Soundgarden's fourth album is "Superunknown" What has not been said yet on this album? How do we even begin to describe this perfect piece of music? Each of the 15 tracks on this album is perfect, every minute of the album's 70 minutes is sheer pleasure! This is an album that combines it all... Experimental pieces in new districts, unconventional guitar tunings, complex melodies, hallucinatory rhythms, incomprehensible song dynamics, and a variety of amusement facilities. Just a pleasure to buy an all-inclusive ticket, enter the amusement park, and have a great time with the amazing facility operators: Chris Cornell , Kim Thayil , Ben Shepherd, and Matt Cameron So let's start with the songs themselves because everything that happened around them is minor compared to what happens inside... Start listening on: Spotify , Apple Music , and keep reading... The album opens with "Let Me Drown" featuring the band's all-too-familiar Riff offbeat. The chorus is just addictive and even before the second chorus you already recite "drown me in you" , but then comes the charming break. As if someone is throwing you off a cliff and you are hovering in the air as Chris whispers in your ear and Matt's 16-bit like hot air vortices lift you up until the solo arrives that smashes you to the ground. What a beautiful thing... Chris said that the theme of the song is to go back into the womb and die, he even made a song comparison to Nirvana's "In Utero". And heyyyyyy here comes "My Wave" !!! We feel like jumping into the water along with this bouncing riff, how happy, what a smile we have on our faces now. It does not matter what music you like, where you came from, and where you are going, it will penetrate you directly into the nerves, merge with the muscles and your body will be filled with energy!! "Break, If you like the sound !!" What a shaky bass... how crazy the drumming here is... how the guitars break down... and what penetrating vocals !! (Photo: Kevin Westenberg) Now let's get a little gloomy, we'll be sure to repeat ourselves here in almost every song but there's nothing to do, that's how we feel on this album and it will never help or leave us. "Fell On Black Days" simply takes you on a journey into the depths of your soul, searching for your gloomy places, the dark parts of you, and creating a kind of completion, acceptance, and inclusion. You manage to connect to these places and accept them in reconciliation, a kind of psychological process in four minutes and forty-four seconds. We'll move on to "Mailman" which feels even gloomier, with Kim's heavy and haughty riff when at first it makes you feel exhausted and desperate. This time you are looking for your dark places outside, in your surroundings, looking for your bad and toxic places to eliminate them or control them and only they will not control you. So enough... let's move on to something happier... and "Superunknown"! A song bearing the name of the album "Superunknown" and the gorgeous opening of the guitar is already bouncing you off the spot as if you jumped off the floor straight onto a trampoline that is on a hot air balloon and you really do not know what is going to happen. Chris tries to convince you throughout the song that if it's something you do not know, it does not mean you have to stick to a familiar pattern, deal with the unknown, deal with the superunknown. A 5-minute song that even though it sounds a bit monotonous you can keep rehearsing and not get tired. The sixth song "Head Down" feels like a track that "Soundgarden" tried to do something different with, the basis sounds similar but the drums, guitar fingering, and Chris' voice sound different and intriguing. These unique sounds are a bit reminiscent of the Indian experience of "The Beatles" and in hindsight, these were buds of things that were heard later in "Down on the Upside" and it's a pleasure... And then it comes... Say what you want !! "Black Hole Sun" was the most played song from the album, playing non-stop all over the world, but every time Kim's unintentionally not tuned guitar makes the opening sound of the song, it's impossible not to go back and even for one second to that moment of astonishment, to the first moment you heard the song. And what happiness floods you now, like a marshmallow foam bath and cream. Yes, sometimes we are delusional but it seems to us that here you also feel that way. Even Chris himself was surprised, he said that in this song he just gave the words freedom to come out without any order or logic and tried to assemble from them some form without any structure or story, something imaginary and hallucinatory. Songs that become hits are usually songs with lyrics that the audience manages to connect with and identify with it significantly, so he was surprised at how people managed to connect to: "Hides the face, lies the snake..." We have not yet calmed down from the Sun and then the spoons arrive, with a phenomenal drumming of Matt, what a magnetizing, mesmerizing, and insane rhythm !!! "Spoonman" is another piece that throws you up and you really feel the rhythm in your hands. The song was inspired by a tablespoon artist who used to play on a street in Seattle. While writing the song Chris did not even meet the man !! The story of the song started in general from the movie "Singles" , when names were thrown to the fictional band of the movie, one of the names was this. Chris toyed with the idea and the band even played an acoustic segment of the song in the film, only after the film was out, was the song composed for what we know today. Where are we?? Ahhh yeah, song number nine, "Limo Wreck" , is a classic from "Soundgarden's" creativity, all the necessary elements of rock, grunge, and soul... Crisco got the idea to sing while sitting in a traffic jam in Los Angeles looking at the luxury cars of the rich, vs the beat-up cars of the working class. He called the song "shame-on-decadence song" which is a contempt song for the decline of the generation. He intended to remind the rich people that they are not above morality. He saw an accident in which a limousine was involved with the pompous rich man sitting in the back who was sure the "sun was shining out of his ass" and he immediately remembered Axl Rose and a specific scene from the "Estranged" music video where Axl is photographed coming out of a white mansion, all dressed in white and all his escorts and bodyguards in white. Cops dressed in white accompany him on white motorcycles. Cornell thought to himself that the rich man from the limousine was exactly the kind of person he watches in the music video and how he dares to spit in the face of the fans who put him in the good class he was in. (Photo: Kevin Westenberg) Now they decide to throw us back into something a little different and unfamiliar and we smile and have fun. "The Day I Tried to Live" is another song with something a little different in it; the rolling of the drums with the fret emanating from a transistor puts you in a kind of incessant consistent movement and you shout "One more time around" . Chris said it was not a suicide song as many thought but a song that talks about his desire to live up to expectations or adapt himself to what society expects of him. He always felt that society constantly expected him to be normal and it did not always suit him. The song "Kickstand" is a short refresher designed to shake the sheets out of bed... "Kickstand, you got loose and I threw up" The song that follows, "Fresh Tendrils" also feels like something a little different but its chorus takes you straight back into "Soundgarden's" DNA. Then comes another gloomy moment... another heavy, heavy, heavy riff and everyone follows it... "4th of July" is a song that makes you invent the moment yourself, you are the one who writes the script. Chris said he wrote this song about experimenting with the acid drug, he had a case where he was driving a car and behind him were two imaginary people who talked and laughed all the way, and instead of feeling weird and persecuted he felt good, he felt he had a girlfriend and he was not alone. He explained that anyone else reading the words would not really understand it but maybe in the chorus, you will get a hint of it. (Photo: Michael Tighe) Another track that is an introduction to the album "Down on the Upside" is the song "Half" , a track with Indian elements that throw you somewhere else and gives you a brief moment to freshen up before the last track. Sounds weird to say this about a song called "Like Suicide", but what a perfect ending to a perfect album, and it would be even weirder if you understand what the song is about. Let's just say that the song is split in two, with the first part being relatively quiet with fret and light drumming as Chris tells the story. The other, noisy part, throws you somewhere else and as "Soundgarden" knows how to do it, you're just flirting. Chris wrote the song about... a bird, yes a bird !! As he was writing the music to the song in his basement he suddenly heard a loud bang, he went up to see what had happened and found that a bird hit the window of his house, broken its neck and lay dying in front of it. Chris who did not know what to do decided to redeem her misery and crushed her head with a stone. How she'd fly so sweetly" She lived like a martyr But she died Just like suicide" "Soundgarden's" fourth album, gave them the biggest commercial success and is the only album to reach number one on the Billboard charts while music from Seattle was in its heyday. The album was nominated for a Grammy and two songs from it "Spoonman" and "Black Hole Sun" won awards. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 8, 2024, "Judas Priest" returned with "Invincible Shield", their nineteenth studio album and one of the strongest statements of late-career power the band has delivered in decades. More than fifty years after forming in Birmingham, the band continues to demonstrate why they remain one of the defining architects of heavy metal. "Invincible Shield" arrives six years after "Firepower" , an album that proved the band still had the fire and precision that shaped generations of metal musicians. Instead of slowing down, "Judas Priest" chose to build on that momentum, delivering an album that feels both classic and renewed. At this stage in their career the lineup is stable and focused. Rob Halford still commands the microphone with astonishing range and authority, Glenn Tipton remains involved in the songwriting despite his battle with Parkinson’s disease, and guitarist Richie Faulkner continues to prove himself as one of the best modern additions the band has ever made. Together with Ian Hill on bass and Scott Travis on drums, the band entered the studio again with producer Andy Sneap and longtime collaborator Tom Allom, creating a production that balances modern clarity with the unmistakable weight of classic Priest. The album opens with "Panic Attack" , a thunderous introduction that immediately reassures fans that the band’s energy remains intact. The galloping rhythm, soaring guitar harmonies, and Halford’s commanding vocals evoke the spirit of classic Priest while sounding sharper than ever. The song feels like a declaration: this band is far from finished. One of the album’s most energetic highlights arrives right after with "The Serpent and the King" , a fast, aggressive track driven by Travis’s relentless drumming and razor-sharp guitar work. It recalls the speed and intensity that once defined albums like " Painkiller " while still fitting comfortably within the band’s modern sound. The title track "Invincible Shield"  follows with a more epic atmosphere. The song builds slowly before exploding into a classic metal anthem, driven by layered guitars and one of Halford’s most dramatic vocal performances on the album. The lyrics reflect resilience and survival, themes that resonate deeply with a band that has endured lineup changes, health struggles, and shifting musical landscapes. "Devil in Disguise"  delivers a darker groove. The riff is thick and ominous, while Halford leans into a theatrical delivery that recalls the band’s heavier late-70s and early-80s material. It is a reminder that Priest still excels at blending melody with menace. With "Gates of Hell" , the band embraces their epic side. The track moves between towering riffs and melodic passages, showcasing the dynamic interplay between Faulkner and Tipton’s songwriting influence. The dramatic structure feels almost cinematic, proving the band still enjoys pushing beyond straightforward metal formulas. "Crown of Horns"  offers one of the album’s most melodic moments. Built around a powerful chorus, it balances heavy riffs with emotional depth. Halford’s performance here is particularly striking, demonstrating that even after decades of recording he can still deliver vocal lines with both power and vulnerability. Later in the album, "Trial by Fire"  slows the pace slightly but adds dramatic weight. The song blends classic heavy metal riffing with a strong melodic hook, creating a track that feels equally suited for arenas and headphones. Toward the end of the album appear "Escape from Reality" , which brings heavy energy and sharp riffs, "Sons of Thunder" , a short and fast track that feels like a concentrated metal assault, and "Giants in the Sky" , which closes the album with an epic and impressive atmosphere. The deluxe edition also adds "Fight of Your Life" , "Vicious Circle" , and "The Lodger" , excellent bonus tracks that expand the experience for fans. Upon release, "Invincible Shield" was widely praised by fans and critics alike. The album charted strongly around the world and reaffirmed that "Judas Priest" remain one of the most consistent and influential bands in heavy metal history. Rather than sounding like a nostalgic exercise, the album feels like a band still pushing forward with purpose. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 8, 1977, "Foreigner" released their debut album "Foreigner". The album exploded onto the rock scene and instantly announced the arrival of a band that would dominate arena rock for years to come. Packed with massive riffs, soaring vocals, and razor-sharp songwriting, "Foreigner" sounded like a band that already knew exactly how to conquer rock radio and the world’s biggest stages. The project was led by guitarist and songwriter Mick Jones , a British musician who had previously worked with artists like George Harrison and "Spooky Tooth". Determined to build a new band that could merge British rock sensibility with American energy, Jones assembled an international lineup that included American vocalist Lou Gramm , whose powerful and expressive voice would become one of the defining elements of the band’s sound. Alongside them were multi-instrumentalist Ian McDonald , keyboardist Al Greenwood, bassist Ed Gagliardi, and drummer Dennis Elliott. The name "Foreigner" itself reflected the mix of British and American musicians within the band. From the very first moments, the album delivers a confident and radio-ready rock sound. "Feels Like the First Time"  opens the record with a driving guitar riff and a soaring chorus that perfectly captures the band’s blend of arena-sized energy and melodic accessibility. Lou Gramm ’s vocal performance immediately stands out, powerful yet controlled, giving the song an emotional lift that helped it become one of the band’s early signature tracks. One of the album’s most recognizable moments arrives with "Cold as Ice" , built around a memorable piano figure and a dramatic chorus. The song showcases the band’s ability to combine hard rock guitars with strong pop structure, a formula that would become their trademark. Gramm’s performance adds tension and attitude, while the layered arrangement highlights the group’s musical precision. Right after comes while "Starrider"  with Mick Jones  on lead vocals and reveals a more atmospheric side of the band, incorporating synthesizers, flutes and progressive elements that reflect McDonald’s background in "King Crimson". "Long, Long Way from Home"  continues the momentum with a slightly darker tone and a strong melodic hook, featuring Ian McDonald ’s saxophone adding texture to the band’s sound. The track demonstrates how "Foreigner" could seamlessly move between hard-edged rock and melodic storytelling without losing its identity. Beyond the well-known hits, the album features a strong sequence of songs that highlights the band’s musical diversity and the melting pot from which its members emerged. "Headknocker"  leans more toward blues rock with gritty guitar work and raw energy. In contrast, "At War with the World"  presents a tighter and more aggressive side of the band with direct rock energy, a style that Ritchie Blackmore and "Rainbow" would later explore as well. "Woman Oh Woman"  delivers melodic pop-rock, while "Fool for You Anyway"  is a blues-tinged ballad that allows Lou Gramm to showcase emotional depth and emphasize the melodic side of "Foreigner". Upon release, "Foreigner" became an immediate commercial success. The album climbed to number 4 on the Billboard 200 and eventually sold more than five million copies in the United States alone. Its success established the band almost overnight and laid the foundation for a string of hit albums that would follow in the years ahead. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 7, 1975, David Bowie released his ninth studio album "Young Americans". It is one of the most radical reinventions of   David Bowie 's career. After conquering the glam rock world with theatrical albums and characters, Bowie turned his attention toward American soul and R&B, delivering a record that sounded completely different from anything he had done before. Bowie himself famously described the style as “plastic soul.” By the mid-1970s Bowie had already proven that reinvention was central to his artistic identity. Albums like " The Rise and Fall of Ziggy Stardust and the Spiders from Mars " and "Diamond Dogs" had cemented his reputation as a visionary figure in rock music. But while touring the United States in 1974 during the "Diamond Dogs" tour, Bowie became fascinated by the sound of Philadelphia soul. The energy, rhythm, and emotional depth of American R&B inspired him to completely reshape his musical direction. Determined to capture that sound authentically, Bowie relocated to "Sigma Sound Studios" in Philadelphia, a legendary studio closely associated with the Philly soul movement. There he assembled an outstanding group of musicians. Guitarist Carlos Alomar would become one of Bowie’s most important long-term collaborators, while bassist Willie Weeks and drummer Andy Newmark formed a tight and deeply grooving rhythm section. The vocal arrangements were handled by a trio that included Ava Cherry, Robin Clark, and a young Luther Vandross, whose powerful voice and arranging skills helped give the album its distinctive gospel atmosphere. Producer Tony Visconti initially worked on the sessions, but Bowie eventually completed much of the production with engineer Harry Maslin. The result was an album built around grooves, horns, layered backing vocals, and soulful melodies, a far cry from the dystopian rock theatrics of "Diamond Dogs". The album opens with " Young Americans ", one of Bowie’s most iconic songs. Driven by sharp horn arrangements and a tight rhythm section, the track paints a vivid portrait of mid-1970s American life. Bowie sings like a fascinated outsider observing the contradictions of the American dream, blending political references with personal storytelling. The track’s sweeping arrangement and energetic performance immediately signal the dramatic stylistic shift. A softer and more reflective moment arrives with "Win" , where Bowie leans into a smooth soul groove and showcases a delicate falsetto performance. The song is carried by rich harmonies and lush instrumentation, emphasizing the emotional warmth that defines much of the album. "Fascination"  introduces a funk-driven groove that emerged from jam sessions with Luther Vandross. The track’s rhythmic pulse and layered vocals create a hypnotic atmosphere that perfectly reflects the collaborative nature of the recording sessions. Another standout is "Right" , which pushes the gospel influence even further. With its call-and-response vocals and vibrant choir-like backing harmonies, the song demonstrates just how deeply Bowie embraced the spirit of soul music during this period. The album also includes Bowie’s dreamy reinterpretation of "Across the Universe" , originally by "The Beatles". The track features John Lennon , who joined Bowie in the studio after the two met in New York. Their collaboration extended beyond the cover and resulted in one of Bowie’s biggest commercial successes. That collaboration produced "Fame" , the closing track of the album and Bowie’s first number-one hit in the United States. Built around Carlos Alomar’s instantly recognizable guitar riff and featuring John Lennon on backing vocals, the song delivers a sharp critique of celebrity culture and the darker side of fame. Ironically, the track’s cynical message became Bowie’s gateway to mainstream American success. Upon its release, "Young Americans"  surprised many listeners who expected Bowie to continue exploring the glam rock territory that had defined his previous albums. While some fans initially struggled with the stylistic shift, critics increasingly recognized the album as a bold and successful experiment. Over time, "Young Americans" has come to be viewed as a crucial transitional record in Bowie’s career. It marked the beginning of a new creative phase that would soon lead to the darker, more experimental sound of "Station to Station" and eventually the groundbreaking Berlin Trilogy. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Written By: Moti Kupfer Release date - 07.03.1983 "Say what you want, Say what you will, 'Cause I find you think what makes it easier, And lies spread on lies, We don't care, Belief is our relief, We don't care" Everyone has their own way of coping with the small or large traumas that life throws their way. For the young Roland Orzabal, it was writing. Writing became his refuge from a harsh everyday life. It was a life that included a father suffering from post-traumatic stress after returning from the war (he had served in World War II), and who would beat Roland’s mother, who worked as a prostitute to make a living. The songs Roland began writing at the age of seven gradually took shape over the years. Eventually, together with his friend and musical partner Curt Smith, they formed their debut album as the band "Tears for Fears". "The Hurting", released on March 7, 1983, is essentially Roland’s memoir and Curt’s as well, a way for them to release everything that had weighed on their hearts for years. Instead of sharing it with a psychologist, they shared it with all of us. Roland Orzabal was born in August 1961 in the port city of Portsmouth. The son of an Argentine/Spanish father, he began writing songs at the age of seven. Later the family moved to Bath, where he met Curt Smith, a Bath native who was two months older and had taught himself to play guitar. Early on, the two joined forces in the ska/mod revival band "Graduate", which managed to release one album, "Acting My Age" (1980), and recorded another album that was ultimately shelved after the band broke up. After a short period during which the duo joined the new wave band "Neon" as session musicians, Orzabal and Smith formed "Tears for Fears". "Neon" drummer Manny Elias joined them, while Ian Stanley completed the quartet on keyboards. Orzabal and Smith, who at the time were influenced by synth-pop artists such as Gary Numan, "OMD", and "Depeche Mode" (the similarity to "Depeche Mode" can be heard especially in the songs "The Hurting"  and "Suffer the Children" ), recorded their first album, "The Hurting" , which was based on the book by psychologist Arthur Janov. According to Janov, the way to cope with childhood trauma is to cry and scream in order to release the pain and overcome it. Orzabal and Smith became familiar with Janov and his book "The Primal Scream"  while they were learning to play guitar. Their teacher was the one who introduced them to the book, which had also inspired John Lennon at the time. "Tears for Fears" take the place that is supposed to be the safest and most protected of all, the home, and turn it into something dangerous. They shattered the myth that childhood is the happiest time in life. In almost every song, the pain and suffering emerge from the lyrics written by Roland Orzabal. In "Mad World"  he sings the haunting line: "The dreams in which I'm dying are the best I've ever had." And yet the song itself is rhythmic, almost cheerful, at least if you are not paying attention to the words. The goal Orzabal and Smith set for themselves was to speak openly about their sadness without fear. Their message was that trauma does not have to make us miserable for the rest of our lives, and that it is acceptable to feel anger toward the people who brought us into the world but failed to care for us properly. "You don't give me love, you give me pale shelter," sings Smith in another single from the album, "Pale Shelter" . To be honest, the album is filled with a striking contrast between upbeat, almost joyful melodies and what feels like an indictment emerging from the lyrics in nearly every song. Looking at Curt Smith today, it is hard to believe that this is the same person who once thought it was perfectly normal to be arrested by the police for stealing violins as a birthday gift. "He was far more rebellious than I was," said Orzabal. Beyond the well-known hits and the three singles "Mad World" , "Change" , and "Pale Shelter" , the album is almost free of weak moments. Orzabal and Smith sang about things that may be uncomfortable to talk about, but in the end, they are speaking to all of us. The most important message you can take from this album is simple: go hug your children. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 7, 1969, "Genesis" released their debut album - "From Genesis to Revelation". Amazingly the title of this record - "From the Beginning to Be Revealed", is in a sense a self-fulfilling prophecy. "Genesis" started on this album "From the Beginning" with a Baroque Pop style and later on they will reach "Revelation", change their style and become one of the pillars of the Progressive Rock genre. The story of the album begins somewhere in 1965, with the initial connection between two of the band members. Peter Gabriel , his classmates Tony Banks and Chris Stewart formed a band called "Garden Wall". In 1967 the band disbanded and Gabriel, Banks and Stewart teamed up with Anthony Phillips and Mike Rutherford and began working on new songs. The first song written in the new lineup was " She is Beautiful " by Banks and Gabriel. The band members recorded a demo tape and gave it to David Jacobs - the host of the TV show "Juke Box Jury", whose son studied with them at the same school. At the same time the recording was also transferred to Jonathan King, who was a singer, producer and songwriter who at the time had commercial success with the hit "Everyone's Gone to the Moon", from 1965. King was very enthusiastic about the results, especially from Peter Gabriel 's voice and quickly signed the band on a recording contract. The band members were then minors, aged 15-17. The band did not have a name and Jonathan King suggested the name "Gabriel's Angels", but the rest of the band members were not enthusiastic, so everyone compromised on King's alternative offer - "Genesis". King thought the name signified the beginning of a new sound and also of his career as a producer. The band presented King with some songs they where working on, but King was not thrilled with them. In an attempt to satisfy King's musical taste, the band members decided to work on Pop songs, with an emphasis on the "Bee Gees" sound, a band they knew King really liked. Indeed, one of the first songs Gabriel and Banks wrote was " The Silent Sun ", in which the "Bee Gees" influences can be heard. Gabriel even later admitted that he tried to sound like Robin Gibb from the "Bee Gees". The song became the first single the band released on February 22, 1968, with the song " That's Me " being used as a b-side. In May 1968, the band released their second single " A Winter's Tale ", which included the song " One-Eyed Hound " as a b-side. Although the singles were not very successful, King urged the band members to record a full album. He thought it would help the band to breakthrough. Before that, King demanded that the bassist and drummer be fired, because he thought they were not good enough. The band opposed the dismissal of Rutherford but Stewart was replaced by drummer John Silver, who also studied with the band members at the same school. King suggested that the band turn the album into a concept album, that would begin from the book of "Genesis" from the bible and end with the book of "Revelation" of the New Testament, thus the album title - "From Genesis To Revelation" was born. Indeed this album flows like a continuous piece, with short musical interludes between the songs, each based on the theme of the song that follows. (Photo: Decca / Universal) The writing and rehearsals on the new material were held at drummer John Silver's parents home, in Oxford. Upon completion of the writing of the material, the band entered the studio in August 1968, while the boys where on vacation from school. The entire music was recorded within two days and the production and mixing phase took another 10 days. During the mixing, string and brass instrument were added to the recordings, without the band's permission. The arrangements were added to one side of the stereo while all of the band's channels were dense into the other side, a fact that angered the band members, especially Anthony Phillips. It is interesting to note, that this recording marked the first time Tony Banks had played the Hammond organ. Gabriel played the flute in addition to his singing. Another interesting fact, is that the song that seals the album " A Place to Call My Own ", was originally a more complex and longer song, which may indicate the style the band will pursue later on. The song was shortened and trimmed to suit the atmosphere of the rest of the songs on the album. Beyond the Bee Gees' influences, one can hear other influences like "The Beatles", "The Byrds" and "The Moody Blues" especially the string arrangements the producer tried to emulate during the mixing stage. The album was released on March 7, 1969, but it failed commercially in real time. It was only after the band's success in 1974 that the album returned to the charts and began to sell. Part of the failure is attributed to King's decision not to display the band's name on the cover, but only the caption "From Genesis To Revelation" on a black background, which immediately cataloged "Genesis" as Christian music and sent the album to the shelves of religious music at the record stores. The reason why the band's name was not featured on the album, was the fact that King learned that there was already an American band that met the same name. Following the commercial failure of the album, the band members turned to other pursuits, with the exception of Peter Gabriel who played flute on Cat Stevens' third album - "Mona Bone Jakon". In September 1969, the band members returned to work together, having managed to break free from the contract with the record company and King. Everyone unanimously agreed that the Pop style that King forced on them was not what they wanted to do. In June 1970 the members started recording what would become " Trespass " and that was already the beginning of a completely different story. Unfortunately this album will be remembered for its meager sales which is a shame, since there are a lot of good songs here with beautiful melodies, which amazingly were written at such a young age. So true, this is not the classic "Genesis", in fact this album is not at all reminiscent of the Progressive Rock "Genesis", but it's still a good classic rock-pop album. For Listening: 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 "Worst Case Scenario", the debut album of the Belgian band "dEUS" released on March 6, 1994. The band "dEUS" was formed in Antwerp, Belgium in 1991, by singer and guitarist Tom Barman and keyboardist and violinist Klaas Janzoons. In the beginning, the band played cover versions mainly of "Velvet Underground" and the "Pixies" songs, but over time began writing original songs in English that included a combination of several musical styles such as rock, alternative, jazz, and avant-garde. This debut album is huge and highly recommended. It combines the simplicity of the grunge that dominated the dome at the time, along with the complexity and virtuosity of experimental rock and the result is simply stunning. It is a blend of noises, distortions, and effects, mixed, with piano, violin, and percussion, changing and dynamic music that on the one hand knows how to calm and caress and on the other hand whip, you like a whip. One of the most prominent examples of the album's unique style can be found in the song " Suds & Soda ". An avant-garde section led by the monotonous violin playing of Klaas Janzoons, which was also released as a successful single. Other recommended tracks are " Jigsaw You ", " Let's Get Lost ", " Via ", " W.C.S (First Draft) " and more, which entered the pantheon of underground alternative rock of the 1990s. By the way, the song " W.C.S " includes a beat from the "Little Umbrellas" section from Frank Zappa's Hot Rats album. Immediately after the release of the album we got them here in Israel for an amazing show, we were there and it was amazing. A few years later they returned to visit here for more shows. So click on Spotify or Apple Music and listen to this wonderful album. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Some say they are a One Hit Wonder !! But if you listen to their music and especially to the album we'll be talking about today, you will argue otherwise !! Completely different !! The AAF band began their journey somewhere in the California Riverside Prairie in 1996, when the grunge scene was in decline and the Nu-Metal bands are starting to show up all around. The four members: Dryden Mitchell (vocals), Terry Corso (guitars), Mike Cosgrove (drums) and Tye Zamora (bass) decided to form a band. They recorded an EP called "$ 100 EP" which contains five songs and start performing in clubs and distribute the EP to anyone who asks. Two years pass but nothing happens and the cheerful quartet decides to record a demo tape called "Love Songs" and this time try to market it to the various record labels. But again nothing happens and there are no answers from the other side of the line... they do not say desperate and in 1999 they release their debut album independently, an album with a name that says a lot about the band's perspective - "Greatest Hits", do not know what about you but a band that gives this name to it's debut album is a band that is well worth checking out what it is "producing". (Photo: MTV Unplugged) Although the album itself was somewhat successful and even received the title of Best Independent Album at the LA Music Awards, it did not receive much exposure. On this album the band made brilliant use of a well-known "trick" in the world of music. If you want to stand out or get noticed, record a cover for a famous song... and they did not just recorded "a cover". They took Michael Jackson's famous song "Smooth Criminal" and turned it into a hysterical punk rock hit !!! But nothing happened here !! Wait, did not you say a hysterical hit? Like we said the album was not a huge success and this song was not exposed either, but the record companies started to express interest in the band and in 2000 they signed with the record company NRG and immediately entered the studio. The record company offered the band producer Jay Baumgardner who has worked with Papa Roach and Orgy. The four liked the idea and recorded two songs with him, in order to test the chemistry, they saw that it was very well and continued to record 12 more songs. On March 6, 2001, they release the album "ANThology", their second album but first on a major label. The song “Courage” that opens the album gives a purposeful display of the band's abilities and style. A style that is very reminiscent of the Nu-Metal bands that grew up at that time like Papa Roach, Incubus and more... The song talks about a relationship that has reached a breaking point and what a beauty of fragility there is in the song. The verses enter in a rough groovy rhythm and break down and explode in chorus. The next song is one of their big hits which came out as the first single from the album. “Movies” is a fun song that makes you scream to the skies when you hear the chorus. Do you remember his music video on MTV2? If not then click down here and remember. What a funky baseline combined with a guitar staccato and an excellent drum groove !!! This song also talks about a relationship, this time a relationship of a couple "living in a movie". If until now you have not fallen in love with the style, then now you are sure to fall in love, pick up the volume and listen to the groove. The third song on the album “Flesh & Bones”, we will not repeat ourselves but we fell in love with the sounds !! This time the song talks about relationships people have with religion, it wonders about human beliefs. Do you like them? Yes? Excellent !! You don't? Immediately jump to track number 12... In the next song, “Whisper,” the band's singer Mitchell takes out all of his frustrations about the music industry. All the first years they tried to break into the world and failed, what the industry looked like in his eyes. Record companies dictate to bands what they want, how to create, how to write and how to sing. We will jump to the 7th song on the album, “Attitude”. Here we take a slight turn to something different, soft and charming. We were addicted to the style, the fingering in the chorus is so beautiful. This song features Lenny Castro from Toto on percussion. Needless to say, here too we are dealing with a relationship. These five songs are the most prominent on the album for us, apart from the fact that they are just great (in our opinion) they take us back in time to the craze of the 2000s. They have the DNA of the band with the special style. Remember we talked about Michael Jackson's cover? The 12th track on the album is the cover "Smooth Criminal". The idea for the cover came from a warm-up performed by the band before shows, they used to warm up with parts of this song and each time the audience was raging, so in the end they decided to perform it in full and record it. After the release of the first single "Movies" the album still did not gain momentum and despite the clip and the song played on the radio stations it did not really catch on. But when the cover came out as a second single it was already an explosion !! The music video was regularly aired on MTV and on various radio stations. It took first place in the Modern Rock Tracks chart and was a resounding success in the US and Europe. Thanks to the cover and the rest of the singles, the album gained insane exposure and to this day is the band's famous album. It won first places on the Billboard charts in the US and many European countries, where it stayed for many weeks and not just for a quick visit. Listen to the album at: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Written By: Moti Kupfer Release date - 06.03.1978 "If 30,000 people go together to a big event, don’t look for me there. I simply distrust large groups of people going anywhere together." If you ever find yourself at large gatherings (did someone say protests), don’t expect to see Tom Waits standing next to you. He has always despised mass events. The barroom troubadour with the gravel-soaked voice released his debut album "Closing Time" on March 6, 1973. Waits, who seemed almost fully grown from the very beginning, once said: "I wanted to skip adolescence and go straight to 40." He is the attentive musician who constantly searches for the small stories of people living on society’s margins. Look for him among the quiet stories unfolding on the streets. That is where he will be. Thomas Alan Waits was born in December 1949 in Pomona, California. He was the middle child. His father, Jesse Frank, was of Scottish and Irish descent and worked as a teacher, while his mother Alma, of Norwegian origin, managed the household. Waits once said about his father: "He was a tough guy, always an outsider." His father also struggled with alcoholism and often took young Tom along on bar rounds. Tom would sit beside him and listen to his stories, an experience that later shaped him into a captivating storyteller and an outsider who sought out the fringe characters of society. When he was nine years old, his father left the family home, and the young Waits felt the burden of earning a living resting on his shoulders. He began working a wide range of jobs, from dishwasher to pizza maker, ice-cream truck vendor, and even forest ranger assistant. He and his mother moved first to Whittier, California, and later to Chula Vista in San Diego. Tom taught himself to play piano on an instrument that belonged to a neighbor. During high school he played in a soul and R&B band called "The Systems", where he developed a love for artists such as Ray Charles, James Brown, Wilson Pickett, Roy Orbison, and Bob Dylan , who became a key example for him of how to write songs. In 1969 Waits began working as a doorman at the Heritage nightclub, which regularly hosted folk musicians. Gradually, through his fascinating stories and small performances, he moved from the door position to the small stage inside the club. The breakthrough exposure that helped propel Waits forward came at the famous "Troubadour" club in Los Angeles, a venue that offered aspiring artists a chance to perform every Monday night. These Monday nights were in high demand, and many artists appeared there early in their careers. "The Eagles", Elton John , "The Byrds", Bob Dylan , Joni Mitchell, and Neil Young were only some of the musicians who got their early opportunities on that stage. "I used to come to the Troubadour in the morning and wait in line all day hoping to get to the front. When your turn came, you had 15 minutes to give the best show of your life. It was like a slave market. People sold their souls just to play one night on that stage," Waits later recalled. During one of his performances at the Troubadour he was noticed by Herb Cohen, the manager of Frank Zappa , Linda Ronstadt, and Tim Buckley. Cohen took him under his wing, primarily as a songwriter. Waits’ star continued to rise until David Geffen, the promising head of "Asylum Records", set his sights on him. After negotiations between Geffen and Herb Cohen, Waits signed with one of the most exciting record labels of the early seventies, a roster that also included Joni Mitchell and Jackson Browne. Waits entered the studio to record his debut album "Closing Time", with Jerry Yester, formerly of the band "Lovin' Spoonful", chosen as the producer. Waits’ debut is essentially a singer-songwriter album accompanied by minimal instrumentation of piano, drums, bass, and trumpet. He offers a somewhat sympathetic portrait of melancholy people searching for love in all the wrong places, allowing loneliness and despair to drive their actions and emotional connections in songs like "Midnight Lullaby" . The album forms a bridge between Waits’ desire to create a fully jazz-influenced record and producer Jerry Yester’s inclination to guide the music toward folk-rock territory. Most of the songs reflect influences Waits absorbed from writers such as Charles Bukowski and Jack Kerouac. One cannot ignore the clear inspiration behind "Ice Cream Man" , which echoes the spirit of Ray Charles’ "Hit the Road Jack". In "Martha"  and "I Hope That I Don't Fall in Love With You" , Waits sings about unfulfilled love and about an old man who remembers a lost romance and calls the woman he loved after forty years. The opening song "Ol' 55" , which later became a cover by "The Eagles", was written about a car that faithfully served Waits and on which he spent much of his early earnings. Tom Waits wrote an album that feels like the work of a man observing life with clear-eyed maturity and experience, despite being only twenty-three years old when it was released. The album cover was designed by Cal Schenkel. Schenkel took inspiration from Waits’ own vision of how the album should sound. On the cover Waits leans against a piano decorated with a beer bottle, cigarettes, an ashtray, and a small candle, while above his head hangs a blue lamp reminiscent of those traditionally placed over billiard tables. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On March 6, 2006, David Gilmour released his third studio album, "On an Island". It was David Gilmour 's first album in 22 years, since "About Face" and the first new material from the gifted guitarist since "Pink Floyd's" " The Division Bell ", which was released 12 years earlier. In honor of this special occasion, David Gilmour decided to synchronize the release of the album with his 60th birthday!!! and give himself (and us) the ultimate birthday present. The album was recorded mostly from 2001 to 2005 in Gilmour's private studio at the famous "Astoria" boat house. It features collaborations with a wide variety of artists, such as: Robert Wyatt, Jools Holland, Georgie Fame, David Crosby , Graham Nash , Rick Wright , and more. For the producer's position, Gilmour recruited his friend Phil Manzanera, known from his membership in "Roxy Music", who also plays guitar in several tracks, and also Chris Thomas who worked with all the familiar names in England, from "The Beatles" to the "Sex Pistols" and most importantly with "Pink Floyd", especially on the album " The Dark Side Of The Moon ". The creative process of the album was documented, in part, in a short documentary. Gilmour, who composed all ten tracks on the album, chose to walk in known and familiar paths instead of experimenting with new and unmarked trails. Listening to this album will surely cause you involuntary flashbacks from "Pink Floyd's" albums, from " Meddle " to " The Division Bell ", but hey, who cares, just give us more and more of this sheer pleasure. We are addicted to the all-too-familiar sound of the "Strat", to the precise bending technique, to the razor-sharp slide, and to the velvety vocals, even if it has become a little hoarse and worn over the years. From the instrumental opening track " Castellorizon " written inspired by a visit to the Greek island of Kastellorizo ​​to " Where We Start " which ends the album, Gilmour takes us on a delicate and magical journey that manages to touch us in just the right places. Every string pull, every touch on the frets, knocks on our dormant brain cells and releases memories of musical moments, of happiness that have existed there for decades. Just like the cooking smells and taste of mom's food, listening to this album causes us a Deja Vu that takes us back in time to beloved and good days. Gilmour in all his genius managed to produce an album with a nostalgic "retro" atmosphere, without sounding outdated, not even for a single moment. " Castellorizon " includes references to the musical sections that we will meet later in the album and is a kind of intro to the entire musical piece, that also connects us to the "Waltz" theme song " On an Island ", which features David Crosby and Graham Nash in background vocals. "Remember That Night ... White steps in the moonlight" Gilmour sings and ignites the nostalgic emotion that will accompany us throughout the album. This line corresponds beautifully with the album cover, which together with the vocal harmonies of Gilmour-Crosby-Nash, manage to wrap our hearts. And the solos ... solos that for some reason at certain moments threw us into the amazing " Amimals " days, especially the first one. " The Blue " is as its name implies, a quiet and melancholic track that includes a vocal collaboration with Rick Wright and a soulful bluesy solo. Gilmour hardens the sound a bit with the somewhat dirty riff of " Take a Breath ", which was also released as the second single from the album. The song also features a long and amazing solo and an instrumental section at its center. " Red Sky at Night " is a short instrumental piece led by David Gilmour 's saxophone playing. " This Heaven " is one of the interesting tracks on the album. Slow blues, driven by an acoustic and dominant guitar riff, with the Hammond organ by jazz artist Georgie Fame, which pads the song to his beautiful playing. " Then I Close My Eyes " is the third instrumental track on the album, in which Gilmour collaborates with Robert Wyatt, who contributes trumpet and percussion as well as background vocals. " Smile " is without a doubt one of the most beautiful pieces on the album, which contrasts to the melancholy atmosphere it conveys, always manages to put a "smile" on our faces. How beautiful is the combination of Gilmour's voice and Slide, which reminds us of the collaboration between David Gilmour and the Border Collie dog "Seamus" from the album " Meddle ". " A Pocketful of Stones " is slanted with orchestral accompaniment and forces Gilmour to put the guitar aside for a moment, in favor of the Piano and Hammond organ. The closing track " Where We Start " is so moving with Gilmour's little guitar sentences, that accompany and enrich his vocals. "Where did we start"? Gilmour asks and we're back to " Castellorizon " again, with a simple magical album that can be listened to repeatedly.... It is interesting to note that whoever purchased the album in the deluxe version received a bonus DVD called: "David Gilmour Live And In Session" and included recordings of Gilmour and his backing band in various studios: As we already mentioned, Gilmour does not take any risk with "On an Island". He does not pull rabbits out of the hat and he certainly does not take us to any "musical island". But that's exactly the idea. Having produced so many masterpieces over 40 years of music, Gilmour may continue to do exactly the same thing, without giving us the right to point even a single arrow of criticism at him. For Listening: Spotify , Apple Music . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Although he grew up on Jazz music and his roots are deeply rooted in Blues, he was certainly one of the influences on the "guitar shredding" of Metal. (Photo: Jim Summaria) Here are some interesting facts about Alvin Lee: 1. He was born in Nottingham, England on December 19, 1944, as Graham Anthony Barnes. 2. As a child he grew up on his parent's record collection from the blues and jazz genres, but it was the breakthrough of rock 'n' roll in the 1950s that influenced him the most. 3. The first instrument he played was the clarinet, it was at the age of 12. He only switched to the guitar at the age of 13. 4. In 1960 he formed the band "The Jaybirds" with bassist Leo Lyons. The band later changed its name to "Ivan Jay and the Jaycats". Alvin served as the lead singer and guitarist. 5. In 1965 they were joined by drummer Ric Lee and a year later by keyboardist Chick Churchill and thus the lineup was formed. 6. That same year the band changed its name to "Ten Years After", as a homage to Elvis Presley, one of Alvin Lee's idols, whose breakthrough year was 1956, exactly 10 years before the band got its name. 7. In 1967 the band released their debut album "Ten Years After", which is considered one of the first blues rock albums released in the UK. Alvin Lee co-wrote all the original material that appeared on the album. 8. In 1968 The band went on tour in the US for the first time. This was a love at first sight, the American audience was "electrified" by Alvin Lee's dominant and virtuoso melody, which would bring the band to perform no less than 28 tours over 7 years in the US, more than any other British band. 9. In July 1969, the band performed at the "Newport Jazz Festival" as well as the "Seattle Pop Festival". 10. The band's big break came about a month later, during the band's mythical performance at the legendary " Woodstock Festival" in August 1969, during which the band played the song "I'm Going Home" which showcased Alvin Lee's amazing abilities on guitar. 11. In June 1970 the band released their fourth single "Love Like a Man", which was written by Alvin Lee and immediately became a hit in England. It was the first single in the world to feature two different playing speeds. Side A included the hit played at 45 RPM, while the other side included a live version of the hit which due to its length played at 33 RPM. 12. That same year the band played at the famous "Isle of Wight" festival, thus completing performances in front of over a million people at four festivals in just about a year. 13. In 1971 the band released their sixth album "A Space in Time" which included their biggest hit "I'd Love to Change the World". 13. In 1973, Alvin Lee released his first solo project - "On the Road to Freedom", in which he collaborated with singer and guitarist Mylon LeFevre, as well as with other great artists such as: George Harrison , Steve Winwood, Jim Capaldi, Ron Wood, Mick Fleetwood and more. 14. In 1974 "Ten Years After" released their last album "Positive Vibrations" and immediately afterwards disbanded. 15. After the band disbanded, Alvin Lee embarked on a solo career during which he released 12 studio albums. 16. In 1985, Alvin Lee performed in Israel as part of the " Stars Festival " held at the Ramat Gan Stadium. This was not his only time in Israel, he also performed on the stage of the mythological "Dan Cinema" in Tel Aviv, alongside a selection of Israeli artists, and parts of this performance was even immortalized on video. 17. In 1989 Alvin Lee reunited with "Ten Years After" and the band released their ninth studio album "About Time". 18. Alvin Lee was considered one of the fastest guitarists of the 1960s and 1970s. His fast and precise playing greatly influenced the "guitar shredding" technique of the 1980s. 19. In a 2001 Total Magazine poll, Alvin Lee was voted the best of 12 great British guitarists. 20. Alvin Lee passed away on March 6, 2013 as a result of complications caused following surgery. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Bassist Joey DeMaio celebrates his birthday today and this is a good opportunity to tell you some interesting facts about him: (Photo: Ultimate-guitar.com) 1. He was born on March 6, 1954, in the city of Auburn in New York. 2. He is a childhood friend of the singer Eric Adams with whom he will form the band "Manowar". 3. He began his musical career as a bass player in several school bands. 4. He went on tour as part of the musical Godspell which debuted on Broadway in 1971, where he received playing lessons from the conductor. 5. This isn't the only musical Let Joey be involved. He was also acclaimed as musical director and bass player for the touring productions of "Jesus Christ Superstar", "Hair", and "Charlie Brown". 6. He worked as a pyrotechnics man as part of the concert tour designed to promote the album " Heaven And Hell " by "Black Sabbath". 7. During the tour, Joey met the guitarist Ross the Boss who was part of the punk-rock band "The Dictators", which opened for "Black Sabbath". 8. They immediately became friends and decided to form a band, following Ronnie James Dio 's suggestion during the tour. 9. At the end of the tour with "Black Sabbath", in 1980, the two formed "Manowar". They added drummer Donnie Hamzik and singer Eric Adams , a former classmate, and friend of DeMaio. 10. In 1981 the band received a recording contract and in 1982 released their debut album "Battle Hymns". 11. Starting with the debut album "Battle Hymns" DeMaio became the leader and main writer of the band, with whom he released 11 studio albums until 2014. 12. Also starting with the debut album, Joey began to be involved in the production of a significant part of "Manowar" albums. 13. He developed a very unique, virtuosic, and distinctive playing style and sound on the bass guitar, turning the instrument into a leading instrument. 14. In addition to his unique bass playing, DeMaio also sings, plays keyboards and, as of 2018, also plays guitar on the band's albums. 15. In 2003 he founded a record company called "Magic Circle Music" which also became the band's record company. The company soon expanded into the "Magic Circle Entertainment Group" which Joey manages with his international team of talented business professionals. 16. In 2007 "Magic Circle Entertainment Group" hosted its first music festival, "Magic Circle Festival" which has since become a household name for true metal fans all over the world. 17. In 2006 he became the manager of the Italian metal band "Rhapsody of Fire". 18. He also serves as an album producer for the American symphonic metal band "HolyHell". 19. In 2012, DeMaio wrote his first song for the action film "El Gringo". 20. In 2015, he collaborated with the game developer "Hi-Rez Studios", USA, and provided music for their online game "SMITE". 21. Joey has a Ph.D. in musical arts. 22. He appears as a special guest conductor of the "Cologne Youth Symphony Orchestra" in Germany. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website