Written By: Moti Kupfer Release date - 11.12.1970 "I don't believe in Elvis. I don't believe in Zimmerman. I don't believe in Beatles…The dream is over…you just have to carry on." In 1970 John Lennon went through a process of emotional purification, a process he described in a direct, honest, and at times brutally raw way on his first solo album “John Lennon/Plastic Ono Band”, released on December 11, 1970. By mid 1969 it had already become clear to John Lennon that he and "The Beatles" belonged to the past. In September 1969 he shared his intentions with the rest of the band, agreeing not to announce it to the press yet, due to various contractual obligations. A few more months would pass before curious journalists, who had heard a rumor claiming that Paul McCartney was dead, arrived at his farm to verify the story, only to walk away with a completely different scoop: "The Beatles no longer exist." At the same time, John Lennon and Yoko Ono were fighting for survival. Survival in life, and survival as a couple. Yoko, after two miscarriages, was struggling for custody of her daughter Kyoko, while Lennon was coping with the dissolution of "The Beatles", and with the ghosts from his past, that refused to release him: the abandonment by his father, the loss of his mother, all of it intensified by heavy drug use (heroin, methadone). Yoko understood that if she would not do something drastic, not only that their relationship will be doomed, but John’s life itself might soon become a memory. In March 1970 she called (from Tittenhurst Park, where they lived),the American psychologist Arthur Janov, in Los Angeles. Janov, author of the book "The Primal Scream", believed that in order to heal psychological and physical trauma, a patient must release the earliest experiences stamped into them since birth. Yoko Ono realized that Janov was likely the only solution capable of rescuing her partner from the deep psychological crisis he had fallen into, and decided to approach him. At first Janov, who did not know Lennon or "The Beatles", refused the request, but eventually his children convinced him to treat Lennon and enjoy, along the way, his fifteen minutes of fame. No one imagined that Janov’s method, considered unconventional at the time, would later become widely popular. Janov recalls that when he arrived at the estate where the couple lived, Lennon was sunk in despair, addicted to heroin, unable to leave his room. He began treating him, encouraging Lennon to release his emotions through screaming and crying. Much of the therapy took place in the recording studio inside the estate, which quickly translated into the songs in which Lennon cries out to the father and mother, who were not there for him when he needed them so desperately, most powerfully in "Mother" . Almost all the songs Lennon wrote for the album are influenced by the treatment: free of wordplay, direct and honest, touching, dealing themes of love ( "Love" ), faith and doubt in God ( "God" ), loneliness ( "Isolation" ), and the end of the dream of the Fab Four from Liverpool ( "God"  again). There is also the moment when Lennon tries to construct his new self as a working class hero who does not owe anyone anything, even if it means cursing the whole world and his wife, in "Working Class Hero" . Lennon recorded the album together with bassist Klaus Voormann, his old friend from the early Hamburg days of "The Beatles", as well as Ringo Starr , Billy Preston who was the unofficial fifth "Beatle" for a brief moment of glory, Phil Spector , and of course Yoko Ono. Years later two young musicians, inspired by the story of Lennon and by Janov’s book itself, founded the band "Tears for Fears", whose concept was based on "The Primal Scream". About two more years would pass before a rock band in Glasgow adopted a name drawn from the same source, the alternative dance and rock group "Primal Scream". For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On December 11, 2020, about three years after Chris Cornell's death, the album "No One Sings Like You Anymore" was released. This was his fifth solo album, featuring 10 cover versions of songs and artists who influenced him. The album's name is taken from a line in the song "Black Hole Sun" from Cornell's mother band's "Superunknown" album, an immortal line that has best represented Chris Cornell. It all started with what was supposed to be Chris '56th birthday, so we got the first hint for a new album, in the form of the single "Patience", Cornell's excellent cover version of the song "Guns N' Roses". A few months later the entire album featuring songs by John Lennon , Harry Nilsson, Carl Hall, Prince, "Electric Light Orchestra", Terry Reid, and more, was released. The album opens with an electronic rendition of the song "Get It While You Can" by Janis Joplin , continues with a jungle rendition of the song "Jump Into The Fire" by Harry Nilsson, followed by the song "Sad Sad City" by the electro duo Dancing "Ghostland Observatory" as he puts in some acoustic instruments, he infuses a lot of emotion on John Lennon's "Watching The Wheels", gives an interesting interpretation to Carl Hall's "You Don't Know Nothing About Love" and turns the bowels of "Showdown" from "ELO", with a cover version that sits on the beat of a drum machine. The song that seals the album "Stay With Me Baby" by Lorraine Ellison, was released in 2016 as part of the soundtrack of the excellent series "Vinyl" and in the same year, the song "Nothing Compares 2 U" by Prince was re-recorded by Cornell, especially for the album. The album was recorded in 2016 by Cornell, who plays all the instruments, along with Brendan O’Brien who also produced and mixed it. Cornell's children were in the studio during the recordings and described a happy and fun atmosphere, they were given piano lessons and told that Chris and Brendan played computer games. By the way, anyone who looks at the bottom of the album cover or searches for the album on Apple Music's streaming services will find that it's titled "No One Sings Like You Anymore, Vol. 1", which implies that there is another cover album based on more songs recorded in the same sessions. Song list: 1. “Get It While You Can” 2. “Jump Into The Fire” 3. “Sad Sad City” 4. “Patience” 5. “Nothing Compares 2 U” 6. “Watching The Wheels” 7. “You Don’t Know Nothing About Love” 8. “Showdown” 9. “To Be Treated Rite” 10. “Stay With Me Baby” Listen to the album on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

He's a bassist, he's a songwriter, he's a producer, he's a radio broadcaster and he's one of the most colorful and scandalous bands of the 1980s - "Mötley Crüe". Come read some interesting and crazy facts about Nikki Sixx who's celebrating his birthday today: (Photo: planetradio.co.uk) 1. He was born on December 11, 1958, in San Jose, California, as Frank Carlton Serafino Feranna Jr. 2. Already at a very young age Feranna's parents were separated and it was his mother who raised him. At a later stage, she also abandoned him and he grew up with his grandparents. 3. These events greatly affected him. Feranna was a disturbed child, broke into neighbors' houses, stole from stores, and was expelled from school for selling drugs. 4. Eventually his grandparents who could not control him, sent him back to his mother, who was living at the time in Seattle, There he learned to play the bass guitar. 5. Feranna bought his first bass guitar with the money he got from a stolen guitar. 6. The musical influences on Feranna were of the rock genre. He was influenced by artists such as "Deep Purple", Harry Nilsson, "The Beatles", "The Rolling Stones", Elton John , "Queen", "Black Sabbath", "T-Rex", David Bowie , and "Slade". 7. At the age of 17, he moved to Los Angeles and worked casual jobs such as selling in a liquor store, selling vacuum cleaners over the phone, and more, while at the same time auditioning for different bands. Feranna eventually joined the band "Sister" led by Blackie Lawless . However, shortly after the first demo was recorded, Feranna was fired from the band. (Photo: IMDB) 8. In 1978 Feranna founded "London". During this time, Feranna legally changed his name to Nikki Sixx. 9. After several band changes, "London" added former "Mott the Hoople" singer, Nigel Benjamin, to its ranks, recording a 16 tracks demo. 10. It is interesting to note that after Sixx's departure from "London" it was joined by Blackie Lawless (later from "W.A.S.P."), Izzy Stradlin (then from "Hollywood Rose", later from "Guns N 'Roses") and drummer Fred Coury (later "Cinderella"). 11. In 1981, Sixx formed " Mötley Crüe " with drummer Tommy Lee . They were later joined by guitarist Mick Mars who responded to an ad in the local newspaper, and singer Vince Neil, with whom Lee attended high school. 12. The band recorded their self-funded debut album "Too Fast for Love". Already at this point, Sixx had established himself as the band's leader and lead writer. The album was released in November 1981 on the band's private label "Leathür Records". 13. The band began to gain momentum and build a fan base, when immediately after the release of the album they were signed by "Elektra Records" and released their second and excellent album " Shout at the Devil ". 14. By 2008, Sixx had released nine albums with the band. All of them reached the top ten on the Billboard 200, with the 1989 album "Dr. Feelgood" being the only one to win first place. 15. "Mötley Crüe" has established itself as one of the most prominent bands in the glam metal genre, with insane performances that included the use of every possible pyrotechnic and special effects on and off stage. 16. During his membership in the band Sixx became addicted to heroin. He noted that alcohol, acid, and cocaine were just "affairs" and when he met "heroin" it was "true love". He estimates he took an overdose "about half a dozen times". 17. On December 23, 1987, Sixx took a heroin overdose and Was Declared Dead For 2 Minutes , before a paramedic revived him with two adrenaline-filled shots to the heart. The song "Kickstart My Heart" was written about this event. (Photo: metalcastle.net) 18. In 1989, Sixx was a guest on Steve Jones', former "Sex Pistols" member, "Fire and Gasoline" album. Sixx co-wrote and performed the song "We're No Saints." 19. In 1990, Bruce Dickinson released his first solo album. He chose to call it " Tattooed Millionaire " when Sixx tells in his book "The Heroin Diaries" that the theme song was written about him after sleeping with Bruce Dickinson 's wife. 20. In 1991, Sixx played bass in the song "Feed My Frankenstein", taken from Alice Cooper 's "Hey Stoopid" album. Sixx co-wrote the song "Die For You," along with fellow "Mötley Crüe" guitarist Mick Mars. 21. On October 30, 1997, Sixx was the center of a controversial incident, during the performance of "Mötley Crüe" at the Colosseum in Gresboro. He used racial nicknames while encouraging the crowd to physically attack a dark-skinned security guard, who repeatedly pushed a fan. In May 2001, Sixx addressed the issue, claiming he apologized to the victim of the incident. 22. In 2000, Sixx formed a side project called "58" with guitarist Steve Gibb (formerly "Black Label Society" and "Crowbar") and drummer Bucket Baker. They released one single called "Piece of Candy" and their debut album, "Diet for a New America", ​​in 2000. 23. In 2002, Sixx played in Butch Walkers' first solo album called "Left of Self-Centered". 24. In the same year, Sixx formed "Brides of Destruction", together with Tracii Guns, known among others from the band "L.A. Guns". They released their debut album "Here Come the Brides" in 2004. 25. After the release of the album, Sixx returned and reunited with "Mötley Crüe" but before that he co-wrote some of the songs for "Brides of Destruction" next album - "Runaway Brides", which was released in 2005. 26. In 2005 he collaborated with Norwegian singer Marion Raven on two songs, "Heads Will Roll" and "Surfing the Sun", from her debut album "Here I Am". (Photo: rockcelebrities.net) 27. In 2006, he was one of the songwriters for the long-awaited Meat Loaf album called "Bat Out of Hell III: The Monster Is Loose". 28. In 2006, Sixx formed the band "Sixx: A.M" to record an audio accompaniment to his autobiography "The Heroin Diaries: A Year in the Life of a Shattered Rock Star". They recorded and released the soundtrack "The Heroin Diaries" in August 2007, including the successful single "Life Is Beautiful". Sixx will release four more albums with this band, the most recent of which, "Prayers for the Blessed, Vol. 2", was released in 2016. In addition, the band will release 2 more EPs. 29. In 2021, Sixx formed the supergroup "L.A. Rats" together with Rob Zombie, Tommy Clufetos, and John 5. They released the song "I've Been Everywhere" to the movie "The Ice Road" soundtrack, starring Liam Nissan. 30. As of 2010 he has a radio show called "Sixx Sense" that airs Fridays through Mondays. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On December 11, 1970 "King Crimson" released their third studio album "Lizard". The arrival of "Lizard" marked one of the strangest, boldest and most fragile moments in the history of "King Crimson". Only Robert Fripp  and Peter Sinfield remained from the groundbreaking debut period, and the version of the band that recorded "In the Wake of Poseidon" and especially the monumental debut “In the Court of the Crimson King”  had already dissolved. What rose in its place was something else entirely, a studio born collective built from jazz musicians, classical players and rock experimenters who were never meant to stand together on a stage. "Lizard" became the sound of a band rebuilding itself while simultaneously falling apart, a fever dream captured on tape. The circumstances around the album were as eclectic as the music itself. After the exhausting early years, Robert Fripp  shifted deeper into composition, letting go of the symphonic rock framework of the first albums and drawing inspiration from free jazz, chamber music and abstract improvisation. Except saxophones and flute player Mel Collins, and his old schoolfriend Gordon Haskell who sang vocals in one song from the previous album, Fripp surrounded himself with new collaborators, among them drummer Andy McCulloch, pianist Keith Tippett and a full brass and woodwind ensemble whose presence gave the album an otherworldly, theatrical tone. Recording took place at "Wessex Sound Studios", with Fripp and Sinfield building the album like a painter and a poet rather than a conventional rock team. No one in the room really imagined these songs being performed live. They were too strange, too complex, too fragile. The opening track "Cirkus"  immediately reveals the shift. Dark mellotron swells, Tippett’s restless piano lines, woodwinds that slither like shadows and Haskell’s deep, haunted vocal create a world that feels closer to avant-garde theatre than to progressive rock. Sinfield’s lyrics are at their most vivid, filled with illusion, masks and a constant sense of danger just outside the frame. It is one of the album’s more accessible pieces, but even here "Lizard" sounds like a universe detached from what came before. The mood then turns inward and crooked with "Indoor Games" , playful on the surface but constantly undermined by strange harmonies and rhythmic jolts. Fripp’s guitar jumps between delicate acoustic figures and sharp electric lines, while the horns and reeds poke and tease like characters in a surreal carnival. "Happy Family"  takes that feeling even further, with its processed vocals and cryptic words that many listeners read as a warped reflection on "The Beatles". The song seems to grin and grimace at the same time, catchy and unsettling in equal measure. A moment of fragile beauty arrives with "Lady of the Dancing Water" , one of the gentlest and most intimate pieces in the entire "King Crimson" catalog. Over a delicate acoustic guitar line, the flutes and trombone float like soft brushstrokes across a watercolor landscape. Sinfield’s imagery becomes tender rather than surreal, painting a scene that feels suspended in time, like a memory you’re afraid to touch in case it dissolves. Haskell delivers one of his warmest and most understated vocals on the album, letting the melody breathe without forcing emotion. The heart of the album is the side long suite "Lizard" , a 23 minute journey built in movements like a miniature opera. It opens with "Prince Rupert Awakes" , sung not by Haskell but by Jon Anderson of "Yes", whose bright, glassy tone floats above the music and adds a sudden streak of purity, which continues with the beautiful " Bolero – The Peacock's Tale ", before the piece descends into murkier waters. From there the suite moves through courtly motifs, jazz-rock eruptions and melancholic interludes. In "The Battle of Glass Tears"  (divide to 3 parts) the band lets everything fracture, with horns exploding in frantic bursts, Tippett’s piano tumbling in cascades and the rhythm section pushing forward in tense, almost chaotic patterns. The closing section "Big Top"  feels like the circus tent collapsing at dawn, a brief and ghostly coda that leaves you wondering if the entire show you just heard was real or imagined. When "Lizard" was released, the world did not really know what to do with it. Critics were confused, fans were divided and even Robert Fripp  himself later admitted that he struggled with the album for many years. There were no tours to cement these songs on stage, no live versions to tame their strangeness, and the lineup that created the album dissolved almost as quickly as it had been assembled. For a long time "Lizard" felt like a lost chapter, an odd studio fantasy filed between more famous incarnations of "King Crimson". Time, however, has been kind to "Lizard". Modern listeners hear it as one of the most daring statements of the early progressive era. Its mixture of jazz improvisation, chamber music precision, rock energy and surreal storytelling has almost no parallel in the history of the genre. It is the sound of a band tearing itself apart in order to reinvent itself, the strange bridge between the early symphonic Crimson of “In the Court of the Crimson King”  and the harsher, more angular lineups that would later record albums like "Larks’ Tongues in Aspic". More than fifty years after it came out, "Lizard" still feels like a secret door in the "King Crimson" catalogue. It demands time, patience and openness, but for those who step through it and stay there for a while, the album reveals a fantastical world filled with colors, tension, beauty and fearless imagination. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Written By: Moti Kupfer Release date -10.12.1991 The year 1991 will be remembered by many of us as a year of wars (the Gulf War), musical turning points (Grunge), and, at least in my memory as a teenager, the first time Israeli teams were forced to play their home games abroad (Maccabi Tel Aviv in the European Cup). It was one of the greatest years in the history of music, yet it ended quietly in relation to Wim Wenders and his film "Until The End Of The World". The film’s excellent soundtrack was released on December 10, 1991, but the film itself was considered a cinematic flop, possibly due to massive cuts to the original material or because of its length of more than three hours. Wilhelm Wenders, who as a young man dropped out of medical and philosophy studies and failed his entrance exam to the national French film school, had big dreams and did not intend to give them up. He began working as a sculptor while watching many films every day. In 1967 he returned to Germany and began working as a film critic and journalist. He completed several short films before finishing his studies, and his graduation film "Summer In The City" was his first full-length feature. Over the course of his career Wenders won numerous awards such as the Golden Lion for "The State of Things" (1982), the Palme d’Or for "Paris, Texas" (1984), and Best Director for "Wings of Desire" (1987). Wenders had an instinct not only for cinema, but also for the music that would accompany his films. More than once he created films whose soundtracks were as successful, and sometimes even more successful, than the films themselves, such as the soundtrack to the documentary "Buena Vista Social Club". The same is for "Until The End Of The World". After becoming a director synonymous with global success and critical acclaim, Wenders sought to challenge his audience even further with a futuristic dystopian road film set in 1999. Yet he did not intend to challenge only the viewers. Wenders gathered around him a group of musicians. Some were top-tier and some were on the verge of retirement. Others were just before their awaited breakthrough, and some remained on the fringes. They all shared one mission: to create music for a film set in the future. Songs that they, as musicians, would write in the future, in 1999. For this ambitious project Wenders recruited an elite lineup of musicians including Lou Reed, "R.E.M.", "Talking Heads", Elvis Costello, Nick Cave, "U2", "Depeche Mode", "Can", "Crime And The City Solution", Patti Smith, Neneh Cherry, Julee Cruise, Daniel Lanois, Jane Siberry, k.d. lang, and former Bob Dylan guitarist T Bone Burnett. In an astonishing and uniquely cohesive way, the soundtrack’s songs blend together as a chain of darkness, heartbreak, and the emptiness of an approaching end of the world. After the short intro "Opening Titles", meant to set the mood, we move to the second-to-last single released by "Talking Heads", "Sax And Violins", followed by "Summer Kisses Winter Tears" by Julee Cruise, electrifyingly produced by Angelo Badalamenti and David Lynch. Neneh Cherry helps preserve the atmosphere alongside the Australian band "Crime And The City Solution". Lou Reed and the experimental German rock band "Can" lead us to one of the soundtrack’s peaks, "Fretless", the aching and tormented contribution from "R.E.M.", originally written for "Out Of Time" but left off the final album. Wim Wenders gained enormously from this omission, receiving a song in which Michael Stipe longs to shed his anxieties and worries and disconnect completely from the world around him. Kate Pierson, the vocalist of "B52's", who collaborated frequently with "R.E.M." during that period, appears here as well, serving as the female voice trying in vain to offer comfort. After the emotional peak delivered by Stipe and his band, Elvis Costello arrives with a gentle cover of "Days" by "The Kinks". Immediately after a short instrumental piece, "Claire's Theme", we are ready for the soundtrack’s powerful closing chord, "(I'll Love You) Till The End Of The World", featuring "Nick Cave and the Bad Seeds", in a song that serves as a complete tribute to romantic lovers who are unafraid to take a step forward, to take risks, and to embrace a love that shakes their world. But not just yet. Right after it comes "It Takes Time", a duet between Patti Smith and her husband Fred Smith, singing about patience and perseverance on our journey through life, reminding us that every peak we reach demands endurance and calm determination. Out of nowhere "Depeche Mode" appear, with Martin Gore contributing "Death's Door", a smoky, jazzy, almost western-styled song, so far from the synthpop they played in the eighties and so close to the style of Jeffrey Lee Pierce and "The Gun Club", making it a perfect fit for this soundtrack. The soundtrack approaches its end with the enchanting duet "Calling All Angels" by Jane Siberry and k.d. lang, who would break out massively a year later with "Constant Craving", followed by songs from former Bob Dylan guitarist T Bone Burnett and Canadian producer and musician Daniel Lanois. Finally we reach "Until The End Of The World" by "U2", released a month earlier on "Achtung Baby", telling the story of the relationship between Jesus and Judas Iscariot, moving from betrayal to the sorrow and regret that haunt him. Similar to the opening, the album closes with the airy instrumental piece "Finale". As time goes by, the achievement of this soundtrack becomes even greater. It lies in the emotions it manages to evoke consistently from beginning to end, and in the number of excellent alternative songs hidden within it. These songs forced Wenders to omit several tracks that appeared in the film but could not fit on the soundtrack album, such as "Blood Of Eden" by Peter Gabriel and "Breakin' The Rules" by Robbie Robertson. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

He is a gifted musician renowned for his distinctive voice and unique sound, which has produced some of the most epic music. (Photo: Expresso) = Born December 10, 1972, in Brussels, Belgium, to an American father and a Scottish mother. He lived in multiple countries due to his father's work, including Liberia and Lebanon. = Brian Attended the American International School in Luxembourg, where he discovered a passion for music. Later he studied drama at Goldsmiths, University of London, where he honed his artistic expression. = Although Molko was brought up in a strict household that disapproved of artistic expression, he rebelled by assuming an androgynous image, wearing nail polish, lipstick, and eyeliner, and listening to punk music. He was officially diagnosed with major depressive disorder in his late twenties. = Brian met Stefan Olsdal by chance at the South Kensington tube station in 1994 in London, England (Although both of them studied at the same time at the American International School in Luxembourg). At the time, Olsdal was taking guitar lessons and was on his way home when he met Molko. Molko, observing that Olsdal had a guitar strapped to his back, invited Olsdal to watch him perform at a local gig. (Photo: Universal Records) = On the strength of Molko's performance, Olsdal decided that they should start a band. The two formed as "Ashtray Heart", named after the Captain Beefheart song of the same name. = Originally, the two were unable to decide on a drummer. They played for a while with Steve Hewitt, a friend of Molko, but Hewitt had prior commitments to local band "Breed". Robert Schultzberg assumed the position of drummer in late 1994. = The band eventually chose the name "Placebo", due to its meaning in Latin, "I shall please". = In 1996 "Placebo" were signed with Caroline Records. Their debut album, self-titled "Placebo", was released on 17 June 1996. The album was produced by Brad Wood and was influenced, by Sonic Youth and Depeche Mode. The album peaked at No. 5 on the UK Albums Chart at the height of the Britpop era, specially due to hit single "Nancy Boy". = The song attracted the attention of David Bowie , who invited the band to open several of his concerts in early 1996. In the following January, Bowie invited them to play at his 50th birthday celebrations at New York's Madison Square Garden. Those performances generated a lot of exposure and attention from new audience and were the breakthrough for the band. = During the tour of the album the band fired Robert and replaced him with Steve Hewitt who played with the band back in 1994. = "Placebo" were heavily criticized by the media due to their unorthodox attitude and Brian Molko's androgynous appearance. Brian was also very opened about being bisexual and has been candid about his experiences, which resonate deeply with fans. (Photo: AlterNation) = In 1998, "Placebo" switched to the major label Virgin Records, and issued their follow-up album "Without You I'm Nothing" on 12 October. The album was another large seller in the UK; the US market embraced the album's lead single "Pure Morning", which appeared on MTV and reached number 20 on the Billboard Heatseekers chart, making it to be the band breakthrough album to mainstream. = In 2000 the band's third album, "Black Market Music", was released. It was produced by Paul Corkett and further experimented with genres outside of regular rock sound. "Placebo" collaborated with Justin Warfield on "Spite & Malice" and sampled Pavement's "Texas Never Whispers" on "Slave to the Wage". The album created additional UK top 20 hits in "Taste in Men" and "Slave to the Wage", which reached number 16 and 19 in the UK Singles Chart, respectively. = In 2003 the band released their fourth album "Sleeping with Ghosts" produced by Jim Abbiss. The sound of the album was described as being infused with "edgy electronic flourishes". The album went to No. 11 in the UK and sold 1.4 million copies worldwide. The first single "The Bitter End" peaked at number 12 in the British single chart. = In 2006 they released their fifth album "Meds" which was produced by Dimitri Tikovoi. The album was also released in a limited edition, containing a documentary, the lyrics, live videos, three demo versions and the song "Long Division". The version released in the US had two bonus tracks, "Running Up That Hill" and "UNEEDMEMORETHANINEEDU". The album contains two duets, "Meds" with Alison Mosshart of "The Kills" and "Broken Promise" with "R.E.M.'s" Michael Stipe . = In 2009 the band released their six album "Battle Of The Sun" produced by David Bottrill and feature new drummer Steve Forrest. Molko described the album as "the sound of a band trying to find a new identity, to find out who they were again". = Their seventh studio album, "Loud Like Love", was released in 2013. Produced by Adam Noble, it was released in five different formats. On the same day, "Placebo" streamed live a 90-minute show, "Loud Like Love TV", on their official YouTube channel. The show featured interviews with the band and their collaborators, live performances and behind the scenes content. = On 19 August 2015, "Placebo" performed an "MTV Unplugged" concert in London. The setlist for this performance consisted of many older "Placebo" songs, some of them not played live in a decade. On 27 November 2015, "MTV Unplugged" was released on CD, DVD, Blu-ray and vinyl. = In 2021 they issued their eight album "Never Let Me Go". It is the band first studio album in over eight years. It is also their first album to be recorded as a duo, following the departure of drummer Steve Forrest in 2015. The album achieved strong chart performance, peaking at # 1 in the UK Indie Chart, # 1 in the Austrian, Dutch, and German album charts, and # 3 in the UK Albums Chart. We personally think that this is the band's best album and one of the most amazing creation in it's career. = The band is renowned for its rigorous touring schedule, embarking on tours following each album release and traveling to distant regions such as the Nordics, the Middle East, and the Far East. In live shows, Molko has showcased his skills on various instruments, including the guitar, bass guitar, keyboards, harmonica, and saxophone. = Drugs were an integral part of Brian's life, affecting his ability to perform and create music for many years. He stated that there wasn't a drug on Earth he hadn't tried. In 2016, he announced that he was clean and no longer using drugs. (Photo: Bang Showbiz) = Brian is an activist and social commentator who has increasingly spoken out on societal issues, such as LGBTQ+ rights and mental health awareness, utilizing his platform for advocacy. = He collaborated with many different artist including: "The Cure", Timo Maas, "Blackfield" and many more. We really urge you to listen to "Placebo's" latest album "Never Let Me Go" on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On December 10, 2021 Neil Young released his 41st album, and the 14th in collaboration with "Crazy Horse", Young's veteran backing band that has been with him for over fifty years! The album's recordings were documented in a film directed by Young's current wife - Daryl Hannah, and was released with the album, see here: The name of the album "Barn" derives from the place where it was recorded, an old barn located somewhere in the Rocky Mountains, which was converted into a recording studio. The barn also appears on the album cover and in a clip released for the song "Welcome Back", one of the mesmerizing tracks on the album that lasts about 9 minutes. Young's all-too-familiar signature sound can already be heard in the opening song " Song Of The Seasons. " The harmonica and acoustic chords threw us straight into the days of “ Harvest ” and they proves the impact the place and the atmosphere had on the writing process, which was undoubtedly influenced by the magical landscape. And if you need further confirmation on the matter, then it comes right when Young opens his mouth with the words: "Looking through a wavy glass window / In this old place by the lake… I see that nature makes no mistake." But make no mistake this album certainly does not stick to the formula of the opening song. We have the bluesy jam of " Shape Of You " and " Change Ain't Never Gonna ", the raging grunge of " Heading West " and " Human Race ", the romantic folk of " Tumblin' Thru The Years" and more. And with Young as with Young, the words always have a lot of meaning: in " Change Ain't Never Gonna " he sings about saving earth and global warming, " Canerican " is a love letter to Canada and America and the role they played in Young's life, " Shape Of You " Is the anthem of the aging and authentic hippie, who even in the twilight of his life continues to dream and adhere to the values ​​of peace and love. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On December 10, 1976, "Queen" released their fifth studio album, "A Day at the Races". All the signs have shown that this is a sequel to the previous masterpiece " A Night At The Opera ". Starting with the name of the album, that was also named after a film by the Marx brothers and ending with the album cover that is really reminiscent of that of " A Night At The Opera ", only in black. But this is where the resemblance between the two lies. Although this is an excellent album in the band's tremendous repertoire, it seems to ride quite a bit on the jet fuel vapor of the previous album and enjoy the stardom it left behind. It was the first album in which the band received full creative freedom and the first that was also produced independently by its members. The band seemed to take full advantage of the creative freedom granted to them after the success of the previous album, writing bold, innovative and even more varied material, but "Queen" chose to stick to a fairly uniform formula that combines Hard Rock and Classical music. The vast majority of the rock songs on the album were written by guitarist Brian May , while the songs with the more classical side were mostly written by singer Freddie Mercury . The order of the songs on the album also has a meaning, when almost every Rock song is answered with a "classic" song. The band sought to give the album a sense of full musical piece with a beginning and an end. They even used a technique called "Bookends", in which the opening section of the album is the same as the ending section, in a way that makes it a repetitive, endless work. Indeed, the opening song " Tie Your Mother Down " opens with an instrumental section that repeats itself at the end of the last section of the album - " Teo Toriatte " and its melody is mentioned in the song " White Man ". As mentioned, the album opens with " Tie Your Mother Down " written by Brian May in Tenerife, in early 1968, two years before the founding of "Queen". At the time May was working on his doctorate in astronomy and he wrote the song on classical guitar. When he brought the song to the album he thought of changing the title and the chorus but Freddie Mercury liked the original and so it turned out that the original format of the song was preserved as it was written. This song is the perfect rock opener. A combination of acoustic and electric guitars, along with May's fine solo made it one of the band's most powerful performance songs. May later said that the song's riff is a kind of homage to guitarist Rory Gallagher that he loved so much and especially to the "Morning Sun" track that he particularly loved. Immediately after that comes the "classic" track " You Take My Breath Away " written by Freddie Mercury . All the sounds and piano parts in the song are performed by Freddie. A magical piece that Mercury performed live in "Hyde Park", even before the release of the album, the power of which is built on quite a number of layers of Mercury's vocals channels. If we have already mentioned the show at Hyde Park, then we will note that before the release of the album the band performed a short four-day-tour, that included the show in Hyde Park. The show was attended by so many spectators that the police had to impose a curfew on the area. During the show, fans got to see a preview of the song "You Take My Breath Away" as well as the single "Tie Your Mother Down". It is interesting to note, that this was Freddie Mercury 's last appearance with long hair. (Photo: Richard E. Aaron) The third track " Long Away " was written by Brian May , and includes a fragrance that reminds us a bit of "The Byrds", probably because of May's use of a 12-string guitar. It should be noted that May initially wanted to use the "Rickenbacker" guitar, because he greatly admired John Lennon , but he did not get along with it's thin neck and therefore compromised on the "Burns" guitar. May also sings lead vocals as Roger Taylor compliment him with the high harmonies in the chorus. The swing between May and Mercury continues with " The Millionaire Waltz " written by Freddie Mercury about John Reid, the band's and Elton John's manager at the time, who used to mix "business with pleasure". The song title was not chosen for nothing, as its basic rhythm is indeed based on waltz. It has some parts that reminded us of " Bohemian Rhapsody ", starting with the piano opening and John Deacon 's amazing bass work, the operatic vocals, the frequent rhythm changes, the sudden bursts of Brian May , the rich arrangement and the multiple overdubs with numerous musical and vocal layers. The first side of the vinyl is sealed with " You and I " written by John Deacon , released as a B-side of "Tie Your Mother Down". Beyond playing his wondrous bass, Deacon also plays the acoustic guitar. The other side of the vinyl opens up with the big hit of the album and one of the greatest songs of the band " Somebody to Love ". This is without a doubt Freddie Mercury at his best and in all his greatness. Although there was absolutely no intention to recreate " Bohemian Rhapsody ", this time too there is a slight resemblance, especially vocally, only this time the "opera" from which Mercury was influenced in "Bohemian Rhapsody" was replaced by Gospel music. Freddie noted that he was particularly influenced by Maria Franklin. It's amazing to think this song was written by Freddie in less than five minutes. And here we are again riding the "Rock"/"Classic" roller coaster courtesy of Mercury/May, with the " White Man " written by Brian May . This is without a doubt one of Queen's heaviest works, both musically and lyrically. A kind of protest song about how the "White Man" treated Native Americans. It is interesting to note, that the melody of the riff during the verses, is the same melody of the instrumental section that opens and ends the album. Compared to Brian May 's heaviness in the song "White Man," Freddie Mercury 's " Good Old-Fashioned Lover Boy " is a light, hilarious and bouncy song, Glam Rock at its best, that the band members really enjoyed recording in the studio. May, Taylor and Freddie enjoy the reinforcement of Mike Stone, who was the recording technician of the album and adds to the vocal harmonies of the three members. " Drowse " was written by drummer Roger Taylor who also sang it. A strange and weird piece in relation to the album, where Taylor plays classical guitar and tympani in addition to drums, while May provides an interesting slide guitar. The song has a reference to Clint Eastwood, Jimi Hendrix and William the Conqueror, but is undoubtedly one of the weakest tracks on the album. The closing track, " Teo Toriatte ," was written by Brian May as a tribute to the Japanese audience, which left the band members stunned during their recent tour in Japan. The song features two verses all sung in Japanese, making the song one of the band's three songs not to be sung in English. The other two are "Mustapha" from the album " Jazz " and "Las Palabras de Amor" from the album "Hot Space". For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On December 9, 1973, "Deep Purple" made its first appearance in the MKIII line-up. (Photo: wordpress.com) The concert was held at the "KB Hallen" in Copenhagen, Denmark, during which the three founding members, drummer Ian Paice , keyboardist Jon Lord and guitarist Ritchie Blackmore , were accompanied for the first time by bass player Glenn Hughes and singer David Coverdale . As you may recall, the band's MKII line-up was never stable. The tensions between the members of the band were always there and they even increased after the band released their perfect album " Machine Head ", in March 1972. These tensions reached their peak during the recording of the album " Who Do We Think We Are " from 1973, mainly between Ian Gillan and Ritchie Blackmore . Gillan already announced his retirement from "Deep Purple" in June 1973 and his last performance with the band was held on July 29, 1973. Bassist Roger Glover who was close to Gillan hurried to leave the band right after him. Immediately after that, the band started looking for replacements. The one chosen to fill the position of lead singer was Glenn Hughes , of the band "Trapeze", whom the members of "Deep Purple" met during a joint concert tour. The band officially announced his entry into the lineup in July 1973. However, in a short time, the members of "Deep Purple" realized that they needed a dominant and charismatic frontman like Ian Gillan , who would focus solely on singing, so continued the task of finding a lead singer, when names like Paul Rodgers who decided not to join and even Danny Shushan were thrown in the air. In the end, David Coverdale got the role, after an audition held in August 1973. Coverdale was then a relatively unknown singer who worked as a clerk in a clothing store. Concerns about whether the fans would accept the new line-up or not were put aside and the band immediately began working on a new album. (Photo: https://pibig.info) The album " Burn " was released in February 1974, and maintained the status of "Deep Purple" as one of the greatest rock bands of the time. "Deep Purple" simply reinvented itself and proved to be a formidable band with a "burning" soul that is far beyond the artists who make it, with an album that took their music in a new direction. However, not many people realize that the real power of great tracks like "Mistreated" and "Burn" came from the band's performances, on stage. Even before the release of " Burn ", the band was on the road and played a large part of the tracks from the new album, with the setlist including only three tracks from the band's MKII era, which also received different and renewed arrangements to suit the new lineup. On December 9, 1973, about three months before the release of the album, the band, in its new composition, went on stage for the first time and played a 10-track set that included all the songs from the album " Burn " except for two tracks ("Sail Away" and "A 200"), three more songs from the band's MKII era and one cover version of the "Alabama State Troupers" song. It is unbelievable, but there is a recording (even though of poor quality) of this historical moment. At minute 13:42 of the recording, David Coverdale can be heard saying that the album " Burn " should be released in January, but as we know it was released on February 15, 1974. The setlist played that evening: 1. Burn 2. Might Just Take Your Life 3. Lay Down, Stay Down 4. Mistreated 5. Smoke on the Water 6. You Fool No One 7. Space Truckin' 8. What's Goin' on Here 9. Going Down (The Alabama State Troupers cover) 10. Highway Star "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On December 8, 1972 “Deep Purple” released (In Japan) the live album “Made in Japan”. Across three nights between August 15 and August 17 1972 at Festival Hall in Osaka and Nippon Budokan in Tokyo, “Deep Purple” capture the very essence of what a live performance means in its purest musical form. The recording began as a practical answer to the growing market of unauthorized bootlegs circulating among fans. One of the most notorious was the LP “H Bomb”, recorded in Aachen on July 11 1970, which even led to a court case involving Richard Branson Of "Virgin Records". Roger Glover explained that the band felt that if they released their own live album, it should eliminate the bootleg market. What they released instead became one of the greatest live albums in rock history. The classic lineup of Ian Gillan , Ritchie Blackmore , Jon Lord , Roger Glover , and Ian Paice  delivered monumental performances. The setlist included only 7 songs drawn from the studio albums “In Rock” , “Fireball” , and “Machine Head” . On stage these songs grew longer, heavier, more explosive, and filled with improvisation that elevated them far beyond their studio versions. Many listeners consider the live interpretations to be superior in every way. The concert opens with “Highway Star” , transformed into an eruption of pure velocity. Blackmore’s guitar solo is sharper, faster and more daring than the studio take, Gillan sings with ferocity and freedom, and the rhythm section crashes forward with incredible power. From this first moment it is clear that the band is not merely performing but reinventing its own music in real time. In “Child in Time” , the dramatic heart of the set, Gillan delivers a vocal performance of extraordinary emotional intensity screaming his soul out, while Blackmore crafts a slow building solo that evolves into a full eruption. Jon Lord fills every corner of the hall with swirling Hammond organ lines that glow with both beauty and danger. The song becomes a journey beyond anything heard on the original album. “Smoke on the Water”  arrives with its iconic riff, yet the live version feels looser, bigger, and richer with interaction between the musicians. Blackmore bends and twists phrases with attitude, and the band powers the song with renewed life. “The Mule”  features a thrilling drum showcase by Ian Paice , proving why he remains one of the most dynamic drummers in rock. The album then moves to “Strange Kind of Woman” , home to one of the most celebrated moments in the history of live performance, the legendary call and response battle between Ian Gillan and Ritchie Blackmore . Gillan throws out vocal lines, Blackmore answers with sharp melodic replies, and together they turn the stage into a playful arena of creativity. “Lazy”  becomes a joyous blues celebration. Lord and Blackmore engage in brilliant solo trading, each pushing the other to new heights. Their communication is telepathic, filled with humor, fire, and absolute mastery. Everything culminates in “Space Truckin’” , extended into a twenty minute voyage of riffs, shifting sections, bursts of improvisation, and explosive musical ideas. The band tears the song open and rebuilds it into a massive landscape of sound. It is an experience that defines what a live rock performance can be. Steven Wilson, who created the 2025 album mix, brings a unique perspective to the album’s legacy. As one of the most respected remix engineers of classic seventies rock, Wilson emphasized the purity of the original tapes, recorded on only 8 channels recorded and engineered by legendary Martin Birch , with no overdubs, no studio tricks, and no post production corrections. For Wilson, this album is the ultimate example of a band so exceptional on stage that nothing needed to be fixed. It simply capture a great band exactly as they were. “Made in Japan” is widely regarded as one of the greatest live albums ever recorded. It is on every reputable ranking list of the best live albums ever released, such as "The 50 Greatest Live Albums Ever" by "Classic Rock" magazine, where it is ranked number one. “Made in Japan” is a complete demonstration of the power of live music, of band chemistry at its highest level, of risk taking, spontaneity, and musicianship without limits. It is a school for every musician who wants to understand how to transform songs on stage. It captures “Deep Purple” not only at their finest, but at a moment when the stage became the place where their music truly came alive. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Efraim Shamir is recognized for his contributions to bands like "Kaveret" and "Khamsin," but his solo career and numerous collaborations also showcase his musical prowess. As a singer, guitarist, and composer, Shamir stands out as one of the most talented figures in the history of Israeli rock. Photo: Gili Yaari 1. Efraim Shamir, originally named Yafim "Fima" Shmukler, was born on December 9, 1951, in Siberia, the Soviet Union. 2. At the age of 7, he relocated with his family to Poland, and a decade later, they immigrated to Israel. It was during this transition that he adopted the name Efraim Shamir. 3. Enlisting in the army, Shamir secured a place in the "Nahal" IDF band. For his audition, he performed the song "Shiur Moledet," a composition dating back to his time in Poland. 4. In the same "Nahal" band, he served alongside notable musicians such as Danny Sanderson , Gidi Gov, Alon Oleartchik , and Meir Penigstein. This ensemble later formed the foundation of the band "Kaveret." Other members included Miri Aloni, Yardena Arazi, Leah Lopatin, and more. 5. Notable plays during his military service include "Heachzut Hanachal Besinai" in 1970 and "Hapalnachnik" in 1971, where he held the role of the main singer. (In the TV Show "Palanachnik" the Nahal band) 6. Concurrent with his military service, Shamir, alongside Alon Oleartchik, co-founded the duo "Nu As Ma?" They recorded two singles that were released during this period. 7. Before completing his army service, Shamir expanded his musical repertoire beyond the military band. Notable performances included songs like "Mika" and "Lauf Itach," the latter featuring in the soundtrack of the 1971 movie "Katz and Karaso." 8. In 1971, Shamir composed "Bemedinat HaTapuz," a song featured on Rivka Zohar's album "Saba Rivka." 9. Following his discharge from the IDF, Shamir joined "The Schnitzels," a band featuring Danny Sanderson. He contributed to the recording of "Poogy Opera," a project that laid the foundation for "Kaveret's" debut album. 10. Shamir played a pivotal role in the formation of "Kaveret" in 1973. Alongside his "Nahal" bandmates Danny Sanderson, Gidi Gov, Alon Oleartchik, and Meir Fenigstein, as well as Yoni Rechter and Itzhak Klepter, they established the iconic band. Photo: Ilan Basor 11. Shamir was an integral member of "Kaveret" until its disbandment three years later. In the band, he played the guitar, sang, and co-wrote some of its most famous songs, including "Lo Yadanu Ma Laasot," "HaOlam Sameach," "Kacha He Baemtza," and, of course, "Shiur Moledet." 12. In 1973, while still with "Kaveret," Shamir participated in the "HaZemer Ve HaPizmon" Festival, where he sang the song "Leil Chanaya" alongside Yardena Arazi, Hanan Yuvel, and the "Af Ozen Garon" Trio. 13. In 1975, he performed "Yamim Levanim" on the radio program "Pgishot Muzikaliot." During the same year, he took part in the IDF Galatz show "Hakol Zorem" with the band "Fourteen Octaves." 14. Shamir married singer Astar Shamir in 1975 and produced her first songs, including "Avarti Rak Kedei Lirot," which he also composed. 15. After "Kaveret's" disbandment, Shamir and his wife were part of Arik Einstein's "People Love to Sing" show. As part of the show, the Shamir couple performed their own songs, including "Erev Shel Yom Bahir," "Nachon At Yafa," and "Shiur Moledet." 16. In 1977, the Shamir couple participated in the recordings of Dori Ben Zeev's album "Lemonade" and Danny Litani's album "Yachas Cham." 17. At the end of 1977, Efraim and Astar Shamir released their joint debut album called "Efraim and Astar Shamir." Shamir composed and arranged all the songs on the album, except for the song "Bo Venesachek Bemachboim," which was composed by Astar. 18. The song "Nachon At Yafa" from the same album reflects Shamir's unrequited love for Yardena Arazi, with whom he served in the "Nahal" band. Arazi initially responded negatively, claiming the song was a kind of curse for her. However, the two reconciled years later. 19. In 1978, he arranged two songs, "Shimish parties" and "Hear a mist," for his wife. The couple recorded a remake of the song "Mahboim," written by Naomi Shemer. Unfortunately, their marriage ended soon after. 20. In 1979, Shamir had a small role in the film "Schlager" by Asi Dayan. Notably, he also appeared as the guitar seller in the movie "Someone to Run With." 21. In 1980, Shamir founded the band "Khamsin" with bassist Ohad Inger and drummer Alon Hillel. The album, produced by Louis Lahav, who had worked with Bruce Springsteen , was a commercial failure, leading to the band's breakup. Consequently, Shamir left for the USA. 22. In 1981, Shamir returned to Israel and participated in the first "Pestigal," performing the song "Yalkut Kaved," which he composed and performed with Astar Shamir and Kobi Recht. 23. Shamir remained connected with his ex-wife and composed the song "Man for One Night" for her first album "In the lowest place in Tel Aviv," released in 1982. 24. In 1982, Shamir participated in the radio program "Land of the Sun," where he composed the songs "Hidayat a't-Dagher" (with Shem Tov Levy) and sang various songs with fellow participants. 25. In 1983, Shamir released his first solo album, "Roked Lekol Habanot" (Dancing to the voice of the girls). The theme song, originally titled "Dancing for all the girls," became one of his biggest hits. 26. In 1984, Shamir was part of the first reunion of "Kaveret," which he initiated. 28. Concurrently, Shamir contributed to the albums of his fellow band members, including "Olarchik" by Alon Oleartchik, "Begova Haeinaim" by Yoni Rechter, and "Chacham Al Ktanim" and "Chaf Mipesha" by Danny Sanderson. 29. In 1989, along with Danny Zuckerman, Uri Miles, and Gadi Seri, he co-founded the band "Gulliver," primarily performing his own songs. 30. In 1990, he rejoined the second reunion of "Kaveret." During the same year, he participated in Danny Sanderson's "Kofetz Leshnia" album and Dori Ben Zeev's "Private Parking" album. 31. In 1992, his second solo album, "Finally Rain," was released. Some of the songs were produced by Gidi Gov. The album featured compositions by Arkady Duchin, Alon Oleartchik, Ovad Efrat, Leah Shabbat, and, of course, Shamir himself. 32. In 1994, he provided vocals on the album "Your Life in a Lafa" by the band "Tipex." 33. During the same year, he participated in the children's tape "And this child is me" and in the album "Signs" by Gali Atari. 34. In 1995, Shamir released the concert album "Erev Shel Yom Bahir," which included his greatest hits. 35. In 1997, he produced and arranged the album for the band "Nimrod and the Lonely," titled "Shikler's List." 36. In 1998, he joined another "Kaveret" reunion, resulting in a triple album called "Kaveret in the Park." 37. From 2000 to 2001, he lent his voice to the children's series "Hanimnumim." 38. In 2002, he participated in the successful show "Danny, Gidi and Friends," alongside Danny Sanderson, Gidi Gov, Alon Oleartchik, and Mazi Cohen. 39. In 2004, alongside Alon Oleartchik and Itzhak Klepter, he staged the show "Nifgashnu." The three artists seamlessly integrated songs from their solo careers with selections from "Kaveret." This performance was later released as an album in 2009. 40. In 2003, Shamir released his fourth solo album, "The Concrete Sea." He wrote, composed, and arranged all the songs on the album. 41. In 2011, Shamir's fifth solo album, "Efraim Shamir and the Time Thieves," was released. The album featured new arrangements of his songs. 42. In 2013, Shamir participated in another "Kaveret" reunion, involving five live shows, two of which were held at Yarkon Park. 43. In 2014, Shamir reunited the band "Khamsin" for a single performance, featuring Alon Hillel and Yossi Fine, who replaced Ohad Unger from the original lineup. Once again, we have prepared a playlist for you of Shamir's best songs . Follow us on Facebook or Subscribe to our website "Face/Off" - Israel's Rock Blog & Podcast

"Metallica" has achieved a new Guinness World Records title after becoming the first musical act to play a concert on all seven of Earth's continents. The band set the record after they entertained 120 scientists and competition winners in a transparent dome at Carlini Station in Antarctica on December 8th, 2013. "Metallica" actually performed on all seven continents in a calendar year, following tour dates in North America, South America, Europe, Africa, Asia, and Australasia in 2013. The hour-long show, appropriately dubbed "Freeze 'Em All", saw the rock band perform ten tracks including hits such as "One", "Enter Sandman" and "Nothing Else Matters". Unlike regular "Metallica" gigs the Antarctica concert was held without traditional amplification due to the icy continent's fragile environment. Amplifiers were instead enclosed in isolation cabinets, with the sound transmitted to the audience via headphones, similar to "Headphones Parties". The competition to win tickets for the concert was organized in with Coca-Cola Zero for Metallica fans in Argentina, Chile, Colombia, Costa Rica, and Mexico. The winners were invited on a week-long Antarctic cruise that stopped off at Carlini for the concert. Argentina's Carlini Station is located on King George Island in the South Shetland Islands, Antarctica, and is named after the Argentine scientist Alejandro Ricardo Carlini. The station was erected in 1982 and is only accessible by air and water via Base Marambio. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website