On May 15, 1990 "Dio" released their fifth studio album - "Lock Up the Wolves". The album was a significant change for the band in terms of lineup, musical style, and reception. The album features a complete change in the band lineup, with a new, younger, and international crew, comprising Jens Johansson on keyboards (ex-Yngwie Malmsteen), Teddy Cook on bass, Simon Wright on drums (ex-AC/DC), and Rowan Robertson as the new guitar wizard. Robertson won the role after Ronnie James Dio received 5000 tapes for consideration. About half the album was written when former members Jimmy Bain and Vinny Appice were still in the band, and they appear on several writing credits. Robertson has a co-write on every song, and Johansson has two, while Cook has one. The album features a mixture of styles ranging from fast and energetic like "Walk on Water" to slower and bluesy like "Evil on Queen Street" or "Twisted". However, the album's overall pace is slower, at times monotonous, aside from "Wild One", which has a groove nearing Speed or even Thrash Metal, making the decision to place it as the opening track very logical. "Lock Up the Wolves" is not without its standout tracks. "Hey Angel" has a catchy and memorable melody as if it was taken from the "Dream Evil" sessions. "Lock Up The Wolves" is a strong, dark track, which showcases Dio's powerful voice. "Night Music" has one of the best guitar solos on the album and it's guitar intro reminded us of Angus Young's guitar picking, and "Evil on Queen Street" is a great blues track that takes its title from a deli in Toronto that had a sandwich with that name. Unfortunately, "Lock Up the Wolves" was not well-received by critics and fans alike. Dio himself expressed dissatisfaction with the album's predecessor, "Dream Evil", feeling that the songwriting was unfinished and needed tightening up. Some of the changes he made in "Lock Up the Wolves" were a response to that, but even so, the album failed to impress, and that affected the band's status in the metal community, while the album became the lowest-charting "Dio" record apart from the live "Intermission". In the broader context, 1990 was very confusing for the metal scene. A time of change, showing great bands shifting and moving toward different directions and sounds. For some the change was great and rewording, like in the case of "Painkiller", "Cowboys from Hell" and "Rust In Peace", but others got lost in the way, like with albums such as "No Prayer for the Dying", "Slaves and Masters" and "Eat the Heat". Unfortunately, "Lock Up the Wolves" is more related to the latter group. It was Dio's lowest point after 4 great albums, but it still has its moments of brilliance. No wonder that after its release Ronnie James Dio took time off from "Dio" with a brief "Black Sabbath" reunion on the album "Dehumanizer", giving him time to think about his next move... For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 15, 1992, "Testament" released their fifth album, "The Ritual". This is the band's last album in their classical lineup, with drummer Louie Clemente and super guitarist Alex Skolnick, who will return to the band in 2005. The album marks a turning point for the band musically and its experience in other musical directions, including more melodic and slower songs. This is not a significant change as the old and familiar "Testament" can still be found on the album in heavy and fast sections like "Agony". On the other hand, there are quieter and more melodic tracks like "Return To Serenity", which is perhaps the best metal ballad ever written, and also more progressive and mystical tracks like the excellent theme song "The Ritual". When the album first came out there were those who criticized "Testament's" attempt to follow in the footsteps of Metallica's black album, which came out a year earlier. Listening to songs like "Electric Crown," "So Many Lies" and "Let Go Of My World" might explain what those critics meant. Today, however, it can already be said that the criticism was a bit excessive and the years that have passed since the album's release unequivocally prove that it was simply not properly appreciated. The songs mentioned above are absolute anthems that we listen to up to this day. True, the old and familiar "Testament" softened a bit on this album and focused more on melody and emotion, but still, this album is better than many other albums released at the time in the thrash scene. On this album, the band reached musical maturity. Chuck Billy proved he can sing and Alex Skolnick has shown that metal can hit you hard even without fast guitars and aggression. The bottom line, this is a good album by a band trying to go in a new direction at a time when the thrash scene has almost reached saturation, and there is nothing wrong with that. On the contrary! It proves how versatile and diverse this band is. If you are looking for a classic thrash at Testament, this is definitely not the place to start. However, if you're looking for a bit of variety, like Chuck Billy's voice clean and less rough, and you have no aversion to melody and slower rhythms, then take 55 minutes of free time and enjoy an extraordinary moment in the career of this great band. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 15, 1976, "Rising", Rainbow's second album, was released. This is without a doubt "Rainbow's" most balanced album and some argue that it is the band's best. What is certain is that this album is still considered a milestone in the history of hard rock and metal, With a clear impact on the sub-genres Power, Symphonic, Prog and even Speed Metal. Readers of the famous "Kerrang!" magazine even chose it in October 1981 as the best heavy metal album of all time. The story of the album recording begins with the end of the recording of the band's successful debut album, simply called "Ritchie Blackmore's Rainbow". The musicians on the debut album were all from the ELF band, which also included singer Ronnie James Dio. Guitarist Ritchie Blackmore was not happy with the performance of the line-up that included ELF members, so he refused to go on tour with them. Immediately after recording the debut album, Blackmore fired all the band members except Dio, and recruited new musicians, masters of instruments each in his own field. Keyboardist Tony Carey, bassist Jimmy Bain, and legendary drummer Cozy Powell, whose powerful drumming will impact the band's sound. With this new lineup "Rainbow'" embarked on their first tour starting in Montreal in November 1975 and during that time the band began writing material for their second album "Rising". (Photo: Classic Rock In Pics on Twitter) In February 1976 the band went on to record the album, which was recorded in Munich Germany in less than a month, under the watchful eye of "super" producer Martin Birch. Drummer Cozy Powell said in a 1996 interview that most of the album's songs were recorded in one or two takes, which is probably also why no demo versions or early recordings of songs from the album can be found. Known as a freak of control, Blackmore gave the new band members, in a completely uncharacteristic move, musical freedom of action, and this was expressed both in terms of content and sound, fundamentally different from the previous album, more compact, dynamic, and aggressive. Proof of the freedom of action given to the musicians can be found already at the opening of the album, in the song "Tarot Woman" which opens with an intro synthesizer, long, wild and dramatic, long before Blackmore's riffs segment and break it out into a fade-out into the song. From there we move on to the song "Run With The Wolf" which has a "groovy-bluesy" sound that is a bit reminiscent of what Coverdale and "Whitesnake" will do not long after. Blackmore's guitar work here is noteworthy, the drumming of Cozy Powell is heavy and steady and the sound of a dominant and powerful Dio. At this point, the listener should already be beginning to understand that this is an excellent and quality album. The song "Starstruck" continues the groovy line of its predecessor and is also the best song on the first side of the album. Blackmore's catchy riffs, Carrie's "Jon Lord" ish organ, and Dio's powerful vocals sound the closest to Deep Purple that "Rainbow" will ever hear. The song was written about a Blackmore fan named Muriel who was his "stalker" for a very long time. The track that seals the first side of the album "Do You Close Your Eyes", is also the shortest on the album. A direct and focused number that includes a simple but incredibly catchy reef of Blackmore. The other side of the vinyl includes only 2 songs, and it opens with one of Rainbow's great tracks and arguably the most prominent track on the album - "Stargazer". The song opens with an intro of thunderous and rolling drumming from the legendary Cozy Powell and from there develops into an epic work of over eight minutes, featuring progressive-oriental elements. The mystical lyrics were written by Dio and they tell the legend of a sorcerer who obsessively longs to fly and enslaves a huge army of people so that they can build a tower for him, from which he can take off and fly. The people hope that their slavery will cease, as the construction of the tower takes place in very difficult conditions (In the heat and rain, with whips and chains). Eventually, the sorcerer climbs to the top of the tower, but instead of soaring up he falls and finds his death like any other mortal. By the way, in the lyrics you can also find a hint of the name of the band and the album in the sentence: Look at his tower of stone I see a rainbow rising, and indeed the rainbow is "shone" in this album and song. Interesting that the original melody of the song was written on cello. Blackmore, who at the time was experimenting with cello, began playing the main riff, and the rest is history. Perhaps this is also the reason why the Munich Philharmonic participates in the recording of the song. The track that seals the album "A Light In the Black" is another long, powerful, and epic section that is a direct sequel to its predecessor, only more rhythmic and powerful. Blackmore's classic intro, Jimmy Bain's stunning baseline, Dio's dynamic voice, and Tony Curry's virtuoso synthesizer solo sweep the song to the end of the album in a powerful climax. Immediately after the release of the album, the band went on a tour, this time already in a well-formed and well-oiled lineup. Unfortunately, only a small part of the album's songs was included in the setlist in the performances that accompanied the release of the album. "Stargazer" and "Do You Close Your Eyes" were written before the album was recorded and appeared in the setlist of all the band's performances from the end of 75 and during the year 76. "A Light in the Black" which seals the album dropped from the setlist in early 1976 and the song "Starstruck" Got a minimalist and abbreviated version as part of the song "Man on the Silver Mountain". It can be summed up and said that "Rainbow" reached the peak of their work and performance on this album. In almost 50 years since its release, so many masterpieces have been released in hard rock and metal. At the same time, it can be said with almost certainty that only a handful of metal albums from the 70s reached the level of compositions and music that "Rainbow" reached on this album, so in light of the period in which it came out, this is a perfect album. The impact of this album has resonated for decades to this day, and it is also considered by many to be "Rainbow's" best album. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

He is a musical genius, a distinct and amazing musical autodidact, a multi-instrumental virtuoso, and an original and influential musician and composer. Here are some interesting facts about Mike Oldfield: (Photo: Virgin Records) 1. He was born Michael Gordon Oldfield on May 15, 1953, in Reading, Berkshire, England. 2. He started playing the guitar at the age of 10. At the age of 12 he was already performing in clubs with an electric guitar. 3. At the age of 14 he formed a duo called Sally-Angie, with his older sister Sally. In 1968 they released an album called "Children Of The Sun", most of which were their original compositions. 4. In 1970 he joined the progressive rock band "Kevin Ayers and the Whole World". He played guitar, bass, and other instruments during his time with the band. 5. Mike Oldfield is known for his unique guitar-playing technique. He is one of the few that plays the electric guitar with his fingers and don't use a pick. 6. In 1973, Mike Oldfield released his groundbreaking debut solo album, "Tubular Bells." The album featured an array of instruments played solely by Oldfield, with mesmerizing and intricate compositions. (Photo: Virgin Records) 7. Mike started composing "Tubular Bells" at the age of 17. He played all instruments on the album which includes more than 250 layers of sounds. 8. The album was the first to be released through the new "Virgin Records" company It topped the UK Albums Chart and achieved international success and became a defining album of the progressive rock genre. 9. But Oldfield didn't stop there. He brought this magnificent album to the stage. When he was only 20 years old, he arranged a live performance of the whole album. It took 21 musicians (including Mick Taylor) and 12 singers among others his sister Sally Oldfield to perform all of Oldfield's roles and instruments on the original album. 10. Following the success of "Tubular Bells," Oldfield continued to experiment and push musical boundaries. In 1974, he released "Hergest Ridge," a beautiful and pastoral album. 11. Then came another masterpiece album - "Ommadawn" released in 1975, which showcased Oldfield mastery of world music influences. 12. In 1977, Mike Oldfield recorded the overture of "Wilhelm Tell" by Rossini. He played all the instruments. 13. Oldfield's album "Incantations" (1978) further displayed his ability to create intricate and epic compositions, often spanning multiple movements. In 1982, Oldfield released the album "Five Miles Out", which included the hit single "Family Man," featuring Scottish singer Maggie Reilly. 15. In 1983, Oldfield released the album "Crises," which featured the hit single "Moonlight Shadow", with vocals by Maggie Reilly. The song became an international success and remains one of his most recognizable tracks. 16. Oldfield continued to collaborate with Maggie Reilly on his next album, "Discovery" (1984), which included the hit single "To France". Oldfield's albums "Islands" (1987) and "Earth Moving" (1989) showcased his ability to adapt to evolving music trends while maintaining his distinct style. 18. Oldfield's diverse collaborations include working with artists such as Adrian Belew on the album "Earth Moving", Bonnie Tyler on "Islands," and more. 19. In 1992, Oldfield composed the score for the critically acclaimed film "The Killing Fields", directed by Roland Joffé. 20. Oldfield's album "Tubular Bells II" (1992) served as a highly anticipated sequel to his iconic debut album. It showcased his continued musical evolution while paying homage to the original work. 21. In 1998, Oldfield released "Tubular Bells III," another successful installment in the "Tubular Bells" series. The album featured new compositions and innovative arrangements. 22. Throughout his career, Oldfield has released several albums exploring new age and ambient music, including "Songs of Distant Earth" (1994), inspired by Arthur C. Clarke's novel, and "Voyager" (1996), which draws inspiration from NASA's Voyager space missions. (Photo: Virgin Records) 23. Oldfield's later albums include "Man on the Rocks" (2014), which marked a return to a more rock-oriented sound, and "Return to Ommadawn" (2017), a sequel to his classic album "Ommadawn." 24. Over the course of his career, Mike Oldfield has received numerous awards and accolades. He has been nominated for several Grammy Awards, including Best Instrumental Composition for "Tubular Bells – Theme from The Exorcist" and "Best New Age Album" for "Voyager". 25. Oldfield's contributions to music and his enduring influence have earned him a dedicated fan base worldwide. His ability to create diverse and innovative compositions spanning various genres has solidified his status as a pioneering and respected musician. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 12, 2021, Myles Kennedy released "The Ides Of March". Myles Kennedy has demonstrated his exceptional vocal skills in various musical projects, including "Alter Bridge," his collaboration with Slash, and as a solo artist. He is considered to be one of the most skilled and talented vocalists in modern rock music. In 2021, some people might not find Myles Kennedy's style of earnest and classic hard rock exciting, but regardless of personal taste, his second solo album following 2018's "Year of the Tiger" shows that he is extremely skilled at his craft. While the opening of a song like "In Stride" may sound familiar with its Southern-fried, country slide guitar, Myles's smooth and distinctive voice quickly captures your attention and makes you nod your head along to the music. The Ides Of March is a great pleasure for Myles' devoted fans. Unlike his previous album, which had a country vibe, this album has a more down-to-earth, bluesy hard rock sound that tones down what we're used to hearing from Myles. Nonetheless, listeners can still appreciate Myles' exceptional vocal range, well-crafted lyrics, and excellent production value, and have a great time enjoying his talent as a musician. Listen to the album on: Spotify, Apple Music. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Linkin Park's third album has something symbolic. It symbolizes the process of puberty of a child who becomes a man. Let us open with a quote from Chester Bennington: “We thought,‘ Fine, you’re pissing us off. We’re going to make something so different that you can shove nu-metal up your ass” After two crazy and highly successful albums "Hybrid Theory" and "Meteora," the band members took a break to concentrate a bit on their personal lives. After the hurricane success in sales, performances, interviews, and a schedule of rock stars. They wanted to be with their families, with friends, and even to go to the grocery store (do you believe it?) To feel a little normal and put all this craziness on Pause. But of course, over time they could not stop creating, Mike Shinoda set up the hip hop project "Fort Minor" and Chester the rock band "Dead By Sunrise" when before that the collaboration with Jay-Z called "Collision Course" came out. The work on the album began in 2006 when the members were searching for themselves different and varied ideas and reach a state where they recorded dozens of demos that eventually drain into about 50-60 songs. From that point, they begin to work in-depth and formulate final materials. If in the previous albums, the working time on the album lasted about six months, here the members reached 14 months, a fact which in itself implies the way they work and how many attempts and various dilemmas they went through. For the album, they enlisted the megastar producer Rick Rubin alongside Mike, who is already regularly in charge of the production, a collaboration that has also continued for the next two albums that generally feature long-distance trips to new music spaces. The band members just could not repeat themselves and maintain the same musical genre, both in terms of creation and in terms of musical relevance. To tell the truth, it would have seemed a bit lame and untalented, especially given the fact that along with their puberty, their fans have also matured. So it was decided to adopt the maturity which is reflected in the fact that... Many orchestral strings were added with the help of Canadian conductor and composer David Campbell. Mike's rap segments have dropped significantly (for just two songs) and are a larger volume form in harmony with Chester as background vocals. Joe Hahn's scratching has dropped significantly compared to previous albums as Han moves to a more electronic position. However... The guitars got a different volume and character, with occasional small flickers of solos and mostly strong riffs in the chorus. Unusual and amazing is the song No More Sorrow. A lot of use of electronic sounds that create a dramatic atmosphere and dynamics is very different from the use made of them in previous albums. Two more elements have proven to be the puberty of the bunch with the spikes and wide pants. The first (and do not laugh) is the Parental Advisory warning that, unlike the previous two albums, does not exist on this album, and the second element is the reference to politics and the environment that is clearly reflected in the lyrics of the songs and also in the clip of the first single from "What I Done". If we're already talking about this song, then it's hard not to refer to the lyrics of the song which is a kind of farewell song of the band to what it was... "In this farewell / There’s no blood, there’s no alibi / ’Cause I’ve drawn regret / From the truth of a thousand lies / So let mercy come and wash away" This album is unquestionably a dizzying success for the band. It immediately snatched first place in the Billboard 200 and even more, he won first place in more than 20 countries worldwide!! Looking back this is undoubtedly the album that was the band's opening shot in long-distance running and different, weird musical spaces, remember the DNA discussions, so this is one of them. Listen to the album on 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 - 14.05.1977 In many cases, there is a direct correlation between the relationship record labels have with their artists and the artists’ ability to succeed. If you want an artist focused on their music, give them the freedom they need, though not every artist requires complete creative freedom. One of the most bizarre stories of deliberate sabotage by a record label happened at the end of 1976, when “Mushroom Records” decided to promote one of its most promising acts, “Heart”, in a very unusual way. “Mushroom” published a semi-nude photo of sisters Ann and Nancy Wilson standing back-to-back and smiling mischievously, with the headline strongly implying: “It was only our first time”. Not only did the label suggest to the world that the sisters were supposedly lesbians, but it also hinted at an incestuous relationship between them. Naturally, all of it came from the twisted imagination of the people at “Mushroom”. The Wilson sisters, who had no idea what was happening behind their backs, were approached one day by a radio promotion representative in Detroit who bluntly asked them whether they were actually lovers. The sisters later said that the label had spread false information that completely went against their values and had done so behind their backs without any shame. Following the encounter with the salesman, Ann Wilson stormed into her hotel room and wrote the following lyrics: “You lying so low in the weeds, I bet you gonna ambush me”. It became the furious and fast-paced attack of "Barracuda", written against the record label “Mushroom” and the small-minded people who cynically exploited band members to promote them in such a disgraceful way. It was also "Barracuda" that opened “Heart”’s third studio album “Little Queen”, released on May 14, 1977. “Heart” was formed a decade before this album under the name “The Army”, featuring bassist Steve Fossen, guitarist Roger Fisher, Don Wilhelm on guitar, keyboards and vocals, and Ray Schaefer on drums. Over the years, the band went through numerous lineup changes and later changed its name first to “Hocus Pocus” and eventually to “White Hart”, inspired by a book by physicist and science fiction writer Arthur C. Clarke. In 1970, Ann Wilson joined the band. Born in June 1950 in San Diego, California, she spent much of her childhood moving between military bases in Panama and Taiwan because of her father’s career as a major in the U.S. Marines. To preserve a sense of home wherever they moved, the family turned Sundays into musical gatherings, ranging from opera records to singing and conducting together with their father in the living room. About three years later, in 1973, Ann’s younger sister Nancy Wilson also joined “Heart”. Both sisters realized music was their destiny after seeing “The Beatles” perform at a young age. During their early teenage years, their parents bought them guitars, and after their father retired from the military, the family settled in Seattle. Years later, the Wilson sisters would become owners of a Seattle recording studio that hosted many of the musicians who helped turn grunge into a dominant genre in the early 1990s. Meanwhile, after watching “The Beatles” on “The Ed Sullivan Show”, the Wilson sisters formed a vocal harmony group called “The Viewpoints” and began performing around the United States before eventually joining “Heart” in the early seventies. Ann and Nancy Wilson started writing songs, mostly acoustic material, to expand the band’s repertoire. They recorded demos at “Mushroom Records”, and together with producer Mike Flicker, the “Heart” lineup of the Wilson sisters, Roger Fisher, and Howard Leese began working on their debut album “Dreamboat Annie”, released in September 1975. During 1976, the band began work on what was supposed to be their second studio album, planned for release later that year. Everything changed when “Mushroom” made the disastrous decision to sacrifice the Wilson sisters’ principles for a provocative photo published in Rolling Stone magazine. “Heart” responded by putting the album on hold. Eventually, the record was still released, even though several songs remained unfinished in one way or another. The band had no choice but to honor their contract and release the material as it was. Their third album, “Little Queen”, arrived under a new contract with the label “Portrait”. The album blended the folk-inspired elements of their debut with classic rock influences. Instruments such as flute and mandolin can also be heard throughout the record, making it clear that this was far from a straightforward classic rock album. The album opens, of course, with "Barracuda", whose dominant riff was allegedly borrowed without permission from a song by “Nazareth”, something that reportedly angered the band once they became aware of it. "Dream of the Archer" belongs to the album’s folk-oriented side, blending mandolins with medieval imagery and atmosphere. "Kick It Out" is a straight-ahead classic rock track featuring a triumphant closing solo by Roger Fisher, carrying a simple but effective message about making the most of life while we are here. The title track "Little Queen" deals both with the rise and success of a musician and the loneliness that can come with suddenly reaching great heights without being prepared for them. It is fair to say that this “Heart” album helped pave the way for future female-led rock bands. As Billy Altman of Rolling Stone summarized it: “Lord knows we need many more women in rock and roll.” 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 - 11.05.1998 Shirley Manson famously described sitting among industry legends like Madonna and Shania Twain at the 1999 Grammy Awards as a bizarre and defining moment for her band. She later reflected on the surreal experience of the underdog group suddenly finding themselves surrounded by some of the biggest stars in the music industry. It was “Version 2.0”, released on May 11, 1998, that transformed “Garbage” from one of alternative rock’s breakout acts into a proven force, strengthening the band’s status with a nomination for Album of the Year and impressive sales of around four million copies worldwide, including 1.7 million in the United States. The album also featured some of the strongest songs in the band’s catalog. Band member Butch Vig later explained that the process began at the beach house of label founder Jerry Moss in Friday Harbour, San Juan, where the band isolated themselves for a month with nothing but the sea, wine, and their thoughts, giving them the peace and focus they needed before beginning the recording sessions. After “Garbage” became one of the biggest breakthrough acts of 1996, the band understood they needed to take the musical style of their debut album and elevate it further rather than remain creatively stagnant. As work on the next album began, the music industry itself was changing rapidly. More and more artists were moving away from guitar-driven music and incorporating electronic elements into their sound. Butch Vig and his bandmates embraced that evolution as well by entering the digital era and working extensively with Pro Tools, software that streamlined the production process during the recording sessions for “Version 2.0”. Even the album’s title reflected the band’s desire to evolve and upgrade themselves artistically. “Garbage”’s work with Pro Tools shortened many production processes and represented an early glimpse into the efficient digital workflows that later became standard throughout modern music production. At the time, however, some music fans viewed the band negatively because of it, sometimes seeing them as musicians hiding behind technology. In retrospect, they were simply ahead of their time. A significant part of the album’s distinctive sound came from Butch Vig and Steve Marker, who had first worked together in the band “Spooner” before later founding “Smart Studios”. All of the technical experience they accumulated over the years found its way into “Version 2.0”. Together with engineer Billy Bush, they even built a drum setup inside an abandoned candy factory, recording unusual and interesting sounds while taking advantage of the acoustics of the deteriorating building. “Version 2.0” is often viewed almost like a greatest hits collection because of the sheer strength of its material. No fewer than six songs were released as singles, including "When I Grow Up", a track dealing with the process of growing up and maturing. On several songs throughout the album, “Garbage” incorporated short samples and borrowed brief lyrical phrases from both well known and more obscure songs from the past. This happened on "Special", which borrowed a line from "Talk of the Town" by “The Pretenders”, and on "Push It", which featured a lyrical reference to "Don't Worry Baby" by “The Beach Boys”. The band also used a snippet from "Bend Me, Shape Me" by “The Outsiders” at the end of "I Think I'm Paranoid". On "The Trick Is to Keep Breathing", Shirley Manson delivers a universal message that resonates with anyone going through difficult moments: keep breathing, and eventually it will pass. The final section of the closing track "You Look So Fine" was inspired by Shirley Manson after watching the film “Titanic”, giving the album’s closing moments a slightly dramatic and cinematic atmosphere. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 14, 1969, Neil Young's album "Everybody Knows This Is Nowhere" was released. This is the Neil Young's (that will later be named "Godfather of Grunge"), second album, and his first with the backing band "Crazy Horse". The seven tracks that unfold over 40 minutes, bring us different, innovative Neil Young and his first and certainly not his last masterpiece. There is a reason why this album appears on "Rolling Stone" Magazine's 500 greatest albums of all time and on the list of "1001 Albums You Must Hear Before You Die". The opening riff of "Cinnamon Girl", proves that Neil Young has made a fundamental change from the style and sound that existed on his first album, to the point that it is hard to believe that only four months differentiate between them. The Canadian singer-songwriter has replaced the acoustic and melodic folk with loud alternative guitars and particularly dirty distortion, and has adopted a new sound that will later also become his hallmark. We mentioned the "Godfather of Grunge" and meant it, because this is perhaps the first grunge album, which came out 20 years before the grunge era even began. From the first listen, it is clear why the grunge idols of the 90s, led by Kurt Cobain, worshiped Young, since there is undoubtedly a connecting thread that runs from this album through "Rust Never Sleeps", which will be released a decade later, to the revolution in Seattle of the early 90s. Even Young's flannel shirt on the cover of the album screams Grunge. But the album does not only include squeaky guitar sounds. The lead guitar and background vocals in the theme song "Everybody Knows this is Nowhere" are in a "country" vibe, although the music is far from pure "country" style. "Round & Round (It Won't Be Long)" which is mostly "folk", is also perhaps the weakest track of the album. The soft acoustic, the chord transitions, and harmonic singing are nice, but do not hold up for almost 6 minutes of the song. It's still a good song that is a passage to one of the good parts of the album. The epic anthem "Down by the River" finishes the first side of the vinyl. This song lasts for no less than 9 minutes. The song is built on a slow rhythm, which is mainly based on a transition between only 2 chords and with sloppy and creepy solos. But make no mistake! It is precisely Young's singing that makes this song. The second side opens up with "The Losing End (When You're On)," and Young's whimpering voice with the melancholy words wrapped, somewhat paradoxically, in relatively cheerful music. "Running Dry (Requiem for the Rockets)", accompanied by a particularly high-pitched violin sound, is a "redemption" song in a melancholy atmosphere. The song that seals the album, "Cowgirl in the Sand", is without a doubt one of the strongest songs on it. A 10-minute masterpiece, led by Young's amazing guitar work. The verses are replaced by long solos that develop with increasing drama and constitute a fascinating demonstration of guitar control. (Photo: Neil Young Autobiography) "Everybody Knows This Is Nowhere" is Young's first significant work. About a month after its release Young will join "Crosby, Stills, and Nash" and they will start working on their first album - "Déjà Vu" as a quartet. Two months later they will already be performing as "Crosby, Stills, Nash, and Young" at the Woodstock Festival. Young will continue to produce special, different, and unconventional music for the next fifty years, with "Everybody Knows This Is Nowhere" being a "sign of things to come" and a hint that Young is going to do things big, and in his own way ... For listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 14, 2002 "Rush" released their 17th studio album "Vapor Trails". This is the band's comeback album after a 6-year hiatus that was forced on it due to two tragedies that befell drummer Neil Peart. In August 1997, at the end of the "Test For Echo" album tour, Selena, Neil Peart's 19-year-old daughter was killed in a car accident. Ten months later, Peart's wife Jackie, died of cancer. Peart wrote in his book "Ghost Rider" that at his daughter's funeral he informed his bandmates, Geddy Lee and Alex Lifeson, that he was retiring from the band. Geddy and Alex gave Neil all the time he needed to recover from the tragedies that befell him. Peart underwent a difficult healing process that lasted several years. As part of the healing process he went through, he drove across the U.S. on a motorcycle, for 14 months and 55,000 miles. In 2001 the band reunited and began working on new material for the first time. Recordings began in August 2001. Musically, this album is a "retro" Rush. This is their first album since "Caress Of Steel" (1975) which does not include synthesizers, and their first since "Fly By Night" (1975) which is based on classic hard rock style. Although Rush has not completely abandoned the progressive aspect of this album, it is without a doubt the most "hard-rock" album the band has made in a long time. Frequent rhythm changes, musical complexity, and dynamism are almost absent here, and the songs are much simpler than they have been in the past. The album opens with "One Little Victory" and it is indeed a victory, but not "small". Symbolically the song opens only with drums. Neil Peart's double bass strikes loudly, whips on the open Hi-hat, and blows on the snare drum and the message is sharp, clean, clear and screams: "We're back and we're here to blow your mind" ... And how they came back !!! An adrenaline bomb, a burst of energy, madness, enthusiasm, and who even believes that these guys were then 50 plus years old ??? Neil Peart's short solo segment was originally intended for the end of the song, but Neil said that when Geddy Lee heard it he persuaded him to move it to the beginning of the song. Neil was not sure but Geddy insisted and he agreed. Neil said the song talks about small accomplishments in life and how they can be most rewarding. It is on giving your all to achieve your goals in life and constantly challenging yourself to get better in every possible sense, as opposed to comparing your abilities to those around you. "Be yourself and be real," Peart said. From there we move on to the song “Ceiling Unlimited” Alex Lifeson's familiar guitar takes the lead until Geddy Lee's virtuoso bass joins in, the music oscillates between rhythmic and dynamic to melancholic and slow, with the instrumental section at the end of the song showcasing the band's familiar virtuosity and talent. Neil said he was inspired by the name of the song and his lyrics as he watched the weather channel while sitting in front of the TV on the band bus. Ha saw the phrase "Ceiling Unlimited" as describing a particularly bright day in which the height up to the "cloud ceiling" is infinite. meaning non-cloudy at all. In the third track "Ghost Rider" Neil Peart shares the healing process he went through after the tragedies that befell him. This is one of the best songs on the album and is based on Peart's adventures over 14 months and 55,000 miles - His healing, as he described it in his book "Ghost Rider Travels on the Healing Road". Geddy Lee's singing is especially prominent here and adds such incredible depth to the song, which just gets a life of its own here. It is worth noting that Peart's writing on this album has become less abstract and much more personal, probably as a result of the two tragedies that befell him, and this is reflected in the above song, among others. The next track "Peaceable Kingdom" is Peart's response to the September 11, 2001, disaster. It was originally intended to be an instrumental section, but eventually, Peart decided to write lyrics for it. It's a song about "terrorism" and its destructive power over the lives of people who just want to live their lives in peace. The title of the song came from the book "The Peaceable Kingdom" by Stanley Hauerwas. The trio presents here a powerful performance of guitars, bass, and drums, and Peart conveys a message of hope that eventually the cycle of hatred will stop when those who strive to live in peace and harmony will succeed in positively influencing others with destructive instincts. "The Stars Look Down" is based on a book of the same name by AJ Cronin from 1935, which also became a movie in 1939. The book tells about an English mining town before the First World War and especially about a young miner who tries to change the harsh conditions in which miners work, but in the end, fails to succeed in his struggle. Immediately after comes "How It Is" which opens melodic and quiet with the nice chord progression of Alex Lifeson. It is a "light" song and less complex than what we are used to getting from the Canadian Power Trio. The song tells about the gap between "desire" and "reality" or as the lyrics say: "Between how it is and how it ought to be". Next comes the theme song "Vapor Trail".In his book "Ghost Rider: Travels on the Healing Road" Neil said that the lyrics were influenced by a poem by W. H. Auden that his brother Danny read at the funeral of his daughter Selena, in which the line: "All the stars fade from the night The oceans drain away", was taken from. The eighth track "Secret Touch" was one of Geddy Lee's favorite songs from the album. It was released as the second single and reached number 25 on the American Rock chart. In an interview with Bass Player Magazine in July 2002, Geddy Lee spoke about the song and noted that the band built it around his recurring bass chords. He noted that although the melody has a mesmerizing feel, it was not enough for them and they felt they had to put some power and aggression into the song, as indeed happens in the middle section where "all hell breaks loose" with Geddy's stuttering bass punctuation. The song "Earthshine" is the first song written for the album and was included in the band's setlists occasionally. The term "Earthshine" was coined by Leonardo Da Vinci as early as the 16th century and describes a phenomenon that occurs every 29.5 days in which sunlight is reflected from the earth and illuminates the moon. The words "on certain nights, when the angles are right ..." refer to the same phenomenon. Although this is the first song written for the album, Alex and Geddy noted that they were not satisfied with the music, as they thought it did not accurately describe what the lyrics wanted to express. So, at some point, they just decided to "throw away" everything they had and rewrite all the music. "Sweet Miracle" is the second the band has written for the album. Geddy Lee said that the origin of the song was in the first sessions they had just after coming back to play together. Neil describes his journey from the depths of despair, to the joy and happiness of finding a new life and love. Geddy was very attached to Peart's lyrics which moved him and noted that the music and melody just came out of him naturally. We're nearing the end with "Nocturne", one of the later songs written for the album. Geddy noted that there was a group of about five or six songs that came from Jams over two weeks that he considers the best he and Alex have ever had. He added that the song overrides the questions you can subconsciously answer in your dreams without realizing it. Next is "Freeze - Part IV of Fear". An excerpt that connects to the band's "fear trilogy", consists of 3 excerpts that appeared in reverse chronology over 3 consecutive albums released by the band: the song "Witch Hunt" from the album "Moving Pictures" is "Part III Of Fear" and deals with the way it can be used In fear to control people. "The Weapon" from "Signals" is "Part II Of Fear" and deals with external fears such as weapons. "The Enemy Within" from "Grace Under Pressure" is "Part I Of Fear" and deals with the inner fears that influence decisions. Now, 18 years later, the band decided to add a "fourth part" to the fear trilogy, a section this time about paranoia and fear of the unknown. The album ends with "Out of the Cradle" a song influenced by the poem Out of the Cradle Endlessly Rocking written by Walt Whitman in 1858. It is a song about loss and love. This song closes a small life cycle of the band that started with the loss of Neil Peart's wife and daughter and ended with the "little victory" of the band that opened the album. **The New 2013 Remix** The album "Vapor Trails" is the only album by "Rush" that has two different releases. When recording the album the focus was on the recovery process of Rush who was trying to get back into function as a band after years of hiatus. As a result, not enough attention was paid to the technical side of the album, many mistakes were made in the production and most of all the mix was so careless that at times it seems that the music go through a "compression" process that made the sound artificial and emotionless, where the songs sound at a uniform level and with dominant "Loudness". Fortunately, the band was willing to accept the fact that there was a serious flaw in the production, and in 2013 they re-released the album in a remix version, in which all the production issues were fixed. This seems to be one of the few examples where the Remaster version of an album was really necessary and gave new life to the album. Two tracks from the album were remixed as part of the "Retrospective III: 1989–2008" compilation album released in 2009. The result was good and the band decided to finally correct the flaws that had bothered them over the years and began working on a full remix for the entire album. Geddy Lee said in an interview with him ahead of the re-release that "the original album was recorded during an emotionally difficult time and in difficult circumstances, when "Rush" had to re-learn how to be Rush." As a result, Geddy said, "mistakes were made that the band had a strong desire to correct and the reissue finally brought some proper justice to our work." Today only the remix version of the album can be found on all streaming platforms, but devout fans hold on to both versions and the difference between them is noticeable, and not only In the pictures of the covers that are in contrast to each other, where the album in the original version in black background while the remix version has a white background. Rush's 'comeback' was accompanied by a grandiose and worthy tour. During the tour, the band played in places they had never performed before. In one of those places, Rio Brazil, the band recorded the live album "Rush In Rio" which was released in 2003. The album was recorded during two of the band's performances in Brazil in front of 100,000 people. The band members said they were amazed by the local crowd and were surprised to find out how well known and great they are in Brazil. In conclusion, this is without a doubt a very worthy comeback album. Rush has unequivocally proven that it has a lot more to offer creatively. The album was the introduction to the new highs the band would later reach, in terms of popularity, musical quality, and in terms of the music industry's recognition of the band's greatness, with its entry into the "Rock N' Roll Hall Of Fame" in 2013. For Listening to the remix version: Spotify, Apple Music. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

The bassist who is mainly famous as "Alice In Chains" player Mike Inez was born on May 14, 1966, so let's get to know the curly who had a very "stared" career... (Photo: Christie Goodwin) Mike's experience as a rock star is not like the typical Cinderella story where one starts from the bottom and works their way up. Unlike his peers who struggled to make a name for themselves by touring in vans and performing in small venues, Mike's career took off quickly. He had the privilege of flying in private jets, enjoying gourmet meals from chefs, and playing in arenas. 1. In the 90s, he was selected from a pool of 50 candidates to be the new bassist for metal legend Ozzy Osbourne. Despite having little experience playing in small clubs, he embarked on a "No More Tours" tour with Ozzy and played his first show at Wembley Stadium. (Photo: Pinterest.com) 2. During the early 1990s, Alice in Chains was on the verge of becoming successful when their bassist, Mike Starr, left the band. Mike Inez joined the band right after the release of their album "Dirt" and at the start of their promotional tour. 3. The band's first EP with Mike Inez as their bassist, "Jar of Flies," quickly rose to the number one spot on the Billboard charts. This success cemented Inez's role as a valuable member of the band, and it became clear that he had a talent for producing hit records. (Photo: Chris Carroll) 4. The band released their self-titled third album in 1995, which also reached the number-one spot on the charts. 5. In 1996, during an amazing performance on "MTV Unplugged," Mike appeared on stage with an acoustic bass guitar that had the phrase "Friends don't let friends get friends haircuts" written on it. This was Mike's way of protesting against Metallica's decision to cut their long hair and replace it with short haircuts, despite being good friends with Alice in Chains. Metallica's members were actually present in the audience during the same show. 6. After the "MTV Unplugged" show, the future of Alice in Chains was uncertain, and Mike took the opportunity to play with other groups and pursue his musical career. He joined Slash's band, called Slash's Snakepit, and recorded their debut album, "It's Five O'Clock Somewhere." Although he didn't tour with them, he instead rejoined Ozzy Osbourne for the Retirement Sucks tour, replacing the legendary Geezer Butler. (Photo: Geffen Records) 7. In 1997, Mike collaborated with his friend Jerry Cantrell to record his first solo album, "Boggy Depot." That same year, he formed the band Spys4Darwin with drummer Sean Kinney, guitarist Chris DeGarmo from Queensrÿche, and singer and guitarist Vinnie Dombroski. They released one EP titled "Microfish." 8. Following Layne Staley's death in 2002 and the uncertain future of Alice in Chains, Mike found solace in touring and recording with the Wilson sisters from the band Heart. He toured with them for four years and recorded their 13th album, "Jupiters Darling," which also featured his friend Cantrell. 9. In 2003, Mike briefly joined the Black Label Society, replacing Robert Trujillo, who became Metallica's bassist. He also recorded several songs with the band. 10. In February 2005, three Alice in Chains members reunited to perform together for the first time in almost a decade at a fundraising event for tsunami victims. They went on a tour with various guest singers to celebrate their love of music and reminisce about the old days. In 2006, William DuVall officially joined the band and became their lead singer, which inspired them to continue writing and recording new music. (Photo: Johnny Buzzerio) 11. Following their reunion, the veteran band continued to release three more albums and embark on tours around the world, including a performance in Israel. 12. In 2008, Mike released a DVD titled "Behind the Player," which featured interviews and videos from his career, as well as music lessons for some of Alice in Chains' most popular songs. Listen to "Alice's" latest album on Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Editor's Choice... Looking for a slightly different perspective on "Scorpions?" Want to experience them a little heavier and more complex? Listen to "Humanity: Hour I", the 16th album, released by "Scorpions" on May 14, 2007. This is a concept album, in which all the tracks are connected in one way or another with the theme of "humanity". The band is assisted by the talented writer and producer Desmond Child and more, to produce a plotline about a futuristic world torn to pieces by a civil war between humans and robots. This "apocalyptic nightmare" is supposed to serve as a "warning shot" to all of humanity, whose only hope for survival is love, brotherhood, and peace. This album ranges from loud and heavy tracks like "Hour I", "321", "The Cross", and "You're Loving Me To Death", on the one hand, to mid-pace and sweet ballads accompanied by piano and strings like "The Future Never Dies", "Love Will Keep Us Alive", "Love Is War" and of course the ending song "Humanity" which simply transcends them all. To achieve the heavy and dark-doom guitar sound "Scorpions" uses, among other things, unconventional guitar tuning such as "drop D", and "drop C". The album features artists such as guitarist John 5 who worked with David Lee Roth and later played with Marilyn Manson, songwriter and multi-instrumentalist Eric Bazilian, guitarist and singer Billy Corgan, and more. Believe it or not but the band came to the recordings of the album with no less than 30 songs and then they started another writing session where they wrote another 20 songs !!! since they thought some of the songs were "too dark" lyrically and they needed more "optimistic" songs to fit the plotline. For these songs to fit the concept of the album the band enlisted the help of a professional writing team whose job was to rewrite the lyrics of the selected songs. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website