. Some of the performances made by some of the artists at the festival like those of Jimi Hendrix and Janis Joplin will be remembered forever as one of the highlights of their careers. One of the founding moments at this festival was the "coin toss" case between Jimi Hendrix and Pete Townsend, which was supposed to determine which of the bands would first perform on the closing night of the festival. Both bands gained a reputation for smashing their instruments at the end of the show and both claimed to be the first to do so. It was the first major U.S. performance of the two bands and no one wanted to be the one to smash his instrument after the previous cast had already done so. The coin was tossed and Hendrix lost. The Who performed a 25-minute show which at the end simply shamed the entire stage, including the drum set guitars and amps, in a way that left no chance for Hendrix to overshadow the epic ending. But there is only one Jimi Hendrix, and the show he gave at that festival is remembered forever as one of the greatest shows in the history of music. At the end of the show, Jimi, who could not compete with the shattering of the instruments of the Who before him, simply set his guitar on fire in a kind of mesmerizing Indian ceremony and thus created the image that will engrave in the history of rock forever !!! List of the performances held at the festival: Friday, June 16 · The Association · The Paupers · Lou Rawls · Beverley · Johnny Rivers · Eric Burdon and The Animals · Simon & Garfunkel Saturday, June 17 · Canned Heat · Big Brother and the Holding Company · Country Joe and the Fish · Al Kooper · The Butterfield Blues Band · The Electric Flag · Quicksilver Messenger Service · Steve Miller Band · Moby Grape · Hugh Masekela · The Byrds · Laura Nyro · Jefferson Airplane · Booker T. & the M.G.'s · The Mar-Keys · Otis Redding Sunday, June 18 · Ravi Shankar · The Blues Project · Big Brother and the Holding Company · The Group With No Name · Buffalo Springfield · The Who · Grateful Dead · The Jimi Hendrix Experience · Scott McKenzie · The Mamas & the Papas Follow us on Facebook or Subscribe to our website "Face/Off" - Israel's Rock Blog & Podcast