On June 6th, 1981 the first-ever "Kerrang!" issue was published. "AC/DC’s" guitarist, Angus Young, was on the cover.⁣⁣ Founded by Geoff Barton, it was first published as a supplement part of the "Sounds" newspaper. Named after the word that derives from the sound made when playing a power chord on a distorted electric guitar, "Kerrang!" was initially devoted to the New Wave of British Heavy Metal and the rise of hard rock acts.⁣⁣ ⁣⁣⁣⁣ Launched as a monthly magazine in 1981, "Kerrang!" began to appear on a fortnightly basis later, and in 1987 it went weekly. ⁣⁣ ⁣⁣⁣⁣ During the 1980s and early 1990s, the magazine placed many thrash and glam metal acts on the cover (like "Mötley Crüe", "Slayer", "Bon Jovi", "Metallica", "Poison" and "Venom"), but later discarded them when Grunge acts such as "Nirvana" rose to fame. After that the magazine became the trendy headliner, posting the new hottest bands/genres on the front page. Many big bands were criticizing "Kerrang!" ⁣⁣⁣⁣for going after "yellow" articles and not focusing on music, one of the famous was "Guns N' Roses" in the song "Get In The Ring" "And that goes for all of you punks in the press That want to start shit by printin' lies instead of the things we said That means you andy secher at hit parader, circus magazine Mick wall at kerrang, bob guccione jr. at spin What you pissed off 'cause your dad gets more pussy than you? Fuck you! suck my fuckin' dick!" Today Kerrang! is more than a printed magazine... Since 1993, the magazine has held an annual awards ceremony to mark the most successful acts and bands. This became one of Britain's most recognized events. In 2000, "Kerrang!" launched a digital radio station, across the United Kingdom. Kerrang!'s website, was launched in the summer of 2001. Also in 2001 "Kerrang! TV" was launched. As with the radio station, the television channel covers the more mainstream side of rock music as well as classic rock bands. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Guitar legend Steve Vai is celebrating his birthday today and we are here to tell you some facts about him: (Photo: Soundcloud.com) 1. He was born in New York on June 6, 1960, to a family of immigrants from Italy. 2. When he was 6 years old he discovered the guitar and he immediately knew he would be a guitarist. 3. At the age of 13, he started taking guitar lessons from another virtuoso guitarist - Joe Satriani. Later on, Satriani will admit that the student surpassed his master. 4. During high school he was a member of several young bands including: "The Ohio Express", "Circus" and "Rayge". 5. Vai was influenced at the time by guitarists Jimmy Page, Brian May, Ritchie Blackmore, Jeff Beck, Jimi Hendrix, Allan Holdsworth, and Al Di Meola. 6. In 1978 he began studying at Berklee College of Music. 7. That same year Vai sent Frank Zappa a transcript of Zappa's "The" Black Page as well as a recording of him and his band. Zappa, who was very impressed with Vai's abilities, hired him to produce transcripts of his works. 8. In 1980 Vai joined Zappa's band as a full-time player. 9. In 1983 Vai left Zappa. He bought a house in Los Angeles where he built a recording studio and began recording his first solo album "Flex-Able", which was released in January 1984. The excerpt "The Attitude Song" from the album was published in Guitar Player magazine as an exceptional work whose main riff Played at 7/16 weight on a basic 4/4 beat. 10. In 1984, Vai replaced guitarist Yngwie Malmsteen in "Alcatrazz" and recorded with them the album "Disturbing the Peace" which was released in 1985. 11. In 1985 he joined David Lee Roth's band alongside bassist Billy Sheehan and drummer Gregg Bissonette. This "dream team" recorded the album "Eat 'Em and Smile" which was released in 1986 and included, among others, the hit song "Yankee Rose" that Steve Vai co-wrote. 12. Vai continued in David Lee Roth's band and on his next album "Skyscrper" which was released in 1988 he also served as a producer. 13. In 1986, Vai participated in the recording of "Public Image Limited" fifth album. 14. That same year he participated in the movie "Crossroads". In the iconic climactic scene of the movie, he had a guitar duel with the movie star Ralph Macchio. 15. During this period he continued to study music theory and specialized in production and musical equipment. As part of Vai's experience, he began using a 7-string guitar built especially for him by "Ibanez". He was also a partner in the design of the JEM model of "Ibanez guitars", and later also of the Universe model and more. 16. In 1989, Vai joined "Whitesnake". He replaced the injured Adrian Vandenberg, and recorded the guitar parts for the album "Slip of the Tongue". 17. In 1990, Vai released one of his greatest solo albums, "Passion and Warfare". The album is considered one of the most successful instrumental albums and it won the "album of the year" title in the magazine's Guitar World and Guitar Player. 18. In the same year Vai joined a band of which were also Devin Townsend and Terry Bozzio. Together with this band, Vai released the album "Sex & Religion" in 1993. 19. In 1991, Vai was a guest on Alice Cooper's album "Hey Stoopid". 20. In 1992, Vai participated in the "Guitar Legends" concert with Joe Satriani, Brian May, Nuno Bettencourt, Gary Cherone, and more. 21. In 1994 Vai began working with Ozzy Osbourne on the album "Ozzmosis" and co-wrote the songs on it. Due to disagreements the album was written and re-recorded together with guitarist Zakk Wylde. 22. Since 1996, Vai has participated in "G3" guitar performances with Joe Satriani, Eric Johnson, Yngwie Malmsteen, John Petrucci, and more. 23. He was nominated for 8 Grammy Awards and won twice in 2006 and 2008. 24. In 2004, Vai participated in two songs from "Motörhead's" album "Inferno". 25. He is among those who read the lyrics in the song "Repentance" from "Dream Theater's" "Systematic Chaos" album. For Listening to his last album "Inviolate" Click: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 5, 2022 "Wolfsbane" released their 5th album "Genius". Blaze Bayley's mother band returned with their first studio album in a decade, after "Wolfsbane Save the World", which came out in 2012. As you may recall, Blaze Bayley, known from "Iron Maiden", began his musical career back in 1984, when he joined "Wolfsbane". The band's first album - "Live Fast, Die Fast" was released in 1989 and since then Bayley has participated in three more of the band's studio albums. Interestingly, since its inception, "Wolfsbane" has retained its original line-up, which beyond Blaze Bayley includes guitarist Jason Edwards, bassist Jeff Hateley and drummer Steve Danger. The songs on "Genius" move mostly in the comfort zone of "Hard Rock" with light touches of punk and metal. We loved the combination of speed metal and punk in the opening song "Spit It Out", and the hard rock of "Impossible Love" which for a moment sounds like a combination between "Bon Jovi" and the David Lee Roth's era in "Van Helen", and the punk-pop in the chorus of "Zombies" and "Good Time". Song list: 1. Spit It Out 2. Zombies 3. Impossible Love 4. Rock the Boat 5. Small Town Kisses 6. Things Are Getting Better 7. Good Time 8. Rock City Nights 9. Running Wild 10. I Was Born in '69 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 the debut album of the supergroup "Chickenfoot", which was released on June 5, 2009. "Chickenfoot" is a supergroup that was formed in 2008 by vocalist Sammy Hagar (ex "Van Halen" and "Montrose"), bassist Michael Anthony (ex "Van Halen"), guitarist Joe Satriani and drummer Chad Smith ("Red Hot Chili Peppers"). So where did it all start? Remember the song "Cabo Wabo" from the album "OU812" by "Van Halen"? Sammy Hagar called his clun in Mexico "Cabo Wabo" and also the tequila line he produced. Sammy's friends would occasionally come to "Cabo Wabo" and jam with him in front of the crowd present at the bar. Both Michael Anthony and Chad Smith have often played with Sammy on stage at the club. It sounded so good that people started to ask Sammy when they are going to record an album and go on a tour. Sammy replied that if they are going to do it right, then they must get a cannon guitarist, so they must talk to Joe Satriani first, because for him he is the best guitarist in the world. Now ask how Sammy knows that? Because Hagar, Anthony, and Striani had already collaborated together in 2002, under the name "Planet Us", which also included guitarist Neal Schon and drummer Deen Castronovo, both from the band "Journey". The four members' first appearance together on the same stage was in February 2008 at Sammy Hagar's performance in Las Vegas. They played three songs: "Rock and Roll" by "Led Zeppelin", "Dear Mr. Fantasy" and "Going Down" by "Traffic". During breaks in Joe Satriani's tour schedule, the four friends gathered at Hagar's house to record a demo, but in the end, everything went so well that they recorded a full-length album in the studio. All the songs on the album were written by Joe Satriani and Sammy Hagar, except for "Down the Drain" and "Future in the Past" which were written by all four members. The band's name and logo are a result of a self-joke by the band members. It shows the footprint of a chicken that corresponds with the peace symbol. Bassist Michael Anthony claimed that the origin of the name came from the initial jam encounters between him, Hagar, and Smith. They thought of themselves as the three fingers of the chicken's leg. It was a joke, but as rumors spread about the emerging supergroup they were already using the name and logo. The first single released from the album, was "Oh Yeah!". A sweeping hard rock song that Satriani and Sammy wrote while talking about the blues-rock artists they grew up on. They thought of combining the beloved styles of metal with the blues-rock they loved so much. The rest of the tracks on the album do not go far from that. A combination of edgy hard rock with touches of blues, led by Joe Satriani's phenomenal guitar playing and Sammy Hagar's powerful voice. This is also one of the weak points of this album. Most of the songs are generic and sit on the same formula. The potential is huge but in most cases, something gets lost on the way. The opening track "Avenida Revolucion" is a political song about the troubles on the Mexican/American border. Satriani wrote the music and recorded his guitar parts as a demo. he thought the rest of the band members would not like it. He came back from his tour and was surprised to find out that they've already recorded bass, drums, and vocals on his demo. "Down the Drain" was written spontaneously in the studio. Satriani was to play a new song he wrote to the band. He was checking his guitar tuning and played a blues riff just to warm up. Chad started to play a beat on the riff and Sammy asked Joe "is that the new song?" and started to write the lyrics on the spot. They kept jamming and in the end asked producer Andy Johns Did you record that? The answer was "YES". Although this supergroup went on a tour together, the tight schedule of each of the four members did not allow this band to last long. In October 2009, Chad Smith returned to the arms of the "Red Hot Chili Peppers" to begin work on their tenth studio album, which eventually caused "Chickenfoot" to take a short break. The band returned to work on their second album in 2010, following the release of the "Red Hot Chili Peppers" "I'm With You" album. "Chickenfoot III" was eventually released in September 2011, but as early as June 2016 Chad Smith said he had doubts about the band's future due to the busy schedules of all members. But still, up to date, the band did not officially announce its breakup. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 4, 1982, "Genesis" released their third live album "Three Sides Live". By 1982, Genesis had completed one of the most remarkable transformations in rock music. A decade earlier they had been regarded primarily as progressive rock innovators, first under Peter Gabriel and later as an increasingly democratic collective led by Phil Collins, Tony Banks, and Mike Rutherford. With "Abacab" in 1981, however, the band deliberately streamlined its sound, embracing shorter structures, stronger rhythms, and a more contemporary production style. "Three Sides Live" documents the moment when those changes were fully realized on stage. The album was assembled after "Genesis" completed their extensive 1981 world tour supporting "Abacab". Following the tour's conclusion in December 1981, the band entered an eight month hiatus while Collins, Banks, and Rutherford pursued solo projects. During this break, recordings from the 1980 and 1981 tours were selected for release, resulting in what became one of the most commercially successful live albums of the band's career. The performances feature the core trio of Phil Collins, Tony Banks, and Mike Rutherford alongside longtime touring drummer Chester Thompson and guitarist/bassist Daryl Stuermer. By this stage, Thompson and Stuermer had become essential components of the live lineup. Their contributions allowed Genesis to faithfully reproduce the increasingly complex arrangements of both their progressive classics and newer material while maintaining the power expected of an arena act. In contrast to the more complex and expansive "Seconds Out," "Three Sides Live" features a more focused, sharp, and rhythmically dynamic band. The influence of "Abacab" is felt throughout. Phil Collins' vocals take center stage. He sometimes accompanies himself with a snare drum, and on instrumental sections he takes control of the drum station alongside Thompson. Tony Banks increasingly uses synthesizers to create atmosphere and color rather than thick layers of orchestral arrangements. Mike Rutherford's guitar and bass work often serves the groove and rhythm more than taking the lead. The opening sequence of "Turn It On Again", "Dodo", and "Abacab" immediately demonstrates the band's renewed focus. "Turn It On Again" thrives on its unusual time signature, sounding even more energetic before a live audience. "Dodo", one of the most ambitious pieces from "Abacab", showcases "Genesis'" ability to combine progressive structures with modern songwriting discipline. "Abacab" itself becomes more aggressive on stage, driven by Thompson's muscular drumming and extended instrumental interplay. Perhaps the album's greatest achievement is the way it bridges different eras of the band's history. "Behind the Lines" and "Duchess" retain the emotional resonance of the "Duke" album while benefiting from more dynamic performances. Collins in particular demonstrates how much he had grown as a frontman. His relaxed interaction with the audience contrasts sharply with the theatrical presentation associated with the Gabriel era, yet proves equally effective. The unquestioned centerpiece remains the "In the Cage" medley. First introduced during the late 1970s, the medley had evolved into a vehicle through which Genesis could revisit its progressive catalogue without interrupting the flow of a modern concert. Themes from "The Cinema Show", "The Colony of Slippermen", and other classics are woven into a seamless 12 minute journey that highlights the band's extraordinary musicianship. Banks is especially impressive here, delivering some of the album's most memorable keyboard passages. The album's history is made even more interesting by its differing regional editions. After completing the "Abacab" tour, "Genesis" selected recordings from the 1980 and 1981 tours for release. The first three sides were identical worldwide, but the fourth side varied significantly. The UK edition featured additional live performances, including "One for the Vine", "The Fountain of Salmacis", and "It/Watcher of the Skies", drawn from concerts recorded between 1976 and 1980. The North American and international edition instead included studio recordings includes tracks from the group's second EP "3×3" (1982) – "Paperlate", "You Might Recall", and "Me and Virgil" and two B-sides recorded during the sessions for "Duke" (1980) – "Open Door" and "Evidence of Autumn". The accompanying concert film, also titled "Three Sides Live", was filmed in November 1981 at the Savoy Theatre in New York City during the "Abacab" tour. Commercially, "Three Sides Live" proved highly successful. The album reached the Top 10 in the United Kingdom and the United States, further demonstrating "Genesis'" growing mainstream appeal. More importantly, it documented a band that had successfully navigated one of rock's most difficult transitions. Few groups survive the departure of a charismatic frontman. Even fewer evolve from cult progressive act into one of the world's biggest touring attractions without abandoning their musical identity. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

He has a child's smile, a comedian's sense of humor, and a nickname of puppy bear, but make no mistake, every drum beat of his bounces the clocks at the seismological stations around the globe. (Photo: drummagazine.com) His name is Nicko McBrain and he is celebrating his birthday today. So let's tell you a little bit about him. 1. He was born in the suburbs of London on June 5, 1952, as Michael Henry "Nicko" McBrain. 2. The nickname "Nicky" was given to him by his parents after the bear Nicholas which he had as a child. 3. Already at the age of 10 he began drumming on an improvised drum set he had assembled for himself at home from pots, pans, and other kitchen utensils. 4. A year later his father bought him his first drum set and he began teaching himself to play when he drummed songs by "the Beatles" and "the Rolling Stones". 5. At the age of 14 he had already started playing in pubs with local bands. 6. After high school he began studying engineering at "Southgate Technical College,. 7. He financed his rent during his studies when he served as an employee session player in studios. 8. The first serious band was "The 18th Fairfield Walk" which later changed its name to "Peyton Bond", it was a cover band. 9. The first recording he participated in was in 1973, it was a single called "Cockerel Chorus' Nice One Cyril". 10. That same year he participated in his first serious recording. It was on English guitarist Gordon Giltrap's debut album. 11. Nico continued to accompany Gordon on his subsequent albums as well and in 1978 he recorded an album with him called "Fear Of The Dark" (just like the band he would later join). 12. The font used by Giltarp's "Fear Of The Dark" album is very reminiscent of the font in the, Iron Maiden" logo. See here: 13. In 1975 he joined the band "Streetwalkers" with whom he released two albums, "Downtown Flyers" from 1975 and "Red Card" in 1976. 14. He later joined the band of Canadian guitarist Pat Travers and also released two albums with him in 1977. 15. In the same year he released with the band "Blazer Blazer" a single "Cecil B. Devine". (Photo: Heavymetalrarities.com) 16. Nico continued his international tour when he joined the French hard rock band "Trust" and released with them the album "Marche ou Crève" in 1981. 17. In December 1982 he received an offer he could not refuse. Replace drummer Clive Burr in "Iron Maiden". 18. This was not the first time he played with the band. He replaced Clive during a TV show held in April of that year, as Clive did not feel well. At that show, Nicko put on Eddie's mask, apparently, so he would not recognize as a replacement drummer. 19. Since then he has been a regular member of the band and has released 13 studio albums with it, one of which is a double. 20. Already in the first song from the first album he recorded with the band from the album "Piece of Mind", his amazing drumming ability was revealed. He refused to play with a double bass drum, and did it all with one base drum and fast tam-tam passes. 21. In the album "Piece of Mind", his sense of humor was revealed. At the end of the song "The Trooper" and before the "Still Life" track, there is a short speech that is played backward, which was created as a mockery and contempt of the band for those who accused them of Satanism, after the release of the album "The Number Of The Beast". In the segment, Nico is heard trying to sound like the British actor, John Byrd, who imitates the dictator "Idi Amin". In the recording, McBrian says the following words, as they are played backward: "What did she say the t'ing with the three 'bonce,' do not meddle with things you do not understand". 22. McBrain has never used double bass, except for one case, in the song "Face in the Sand" from the album "Dance of Death". 23. Nicko wrote one song for "Iron Maiden". it is called "New Frontier" and it appears on the album "Dance of Death". 24. In 1991 he released an instructional video for drummers called "Rhythms of the Beast". 25. In 1991 he participated in the supergroup project "WhoCares" with Ian Gillan, Tony Iommi, and more. 26. You may be surprised to find out, but Nico McBrain also has a pilot's license not only Bruce Dickinson. 27. He's crazy about Jaguar cars. In 2012 the company created for him a special model according to his specifications and requirements. (Photo: Lessentiel.lu) 28. In 2018 he opened a drum shop in Manchester called "Drum One". 29. When not on tours with Maiden he maintains his side project called "McBrain Damage" also known as "The McBrainiacs" along with bassist Dave "The Beast" Spitz who played with "Black Sabbath" on the album "Seventh Star" and was part of the lineup of "Great White". 30. He owns a restaurant in Florida, USA, called "Rock 'N' Roll Ribs". 31. In January 2023 he had a stroke that left him paralyzed on the right side. He went through months of intensive physical therapy and within three months got back into shape, but still he admits there are songs Of "Iron Maiden He can't play. 32. In 2024 he kicked off a short tour in Florida with his "TITANIUM TART" project, which he said is a "celebration band of Iron Maiden". Despite the stroke Nicko continued to perform with Iron Maiden until the end of the "The Future Past" tour. In December 2024 he announced his retirement from "Iron Maiden" after 42 years. His final performance with the band was held on December 7, 2024. He stated that his retirement was only from live performances and that he would continue to be a part of the band, as well as manage other drumming-related projects. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 5, 1979 "Dire Straits" released their second album, "Communiqué". "Communiqué" is notable for being the last album to feature David Knopfler, who left the band during the recording of their following album - "Making Movies" due to creative differences with his brother, Mark Knopfler. This album is also the last to feature the original lineup of the band. If we have to describe why we love this album so much, it will be its "unique sound and the masterful production quality". This album was a real favorite by Home Audio shops, using this excellent album (and of course "The Dark Side Of The Moon") to demonstrate the capabilities of their advanced stereo systems. Just turn up the volume on your Hi-Fi stereo system to the sound of "Where Do You Think You're Going?" and you will know exactly what we mean. Well, even though released in 1979, this album has a very impressive sound quality which does not embarrass the advanced productions of our time. It is offering a dynamic listening experience with a perfect recording production that sound so clear, vivid and relevant even today. Produced by Barry Beckett and Jerry Wexler, two legendary figures from "Muscle Shoals Sound Studio", That crafted this beautiful album. "Communiqué" has a polished and refined sound. The production quality is impeccable, capturing the band's performance with each instrument and vocal line captured with clarity and warmth. The album exudes a laid-back vibe, reflecting a more relaxed and confident band compared to their debut. Following their self-titled debut that featured the iconic track "Sultans of Swing." Mark Knopfler, the band's lead guitarist and vocalist, along with his bandmates, delivers an album that, while not as commercially explosive as their debut, cements their reputation for crafting smooth, intelligent rock. After concluding the "Dire Straitblends Tour" in Hitchin on November 18, 1978, the band immediately set to work on recording "Communiqué". The recording sessions took place from November 28 to December 12, 1978, at "Compass Point Studios" in Nassau. The album was mixed in January 1979 at "Muscle Shoals Sound Studio" in Alabama. Jerry Wexler and Barry Beckett from Muscle Shoals Sound Studio helmed the production. Beckett (credited as B. Bear) also contributed keyboards to some of the album's nine tracks. Beyond its magnificent sound and perfect production, one of the standout aspects of "Communiqué" is the superb musicianship. Mark Knopfler’s distinctive fingerstyle guitar playing is as captivating as ever, characterized by its clean, melodic lines and intricate solos. The rhythm section, consisting of John Illsley on bass and Pick Withers on drums, provides a steady, understated foundation that allows Knopfler’s guitar work to shine. Additionally, David Knopfler’s rhythm guitar adds depth to the band’s sound. The album that blends beautifully Rock, Country and Reggae influences, opens up with "Once Upon a Time in the West", which sets a contemplative tone with its moody guitar riff and introspective lyrics and Knopfler's unique and sensitive vocals. "News" comes right after with its beautiful guitar work by the Knopflers'. Such caressing and beautiful, and we can swear that if you will close your eyes you will feel as if the whole band is there in your room playing just for you. "Where Do You Think You're Going?" is another standout track, showcasing Knopfler's storytelling ability and the band's dynamic range. The song builds from a gentle, introspective beginning to a powerful, dynamic crescendo. The sound is so clean worm, you can actually hear every slide on the guitar neck and every breath of Knopfler - just A perfect song and production. The Theme song "Communiqué" comes right after with a honky-tonk vibe, but after the beautiful intro takes another musical direction. "Lady Writer", the lead single from the album, is one of the more upbeat tracks and features a catchy guitar hook. This song has all the ingredients from the debut album, and could have been an outtake from it. It was inspired by a woman writer Mark Knopfler saw on TV, speculated to be Marina Warner, known for her writings on the Virgin Mary. The song reached number 45 on the Billboard Hot 100 and number 51 on the UK Singles Chart. Another two worth-to-mention tracks from the album are "Portobello Belle" and "Single-Handed Sailor" with the former's folk-influenced sound and the latter's "electrifying" up beat guitar. The album ends up with the bluesy and "Follow Me Home" that leave us with a taste for more of this hypnotizing music. "Communiqué" might not have the immediate impact of "Dire Straits'" debut, but it is a strong follow-up that showcases the band's growth and versatility. It rewards repeated listens, revealing more of its nuances and subtleties over time. For fans of "Dire Straits" or anyone who appreciates a great sound, masterful production and well-crafted rock music with a touch of sophistication, "Communiqué" is a must-listen. The album is a testament to "Dire Straits'" ability to create music that is both accessible and artistically satisfying. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

After we did some thinking and reflection, we decided to be blunt, direct, and without a trace, just like this album, Metallica's eighth album released on June 5, 2003. So let's start with the story as it is perceived in our eyes... If "Load" and "ReLoad" were controversial albums that finally split Metallica fans into two groups, one loved and embraced the change the band brought while the other hated, rejected, and was outraged at the metamorphosis in sound and style, then on the album "St. Anger" Metallica took over those two groups on all their charges, put them in two buckets of water and kicked them out with tremendous force, washing away the fans along with the water... Since the release of the "Black Album", Metallica has started collecting negative charges. The band's credibility was questioned, its creative honesty was questioned and its desire to succeed at the expense of professional integrity sat on its shoulders like huge basalt rocks. The one who of course was brought to the fore at every opportunity and for whom the almost exclusive responsibility was placed was Bob Rock. The man who produced the "Black" album and has since produced all the Metallica albums up to "St. Anger" inclusive! These charges caused many conflicts within the band, some of which are depicted in the movie "Some Kind Of Monster" which tells the story of the recording of the album "St. Anger". This is a very important film in its essence to understand what the band went through in the period since the release of the "Black" album. Metallica decided to share it with the fans, which is a bold thing in itself. Entering the band's room while undergoing psychological treatment is revealing, embarrassing, and even painful. The film softens a bit the digestive action of the album "St. Anger" as the exposure of what goes on behind the scenes helps us understand the crises this band went through along the way and thus evokes some empathy that helps us try and get the album despite the great difficulty of containing it. The story of Metallica and the album "St. Anger" have many complicated elements like... The departure of bassist Jason Newsted was caused by the abuse and degrading treatment of the band members for many years. He said in one of the interviews that he never felt part of the band, and always received contemptuous treatment and abusive behavior on the part of Hetfield and Lars. This period affected him significantly and caused him deep mental damage, so he decided he could not continue (after all who leaves one of the biggest bands in the world at its peak?). Hetfield suffered from severe alcohol addiction and some say drugs as well. While working on the album he went into rehab for a year and continued after his release. After he came out of rehab the situation was even more difficult since he had huge difficulties handling reality as it is. There are moments in the film where it hurts to see Hetfield struggling with himself and the reality taking place around him. There are even moments when you as a viewer fear for the life of the main character and the band. (Photo: Kevin Winter) Bob Rock who was already an integral part of the band was a partner in the whole process they went through. Since the fan base blamed him for Metallica's deterioration, he had to deal with a bunch of demons. Demons who came from the outside but also demons who came from the inside. When the situation heated up, something that happened very often, the band members pointed an accusing finger at him for their condition. (Now imagine Hetfield and Lars staring at you with accusations). It was pretty clear this was the end of a great friendship (some of you would define it differently) and Bob who recorded the bass roles on this album ended his career with Metallica after the album came out. To deal with all the problems, intrigue, precipitation, and troubles, Metallica took a coach/therapist who accompanied them throughout the process. We think that a lot of the style and sound of the album are related to that same coach. He pressured the band members to be real, to get everything out, no trace, no filters. Rough, unequivocal, uncompromising, and unpolished. One of the most notable hallmarks of this album, aside from the style of music and song structure is the sound of Lars' snare. A very difficult-to-digest sound that drummers rarely use. Just for the technical understanding of how such a sound can be extracted (which we think is important here), under the snare, there are coils made of iron attached by a mechanism to the bottom of the snare. The usual sound of the snare is when these coils are stretched and attached to the bottom of the snare's drumhead by the same mechanism. When this mechanism is open the coils do not touch the snare's drumhead the outcome is a sound is a combination of a Tom with a metal echo. Lars liked the sound, he made another little adjustment (pinned the reels very loosely) and decided to keep it throughout the recording of the album. In one of the interviews, he said that he felt the drum "sang to him" in a very nice way! You must have noticed that this album does not have grandiose solos or fancy guitar poems, in fact, there are no solos at all on the album, unlike the previous albums. Hetfield and Kirk decided they did not want to create an engineered sound or concoct riffs and solos with processed recipes, but instead, to go for a rough, real line in the style of "what comes out I am pleased with". No adaptations, special effects, or dubbing. The guitars were clean and sounded like something emanating from a band playing in the garage of a house or in a dim rehearsal room in south Tel Aviv that had seen better days decades ago. The song that opens the album, "Frantic" is just what it takes to understand what awaits us next, and as the name of the song, one has to be really "crazy" to keep listening to what happens next. "Frantic" is the second single from the album and actually sums up what Hetfield went through in the two years of writing the album or maybe even long before. The second song on the album is a song that bears the name of the album and not just, it is the essence of the album both in terms of sound and lyrics. It was the first single from the album and won Metallica a Grammy win in 2004. The clip for the song was shot at "San Quentin State Prison" located in California which is one of the hardest and most notorious prisons in the US. This is the first appearance of Robert Trujillo, the new Metallica bassist who joined with the album's release. The third song, which bears the title of the documentary "Some Kind Of Monster", lasts about 8 minutes and tires the listener with Metallica's tough and uncompromising sound on this album and is the beginning of the journey. If you have survived this far and enjoyed it, then from here you are on a roller coaster that occasionally derails. If you did not survive, you are asked to come down and try to get a refund on the ticket at the box office. At every opportunity the band members talk about the album, they say they wanted this album to be like it used to be, four friends meeting in the garage, writing and playing rock music. No polished production and no polishing sound, guitars, or drums. Music with a raw sound that comes out of the stomach and sounds, in reality, that way to record it. And for the most part, this was indeed the case. An album written with a lot of emotion, and a lot of charge, and reflected exactly what the band experienced at the time. Like the post about the band from yesterday, we are sure that today there will be conflicts about the album (we like conflicts, especially "FaceOff"), you probably belong to one of the buckets kicked by the band, but the question is whether you returned to one of the buckets or gave up and went looking for others? A band is a living and breathing creature, people who make music and create it from the gates, from within. So even if we do not like, get angry, worry, or even hurt by what the band does, we must remember that in the end, these are people like us who are affected by what they go through in life. When these influences usually find themselves in the work of art, and in most cases it is positive and it is good. Did this happen in "St. Anger" as well? You're probably already guessing what we think, but each of you will take it from here in the direction that suits him! You can listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

We are often required in our reviews to question the legitimacy of the evolution of artists during their careers. Is it considered as a natural development and blessed innovation or should it be perceived as deterioration, commercialization, and even in some cases as a betrayal of its fans? There is no unequivocal answer to these questions, and we do not think it is always possible to find where the thin line between genius and commercialism. What is certain is that there is always a tension between the artist's desire to sell as much as possible and the desire to go with his musical truth. Today we are interested in opening this topic up for discussion and hearing your opinion. We have a feeling that this album is one of which the disagreement regarding the musical change is among the biggest that exists. We're talking about "Metallica's" controversial sixth studio album "Load" which was released on June 4, 1996. If the 1991 "Black Album" marked a turning point in Metallica's sound, this album has already broken down the band's DNA, with influences from alternative, blues, southern rock, and even country. This is the band's longest studio album going on approx. 79 minutes. The material for the album was written together with the material for the album "Reload" which was released a year later. The first intention was to release a double album, but recording such a large amount of songs spread over long minutes caused the band and its management to decide to initially release the album "Load", with the band continuing to record the rest of the songs to be released on the next album. Unusually for the rest of the band's albums, the album "Load" includes three relatively quiet songs "Hero of The Day", "Bleeding Me" and "Mama Said". (Photo: rockcelebrities.net) It is also the band's first album with only three songwriters. James Hetfield wrote the lyrics of all the songs, while he wrote the music together with Lars Ulrich in collaboration with Kirk Hammett who participated in writing the music for six of the 14 songs. The album has a very heavy and dark vibe. This is due to two main reasons; First, it's the band's first album where all the songs were recorded with James and Kirk's guitars tuned down in the E-Flat tuning. Some of the reefs here will even remind you of Black Sabbath, take "2X4" for example. Second, a large portion of the songs deals with death, addiction, and depression. "Bleeding Me", "Mama Said", and "Until It Sleeps" were influenced by Hatfield's mother's death, "Thorn Within" and "Poor Twisted Me" deal with his depression, "The House Jack Built" and "Cure" Engaged in alcohol and drug addiction and the song "The Outlaw Torn" was influenced by the death of Cliff Burton. It is interesting to note that the song was shortened by about a minute to allow "Load" to be released as a single album. A full version of the song can be found on the B-Side for the single "The Memory Remains" where it reaches 10:48 minutes. If the substantial change in the musical style, the general vibe, the writing themes, and the aim toward mainstream was not enough, then the album was also accompanied by a change in the appearance of all the band members who chose to part with their long hair. The change was interpreted by some fans as betrayal and contempt, but not only. Mike Inez from the band "Alice in Chains" wrote on his bass guitar the phrase "Friends Don't Let Friends Get Friends Haircuts ...", during Alice's unplugged performance where Metallica members sat in the crowd. On the other hand, some welcomed the change and believed that it was a legitimate change and development that was preferable to stagnation and standing still. And now it's your turn, we're really curious to hear what you think of the change. If you want to remember before you respond, go to: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 4, 1984, Bruce Springsteen releases his seventh studio album, "Born in the U.S.A." It's the album that marked the height of Bruce Springsteen's commercial success, with sales of 30 million copies worldwide. The album stayed for 84 consecutive weeks in the top ten of the Billboard charts. 7 of the 12 songs on the album have become successful singles and huge "hits" in the top 10 American Billboard, making it one of the most successful albums of all time. The success story of this album begins somewhere in 1980 when Bruce Springsteen after the tremendous commercial success of the double album "The River". Springsteen called this album a "gateway" to his future writing. In 1981, Springsteen was asked to write music for a movie that was to be called "Born In the U.S.A." This was while he was working on his solo album "Nebraska", which drew quite a bit from the stories and inspiration of "The River". Springsteen took the music he wrote for the film and merged it into a song called "Vietnam", which he intended to include on the album "Nebraska", from 1982. However, in the end, the film "Born In the U.S.A." was released only in 1987 and was called "Light of Day", so Bruce was left with a song called "Born In the U.S.A.", which deals with the hardships the Vietnam War veterans experienced upon their return home. It was the first song written for the album. It is interesting to noteת that this was not the only song from the album that was written before the release of "Nebraska". The sessions for the album "Born in the U.S.A." actually began in January 1982, about nine months before the release of "Nebraska". What’s more, most of the songs on “Born In the U.S.A.” were recorded even before the album “Nebraska” was released, they just didn’t fit into the atmosphere and writing themes of “Nebraska”. Not many know, but Springsteen wrote close to 70 songs for the album, with only 12 of them finding their way into "Born In the U.S.A.". Some of them will later surface in collections of rare tracks and some were released as b-sides, like "Pink Cadillac," which became a hit in its own right. The secret of "Born In The U.S.A." success is probably the combination of the musical style and writing themes. This can be learned from the very first seconds of the album. Roy Bittan's synthesizer sound and Max Weinberg's snare drum beat (both members of "The E Street Band"), reveal the album's big secret. Melodic and catchy material played with a rich and updated sound, wrapped in a perfect pop-rock production, light years away from the melancholic folk sounds of the previous album. Now add to that the writing topics that get stuck like an arrow in the heart of American society and you have a winning recipe. This winning combination runs as the second thread between most of the album's songs and at least among all seven singles released from it. The first single "Dancing in the Dark" was written by Bruce Springsteen out of frustration, about the difficulties of writing a good song that would become a "hit". Ironically "Dancing in the Dark" became Bruce's biggest hit in the US. It was the last song written for the album, after Springsteen manager Jon Landau demanded a "hit". Although Bruce already had about 70 songs in his pocket, he wrote the song that same night, since Landau was not happy with the rest of the songs and demanded the "hit" that would make Springsteen a super-idol (Since Bruce was already an idol). Landau and Springsteen got it with this catchy, melodic synthesizer riff. A wonderful song that was released as a single before the album's release, in May 1984. This song also earned Springsteen his first Grammy, with a plowed clip on MTV featuring actress Courtney Cox (from the "Friends" TV series ), coming up the stage and dancing with Bruce. After this "hit" America no longer had any chance. It was captivated by the boss's charms. About three months later, Bruce releases "Cover Me" a pop song served on a bed of rock and blues, featuring the sweaty guitars of the boss and Steven Van Zandt and the great Garry Tallent's bass work. Springsteen originally wrote the song for Donna Summer, but his manager, Jon Landau, demanded that it will be included on the album. Demanded and was right! The song entered the top ten on the Billboard charts. By the time the fourth single was released from the album (the third was the theme song), it was already clear to everyone, that the boss is the hottest thing in music that year. Hottest? He was going up in flames". "I'm on Fire" is a simple but powerful ballad. This is one of the first songs recorded for the album and originated in an impromptu jam session between Bruce Springsteen, keyboardist Roy Bittan and drummer Max Weinberg. The production is just perfect and minimalist. Keyboards and guitar touches, the soft beats on the rim of the snare drum, and the brushing technique, make this song a masterpiece. The fifth single "Glory Days" repeats the perfect formula that combines the sounds of the catchy synthesizer with the guitars. Springsteen sings here about an encounter with an old friend who was a high school baseball player. The encounter did indeed happen. The player is Joe DePug, who was a classmate of Springsteen and played with him on the baseball team. The first few seconds of "I'm Goin' Down", the sixth single from the album, will surely remind you of "Dire Straits", the rest is not too far away either and it features an interesting Clarence Clemons saxophone solo. Although the single was only released on August 27, 1985 (over a year after the album's release), it was recorded with the "E Street Band" back in May 1982. The last single released from the album brings Springsteen back to his roots. "My Hometown" is about Springsteen's experiences and memories of his hometown - "Freehold", New Jersey. Bruce does not have many nice things to say about the place. The words are a grim portrait of working-class people at the time Ronald Reagan was the president when many small towns collapsed under the economic burden. Springsteen describes a factory closure in the song lyrics ("They're closing down the textile mill ..."), this prophecy came true when "3M company" closed the factory in his hometown in 1985. This album kicked off Springsteen's already successful career when the song "My Hometown" establishes his status as the voice of the "working class" in the US. With this unprecedented success, Springsteen embarked on his biggest tour to date. This tour will end up with a set of Five records box called "Live 1975-85", which only proved to the rest of the world what the fans who attended Bruce's shows already knew. Springsteen is the "boss" !!! And the hand? What about the hand on the iconic cover? Did Springsteen's protest lead him to pee on the sacred flag? We let you decide after you listen to the album. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 4, 2007, "Dream Theater" released their ninth album "Systematic Chaos". The name of the album seems to accurately show what it made us feel: a "systematic chaos" and great confusion. Feelings that have changed from love and admiration to disappointment and contempt. Similar to the review on "Metallica's" "Load" album - also released on this day in 1996 , we believe that this album was received with mixed feelings by the band's fan base and even caused a great deal of controversy. Some of the band's longtime fans disliked the band's lack of innovation, stagnation, and repeated use of the same tricks familiar and "chewy" they had used in the past, and there were those who welcomed the fact that the band remained true to itself and its style. To the band's credit, we'll say, that it did not attempt to diminish the issue of "self-repetition" and the fact that they gave the listener "more of the same." In an interview Mike Portnoy gave "Tama.com", he described the album as containing all the elements that people would expect from a "Dream Theater" album. And in his own words: "Heavy and technical, powerful and dynamic, all of the elements that people kind of expect out of a Dream Theater album" We must admit that the inner "chaos" regarding this album continues with us to this day, but like the enjoyment of "Zhug" (spicy Yemen hot sauce), even though it burns yet you continue to eat it, we manage to enjoy this album very much despite these "burns" we receive during Listening to the album. Why "burns"? Because we also think that the band followed in the footsteps that were expected of them and lost the boldness and innovation somewhere in the process. It started with the album "Train of Thought" and continues here. "Dream" was too busy maintaining the status quo and forgot that what brought them to greatness was thinking outside the box. In an attempt to preserve the existing good, the band did not hesitate to copy from itself, but more than that it was not afraid to "lend" from others. Every such "lending" (and there are quite a few here) causes us to this day to "burn" but for some reason, as we said it is a burn that like "Zhug" you end up enjoying. Examples of those "burns" can be found, among others, in a riff copied from "Metallica", in the singing during the verses in the song "Constant Motion" which is very reminiscent of James Hetfield's, in the riff in the song "The Dark Eternal Light" which sounds like a riff written by Dimebag Darrell from "Pantera", In flirting with nu-metal and rap-metal a-la "Linkin Park" in the song "Prophets Of War" whose opening corresponds in general with "Muse" and for a moment also reminded us a bit of "Ayreon", in the clear "borrowing", from "Porcupine Tree" including Steven Wilson's singing in the song "Repentance" that towards the end has clear "loans" from "Pink Floyd" with a recitation that will take you back to the "Caress Of Steel" by "Rush" and more and more. And as you develop resilience with the increasing use of "Zhug‏‏‏‏", here too the repeated listening to this album obscures the intensity of the "loans" and underneath it is a charming album with excellent melodies and amazing virtuoso playing ability as only "Dream Theater" members can provide and is well reflected already in the long intro to the opening song "In the Presence of Enemies - Part I". Even though "Dream" can perhaps be blamed for lack of innovation, we were not willing to give up this album, and songs like "Forsaken", with the melting melody and chilling melody, and "Constant Motion" released as the first single from the album and initially intended to be instrumental, "Repentance" which is part of the Portnoy "Twelve-step Suite" saga and features many artists such as Mikael Åkerfeldt, Jon Anderson, David Ellefson, Steve Hogarth, Neal Morse, Joe Satriani, Corey Taylor, Corey Taylor, Steven Wilson, the amazing "The Ministry of Lost Souls" and more. And now take the smoothie out of the fridge and join us for dinner: 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 - 03.06.1985 "I've reached a point in my life where I'm digging deeper and deeper into myself every time I make an album. And when I delve into things, I find some sad moods. The thing is to try and make something beautiful out of it." "Avalon" provided the magnificent closing chapter of "Roxy Music". As he prepared to marry his longtime partner Lucy Helmore, Bryan Ferry decided to put the band on hold at the height of its success. He took time to focus on his future family life, but that did not prevent him from returning to his first love: making music. Seven years after his previous solo album, "The Bride Stripped Bare", Ferry assembled an extraordinary group of musicians and continued exploring the atmospheric direction that had made "Avalon" so successful. He spent nearly eighteen months refining the material and carefully coordinating every musical detail with the players involved. Even Ferry was surprised by the final result. Released on June 3, 1985, "Boys and Girls", his sixth solo album, became the most successful record of his solo career, both commercially and critically. For the album, Ferry worked with nearly thirty musicians, many of whom were already acclaimed artists in their own right. Contributors included David Gilmour, Nile Rodgers, David Sanborn, and Mark Knopfler, each bringing their distinctive musical personalities while serving Ferry's overall artistic vision. The creation of "Boys and Girls" was a lengthy process built on experimentation and refinement. Ferry spent considerable time shaping the relationship between the lyrics, vocals, and musical atmosphere, while also dealing with recurring bouts of writer's block. The enormous success of "Avalon" created additional pressure as he attempted to establish a new creative direction for his next project. Ferry was determined not to allow "Boys and Girls" to become an "Avalon Part 2". Rather than repeating a formula that had already proven successful, he deliberately pushed himself toward new ideas and different musical textures. Recording began in July 1983 at Ferry's home studio in Sussex. Initially, he used drum machines and keyboards to sketch out the foundations of his new songs. As the project evolved, professional sessions were carried out at several studios. Ferry's reputation among his peers allowed him to recruit some of the biggest names in music, including David Gilmour, Guy Fletcher, Mark Knopfler, Tony Levin of "King Crimson", Marcus Miller, Omar Hakim of "Weather Report", David Sanborn, and Nile Rodgers. Despite the extensive list of guest musicians and recording locations, "Boys and Girls" remains remarkably consistent from a sonic perspective. The music feels like a seductive and elegant lover, even though the lyrics are rarely optimistic. It is sadness transformed into extraordinary musical beauty. Throughout the album, Ferry carefully maintains the atmosphere, balancing warmth, humanity, melancholy, beauty, emotion, romance, and awe as they flow from one song to the next. The album's biggest hit, "Slave to Love", perfectly illustrates how the record was designed both musically and lyrically. The music is seductive and sensual, while the lyrics reveal something much darker. Ferry sings about helplessness within a relationship, while simultaneously suggesting that he finds a certain pleasure in surrendering himself to the power of his lover. The official video for "Slave to Love" was directed by French filmmaker and photographer Jean-Baptiste Mondino. It features French model Laurence Treil, Dutch model Marpessa Hennink, and Swedish model Christina Bergström. The video interweaves glamorous scenes of the models lip-syncing the song in luxurious settings with footage of Ferry arriving at an airport and being pursued by paparazzi. The song would later gain additional exposure through its appearance in "9½ Weeks" (1986) and "Bitter Moon" (1992). The second single, "Don't Stop the Dance", draws inspiration from the classic standard "Stormy Weather", the torch song written by Harold Arlen and Ted Koehler and first performed by Ethel Waters in 1933. Eight years later, Lena Horne's celebrated interpretation became the definitive version of the song and was eventually inducted into the Grammy Hall of Fame in 2000. Musically, "Don't Stop the Dance" creates an atmosphere that is both sensual and seductive. On the surface, it appears to be a plea directed at the hedonist within all of us, but beneath that elegant exterior lies a deeper meditation on existence itself. The song explores humanity's search for meaning amid life's chaotic dance. As Ferry introduces a female voice that functions almost as a guiding presence, hinting at a world that is worn, damaged, and uncertain, he reflects a timeless human experience: drifting through life without a clear destination while trying to find purpose and connection. The song's imagery speaks to the uncertainty at the heart of the human condition. References to moving through darkness suggest not only the randomness of life but also the universal desire to find companionship, understanding, and light amid confusion. Ferry transforms personal reflection into something broader, touching on questions that extend far beyond romance. The music of "Don't Stop the Dance" is more than melody and rhythm. It functions as a lifeline. The repeated refrain urging the listener not to stop dancing becomes a call for perseverance, an invitation to keep moving forward despite stormy weather and the absence of sunlight to illuminate the path ahead. "A Waste Land" takes its inspiration from the celebrated poem The Waste Land by T. S. Eliot. The lyrics explore feelings of disappointment, spiritual emptiness, and the search for meaning in a world that often feels barren and chaotic. Much like Eliot's original work, the song reflects themes of alienation, loss, and disconnection, capturing the uncertainty and fragmentation of modern life. "Windswept" is one of the album's most beautiful moments. Wrapped in a dreamy atmosphere and enhanced by David Gilmour's tasteful guitar work, the song feels like a late-night reflection on love, memory, and the passage of time. "The Chosen One" feels as though it could be unfolding on a busy street corner along Fifth Avenue, yet its constantly shifting musical and vocal textures elevate it beyond a specific place or moment. The arrangement gives the song a timeless quality. Desire, longing, passion, love, and a hint of obsession all coexist within its atmosphere, creating one of the album's most emotionally nuanced performances. "Valentine" reveals Ferry's softer side and features the distinctive guitar work of Mark Knopfler. Beneath its sophisticated production lies a heartfelt song about longing and devotion. Knopfler's melodic touches blend perfectly with Ferry's romantic delivery. "Stone Woman" brings a darker and more seductive mood, elevated by David Gilmour's expressive guitar playing. Ferry paints the portrait of a mysterious and unattainable woman, while the elegant arrangement balances desire and uncertainty. The title track, "Boys and Girls", examines themes of love, relationships, and the complexities of human connection. Its lyrics suggest a longing for something deeper than surface-level attraction, expressing a desire for genuine intimacy and emotional understanding. The recurring imagery of boys and girls can be interpreted as representing different stages and dimensions of relationships, from youthful innocence and playfulness to the more mature responsibilities that come with emotional commitment. Beneath the elegant arrangement, Ferry reflects on the challenge of finding someone who truly understands and fulfills one's emotional needs. Ferry dedicated the album to his father, Frederick Charles Ferry, who passed away in August 1984 while the album was still being recorded. Commercially, "Boys and Girls" became the greatest success of Ferry's solo career. In June 1985, it reached No. 1 on the UK Albums Chart, becoming his first and only solo album to top the British charts. The album remained on the UK chart for 44 weeks, while its lead single, "Slave to Love", became a Top 10 hit in the United Kingdom. Just one month later, in July 1985, Ferry appeared at the historic Live Aid concert in London, accompanied by David Gilmour. The performance helped cement the visibility of "Boys and Girls" during one of the most successful periods of Ferry's career. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website