Today we will tell you about Lou Gramm - one of the most powerful singers we know. (Photo: Monsters Of Rock Twitter) 1. He was born on May 2, 1950, in Rochester, New York. His full name is Louis Andrew Grammatico. 2. From an early age he absorbed music at home. His mother was a singer and his father was a bandleader and trumpet player. 3. The first band he formed was called "Black Sheep". They released their first single "Stick Around" in 1974. 4. The band released two studio albums, both in 1975. The first is "Black Sheep" and the second is "Encouraging Words". 5. Gramm received credit as the band's singer under the name Lou Grammatico and co-wrote most of the songs on both albums. 6. Gramm and the band went on a tour in the US and managed to become the opening act for "Kiss" in their early days. 7. A car accident with the band's equipment truck on Christmas Eve of 1975 interrupted the tour and also eventually led to the disbandment of "Black Sheep". 8. In 1974 guitarist Mick Jones moves to New York, with his British band "Spooky Tooth". They realized they were more successful in the US than at home in the UK, so they decided to move to New York. 9. Shortly after the "Black Sheep" truck accident, Lou Grammatico meets Mick Jones in a "Spooky Tooth" performance, where Gramm gives Jones a copy of "Black Sheep's" debut album. 10. Later on, "Spooky Tooth" also falls apart. Jones was left jobless in New York and at one point he even considered returning to England and starting his dental studies. Eventually, Jones makes a decision to set up his own band that he will lead and be able to direct its musical direction. (Photo: Michael Putland) 11. He immediately begins to recruit musicians to accompany him in his new lineup. He recalls the album he received from Lou Grammatico during the performance of "Spooky Tooth" and recruits him as the band's lead singer. At this point, Lou Grammatico changes his name to Lou Gramm. 12. At first, the band was called "Trigger", but soon after it was named "Foreigner" because half of the band is made up of "American" musicians - keyboardist Al Greenwood, bassist Ed Gagliardi and singer Lou Gramm, while the other half is "British" and it includes multi-instrumentalist Ian McDonald from "King Crimson", drummer Dennis Elliott and Mick Jones himself. 13. "Foreigner"'s first album was released in 1977 and was an immediate huge success. Hits such as "Cold as Ice", "Feels Like the First Time", "Long, Long Way from Home", "Starrider" and more were released from it, making it one of the best-selling debut albums in the US. 14. The band releases their second album "Double Vision" a year later. Also, in this case, it was a dizzying success when the album released hits like "Double Vision", "Hot Blooded" and "Blue Morning, Blue Day". 15. If we already mentioned "hits", then the first eight singles of "Foreigner" entered the top 20 on American Billboard and made them the first band since "The Beatles" to reach that status. 16. Gramm was the lead singer in all of these hits and co-wrote most of the band's songs, including the ballad "Waiting for a Girl Like You", which stayed ten weeks in second place on the "American Hot 100" and "I Want to Know What Love Is" which made it to #1 in eight countries. 17. After the band's fourth album named "4" from 1981, creative disagreements began between Lou Gramm and Mick Jones. Gramm wanted the band to stay true to its pure rock origins and preferred songs with the basic structure of a guitar, bass, and drums, while Jones adopted the 1980s style with synthesizer ballads. 18. These disagreements led to the band's next album "Agent Provocateur" coming out three years after the album "4", when by then the band was releasing an album a year. 19. The band's sixth album "Inside Information" was released in 1987 and by this time the disagreements between Gramm and Jones were so big that Gramm decided to embark on a solo career. 20. Gramm released his first solo album "Ready or Not" that same year. The album was critically acclaimed and includes the single "Midnight Blue". (Photo: Ebet Roberts) 21. That same year Gramm contributes the song "Lost in the Shadows" to the soundtrack of the comedy horror film "The Lost Boys." 22. In 1989, Gramm released his second solo album "Long Hard Look", which included the hits "Just Between You and Me", "True Blue Love" and also "Hangin 'on My Hip" which was part of the soundtrack of the movie "Navy SEALs", from 1990. 23. In 1990 Gramm announces his departure from "Foreigner" due to disagreements with Mick Jones, and that from now on he will focus on his solo career. 24. After his departure, Gramm formed the band "Shadow King", with his friend former "Black Sheep" bassist Bruce Turgon. In 1991, they released their only album, named after the band - "Shadow King". 25. In the same year, Gramm contributes the song "One Dream" to the soundtrack to the movie "Highlander II: The Quickening". 26. In 1992 Gramm returned to "Foreigner" after being able to settle his disagreements with Mick Jones. 27. In 1994 the band released their eighth album "Mr. Moonlight". This will be Gramm's last album in the band and also "Foreigner's" last album until 2009. 28. In 1997, Gramm participated in the album "Petra Praise 2: We Need Jesus", by the band "Petra". 29. In the same year he was diagnosed with a benign brain tumor, underwent surgery and in 1998 returned to the tour with "Foreigner". 30. In 2003 Gramm leaves "Foreigner" again and in 2004 he participated in the album "Welcome to the Revolution" by the band "Liberty N 'Justice". 31. In 2009, Gramm released the album "Lou Gramm Band" under the same band name. 32. In 2013, Gramm published his book "Juke Box Hero - My Five Decades in Rock 'n' Roll", in which he tells his life story. 33. At the same year Gramm entered the Songwriters Hall of Fame. 34. In December 2018, Gramm announced that he was retiring from touring. However, he has stated that he will continue to release albums and occasionally perform live shows on a one-off basis. 35. In 2019, Gramm joined the tour of "Asia" under the name "Asia Featuring John Payne". 36. That same year Gramm participated in the song "Sometimes" from Alan Parsons' album "The Secret". "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek... And this time, on the day "Nirvana" filed a lawsuit against "Nirvana". So.. on May 2, 1992, the English band "Nirvana" filed a lawsuit against the well-known band from Seattle of the same name. The British band was formed in London in 1965 and its main activity was from 1967 to 1974. The musical style of the English band ranged from pop, folk and rock with touches of jazz. In 1967 the English band released an album that was considered the first full concept album, which included a featured story and was called "The Story of Simon Simopath". In 1992 as stated, the lawsuit was filed for the unlawful and unauthorized use of the band name. The lawsuit ended in a settlement outside the court and the Seattle band payed compensation to the English band, in a way that allows the Seattle band to continue the use of the name "Nirvana". It is interesting to note that in those years the English band recorded a cover version of the song "Lithium". The intention was to release an album called "Nirvana Sings Nirvana" which would include cover versions of the grunge band songs. However, after Kurt Cobain's death this project was shelved, and all that was left was the cover version of the song "Lithium" which was included on the album "Orange and Blue" that the British band released in 1996. This album included rare tracks that did not fit into the band's previous albums. You can listen to the cover version, here: "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

The band's eighth album came out 4 years after "Riot Act" which came out in 2002, the album was named by fans as the "The Avocado Album". During that time the band completed their tour in South and North America, as well as Eddie Vedder, had a newborn child. These two brought the band to a sort of hiatus, during that time neither of them actually wrote new material. The band convened in February 2005 to begin work on the next album which was the first time since the "VS" album was released in 1993, the band arrives without any songs prepared for the studio recordings. The work on the album was done in a “democratic” way as Eddie recounted, with none of them coming up with anything ready but just ideas for riffs and rhythms. They all worked together on all of the songs. McCready said that when they met they were full of creative energies and the connection between them was better than ever, so much so that they wrote close to 25 songs of which 13 were selected for the album. The band chose mostly the more rhythmic and kicking songs than the weak and quiet ones. Eddie said he wrote about 7-8 different lyrics for each song, what a creative spirit !! Some say this album is a return to the band's beginning, back to the roots with a focus on rhythmic songs with a rough sound, kicking riffs, and melodic sound. The album released three very successful singles: "World Wide Suicide", "Life Wasted" and "Gone." The album conquered the Billboard charts and reached number two. Listen to the album on - Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Today we're going to tell you about Jeff Hanneman, one of the most influential guitarists in the thrash metal scene. (Photo: Metal Hammer Magazine) Hanneman was born on January 31, 1964, in Oakland California but grew up in Los Angeles. His full name is Jeffrey John Hanneman. The musical influences on Hanneman were a combination of punk and metal from bands like: "Led Zeppelin", "Iron Maiden", "Judas Priest", "Black Sabbath", "Aerosmith", "Wasted Youth", "Minor Threat", "Dead Kennedys", "Black Flag" and more. He was one of the founders of the thrash metal band "Slayer", along with Kerry King whom he met in 1981. (Photo: MusicConnection.com) Hanneman had a significant influence on "Slayer's" unique sound and was also the one who brought the influences of the punk genre to the band. Hanneman's father fought in Normandy during World War II and his brother in the Vietnam War, so he was drawn to a military history that would also influence the music he would later create. Among other things, he was interested in war medals and the history of Nazi Germany and this is reflected in the songs he wrote, which are sometimes misinterpreted as if he is a fan of Nazism. The song "Angel of Death" was written by Hanneman about Joseph Mangala. This led to accusations against him as a neo-Nazi, but he denied it and noted that he was only interested in the subject. Hanneman and the band even donated money to the Institute for Holocaust Studies. During his years in Slayer, Hanneman contributed lyrics and melodies to each of the band's albums. Some of Hanneman's compositions are: "South of Heaven", "War Ensemble", "Raining Blood", "Angel of Death", "Mandatory Suicide", and "Seasons in the Abyss. And more. In 1984, Hanneman embarked on a side music project called "Pap Smear" but producer Rick Rubin persuaded him to focus on Slayer. Hanneman is ranked along with his friend Kerry King in 10th place on "Guitar World" magazine's list of 100 greatest guitar players of all time. Their crazy solos have been defined by music critics as "wildly chaotic" and "twisted genius." (Photo: AP/Mark Seliger) In 2011 Hanneman was stung by a spider. The bite caused tissue inflammation that led to necrosis that almost caused one of his hands to be amputated. In 2012 Tom Araya released a statement saying he had recovered, but in February 2013 Kerry King announced that he was still suffering from health issues that prevented him from continuing to play with Slayer. On May 2, 2013, Hanneman passed away due to medical complications. He was only 49 years old. The cause of death was determined to be liver failure. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 1, 2007 "Rush" released their 18th studio album, "Snakes & Arrows". The album was included among the top ten progressive albums of the decade that opened the millennium, on the list of Classic Rock magazine. The album was co-produced with Nick Raskulinecz who worked with, among others, "Foo Fighters" and "Velvet Revolver". Nick, who is also a fan of "Rush", is the one who approached the band's management and asked to serve as its producer. At first, there was no enthusiasm for the idea, but after a campaign of persuasion this special collaboration between the fan and the band, paid off handsomely for both parties. Nick encouraged the band to stretch its boundaries in the complex rhythmic and melodic patterns that characterized its 70s albums, combined with an up-to-date and contemporary sound. The results were to the satisfaction of all band members to a point that Geddy Lee noted that he places the album among the band's three biggest albums. The collaboration with "Rush" also contributed a lot to Nick Raskulinecz and opened many doors for him. Nick became a highly sought-after producer who later worked with bands such as: "Alice In Chains", "Bush", "Mastodon", "Stone Sour", "Evanescence" and "Halestorm". The band chose to record the album at Allaire Studios which was located in a secluded mansion called Glen Tonche in the Catskill Mountains of New York State. The place was initially rented for only two weeks, as the band wanted to record there only the drum parts of Neil Peart who really liked the sound there. Eventually, Neil, Geddy, and Alex just fell in love with the place and stayed there for 5 weeks during which the album was recorded from start to finish. Neil said the atmosphere was really good, they enjoyed spending time with each other like in the early days, and that was well reflected in the music. When the band entered the studio, they already had 11 written songs in their possession. Two more were written in the studio during the recordings. Alex said it was the fastest recording of an album they had, since 1977's "A Farewell to Kings". The album opens strongly with “Far Cry” and Alex Lifeson's powerful chords, accompanied by the thunderous drums of Neil Peart and the dominant and beating bass of Geddy Lee. Anyone who listens well will find that the chord that ends the first sequence of power chords at the opening of the song, just before the break (second 0:12), is exactly the one that opens "Hemispheres". Lyrically, Neil Peart wrote the lyrics about how his generation started off great - concerned with peace and love - but in the end, they ended far off: "It's a far cry from the world we thought we'd inherit". The music on the album moves mostly in its "comfort zone" of Rush. At the same time, the album shows "Rush" experiencing different and new music genres. Listen to the opening rhythm of the song "Armor and Sword" which Peart attributes to renowned jazz drummer Buddy Rich. The bass line and guitar sound at the opening of the song are a bit reminiscent of King Crimson in the era of "Red" and "Larks' Tongues in Aspic". The riffs in the song "Spindrift" are heavy and flirtatious around Doom Metal from the '80s. Elements of blues are heard in the song "The Way The Wind Blows". In "Faithless", a conscious effort was made to write and perform a song at a slower pace compared to the band's repertoire. The song "Good News First" uses a mellotron, a musical instrument that the band has not used since the song "tears" from the album "2112". In terms of instrumentation, the album is mostly based on the guitar-bass-drum triangle, with almost no use of keyboards and other instruments. While the arrangements on the album are complex and dynamic, the musical pattern is mostly basic and direct, with a return to Rush's roots based on hard rock and blues. Alex Lifeson wrote the music for the album on acoustic guitar, on the advice of none other than David Gilmour who is characterized by this method of writing. Gilmour also received credit for the inspiration he gave Alex on the album liner notes. It is interesting to note that this is Rush's first album that includes 3 instrumental tracks: "The Main Monkey Business" is a musically complex track, which took Neil Peart 3 days to formulate the drums and percussion roles in it. "Hope" is a piece based on a 12-string guitar in which Lifeson's playing is mesmerizing and reminiscent of Jimmy Page. "Malignant Narcissism" is led by Geddy Lee's unique bass playing and in which Peart uses a minimalist drum set of only 4 parts. "Snakes & Arrows" maintains a high and consistent level throughout, with no falls in lyrics, composition, production, or playing. The band has taken a huge step forward since the comeback album "Vapor Trails" and it is clear that the writing, playing, and sound are more cohesive, especially when it comes to Neil Peart. There is no doubt that the album has all the right ingredients to be an excellent album. But despite the excitement of listening to the album, a considerable portion of the songs, for some reason, did not survive the test of time and were not included in the band's setlists. At the same time, the album is a very important and integral part of the band's development process and undoubtedly paved the way for the exemplary and excellent concept album that will follow "Clockwork Angels". For Listening: Spotify Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On April 30, 1976 "AC/DC" released their first international album "High Voltage". To understand the significance of this album, you have to go back to early 1970s Australia. “AC/DC” were a young and hungry band at the time, formed by brothers Angus Young and Malcolm Young, with a simple yet ambitious goal: to play hard, direct, no-compromise rock and roll. After solidifying their lineup with Bon Scott, they began building a name for themselves through relentless live performances, long before the world even knew who they were. In 1975, the band released two albums exclusively in Australia, “High Voltage” and “T.N.T.”, each representing a different stage in their evolution. The former was more raw, deeply rooted in blues and classic rock and roll, while the latter already sounded sharper, more focused, and far more confident, with a clear identity beginning to take shape. When the time came to break internationally, the global version of “High Voltage” was assembled as a carefully curated compilation of tracks from those two Australian releases, designed to introduce the band in the strongest possible way to a new audience. The result is an album that feels like a condensed coming-of-age journey. It opens with “It’s a Long Way to the Top (If You Wanna Rock ’n’ Roll)”, taken from “T.N.T.”, telling the story of the band’s road, with its iconic combination of bagpipes and crushing rock that would become part of the band’s DNA. “T.N.T.” itself, also from that album and opening side two of the vinyl, already sounds like a powerful statement from a band that has found its way to the top. Other tracks taken from “T.N.T.” include “The Jack”, which brings a dirty blues edge with Bon Scott’s provocative humor, “Live Wire”, adding tension and explosive energy that feels like a live performance, and “Can I Sit Next to You Girl”, showcasing the band’s lighter side with a touch of classic rock and youthful playfulness. From the Australian debut “High Voltage” come songs like “She’s Got Balls”, emphasizing the band’s bold and straightforward attitude, and “Little Lover”, reinforcing their connection to slow, gritty blues. “High Voltage” itself closes the circle with a track that feels like a summary of everything the band stood for at that stage: energy, simplicity, and uncompromising power. Beyond the songs themselves, the real importance of this album lies in its role. This was the world’s first real introduction to “AC/DC”, not as a local act, but as a rising force in global rock. The album opened the door for them and laid the foundation for what would follow with “Highway to Hell” and “Dirty Deeds Done Dirt Cheap”. Looking back, the international version of “High Voltage” is far more than just a compilation. It is the moment when all the pieces came together, marking the true beginning of the global story of one of the greatest rock bands in history. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

He is a talented musician and an ever more talented comedian that have a significant impact on Israeli music. Please welcome Maor Cohen... Photo: Ronen Fadida = He was born on May 1, 1974, in Sderot and grew up in Ashkelon until the age of 11 when he moved to Tel Aviv with his family. = When he was a student at the "Urban A" high school in Tel Aviv, he founded the "Zikney Tזfat" band in 1990 together with Yoni Ben Tovim. In addition to Maor and Yoni, the lineup included Oren Lutenberg and Adiel Portugali. = They first performed as part of an evening at Urban High School Bands at the "Roxanne" Club. Although the venue's managers took them off the stage before the end of the show to stop the crowd from keep raging, they received good reviews that week in the "News" newspaper and the "City" newspaper, which aroused the interest of the media in them. = Maor was nicknamed the "Wonder Child of Israeli Rock" due to the background of the band's charismatic live performances as part of the then Tel Aviv alternative rock scene. = Immediately afterward, they broke into the radio thanks to a heavy cover version, in a punk style, of the song "What do you do when you get up in the morning" by Arik Einstein and Shalom Hanoch, which was recorded at the "Penguin" club in Tel Aviv. The band received extensive media coverage and was described in the alternative rock scene as the great hope of Israeli rock. Photo: Vardi Kahana = In 1992, the band released their debut album, "Zikney Tזfat", with the help of producer Itzik Lichtenfeld, who also produced "Mashina's" performances and organized warm-up performances for "Zikney Tזfat" before these performances. Raa Mochich also participated in the ensemble, who came from the band "Balagan" and replaced Portugaly in the position of drummer. The album included, among others, "Ricky", which became a hit in the Tel Aviv alternative rock scene. Other songs that stood out were "Tzipi," "Pushing in Allenby," "Yossi (The Whore from Francisco)," "The Warthog" and "Life Is Beautiful." The album failed in sales and was ignored by radio stations, in part because of its loose lyrics and provocative themes. In 2008, at the end of the 60th anniversary of the State of Israel in the "Yedioth Ahronoth" newspaper, the album was chosen as one of the most important of the Israeli music of the 1990s. = In 1994, the band released their second album, also called "Zikney Tזfat" in the musical production of guitarist Haim Romano. In the same year, Lutenberg, Mochich, and Ben-Tovim parted ways with the band, taking their place, Tom Mochich, Yuval Keiner, and Aviv Papo. In an album that included softer rock than that of the first album and was much less provocative, Cohen wrote almost all the lyrics and melodies on his own, vs the first album which did not include any of his melodies. The song "Friday Saturday (Voter's Day)" became one of the biggest hits of the decade and made the album a commercial success. "The Neighbor," "In the King's Palace" and "Just Don't Go" has also become big hits. That same year, the band members participated in the Festigal with the song "Noa in the Cinema". = In 1995, the band, this time with Ben-Tovim who returned to the band and with the new member Guy Amir, began working on their third album. With producer and director Itzik Lichtenfeld and music producer Oved Efrat, the band recorded a lot of material that together with the material not included in the second album was enough for a double album, but the NMC label preferred to release the songs on two separate albums, in August 1995 and July 1996. The two albums, "Give Me Schlager" and "Give Me Schlager 2" were not successful. The albums continued the trend of moving away from the style of the first album. = In August 1996, the last performance of "Zikney Tזfat" for that period took place at the "Logos" club in Tel Aviv. When in 2014 there was a reunion performance of the band at the Rhythm Festival. The show led the band members to release a new album and that same year the band's latest album "There Were Never Things" was released. = In 1996, Maor founded the cooperative and independent supergroup "The Flies". In addition to Maor, the band included Oren Kaplan, Dan Toren, Yuval Shafrir, Peter Roth, Uri Tchelet, Amit Liron, and Jango. "The Flies" released one studio album in 1998 called "Buzz ..." with the album also featuring Yuval Keiner and Raa Mochich. Among the "The Flies" hits that Maor sings are "That's not (Carol)", "Fly Rock" and "The". = In the same year, Maor starred in the Israeli film "Birds in Neutral". = In 1999, Cohen's first solo album, "Good for Us Together", was released, produced by Peter Roth. The album continued the solid line of the latest albums of the "Zikney Tzfat", and included the hits "What is Known about this Day", "The most beautiful in the World", and "It's me, it's You". = In 2000 Maor released together with Raa Mochiah the album "Toys from the old school" under the band "Tzemed Reut". The album features lyrics and vocals in a humorous submission by Cohen and is played in various genres, including psychedelic rock, blues, and electronic music. The single "Quiet Quiet Baby", in the disco style, was a success. = In the same year, Cohen starred in the Israeli film "Something Total" = In 2001, Maor renewed the relationship with Oren Lutenberg and the two formed the "HaBlayanim" band. In 2003 the band released their only album "Songs of Wars", here too the two made use of humorous style and electronic elements, and its two singles "Chauvinist" and "Gola Gola" were successful. Also playing on the album was "Zikney Tzfat"'s Tom Mochich, Peter Roth, and Jean-Paul Zimbris, while Barry Sakharof gave a guest appearance on the song "The Demon". = In 2005 Maor's second solo album, "Flowers of Evil - Maor Cohen Sings Baudelaire" was released. The album features songs from Charles Baudelaire's classic poetry book, "Flowers of Evil," translated by Dori Manor and composed by Maor. The album came out in disc-book format and received mixed reviews, with some critics objecting to the solidity with which Cohen presents Baudler's scandalous songs, and some defining the album as a masterpiece very reminiscent of Arik Einstein's first albums (also in Cohen's voice). The album included the singles "The Return" and "The Blood Fountain" and was accompanied by a tour called "Cabaret from Baudelaire Songs". = In the same year, Cohen acted in the telenovela "Telenovela Ltd.", in which he played a telenovela director who is plagued by a great tragedy. = In 2005, Maor, together with his friends from the "Zikney Tzfat", Yuval Keiner, and Tom Mochiah the band "Israelis / Action / Sex". Here, too, humorous texts are used but this time it is combined with influences of rock from the sixties. The band released two albums, "Kings of Sex" in 2005 and "Fax Romana "in 2010. = In 2006 Maor wrote and composed for Arik Einstein the song "Mazkeret" which was included on the album "Moments". = That same year he participated in the Hebrew version of the comedy show "Whose Line Is This?" = In 2007 Maor participated in the successful comedy series "Mesodarim" where he plays a clumsy character named "Berald". The series included musical tracks from Maor's projects such as "Gola Gola" and "Shir du-de-hai". The series aired for the second season in 2009. In addition, Maor played a lead role in the comedy series "Crime Animals" this year alongside Gal Zaid and Yoram Levinstein. = In 2008 Maor joined the permanent team of "Eretz Nehederet" in its fifth season and as of 2022, he is still participating in the show. = In 2008 Maor released a first and double compilation album called "Discgraphic". Which included songs from his solo career, as well as songs from the various ensembles in which he participated. Photo: Ronen Fadida = In 2010 the film "This is Sdom" was released in which Maor participated alongside other actors from "Erets Nehedert". In the same year, he participated in the comedy film "Half a Tone Bronze". = In 2011, Maor was chosen to be the presenter of "Domino's Pizza Israel". = In 2012 he wrote and participated in the comedy series "Parliament" together with some of the actors of "Eretz Nehederet". = In 2013, Maor's third solo album "The Great Freedom" was released, also in the musical production of Peter Roth. The song "Returning to Life" from the album which was released 9 months before the album was very successful. = In 2015, Maor released the EP "Maybe?". After years of making music with other people, Maor wanted to go on a musical trip of a mini-album and performance, and this time alone. He felt it was his little duty to the audience, to accept him one on one in front of them, for better or worse. = In the same year, Maor participates in the "Children's Star" album of the "Boom Pam" band. = In 2018, Maor released his fourth solo album called "A Transparent Place", in a musical production by Ofir Kenner. = In 2021 Maor collaborates with the poet Udi Sharbani and the two released the album "As You Hear". The album consists of ten songs and four tracks, with Maor responsible for all the melodies and Udi Sharbani for all the lyrics. Among the songs on the album: is "Learning Graphology", "Long-shot for Comedy, Close-up for Tragedy", "Gentle and Short", "There are many like me, but there is nothing like me when I am with you", "Silhouettes", in the end, it got tired ". = In 2022, Maor participated in a TV series about Aviv Geffen's life called "The Moon Years" in which he played the role of Shalom Hanoch. 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On the 10th anniversary of Gary Moore's passing, his family chose to mark the occasion with a new album, "How Blue Can You Get", released on April 30th, 2021. The album features 8 previously unreleased songs that are being released here for the first time. The iconic Northern Irish musician and singer-songwriter have left behind him a huge catalog of music from his esteemed solo career, "Thin Lizzy", "Skid Row", "Colosseum II" and many more collaborations. On the tenth anniversary of his tragic death, his family entered the archives of the legendary guitarist and found several songs that had not yet been heard and were not released, as well as cover versions of familiar songs. 4 of the eight songs are new original songs, like the ballad "In My Dreams" and the melancholic track "Looking at Your Picture" and the moving ending song of the album "Living With The Blues". In addition, we get 4 cover versions of Blues songs: the album begins with a roar with Freddie King's "I'm Tore Down" in Moore's live performance, before slipping into Memphis Slim's "Steppin' Out". Other cover versions are "Done Somebody Wrong" by Elmore James and of course the seven-minute theme song "How Blue Can You Get", originally by B.B. King from 1964. The album also includes an alternative version of "Love Can Make A Fool Of You" taken from the extended version of the album "Corridors of Power". Song list: 1. I'm Tore Down 2. Steppin' Out 3. In My Dreams 4. How Blue Can You Get 5. Looking At Your Picture 6. Love Can Make A Fool Of You 7. Done Somebody Wrong 8. Living With The Blues "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Welcome to the Metal Music school of the 21st century, you are required to turn the volume to maximum, pay attention and follow every note !! Everybody in metal music is saying that "Gojira" is one of the significant metal bands that the world needs to pay attention to, after you click play on the link at the bottom you will understand why!! As a result of all this pioneering brilliance, much more is expected of Gojira than perhaps any other mainstream metal band. "Fortitude" arrives amid a flurry of entirely justifiable hype, much of it elicited by the huge success of the band's previous album, "Magma". That record was arguably a little less adventurous than some of the band's earlier efforts. Still, via the irresistibly catchy likes of "Stranded" and "Silvera", Gojira confirmed that they could deliver anthems and crowd-pleasers while maintaining the individuality and creative integrity that has always been a hallmark of their work. "Fortitude" offers plenty of those joyous, none-more-Gojira moments that no other band could hope to emulate. Both "Born For One Thing" and "Another World" delivered the goods in advance of the full album, and while neither leaped out as an instant classic, both are full of nimble but cudgeling rhythms and those unmistakable churning riffs and bursts of harmonic scree. "Amazonia" is the band in languorous groove mode, evoking Killing Joke's scorched earth power in the verses before serving up a lurching, descending riff that feels destined, in the not-so-distant future, to have huge crowds banging their heads in unison. "New Found" is another gem, with an opening riff to kill for and a mid-song drop in tempo that facilitates a genuinely gorgeous and epic climactic fade. Even better, "Sphinx" sounds like classic Gojira, but upgraded and somehow even ganglier than previous high points. Any reservations you might have while listening to "Fortitude" will vanish as soon as closer "Grind" erupts, administering at least two more magnificent riffs and enough bullish energy to slap back a tsunami. The album sounds like one that could propel them the rest of the way to the top. They’re no strangers to melodies and hooks, but they’ve never crafted anything like this. Combining the comparatively direct approach of The Way Of All Flesh with the more expansive atmospherics of the last album Magma then throwing in a few complete curveballs, this is the most immediate yet surprising full-length they’ve produced to date. (Photo: Jimmy Fontaine) Lyrically they’ve emerged from the introspection and meditations on mortality that characterized "Magma", turning back out to the world around them. Gojira has always addressed environmental themes and they return to them here. Despite the fact that mankind appears to be lurching towards disaster, though, the overall feeling is not despair or even rage. Instead, there’s a sense of hope and positivity – an invocation of the power that still resides in the individual and the collective as the planet faces an existential crisis. This is an important album, not only because it extends Gojira’s palette and cements their place as one of metal’s most skilled and uncompromising bands. They’re also one of the most inspiring as they call for strength, for action and above all for fortitude. Listen to the album now on Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On April 29, 1981, "Van Halen" released their fourth studio album "Fair Warning". There is a moment, just seconds into "Mean Street", where "Van Halen" make their intent on this album unmistakably clear. The guitar intro is not merely intricate, it is hostile, sharp, almost confrontational. "Fair Warning" does not chase the brightness of "Women and Children First". It cuts inward, darker, leaner, and far more suspicious of its own mythology. What gives this album its lasting relevance is the way it deliberately refuses to meet expectations. Eddie Van Halen strips away the showmanship without sacrificing brilliance. His playing here feels more architectural than explosive, building tension through rhythm as much as through lead work. The strange opening of "Mean Street" is a masterclass in controlled aggression. By contrast, "Unchained", which opens the second side of the vinyl, is built around a riff that seems simple and immediately catchy, but only on the surface. As the song unfolds, it thickens and grows more tangled, becoming massive and complex, to the point where it is not entirely clear how it functions as the central element that turns the track into the album’s defining hit. Lead vocalist David Lee Roth adjusts himself to the shifts the band is pushing here. Where he once played the carefree ringmaster, his delivery now feels sharper, more sardonic. On "Dirty Movies" he leans into a rap-influenced narrative style, delivering lines with a smirk that edges toward cynicism, while "Hear About It Later", which closes the first side, reveals a rare melodic restraint that allows the chorus to breathe. "Push Comes to Shove" stands as the album’s unexpected card. Driven by the hypnotic bass work of Michael Anthony, it slips into a relaxed groove with reggae touches, showcasing both the band’s versatility and its willingness to explore beyond its core sound. It is followed by the album’s first single, "So This Is Love?", which injects a different kind of energy. Built around a loose, unforced groove, it leans closer to funk than metal, carrying a deceptive lightness that masks tightly controlled rhythmic precision. The instrumental "Sunday Afternoon in the Park" acts as a brief yet significant disruption in the album’s flow. It abandons the band’s familiar rhythmic clarity in favor of something far more abstract and unsettling. Layers of synthesizers drift with an almost industrial coldness, while the guitar lines feel suspended in space. It is a genuinely strange piece, a moment of unease that leads directly into the aggression of "One Foot Out the Door", the punk-leaning closing track. "Fair Warning" is far from the most accessible "Van Halen" album, nor was it meant to be. It captures a band actively interrogating itself, choosing discomfort over repetition. That decision is precisely what gives the record its edge, allowing it to stand apart within the band’s already formidable catalog. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

This is the third album by the band "Tremonti" which was issued on April 16th 2016 !! If you remember, when we celebrated Mark Tremonti's birthday 10 days ago, we told you that the band recorded this album as part of the recordings of the second "Cauterize". Tremonti waited so long to embark on a solo career and until it came, he had a lot of great ideas, riffs, lyrics, and melodies that were just waiting to explode into the world world. Both albums were recorded in the same session, Tremonti said he wanted to record as many songs as possible and after finishing the recordings he felt it would be a crime to release only one album with 13-15 songs, and the rest as B sides. So he decided to create two different albums from the recordings. Two albums that are balanced between stronger, melodic, and slower songs. A kind of equal split between the two that expressed what Tremonti wanted. Although there was no bassist on the previous album, on this album the credit for the bass was given to Wolfgang Van Halen (the son of), who also joined the band's tour after the album's release. But despite the desire to create a balanced two albums, there are two elements here that slightly differentiate this album from the previous one. It's not clear if it was designed that way, but it seems that in the songs selected for this album, Tremonti's voice upgraded to the next level. It features higher capabilities and a wider range of sound than in the previous album. We have already come to know that he also has amazing singing talent, but here he is already undoubtedly taking a step up. Another element is greater musical diversity compared to the previous album. While many of the songs on this album contain similar elements, there is still greater variation compared to the previous album, ranging from chants with huge melodies, in "The Cage", through delicate moments like "Dust" and even a combination of almost psychedelic atmosphere in "Tore My Heart Out" and "Never Wrong". It is important to emphasize that the diversity does not impair the formation and coherence of the album, which flows throughout in a natural and fluid way, until even the light song that closes the album, "Unable to See", feels like it blends in perfectly. This album once again demonstrates the tremendous talent of "The Texas Sawyer," both on guitar in the powerful and murderous riffs and mesmerizing solos, and in the powerful vocals and production that strengthen Tremonti's status as one of the best and most respected artists of our generation. (Photo: Ashley Maile) Another thing we must note here is the amazing combination of the band members. Tremonti did an excellent job in selecting the musicians. They fit in perfectly with "The Texas Sawyer", know how to accompany it little when needed, pick up and highlight it at other moments, and break with it and bomb in just the right place. Despite the dominant presence of Tremonti the rest of the members do not disappear at all, each feels at just the right time and timing. Garrett Whitlock turns out to be a sharp, fierce, battered, powerful, and perfect drummer for Tremont's aggressive riffs, trust us it's hard, it's very hard to be a drummer next to "The Texas Sawyer" that sets the pace for you with such aggressive riffs. Eric Friedman - Tremonti's accompanist and right-handed guitarist, fits like a glove into Tremonti's lead role and accompanies him with the same intensity and attacks. The new bass player in the group Wolfgang Van Halen also completes the rhythm section and holds the low frequencies on the album with great pride and a high hand. So make sure you are not near flammable materials and just click play because we assure you that everything will go up in flames... Listen to Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On April 28, 1972 "Wishbone Ash" released their third album "Argus". This album is considered a milestone in the development of the "Twin Lead Guitar" sound, the combination and harmonization between two guitars, which was later adopted by bands such as "Thin Lizzy" and "Iron Maiden". It's not for nothing that Steve Harris was quoted as saying in an interview with "Guitar World" magazine in 2011, as follows: "I think if anyone wants to understand Maiden's early thing, in particular the harmony guitars, all they have to do is listen to "Wishbone Ash's" "Argus" album". "Wishbone Ash" was established in October 1969 and its roots are rooted in the previous band of its founders "The Torinoes", which was active from the beginning of the 60s. You will be surprised, but it was not really customary at that time for rock bands to include two lead guitarists. So how did it happen here and have such an impact on the metal bands that came after? The founders of the band were bassist and singer Martin Turner and drummer Steve Upton. They were looking for a guitarist to replace Glenn Turner (Martin's brother) and held quite a few auditions, but just couldn't decide between their two finalists, Andy Powell and Ted Turner (no relation to Martin this time). So what did they do? They just took both, just to see what it will sound like. And it sounds just great!!! It is interesting to note, that exactly in the same year that "Wishbone Ash" was formed, "The Allman Brothers Band" was formed on the other side of the ocean, in Jacksonville, Florida, and also included two leading guitarists. But unlike the twin guitar sound of the "southern rock" pioneers, the sound of "Wishbone Ash" included strong elements of "progressive rock" and "folk" music and thus their uniqueness. The name of the band was chosen after its members wrote some suggested names on two sheets of paper. Martin Turner chose one word from each list and the result was: 'Wishbone' and 'Ash'. The band's big opportunity came at the beginning of 1970, when "Wishbone Ash" managed to be the opening act for "Deep Purple". Guitarist Ritchie Blackmore jammed with guitarist Andy Powell at one of the Soundchecks and got really excited. He was also very impressed by the amazing abilities of the rest of the band and decided to recommend "Wishbone Ash" to producer Derek Lawrence, even helping them get a contract with "Decca/MCA Records". The band's eponymous debut album, "Wishbone Ash", was released in December 1970 and its musical style included elements of blues, jazz, progressive rock, and psychedelia. A year later, the group released "Pilgrimage" which already focused more on acoustic folk music than the blues rock sound that dominated the first album. It also included quite a bit of instrumental jazz and that is where the band began to develop their vocal harmonies (in the style of Crosby, Stills, Nash, and Young), as well as the harmonies between the guitars. But the band reached its creative and commercial peak with the release of their third album "Argus", which became their best-selling and most influential album. This is the album where the band's sound and style began to take shape. To record the album, producer Derek Lawrence collaborated with "Deep Purple" sound engineer (and future producer) Martin Birch, with the two utilizing the (then) state-of-the-art 16-channel console to create this masterful album in less than a month. The very unique style of the album and the band is already revealed in the opening track "Time Was". It is a complex epic of almost ten minutes, which begins with a long acoustic folk section, which builds the tension nicely before the song takes a turn around the 3:00 minute mark and becomes rockish. From there the song develops and changes, with no less than three lead parts by the two leading guitarists Andy Powell and Ted Turner, who also make sure to pad the song with harmonies and short guitar phrases. "Sometime World" sits already in the bluesy genre with a solid bass line that holds this bluesy ballad throughout. Like the opening song, here too the track takes a rockier turn with an energetic jam that includes great leads from the pair of guitarists. "Blowin' Free" works exactly the opposite of the previous two sections. It features an interesting guitar intro that leads us into the tight rhythm of the song, but then, the song just breaks down into a gentle, quiet transition section before coming back and bursting with bluesy guitar solos, the latter of which leads the song to its end. The other side of the vinyl opens up to the rhythm of marching drums that announce the arrival of the king. "The King Will Come" is one of the album's most beautiful songs, emphasizing the combination of English folk music with blues and rock. In contrast, "Leaf and Stream" is entirely based on English folk. It's a quiet and pure folk song with a particularly melodic lead vocal that also highlights Martin Turner's vocal abilities. The album ends with a two-part mini-suite by Andy Powell and Ted Turner. A pair of songs that connect to each other both lyrically and melodically. "Warrior" features long sections of music that drain into a long jam. This song also corresponds with the album cover designed by the legendary Storm Thorgerson. Immediately after it comes "Throw Down the Sword", which already refers to the moments after the battle, in which the "warrior" puts the sword aside and gains glory, in an epic ending led by the pair of guitars that take us to a long, sweeping solo until the end. 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