On October 9, 1990, "Slayer" released "Seasons in the Abyss", their fifth studio album. Starting with the fast and furious opening "War Ensemble" reminiscent of the "Reign in Blood" album, and ending with "Seasons in the Abyss", whose heaviness corresponds with "Black Sabbath" and its opening riff could have been included on an "Alice In Chains" album, This is the album that best represents the amazing abilities and musical diversity of the band. Although the album "Reign in Blood" is considered the band's musical peak, we often debate with ourselves as to whether "Seasons in the Abyss" deserves this title more, if only because it proves the band's musical maturity and its writing and performance abilities, that have only improved since "Reign in Blood ". So let's tell you a few facts about this excellent album: 1. This is the band's fifth studio album and its third consecutive album produced by Rick Rubin. Andy Wallace co-produced, engineered and mixed the record. 2. It is also the band's first album to enter the Top 40 of the US Billboard 200. 3. And also the band's third consecutive album which reached gold album status, and it even did so faster than the other two. 4. The album combines elements and style from the band's two previous albums, while also in terms of its speed and rhythms it is a kind of average between the fast "Reign in Blood" and the more relaxed "South Of Heaven". 5. The theme song "Seasons in the Abyss" written by guitarist Jeff Hanneman and bassist/singer Tom Araya, is also the band's first song to win a video clip that aired heavily on MTV, especially "Headbangers Ball". The clip was shot, among other places, near the pyramids in Giza, Egypt. 6. The punk metal band "S.O.D." Homage the song and album with their own song called "Seasoning the Obese". 7. The second clip released by the band from the album is "War Ensemble". This Clip too, won a rotation on the "Headbangers Ball". 8. The song "Blood Red" is a song that talks about civilians rebelling against totalitarian regimes. Araya noted that he thought about the events of Tiananmen Square in China and when he wrote the song, he saw before his eyes the picture of the student standing proudly in front of the Chinese tank. 9. "Spirit in Black" is written about the angel of death and the evil spirits that take people's souls. 10. The Track “Expendable Youth” refers to gang wars and the fact that they cause unnecessary death of young children. 11. "Dead Skin Mask" was written about the serial killer Ed Gein, who used to shed his victim's skin and wear it as a garment. At the end of the song you can hear words like "I do not want to play anymore, Mr. Gein." And "LET ME OUT!" 12. The lyrics to the song "Hallowed Point" were written by bassist and singer Tom Araya on the type of bullet called a "hollow point" that does a lot of damage to a person's internal organs when it penetrates the body. He was asked if it was a song against guns and said he was not against but also not in favor, and that he holds a weapon. 13. "Temptation" contains two different vocal takes by Tom Araya, one sung his way and the other according to Kerry King's suggestion. The two takes were accidentally played back together. King liked the result, and both were retained on the record. 14. Reproducing the two vocal parts of "Temptation" live was a challenge. The song had already been performed in the early 1990s and returned in 2010 when the band played "Seasons in the Abyss" in full. 15. "Born of Fire" was supposed to be instrumental. Guitarist Kerry King improvised lyrics while recording, the band loved it and the instrumental section became a song. 16. The song "Skeletons Of Society" is about the evils in society, the decline of civilization, and the eventual Armageddon we are headed for. 17. In 2014 the band released a special Christmas greeting card featuring the album cover after undergoing a Santa Claus-inspired change. 18. Henkka Seppälä, bassist of "Children of Bodom", described it to "Metal Hammer" in 1998 as his choice for the greatest metal album of all time. 19. At the 1991 "Foundations Forum", the "Seasons in the Abyss" video shared the Best Video award with "Jane's Addiction"'s "Been Caught Stealing". It was a tie, rather than a victory over the other video. 20. "Loudwire" magazine ranked the album second among Slayer's albums, the first being of course "Reign in Blood". For Listening: Spotify, Apple Music Follow us on Facebook or Subscribe to our website "Face/Off" - Israel's Rock Blog & Podcast

The talented musician John Lennon who was born on October 9, 1940, has greatly influenced music and the whole world in so many and varied ways !! (Photo: wordpress.com) We would like to tell you some interesting facts about him: 1. When he was only 5 years old his father left home and his mother handed him over to her sister, "Mimi", who is known for saying over and over again to John: "The guitar's all right John, but you'll never make a living out of it." 2. On November 28, 1974, he joined Elton John at "Madison Square Garden" for "Whatever Gets You Thru the Night", "Lucy in the Sky with Diamonds" and "I Saw Her Standing There". This was his last appearance at a major rock concert, but not his final public performance. On April 18, 1975, he performed at the televised "Salute to Sir Lew Grade". 3. At about 5 p.m. on December 8, 1980, he signed a copy of "Double Fantasy" for Mark David Chapman outside "The Dakota". Chapman murdered him later that night. 4. During the Beatles' tour he liked to play the game "Monopoly". (Photo: John Pratt) 5. John and Yoko hired a communicator (psychic) ​​who guided them in their business decisions. He earned just like their accountants and lawyers. 6. John proposed Jesus and Adolf Hitler for the cover of "Sgt. Pepper's Lonely Hearts Club Band". Jesus was excluded, and Hitler does not appear visibly on the released cover. Cover artist Peter Blake later said that Hitler's cutout had been hidden behind the band. 7. The first instrument John learned to play was the harmonica. 8. John's dentist, John Riley, introduced him to LSD when he put a pill in his coffee without noticing during a meal. Bob Dylan was the one who introduced him to marijuana. 9. In 1967 John purchased a small island called Dorinish off the coast of Ireland, at a cost of £1,700. 10. George Harrison was John's roommate during the tour. 11. The first time Yoko met John she did not even know he was part of the Beatles. (Photo: Iain Macmillan) 12. Only during his adult life did John discover that he had dyslexia. 13. Before the band's tour in Japan, he studied Japanese for six weeks at the "Berlitz" language school in Manhattan. 14. John is the only member of the "Beatles" who has not become fully vegetarian. All the other "Beatles" yes. 15. When asked once what is the song with the best lyrics of the songs he wrote he replied: "All You Need Is Love" ". (Photo: "Walls and Bridges" photo sessions) 16. When John received his driver's license, in February 1965, a number of luxury car dealerships began parking their cars in front of his home, hoping to be able to sell him a car. 17. His first band was "The Quarrymen". Since they had no rehearsal room, they wandered from place to place and played mostly in the bathroom at John's house. 18. Lennon had severe short-sightedness and astigmatism. During the Beatlemania years he often avoided wearing glasses in public and used rigid contact lenses, which frequently fell out. 19. In 1971, when John moved to New York, the FBI opened a case called "John Lennon" and investigated every aspect of John's life. They researched his works, his daily routine, his actions, and all this to find a reason to expel him from the United States, for fear that he had come to incite American youth. 20. John used to drink about 30-20 cups of tea and coffee a day. Follow us on Facebook or Subscribe to our website "Face/Off" - Israel's Rock Blog & Podcast

On October 9, 1944, John Entwistle, the legendary bassist of "The Who", was born. (Photo: www.thewho.com) Entwistle was one of rock's most influential bassists. His powerful, distinctive playing made the bass a lead instrument and earned him the nickname "Thunderfingers". So let's tell you 21 important facts about John Entwistle: 1. He was born on October 9, 1944, in a western suburb of London named John Alec Entwistle. 2. His musical career began when he was 7 years old, then began to learn to play the piano. 3. At the age of 11, John moved to play the trumpet and from there to French horn. 4. His playing skills led him to become part of the school orchestra. 5. He met Pete Townshend in his sophomore year and the two formed their first jazz ensemble "the Confederates". 6. After one show together their band switched from jazz to rock and roll. 7. At one point John decided to switch to playing the guitar, but because he had thick and big fingers he finally chose a bass guitar. 8. He built his first guitar on his own at home. 9. In 1961, Roger Daltrey invited Entwistle to join his band, "The Detours". Daltrey had attended the same school and was born earlier in 1944. 10. About six months later, Entwistle persuaded Daltrey to bring Pete Townshend into "The Detours". Townshend joined in 1962, and Daltrey eventually moved from guitar to lead vocals. 11. In 1964, "The Detours" became "The Who". Keith Moon joined as drummer later that year. 12. From 1965 to 1982, Entwistle recorded ten studio albums with "The Who". 13. In 1971, he became the first member of "The Who" to release a solo album, "Smash Your Head Against the Wall". His six solo studio albums later formed the basis of "The Ox Box Set". 14. Over the years, Entwistle has managed to have another nickname - "The Ox". The nickname "The Bull", came to John because of his tremendous eating abilities as well as the way he performed on stage in a frozen position. 15. Alongside co-writing the instrumental "The Ox", John wrote distinctive songs including "Boris the Spider", "My Wife", "Cousin Kevin" and "Fiddle About". (Photo: www.thewho.com) 16. He developed a very unique playing on the bass and took full advantage of the potential inherent in the instrument as he turned it into a leading instrument. 17. He called his unique playing technique on the bass the "typewriter." The technique places the right hand over the strings so that all four fingers can tap the strings rhythmically. This way of playing allowed him to play faster and more dominantly. 18. He was among the first to use "double amplification", with the high and low tones being sent in separate signals to different amplifiers. This caused a load of amplification and much equipment and speakers designed for him on stage, in what became known as "Little Manhattan." 19. Entwistle was among the first to make use of steel bass strings, which were developed especially for him. 20. John Entwistle died on June 27, 2002, at the "Hard Rock Hotel" in Las Vegas, on the eve of "The Who"'s US tour. The inquest attributed his death to a cocaine-induced heart attack. 21. On May 10, 2024, "The Ox Box Set" collected his six solo studio albums across six CDs, with 29 bonus tracks and a 28-page booklet. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On October 9, 1976, "Scorpions" released their fourth studio album - "Virgin Killer". This album continues the development process of the band, which left behind the psychedelic roots of "Lonesome Crow" and got closer and closer to the hard rock sound and genre that would characterize it over the next few decades. Simultaneously with the development process that "Scorpions" underwent, the audience also opened up to the band, which on this album managed to establish its status outside Germany as well, mainly in Japan, but not yet in the US. It can be said that "Virgin Killer" continues the formula of the previous excellent album "In Trance", and includes a balanced mix of fast hard rock songs with "biting" guitars, alongside soft blues ballads with melodic solos. Here, too, Klaus Meine demonstrates his vocal abilities ranging from the loud screams of "Virgin Killer" to the soft, caressing voice of "In Your Park." At the same time, there is a natural development of the band and especially maturation compared to the previous album "In Trance". There is a combination between the Hendrix guitar sound and the well-known melancholy from the first album "Lonesome Crow". This time you can also hear the buds of the neoclassical genre that will characterize the excellent guitarist Uli Jon Roth. Similar to the previous album, this album was also produced by Dieter Dierks, who was known for productions for leading bands in the Krautrock genre in West Germany and greatly helped the development of the band's sound. The album opens with two atom bombs. "Pictured Life" with the dual guitar sound, that will become the sound signature of "Scorpions" and will become a classic in the band's repertoire, and the fast and edgy "Catch Your Train" with the dialogue between Klaus Meine's screams and Uli Jon Roth's short and instructive guitar sentences, which is simple Proves what a talented and unique guitarist he is. The album continues with "In Your Park" - a melting blues ballad that is one of our band's favorite tracks. What a perfect guitar work by Rudolf Schenker and Uli Jon Roth that opens our hearts with the palm-muted strings, and what powerful and heartbreaking vocals by Klaus Meine. Immediately after comes "Backstage Queen" with the sweeping riff cut by the groovy guitar lines, and the theme song "Virgin Killer" which is the first of 4 written and composed by Uli Jon Roth alone. In contrast to the provocative title, the lyrics of the song were written as a critique of the rapid loss of innocence of young girls and the consequences that follow. The song's melody was influenced by "Kiss" with whom "Scorpions" went on a joint tour, with Uli Jon Roth playing the riff trying to mimic Kiss' sound, referring to Paul Stanley in a sting with the words "Cause he's a virgin killer!". Meine, who listened to Roth was very enthusiastic and asked him to continue developing the idea, and the result was the album's theme song. The other three songs Uli Jon Roth wrote exclusively for the album are "Hell Cat" which also opens the other side of the vinyl and illustrates how much Uli Jon Roth was influenced by Jimi Hendrix both in playing and singing style, "Polar Nights" excelling with the bouncy rhythm and "Yellow Raven" which seals the album with caressing Velvet combined with psychedelia. And it is impossible not to refer to one of the best and least appreciated songs in our opinion - "Crying Days" a song whose one of the riffs sounds like it was taken from a horror movie, but is really far away from there. This is another ballad of the band which sits at the crossroads of solos reminiscent of the psychedelic era, with the sound and musical elements that "Scorpions" will develop down the road, especially in their ballads. The album's original cover caused quite a fuss at the time, after the band decided to include a photo of one of the record company manager's 10-year-old niece in its nakedness, apparently to attract attention and thereby increase awareness. This caused a great scandal which forced the band to release copies of the album with a new cover, in which the members of the "Scorpions" are shown. In December 2008, the "Internet Watch Foundation" added the Wikipedia page featuring the original artwork to its blocking list. The restriction also disrupted editing for some UK users. After an appeal and review of the wider context, the IWF removed the page from its list. This was a reversal of the blocking decision, not an FBI ruling on the image. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On October 9, 1990, "Testament" released "Souls of Black", their fourth studio album. Some albums suffer when measured against their predecessors and benefit from being heard without expectations. "Souls of Black" is one of them. It followed three records that had placed "Testament" at the forefront of American thrash, leaving almost every riff to justify its place alongside what had come before. Yet this album, made too quickly and not always fully cohesive, contains some of the classic lineup's finest moments. The bass opening of the title track, "Souls of Black", and the guitar work on "The Legacy" are enough to remind us why we keep returning to it. By 1990, the band were no longer simply a promising young act from the San Francisco Bay Area. "The Legacy", "The New Order" and "Practice What You Preach" had established their distinctive combination of cutting riffs, commanding vocals and solos you could hum long after the amplifier had fallen silent. Singer Chuck Billy, guitarists Eric Peterson and Alex Skolnick, bassist Greg Christian and drummer Louie Clemente had learned to work together exceptionally well. The problem was that the industry's pace left them little time to stop and think. The European "Clash of the Titans" tour was on the horizon, with "Slayer", "Megadeth" and "Suicidal Tendencies" sharing the bill. Peterson later explained that the record label required a new album for the band to join the tour, and they were unwilling to miss the opportunity. "Testament" consequently found themselves preparing their fourth album in roughly three and a half years. Some of the material drew on earlier ideas and songs that were reworked. There is a real hunger to move forward here, but also a pressure that comes through in the unevenness of the songs. Recording took place in June 1990 at "Fantasy" Studios in Berkeley, California. Michael Rosen, who had worked as an engineer on the previous album, stepped into the producer's role, sharing production duties with the band. Clemente described the process simply. He and Peterson recorded the basic tracks together, after which Skolnick, Christian and Billy added their parts. The connection between drums and rhythm guitar is clearly audible, even if the overall sound sometimes feels a little boxed in and the guitars do not always have the room they deserve. After the brief acoustic introduction "Beginning of the End", "Face in the Sky" brings us straight back to familiar headbanging territory. The guitars alternate between rapid runs and sharp stops, while Billy holds everything together with a voice that is both rough-edged and musical. "Falling Fast" follows, and together the two songs make it clear that the band have not abandoned thrash. Still, the album becomes more interesting when it stops demonstrating how fast they can play and gives the musicians' personalities room to emerge. That happens on "Souls of Black". Christian opens with a bass line that immediately stands out, and when the guitars join in, it remains clearly audible beneath them. The main riff has momentum and a rhythm you can feel in your body, while the chorus is built for a crowd to shout back at the stage. The lyrics depict a damaged world of war, callousness and power, but what grabs us is how all that anger is compressed into a short, focused song with a clear identity from its opening seconds. Then comes the solo. Skolnick can play fast, but here he also knows when to sustain a note and let a string bend do the work. In a 2024 interview, he explained that he had players such as Gary Moore and Leslie West in mind, aiming for a direct, memorable solo with less reliance on the tremolo arm. You can hear it. The melodic phrases, vibrato and shifts from a quick burst to a sustained note bring something to the song that the riff alone cannot provide. This is guitar playing with something to say and a voice of its own. Further into the album, we particularly love "Malpractice", whose riffs and transitions create a nervous tension that suits its title. It reminds us how effective Peterson and Skolnick can be when they allow a song's structure to change without losing its intensity. Alongside moments like these are tracks whose riffs are more convincing than their choruses, and which leave less of an impression after the music ends. That is part of the album's problem. The playing remains strong throughout, but the songwriting does not maintain the same consistency. The ballad "The Legacy" arrives near the other end of the album, bringing an emotional depth that is sometimes missing elsewhere. It should be distinguished from the debut album of the same name. This song appears here, opening with clean guitar and a relatively exposed vocal from Billy before the arrangement expands. The lyrics look back on the past, on youth and on the feeling that nothing remains as it once was. Skolnick does more than embellish the song. His guitar carries on where the voice leaves off, with melodies that develop patiently and grow in intensity. In a 2025 interview, Skolnick explained that this early song had been brought back because the band needed more material and were running out of time. There is a wonderful irony in that. A decision made out of necessity produced one of the moments that keeps the album close to us. Anyone who loves the melodic side of "The Ritual" will find part of the journey toward it here. The closing "Seven Days of May" is a song worth seeking out beyond the hits. It addresses the protests and repression in Tiananmen Square, a connection Skolnick has confirmed in interviews. Despite the song's title, the deadly military crackdown took place in June 1989. The music develops through shifting riffs and guitar passages, and the band bring the album to a close still tense and full of anger. Released through "Megaforce" and "Atlantic", the album reached No. 73 on the US album chart and No. 35 in the UK. Alongside their European shows, the band also joined "Judas Priest" on their American tour. Their exposure grew, but "Souls of Black" never earned the same widespread esteem as "The New Order". The musicians themselves later acknowledged how hurriedly it had been made. For us, "Souls of Black" is an album that is easy to judge harshly but very difficult to let go of. It captures a talented band who already knew who they were. What they needed was a little more time to turn all those ideas into a cohesive record. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram and/or subscribe to the website

As you noticed, October is a busy month for "Alter Bridge", during which 4 out of their albums were released... Here is another one of them "AB III" released on October 8, 2010. Let's start by drawing a clear conclusion based on our discussion of "Blackbird." It's evident that if this band had a professional or consistent marketing department (the downside of frequently changing record labels), their commercial success would likely be significantly higher. However, Alter Bridge typically avoids releasing music videos, partnering with major music labels, or using commercial promotion channels. Instead, they rely on hard work and grassroots efforts, primarily through live performances in clubs, stadiums, and festivals. While fans appreciate their authenticity and resistance to commercialism, there's a sense of missed opportunities due to the band's choices. Many people remain unaware of the remarkable entity known as "Alter Bridge," and that's something we aim to address here. After the triumph of "Blackbird," expectations for this talented quartet were sky-high, and they not only met those expectations but also exceeded them. This album stands as one of the band's finest, if not the absolute pinnacle (with the only real contender being "Blackbird"). To give you a sense of its impact, Rick Florino from the "Artistdirect" website awarded the album a perfect score of 5 out of 5 and hailed it as one of the finest rock albums of 2010, labeling it a "masterpiece" that underscores the band's exceptional talent. Compared to the band's prior work, this album stands out as remarkably advanced and dynamic. The song structures are more versatile, intricate, and diverse than anything the band had previously attempted. These attributes were so prominent that some even categorized this album as falling within the Progressive Metal genre. However, what truly sets this album apart from its predecessors is not just its musical composition but, more importantly, its lyrical content. It's often referred to as a "Loose Concept Album," essentially a mini-concept album with a central theme, rather than a continuous motif that threads through the album from start to finish. The central theme revolves around a character grappling with their place in a world marked by emptiness and skepticism. This character reevaluates their emotions and thoughts, which were once their only certainties, all conveyed through Myles Kennedy's emotive vocals. In this album, Alter Bridge delves into darker themes compared to their two previous releases. This shift is immediately apparent in the opening track, "Slip To The Void," where Myles Kennedy's haunting whispers and the chilling atmosphere send shivers down your spine. This song not only serves as the album's introduction but is also a staple in the band's live performances. As the song unfolds, Mark Tremonti's explosive riffs and Myles Kennedy's electrifying vocals take center stage, setting the tone for the heavy, raw, and enthralling journey that lies ahead in this album. It's a complete showcase of what's to come. And when it comes to the lyrics, the album starts with a gentle hint of something profound about to transpire. The character in the song begins to question the decisions they've made and the consequences these choices may hold for their future. The album's second track, "Isolation," not only marked the album's first single but remains the band's most successful single to date, reigning atop the mainstream rock chart for an impressive 7 weeks. "Isolation" is an explosive blend of powerful riffs and captivating melodies that flow in an almost intoxicating manner between the verses and the chorus. It's a total addiction! However, the lyrics here delve into a complex narrative. The character portrayed is emotionally detached and isolated, unable to break through the walls they've built due to fear and insecurity. This emotional barricade leads to the loss of their happiness and joy. The track "Ghost of Days Gone By" provides a somewhat lighter tone on the album, except for its heavier and darker transition section. Lyrically, it deviates from the album's central theme and instead expresses a longing for the past, acknowledging the inexorable passage of time. Now, "All Hope Is Gone" opens with a beautiful, uplifting melody that gradually builds, featuring Myles Kennedy's exceptional vocals. The harmonious chorus sung by Myles and Mark is incredibly powerful, conveying a sense of hope slipping away in their voices. It's a desperate cry to hold on, even when it feels like "All hope is gone." As for that part you mentioned about the song's breaking section, all I can say is, turn the volume to the maximum and let your eardrums revel in the sheer intensity! With "Still Remains," Alter Bridge delves into the language of metal. The opening riff and the powerful pauses at the end of each riff line will make you headbang with all your might. The riff in the transition section starting around the 2:40 mark is straight-up metal and an absolute joy. In this song, the character takes on a role resembling that of a father figure, dealing with a child who yearns to break free and live life on their terms, despite the support and guidance offered. Eventually, the child returns to the place where their true freedom lies. As for "Wonderful Life," it's an emotional ballad that envelops you, providing a warm embrace while Myles Kennedy's vocals invite you to sing along incessantly and perhaps shed a tear due to his mesmerizing voice. The lyrics here are so moving that words can't do them justice; it's best to simply surrender to the emotion they convey. As we enter the second half of the album with "I Know It Hurts," it's safe to say that there hasn't been a weak moment so far. The tempo is raised a bit, and the song's central theme deals with overcoming obstacles. Mark Tremonti's solo towards the end of the song is nothing short of breathtaking, a testament to his exceptional talent. This song feels like a direct continuation of the preceding one, aiming to bolster the character and instill hope. Slowing down a bit with "Show Me a Sign," we find that it's Mark Tremonti's favorite from the album. This track, perhaps the darkest and saddest on the album, at times echoes Tremonti's work with his band "Creed" on the album "Human Clay." "Fallout" was penned during a sound check for one of the band's performances promoting the album "Blackbird." It delves into the ongoing struggles of the album's main character. Interestingly, Myles Kennedy's mother band, "The Mayfield Four," also has an album bearing the same name. "Coeur d'Alene" is a reference to a lake where Myles and his father used to spend time, symbolizing a sense of "home" – that familiar and safe place to turn to when one doesn't want to feel alone. This song brings joy and companionship. Approaching the end of the album with the song "Life Must Go On," the intro feels like a blend of "My Sacrifice" by Tremonti's previous band and "Down To My Last" from Alter Bridge's debut album, "One Day Remains." The rhythm is relatively relaxed, reminiscent of "Breathe Again." The song continually builds, increasing its emotional intensity, and Mark Tremonti's melodic solo played over Myles Kennedy's vocals, intensifies the emotion. Finally, the closing song, "Words Darker Than Their Wings," takes us to the first vocal duet between Mark Tremonti and Myles Kennedy. It's beautiful and sweet, portraying a dialogue of hope, much like the one Myles had with his best friend, which served as the inspiration for the song's lyrics. The 12-string guitar adds a beautiful touch to the track, and Myles' soaring vocal at the end resonates like a heavenly chorus, as if Jeff Buckley of "Grace" applauds this remarkable band from the gates of heaven, acknowledging that Alter Bridge is indeed doing the right thing, and doing it exceedingly well. It's a fitting end to this masterful album, a testament to their unwavering commitment. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"Bounce", Bon Jovi's eighth studio album, was released on October 8, 2002. Let's tell 24 facts for 19 years since the album's release: 1. The title of the album was influenced by the events of September 11. It was the band's statement that America as a nation could "return" to the state it was before the disaster. 2. The album went straight into second place on the Billboard 200 chart, the band's highest place to date. 3. This time too the band wrote an unimaginable amount of 40 songs, of which only 12 entered the album. 4. While writing the material for the album Jon Bon Jovi was still committed to the Ally McBeal TV series in which he played, so he lived in Richie Sambora's home in Los Angeles where they wrote some of the songs. 5. Here too Desmond Child helped write 4 of the 12 songs on the album and also helped produce the album. 6. Other writers who participated in the writing process are musician and producer Billy Falcon and the Swedish producer and songwriter Andreas Carlsson, who wrote for many artists from pop to hard rock, from Britney Spears to "Def Leppard". 7. The opening song "Undivided" was directly influenced by the events of 9/11 and it simply says that humanity is stronger together than apart. 8. The second song "Everyday" was also affected by the events of 9/11. It talks about the need to make the most of life and live each day as if it were your last day on earth. 9. "The Distance" is written about couples who are forced to live far from each other. Richie said he thought of a soldier fighting on the front far from his partner. The strings in the song were produced by Desmond Child, he wanted the song to sound like it was a part of a movie soundtrack. As if the camera is accompanying the couple. 10. The song "Joey" was influenced by the song "Levon" by Elton John, from 1971. The character tells about his friendship with Joey. 11. "Misunderstood" was written by Jon Bon Jovi when he thought about his relationship with his family. He wrote about situations where the wrong things are said to your loved ones and then having to bear the results. 12. The ballad "All About Lovin' You" was also written under the influence of the events of 9/11. It talks about how after a terrible tragedy people suddenly rediscover love. 13. "Hook Me Up" was written under the influence of a newspaper article, about a Palestinian who is allegedly trying to connect with the outside world through an old radio transmitter. 14. The track "Right Side of Wrong" was influenced by the movie "Butch Cassidy and the Sundance Kid". It talks about "criminals" who have a heart of gold. 15. "Love Me Back to Life", tells about the disappointment from all that going on in the world and the need for someone that will make us appreciate the world again. 16. "You Had Me from Hello" talks about a long-standing relationship, in which one can see something new and beautiful in his partner every day. 17. The theme song "Bounce" also refers as mentioned to the 9/11 event and the strength that people in America in general and New York in particular have. The song started with other lyrics from the sports field, but after the 9/11 events, the lyrics were rewritten. 18. "Open All Night" is actually Jovi's dialogue between the character of Bon Jovi and Ally McBeal in the series "Ally McBeal". 19. Five singles from the album were released in the following order: "Everyday", "Misunderstood", "All About Lovin' You", "Bounce" and "The Distance". For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Soundgarden's third album "Badmotorfinger" was released on October 8, 1991! It joins the wonderful Class of '91, a year that saw the release of an insane number of huge albums !! This album was released about two weeks after "Nevermind" and a little more than a month after "Ten". So, on one hand, it suffered from the hysterical success of those two albums that overshadowed it (especially "Nevermind" which broke out faster), but on the other hand, it gained greater exposure as it was part of the huge grunge surge. Let us say that this is a sophisticated album, maybe we should be rude and say that this is a much more sophisticated album than "Nevermind". The lyrics on the album are much more exposed on the one hand and very metaphorical on the other, in a way that gives the listener a sense of belonging and the possibility of interpreting the text in the way that suits him best. Beyond that, the rhythm, the fragility, the syncopations, the rhythms, and the beats on this album are something that sounds like no other. An alternative time signature is called. But let's ignore the definitions, just listen and understand that in no small number of songs like "Rusty Cage", "Holy Water", and "Jesus Christ Pose" the parts are arranged and divided differently and abnormally compared to what we are used to. No wonder Matt Cameron called this album a "Weird science project". The band members said they were free to explore and discover, this was the atmosphere that also continued with them along the way. They know that they are undergoing a transformation as human beings and therefore their music, they have not defined themselves or aimed at a particular thing but have created what felt good and right to them. They felt they brought to the music a lot of things that other bands did not dare to bring at that time, elements that were mostly influenced by the punk bands of the 80s. Critics claimed that Chris Cornell has made a significant leap here in terms of the lyrics of the songs, an example of this is in the song "Outshined" which is one of Cornell's most personal songs which summarizes and distills for 5 minutes of music the secret of "Mania Depression" which he experiences over the years, when one day he feels on the top of the world and in another moment in the depths of the gutters. The addition of bassist Ben Shepherd was a significant catalyst in the leap from the previous albums, the band members said he brought with him a fresh and creative approach, and his writing and creative abilities influenced everyone. But we think the big leap was in Chris and the friends' perception of the music, in thinking outside the box, in innovation, this is indeed only their third album but the first where the writing is done in collaboration with all the band members together. No wonder this album was less successful than its brothers, since it is less "commercial" and has fewer melodic or light-hearted elements. There is an amazing music display here but it is hard to digest so it needed a very strong boost. And this push came precisely from the direction of "Nirvana". After Kurt Cobain told "Guns N 'Roses" no! As an opening act for their "Use Your Illusion" tour, Chris and his friends jumped at the chance and indeed received the international exposure they deserved as part of that tour. Although a few years later Chris claimed it was just a nightmare to perform in front of 40,000 people for 35 minutes day after day, when none of them knew you and everyone was waiting for Guns. Anyone who has experienced this album real-timeline could say that although it may have been harder to digest than his other brothers which born that month, even though it did not include "hits", even though it was less "commercially successful" than his brother, it was still clear that this was a different and special child. Indeed, over the years and from the height of the age of the two albums things look a little different. The album cover that became the band's iconic symbol was created by guitarist Mark Dancey from the band "Big Chief" who was a friend of Kim Thayil. The band members loved the picture with the spark plug in the center and the jagged elements around, it felt very aggressive to them. Kim Thayil was also the one who suggested the name of the album after playing the riff from the song "Bad Motor Scooter" by "Montrose". The limited edition of the album included another disc called "Satanoscillatemymetallicsonatas". And if you still do not understand what we mean, just think about the feelings that go through your body when you hear the guitar howls that open the song "Rusty Cage" and the whole album. 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 - 08.10.1980 The conflict in music between what was intellectually conceived and what was emotionally felt was reaching its peak. As disco continued to dominate music made for dancing, rock was approaching the greatest possible degree of theoretical sincerity. Although they were a new wave band, "Talking Heads" operated within New York's broader punk scene, which sought music that was felt rather than merely performed. And yet "Talking Heads" were conspicuously artificial. David Byrne made his approach to both songwriting and performance as unnatural as possible. He wrote Dadaist lyrics about parking lots and fire. His voice cracked and twisted through unnatural modulations that frustrated melody. Onstage, his movements suggested nervousness, but nervousness executed with precision. When he danced, he looked as though he were making fun of dancing. In short, he acted like a fake. His fakery was so consistent, its logic so persistently clear, that it became a convincing public identity. Onstage and on record, there was no part of Byrne that was not himself. As a result, his artificiality came to seem like the height of sincerity. That was precisely the essence of "Talking Heads", whose artistic artifice felt more sincere than much of American culture. The band's development can be understood as a continuous layering of devices and disguises. While other punk bands pursued authenticity by stripping things away, "Talking Heads" kept evolving. African polyrhythms, Brian Eno, Fela Kuti, fear of music? After their previous album, "Fear of Music", had offered a glimpse into the world of African rhythms, it seemed that Byrne, Chris Frantz, Tina Weymouth and Jerry Harrison would need to make a radical change of direction. Influenced by Nigerian Afrobeat musician Fela Kuti, they combined African polyrhythms and funk with electronics, recording instrumental tracks as a series of looping grooves. The session musicians included guitarist Adrian Belew, singer Nona Hendryx and trumpeter Jon Hassell. Eno remained a dominant presence in the work of "Talking Heads" for a third consecutive album. This time, however, he and the band faced a higher hurdle. After songs built on intuitive writing and subjects such as paranoia, Byrne found that his fears and eccentricities had finally blown up in his face. Writer's block was preventing him, and the band, from moving forward. "Talking Heads" were aware of the emergence of a new musical current called hip-hop. Unexpectedly, it was hip-hop that would help Byrne overcome his block and lead him and the band toward the promising safe harbor of "Remain in Light", their fourth album, released on October 8, 1980. Meanwhile, drummer Frantz and bassist Weymouth, a married couple, discussed leaving "Talking Heads" after Weymouth argued that Byrne was too controlling. Frantz did not want to leave, and the two took an extended Caribbean vacation to reflect on the state of both the band and their marriage. They attended Vodou ceremonies in Haiti, practiced local percussion instruments and spent time with reggae duo "Sly and Robbie". Frantz and Weymouth ended their vacation by purchasing an apartment above "Compass Point" studios in Nassau, the Bahamas. Byrne joined the couple and Harrison there in early 1980. The band members realized that songwriting had largely been Byrne's responsibility up to that point, and that they had grown tired of the idea of being a singer and a backing band. The ideal they sought, in Byrne's words, was "sacrificing our egos for mutual cooperation". Instead of writing music to Byrne's lyrics, the band performed extended instrumental jams, using "I Zimbra" from "Fear of Music" as their foundation. According to psychoanalyst Michael A. Brog, the eight songs on "Remain in Light" have a "striking free-associative feel", with no sustained train of thought to follow through their stream-of-consciousness lyrics. Byrne was encouraged to experiment and give himself greater freedom in his lyrics, and was reminded that rational thinking has its limits. He began finding a way out of his difficulties through rap passages inspired by the emerging hip-hop genre, particularly Kurtis Blow's single "The Breaks", which Frantz had played for him. Byrne drew inspiration from African mythologies and rhythms. The principal literary influence on the lyrics was John Miller Chernoff's "African Rhythm and African Sensibility", which examined how music enriches life in rural African communities. Chernoff traveled to Ghana in 1970 to study local percussion, and wrote about the ways Africans conduct complex conversations through drum patterns. "The Great Curve" illustrates this African theme with the line "The world moves on a woman's hips", which Byrne used after reading Robert Farris Thompson's "African Art in Motion". The album touches on subjects such as the passage of time, the elusive nature of truth, life's uncertainty and the individual's struggle to find purpose. Through mysterious lyrics and evocative imagery, "Talking Heads" explore universal themes while leaving room for personal interpretation and introspection. "Remain in Light" has been described in many different ways, including new wave, post-punk, worldbeat, dance-rock, art pop, art rock, avant-pop, Afrobeat and psychedelic funk. Critic Stephen Thomas Erlewine called it a dense blend of African percussion, funk bass and keyboards, pop songs and electronics. "Talking Heads" used the working title "Melody Attack" throughout the studio process after watching a Japanese game show of the same name. According to Harrison, the band's ambition was to combine rock and African musical forms rather than simply imitate African music. Eno's production techniques and personal approach were central to the album's conception. The process was designed to encourage instinct and spontaneity without becoming overly preoccupied with the sound of the finished product. Eno compared the creative process to looking out at the world, marveling at the extraordinary place we live in and deciding to celebrate it. Instrumental sections were recorded one at a time in a deliberately discontinuous process. Loops played a crucial role at a time when computers could not yet handle such functions adequately. "Talking Heads" developed "Remain in Light" by recording jams, isolating the best passages and learning to play them over and over. The basic tracks focused entirely on rhythm and followed a minimalist approach built around a single chord. Each section was recorded as an extended loop, allowing compositions to be assembled by positioning or combining loops in different ways. Byrne likened the process to modern sampling: "We were human samplers." The album's opening track, "Born Under Punches (The Heat Goes On)", draws its style from preaching, shouting and bursts of speech. The phrase "And the Heat Goes On", used in the title and repeated in the chorus, came from a "New York Post" headline Eno read in the summer of 1980. Belew joined the sessions at New York's "Sigma Sound" studios after Byrne and Harrison met him at a club in the city and invited him to play. He contributed guitar to "Crosseyed and Painless", a track that leaps from nonsense into dream logic. What begins as an idea becomes, in its fullest expression, a feeling. "Talking Heads" were among the first American bands to make music videos before MTV went on the air. Videos were made for "Once in a Lifetime" and "Crosseyed and Painless" from "Remain in Light". Both were directed by Toni Basil, with Byrne sharing directing duties on "Once in a Lifetime". In 1982, Basil became an MTV star herself with the hit "Mickey". "Once in a Lifetime" examines a life lived almost on autopilot, until the moment someone stops and asks how they arrived at their house, their family and the reality they inhabit. Like trying to remove the water from the bottom of the ocean, there is no way to stop life from moving forward. Byrne shed some light on his lyrical inspiration when he explained that much of the song's language came from evangelical preachers he recorded from the radio, taking notes and collecting phrases that suggested interesting directions. He wondered whether his fascination with the middle class came from how different that way of life seemed from his own, and how far removed it was from what he did, to the point that he could not imagine living that way himself. The track was originally called "Weird Guitar Riff Song" because of its composition. It began with a single riff before the band added a second. Eno alternated eight bars of each riff with the corresponding bars of the other. There is something galvanizing about "Remain in Light", both as dance music and as a form of expression. In "Seen and Not Seen", Byrne imagines a man changing his appearance by keeping an ideal facial structure fixed at the back of his mind. It is an absurd commentary on the nature of vanity, yet it also declares a touching faith in the power of artistic will, a faith the album rewards. "Houses in Motion" incorporates extended brass passages from Hassell. "Listening Wind" features influences from Arabic music, with Belew adding sonic textures through an "Electric Mistress" effect and bending the sound. The lyrics, meanwhile, sympathetically portray a man carrying out acts of terrorism against the Americans who have settled in his country, in response to their colonialism. In a 2004 interview with the "Sunday Herald", Byrne described the song as partly reflecting his understanding of the motivations behind terrorism. He explained that the reasons America was not universally loved had been clear to him for years, while many Americans preferred to assume it was a matter of jealousy or a desire to adopt the American way of life. The closing track, "The Overload", features tribal-industrial rhythms created mainly by Harrison and Byrne, alongside Belew's growling guitar atmosphere. It has been regarded as "Talking Heads"' tribute to "Joy Division". According to the familiar story of the track's creation, the band tried to imagine the sound of the gloomy Manchester quartet from the reviews they had read in the music press rather than from listening to its records. They were so fascinated by those descriptions that they decided to try it anyway. The album presents an artistic vision so strange, so alien to what came before it yet so assured in behaving like the culmination of a long tradition, that it seems to proclaim the power of strangeness itself. To be not merely strange but unique, to reinvent a form in a way people can dance to, is the inner thrill of art. We want to deny it on theoretical grounds, but we cannot. So we have to change our theories. Weymouth and Frantz conceived the album artwork with the help of Massachusetts Institute of Technology researcher Walter Bender and his "ArcMac" team, the precursor to the MIT Media Lab. Taking inspiration from "Melody Attack", the couple created a collage of red warplanes flying in formation over the Himalayas. The planes are an artistic depiction of "Grumman Avenger" aircraft honoring Weymouth's father, Ralph Weymouth, an admiral in the US Navy. The original idea for the back cover featured simple portraits of the band members. Weymouth visited MIT regularly during the summer of 1980 and worked with Bender's colleague Scott Fisher on computer renderings of their ideas. The process was cumbersome because computing power was limited in the early 1980s, and the mainframe alone occupied several rooms. Weymouth and Fisher shared a fascination with masks and used the concept to experiment with the portraits, obscuring the faces with blocks of red. When the album's title changed to "Remain in Light", the portraits became the front cover, while the planes were moved to the back. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram and/or subscribe to our website

A Sneak Peek... On October 8, 2013, "High Rise", the only "Stone Temple Pilots" EP with Chester Bennington was released. This is the band's first EP and also the first official release with their "temporary" singer Chester Bennington. He is not considered one of the band members but as an addition, in the credit of the album it says: "Stone Temple Pilots with Chester Bennington". In February 2013, three members of the STP band fired singer, songwriter, and founder Scott Weiland. Weiland who claimed to have seen his dismissal through a newspaper article decided to fight back. Several months of legal battles between the band members froze its activities until the members reached an agreement that allowed the band to continue without Scott. The three remaining friends decided to turn to a young guy whose biggest dream was to be part of a famous grunge band he admired so much. Chester Bennington of course embraced the offer with both hands and the quartet made their debut at the event of the famous radio station KROQ in May 2013. (Photo: Chapman Baehler) Since all parties were not clear if this collaboration is long-term, they were in no hurry to enter the studio to work on a full studio album. Chester said they decided to take the whole thing, step by step and not jump ahead. They chose to start with an initial "soundcheck" so they could hear how they sound together. They went into the studio and recorded only five songs that came out as an EP called "High Rise". Two years later Chester decided he wanted to focus on "Linkin Park" so he left STP. A month later Scott Weiland was found dead on his Tour Bus, during his solo tour. Two years later STP announced that they had found a new singer and added Jeff Gutt as their lead vocalist. In March 2018 they released their first album with Jeff and gave it the band name. A New Beginning! Listen to the EP on: Youtube, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 9, 1978, "Dire Straits", the debut album by "Dire Straits", was released in the UK. In 1978, British rock was preoccupied with what had to be torn down before it could start again. Punk was kicking down the door, disco was filling the dance floors, and four musicians from London walked into a studio with guitars, bass, drums, and stories about people who rarely get songs written about them. They seemed almost indifferent to everything happening around them, yet something in their playing made us lean in. Amid all that noise, it was this clear guitar tone and weathered voice that caught our ears. The band came together in 1977 around Mark Knopfler, his brother David Knopfler on rhythm guitar, bassist John Illsley, and drummer Pick Withers. Knopfler had already worked as a journalist and a teacher, gained experience in small bands, and arrived with a storyteller's gift and plenty of miles in his fingers. The name "Dire Straits", an expression for serious hardship, suited their financial situation perfectly. Before the stadiums and enormous success came a flat in south London, pub gigs, and the struggle to stay afloat. Their demo found its way to broadcaster Charlie Gillett, who played "Sultans of Swing" on his "BBC Radio London" show. What sounded like another rock song by an unknown band began opening doors. In February 1978, the four musicians entered London's "Basing Street" studios with producer Muff Winwood and engineer Rhett Davies. Knopfler wrote the music and lyrics for all nine songs, and the production gave them room to breathe. That is one of the album's finest choices. You can follow the bass, hear the cymbal work, and discover how much the rhythm guitar contributes even when it stays out of the spotlight. Withers plays with wonderful flexibility, Illsley keeps things moving, and David knows how to leave room for his brother without disappearing. Above them, Knopfler's guitar wanders freely, with its fingerpicked touch, small accents, and ability to make a brief phrase unforgettable. There is plenty of technique here, but above all there is attentive listening and space for every instrument. "Down to the Waterline" opens the album with distant, almost hesitant sounds, before the band comes in and the landscape sharpens into focus. Memories of Newcastle's quaysides, kisses in darkened doorways, and the cold along the riverbank come alive through the guitar. It is nimble and bright, while the vocals hang back slightly, as though the narrator is still lingering over something he noticed along the way. Right from the opening, we hear that special relationship between the words and the playing. They tell the same story from different angles. On "Water of Love", the rhythm loosens up, and the sound of the "National" guitar gives loneliness a dry, rough texture. Love is water that cannot be found, and waiting for it begins to feel like a matter of survival. Knopfler sings without forcing the emotion. His restraint lets the pain seep through as the band moves with a deceptively relaxed ease. Your body wants to sway, while the words leave a sting. Then comes "Sultans of Swing", opening the second side of the original record. An immortal song we have played countless times, it deserves a return to the story at its heart. In a pub, a jazz band plays to a largely indifferent audience. The musicians have jobs, routines, and lives away from the stage, yet they still turn up to play. Their grand name seems almost comical in such modest surroundings, but the song treats them with warmth and respect. It understands the pleasure of playing when nobody promises you anything in return. What is remarkable is how compelling it remains without relying on an anthemic chorus. The story, the momentum of the rhythm section, and those short guitar phrases keep us engrossed. We soak up and savor every note, until we are humming the guitar's replies almost as readily as the words. The beauty is that the performance gives this story all the power its characters lack in real life. The bass and drums provide a gentle push, the rhythm guitar sustains the momentum, and the lead guitar answers the vocals with phrases that have become part of our musical memory. In the closing solo, Knopfler picks up speed, linking one idea to the next while keeping the feel of a conversation. Few hits have turned such personal playing into a language everyone understands. This solo is a lesson in building a climax. String bends and sustained notes gradually give way to fast runs and the repeating figures of the finale, yet even as his fingers accelerate, the melody remains clear. The clean tone reveals every touch and accent, and we remember not just how fast he plays, but exactly what he plays. Still, this album has a life beyond the shadow of its immortal hit. On "In the Gallery", bitterness enters the groove through its portrait of an unrecognized artist and the people who decide who gets admitted to the club. On "Wild West End", the gaze softens. Streets, shops, and fleeting encounters become a walk filled with curiosity, attraction, and a small joy in simply wandering. The acoustic playing lends warmth to the city, and Knopfler shows how much everyday details can yield when you really look at them. Not every track offers a major change of direction, and at times the album lingers in the same mood a little longer than necessary. But that continuity also shapes its character. After a few songs, we know the light, the streets, and the people, and it feels good to stay a little longer. "Lions", which closes the album, leaves us in that city as evening falls, with a loneliness that no celebratory solo resolves. Success built steadily in the months after release. The album reached number five in the UK and number two in the US, while "Sultans of Swing" reached number eight on the British singles chart and number four in America. "Dire Straits" found an enormous audience with a sound that initially seemed far removed from fashion. The band would later broaden its productions and ambitions, but there is an intimacy to this debut that is hard to recapture. Four musicians, nine songs, and so much life between the notes. You can admire it for the guitar and return to it for the people. To our ears, the reason it still works so well is that you cannot really separate the two. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or subscribe to our website

On October 7, 1996, "Skunk Anansie" released their second studio album, "Stoosh". In the mid-1990s, when British rock was preoccupied with national pride and rivalries between bands, "Skunk Anansie" sounded as though they had arrived from somewhere else entirely. The guitars were heavy, the bass knew how to dance, and at the microphone stood Skin, a singer who could sound menacing, sensual and vulnerable within a single musical phrase. On "Stoosh", those qualities came together in songs capable of reaching far beyond their existing audience, including listeners who might never have imagined embracing a band whose album opened with "Yes It's Fucking Political". That is a large part of its appeal. We can find our way in through the chorus of "Hedonism (Just Because You Feel Good)", only to discover a band that refuses to let us get too comfortable. Even when the melody welcomes us, something in Skin's voice will not settle. She sings about longing, desire and relationships falling apart with the same conviction she brings to her anger at apathy. All of these things carry weight for her, and the band knows exactly how to make us hear it. The band formed in London in 1994, with Skin, guitarist Martin "Ace" Kent, bassist Richard "Cass" Lewis and drummer Robbie France. Mark Richardson replaced France during 1995, completing the lineup heard here. Their debut, "Paranoid & Sunburnt", had already brought together political anger, heavy rock, groove and forceful choruses. Performing and finding success gave them confidence, but also exposed them to the press's persistent attempts to explain the band through their singer's appearance and identity. The music was far more interesting than the labels attached to it. Production was entrusted to Garth Richardson, known as GGGarth, with recording taking place at "Great Linford Manor" in Milton Keynes. In an interview ahead of the release, Skin explained that they had been given just five weeks to record the album. The pressure was intense, but her intention was clear: simplify the songs so their emotion could reach the listener. The writing drew on Skin, Ace and Cass, alongside Len Arran, Skin's collaborator on several of the standout tracks. Strings were added where they suited the arrangements, and the production allowed the music to expand beyond the explosive shifts that had characterized the debut. It is easy to be dazzled by Skin and momentarily forget how good the three musicians behind her are. Ace has no need to fill every gap with a solo. He knows how to shape a riff and leave room for the voice. Cass gives the bass a presence we can follow even when the guitar takes over, while Richardson brings together the force of heavy rock and the movement of a groove. That is why the transitions between a song that makes us want to jump and one that leaves us alone with its words feel so natural. This is a band that listens to its singer, and knows when to interrupt her. The opening "Yes It's Fucking Political" leaves no doubt about their position. The clipped riff, drums and cutting delivery turn its title into a direct response to anyone who insisted that music and politics should be kept apart. Skin had already made it clear that she wrote from what she had experienced and witnessed, and would not let a music critic decide which subjects belonged in her songs. Placing it at the start of the album makes perfect sense. Before revealing their softer sides, the band makes sure we understand that they have surrendered nothing. "All I Want" keeps the momentum going with a gritty guitar, an excellent rhythm section and a chorus that sticks immediately. Beneath a title that could be mistaken for a declaration of love lies a song about greed, inspired by people the band encountered in the United States whose lives revolved around money. There is an almost insolent pleasure in the playing, and Skin sounds both seductive and mocking. Within the first two tracks, we can already hear how musical their anger is, and how much thought has gone into making it move. The heart of "Stoosh", however, lies in the songs where that confidence begins to crack. On "Infidelity (Only You)", the guitar makes room for a more intimate atmosphere, and the arrangement gives the voice time to develop. Skin can sing softly without letting the tension disappear. When she raises her voice, we sense how much effort it took to contain it earlier. This is one of the moments that reveals the power of her restraint, her ability to hold back an outburst until it is truly needed. Then comes "Hedonism (Just Because You Feel Good)", the song that became one of the most widely traveled routes into their music. Its acoustic guitar and bright melody are almost deceptive. The chorus is easy to remember and easy to join in with, but the hurt in the voice is impossible to miss. The words address someone who has moved on while another person is still trying to recover, and the remark about their enjoyment takes on a particularly bitter edge. We recognize that distance between someone who seems to have found their footing and someone still trying to work out what to do with the memories. Skin also connected the song to life amid success, the constant expectation to go out and have a good time, and the need to stop and consider what it is doing to us. That explanation broadens what we can hear in it without compromising its simplicity. Here is a song that holds a great deal of pain in accessible language, with a chorus that manages to be immensely catchy and uncomfortable at the same time. We can sing it at full volume, then find ourselves lingering over what it said more quietly. "Twisted (Everyday Hurts)" offers another compelling contradiction. The rhythm section drives it forward with an almost carefree sense of movement, while the lyrics remain steeped in distress. In the chorus, Skin opens up her voice and the guitar adds weight, but the groove keeps working beneath it all. Our bodies want to move while our minds register something more troubling. That combination gives the song a life beyond the era in which it was recorded, and reminds us how well the band can keep things moving even when the subject matter weighs heavily. On "Brazen (Weep)", the confrontation becomes more intimate and more intense. The verses allow tension to build before the chorus throws it wide open. Skin sounds wounded and angry, but also determined to draw a response from the person facing her, to encounter genuine feeling at last instead of defensiveness. Some singers would have turned this material into an overly grand ballad. She keeps its rough edges intact, while the guitars supply the force it demands. As her voice rises, we can hear the fracture within it. The political edge returns on "We Love Your Apathy", which directs its anger at the indifference that allows the status quo to endure. The weight of the riff gives it a threatening presence, reminding us that the band has lost none of its bite on the way to the airwaves. By contrast, "Pickin On Me" strips things back, showing how little is sometimes needed to make us uneasy. These moments matter to the album as a whole. They keep it from becoming merely a collection of singles and bring us back to the stubborn voice connecting them. There are moments when the intensity becomes a little exhausting, particularly when the delivery remains wound tight for too long. The strongest melodies set a standard that some of the other tracks cannot quite meet. Even so, the album's variety gives it room to breathe, and the shifts between aggressive rock and exposed vocals keep drawing us back. We believe Skin even when she pushes things to extremes, because those extremes feel like part of the emotion. "Stoosh" reached No. 9 on the UK albums chart and remained on the chart for an extended run. The singles, especially "Hedonism (Just Because You Feel Good)" and "Brazen (Weep)", broadened the band's audience and helped establish their standing across Europe. The significance of that success goes beyond the numbers. A band with a heavy sound, an independent outlook and an impossible-to-ignore singer managed to reach a wide audience without smoothing away everything that made them intriguing. The cover fits the experience perfectly. Skin's face thrusts into the foreground, enlarged, distorted and unsettling, with the other three band members behind her. As in the music, our attention is immediately drawn to her, but the entire band is there. It is difficult to remain indifferent to that image, and harder still to remain indifferent to the voice that emerges from it. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website