Written By: Moti Kupfer Release date - 26.9.1994 Sometime in early 1993, the band "R.E.M." was on top of the world. Their last two albums, " Out of Time " and " Automatic for the People ," sold a combined 36 million copies worldwide, transforming them from a band with potential into an international giant. When you're on top of the world and everything looks promising, what could possibly go wrong? In the case of the promising band from Athens, Georgia, karma apparently turned their entire world upside down for themת just after they reached the top of the world, and almost caused the band to disband just before their ninth album, "Monster," was released on September 27, 1994. The band members met in early 1993 in Acapulco to brainstorm about the band's future, a meeting after which two things were clear: after two albums in a mild and smiling atmosphere, it was time for distortion and guitar to take charge, and at the same time for the band to resume its world tour after a five-year break (1989). With the right mindset to "give a nod" to their audience, probably also inspired by the grunge genre that was strong at the time, "R.E.M." entered early and minimalist recordings in New Orleans where the band wrote no less than 45 songs, with the sessions being minimalist and experimental. Additionally, Michael Stipe was recorded by Mark Howard (who had worked with the band on their previous album) lying on a couch and coming up with lyrical ideas, which later helped him write many of the songs on the album "Monster". After the minimalist session, the band moved from New Orleans to Atlanta where they recorded most of the songs on the album. The songs were recorded while the band played live in the studio. Producer Scott Litt thought that since "R.E.M." had not been in touring for five years, recording live would be a fitting preparation for the upcoming tour. At this point, Bill Berry, and Mike Mills fell ill, Peter Buck, and Michael Stipe had to visit sick family members, and if all that wasn't enough, actor River Phoenix, and musician Kurt Cobain , Stipe's friends, had passed away ("R.E.M." dedicated the closing song " Let Me In " to Cobain, and the entire album to River's memory. Phoenix). After the multiple breaks, the band continued recording, and moved again from Atlanta to "Criteria" Studios in Miami, but this time the recordings were interrupted due to Michael Stipe 's tooth abscess. But that was not the end, the situation reached its lowest point when the band moved to record at Litt's house in Los Angeles. Tensions between the band members reached their peak and the controversies led to a situation where each member of the band went to a different room, thinking to themselves "to hell with everything". This was also the point of no return, and the band decided to meet, talk, and solve the tensions and problems together. Despite all the problems described, this album soared with its release to number one on the American charts and in no less than 7 other countries, not least thanks to the lead single from it " What's the Frequency, Kenneth? ". This is, as mentioned, the rockiest album by "R.E.M." since its inception. It combines glam rock and grunge, has distorted guitar tones and minimal overdubs, and Michael Stipe 's vocals sound a bit muffled because they were pushed back in the mix. If in the past "R.E.M." sought to explore and play new acoustic instruments, this time it turned out that playing an electric guitar can be just as fun. " Bang and Blame " will surely remind you of "Losing My Religion" from " Out of Time ", during the verses. It features Rain Phoenix - River Phoenix's sister, and bassist and singer Lynda Stipe - Michael Stipe 's sister, both of whom provide background vocals. This isn't the only song on the album that will give you a sense of "déjà vu." " Strange Currencies " for example, manages to convey the feelings of "Everybody Hurts" from the previous album - " Automatic for the People ". As always, Michael Stipe 's enigmatic writing stands out throughout the album, where you can also find guests from the alternative genre, such as Thurston Moore from "Sonic Youth" on " Crush With Eyeliner ." Above all stands the distortion of guitarist Peter Buck, echoing throughout the album, so that even grunge fans will know that "R.E.M." can be heavy, distorted and rough, even if in their essence they are not one of those bands that grew up in Seattle in the early nineties. The album cover was made by photographer Chris Bilheimer after Stipe showed him a green balloon that he wanted to use for the album cover. Bilheimer transformed the album cover into a bear's head, photographing the bear's head in several frames, some blurred. One of these frames was eventually used for the album cover, with the color changing from green to orange. The band's ninth studio album sold nine million copies worldwide. 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 - 5.10.1987 " I don't know no shame, I feel no pain, I can't see the flame, But I do know Man-din-ka " sings Sinead O'Connor in the album's second single " Mandinka ", that best express the storms and contradictions that have been going on in her as a person since the dawn of her childhood. Already at the age of 20, the young Sinead sang about the Mandinka that she knows and knows, so then she knew no shame and pain, later we all saw the pain bursting from within, but at this moment she sang with confidence with "her hands on the wheel", when she produced her debut album "The Lion and the Cobra" (while pregnant), which was released on 5.10.87 in Europe and 04.11.1987 in the US. Sinéad Marie Bernadette O'Connor was born in Glenageary, County Dublin. She was named Sinead after Sinead de Valera, the wife of Irish President Éamon de Valera, Mary after the mother of the doctor who helped deliver her, and Bernadette after Saint Bernadette of Lourdes, a saint of the Catholic Church. Her parents divorced when she was 8 years old, and she moved in with her mother along with her two older brothers. She later claimed that her mother drank a lot, and as a result, she also behaved violently towards little Sinead. Her life was led against the backdrop of a difficult custody battle between her mother and father, a battle that became famous in the conservative Ireland of those days. At the age of 15, following her absence from school and her arrest for shoplifting, Sinead was sent to the Magdalene Home, a shelter to which girls who had strayed from the right path were sent, sometimes against their will. Exactly There, Sinead found the peace of mind she needed, and she strengthened her writing and musical skills during the 18 months she lived there. One of the volunteers at the shelter was the sister of Paul Byrne, drummer for the Irish rock band "Nua Nua", who had heard O'Connor perform Barbra Streisand's "Evergreen." O'Connor recorded a song with "Nua Nua", but at the age of 15 they felt she was not yet ready to join them. In the summer of 1984, Sinead placed an ad in a newspaper and joined several musicians to form the band "Ton Ton Macoute" (named after an Italian myth about zombies). The band played music influenced by mysticism, world music, and witchcraft. On 10 February 1985, Sinead's mother was killed in a car accident, and Sinead left the band, but she managed to leave an impression on the music industry as the singer of "Ton Ton Macoute" and was signed to Ensign Records, while at the same time she worked with an experienced manager who had previously worked with the band "U2". O'Connor began recording her debut album during 1986, but the recordings were delayed due to serious disagreements with her producer, and at the same time she became pregnant by drummer John Reynolds. The record company pressured her to have an abortion, but a strong-willed and opinionated woman like Sinead did not fold. With the approval of her manager, O'Connor began to produce her debut album herself. More than once, her big mouth got her into trouble, one of which was when she defended the IRA, the Irish Republican Army that tried to assassinate Margaret Thatcher during those years. She later retracted the comments she made, claiming that she was too young to properly understand the tense situation in Ireland. After taking sole responsibility for producing the album, O'Connor turned her voice into a Master Fader. She sang into her personal recording device, measuring when her voice is in the green color area, which is a good recording of her singing, when it is in the yellow color area, which is on the verge of distortion, and when it is in the red area, which means distortion. O'Connor's debut album demands continuous listening, and tries to connect the listener to her discomfort, to her desire to constantly create active relationships with the listener, ones that will make him listen attentively to every second of the album, and not fall into banality where song after song sounds the same, and with her mezzo-soprano voice she certainly manages to do so. The album combines rock and pop and takes the listener into Sinead's dark and quiet moments on the one hand, and on the other it soothes and puts the listener in a positive atmosphere like the state of the sky after a storm, in between you can hear artists who came to Sinead's aid, such as the Irish singer Enya, "Japan's" guitarist Rob Dean and rapper MC Lyte. One of the only songs on the album that Sinead admitted was autobiographical was " Troy ," written about her abusive mother, and in general, Sinead on her debut album is a woman traveling the world between hope and despair while everyone around her doesn't understand her. " Mandinka ", which became her biggest hit, actually refers to the Mandinka tribe, which is mainly found in West Africa, about which Sinead read in Alex Haley's book "Roots." "To know what the song is about, you have to read the book," Sinead noted. Many of Sinead O'Connor's songs are about her life, but " Jackie " is a story she made up about a ghost who is condemned to spend eternity searching for her husband. She explained this in her memoir, "Rememberings": "I had seen a play on TV about a very old lady in Scotland who was coming toward her own death. She would spend her days looking through her curtained window, waiting to see her long-gone husband return from a fishing trip he’d taken 40 years earlier and during which he’d drowned. They had been childless, and she never met anyone else. This inspired me, somehow, to write ‘Jackie,’ about a character who is wandering the beach waiting for the return of someone dead. In my song, the narrator is a ghost." On those days Sinead wrote a lot about sacred and spiritual themes. Her debut album contains biblical references throughout (the album's title itself is taken from a quote from the New Testament) and includes this funky song " Jerusalem " about Israel's capital. Eight years later, on June 13, 1995, O'Connor visited Israel, performed at the "Sultan's Pool", and was confronted by photographers who disturbed her while she was visiting the Church of the Holy Sepulchre in the Old City. The album cover shows O'Connor with her mouth open, her eyebrows arched, and her shoulders thrown back slightly in a look that seemed a bit angry and provocative at the time. O'Connor recalls that the photographer encouraged her to react naturally when the cameras were flashing, she looked like she was screaming, when in fact she was singing." 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 - 4.11.91 In the early 2000s, the Norwegian band called "Kings of Convenience" released the album "Quiet Is the New Loud". It's not certain if this was the "Kings of Convenience"'s answer to what had happened a decade before them, but you can never know. A decade before, noise and distortion alongside heavenly voices were the ones that became particularly popular thanks to the Irish band "My Bloody Valentine" and their groundbreaking second album "Loveless", which was released on 04.11.1991. "My Bloody Valentine" was formed in Dublin, Ireland in 1983 by Kevin Shields (vocals, guitar, sampler), and Colm Ó Cíosóig (drums, sampler). Four years later, the full line-up was completed with the addition of Bilinda Butcher (vocals, guitar), and Debbie Googe (bass guitar). In 1988, the band was signed by the record label "Creation" and towards the end of that year they released their first full-length album "Isn't Anything". In all three years that passed until the next album, the band continued to work and record EPs, but there is no doubt that "Creation" did not believe that the next album by "MBV" would also be their last album with the company, and their last for more than twenty years. From five days to almost two years! How does it happen that the recording of a studio album takes so long? They traveled through no fewer than nineteen recording engineers and recording studios, the band's inability to achieve the sound they were aiming for created a gap between what Alan McGee's Creation label was aiming for and what was available. The end result was an album that defined the Shoegaze subgenre at its best. But it didn't help "My Bloody Valentine" stay signed to "Creation", as Alan McGee dumped them after the album cost him a quarter of a million pounds. "Creation" in the early nineties was a fairly small and poor indie label, the "MBV" adventure nearly cost "Creation" its bankruptcy, and cost band leader Kevin Shields his sanity, later on. The sound that Kevin Shields, the band's leader, aimed for was a dirty, noisy sound on the one hand, and a live performance sound on the other. He combined aggression with tenderness, between cascades of distortion and angelic singing voices, between experimental and noisy sounds and simple, beautiful melodies. Shields was greatly influenced by guitarists Johnny Ramone, Poison Ivy ("The Cramps"), Ron Asheton ("The Stooges"), and Bob Mould from the American punk rock band "Hüsker Dü". Through an interview with Bob Mould, he discovered Yamaha's Reverse Reverb pedal effect. An effect that takes the sound of one guitar and produces the sound of several guitars together, an expressive sound. That famous pedal would later define the music of "My Bloody Valentine" as "Shoegaze", since during live performance they would look down towards the pedal, which would create the illusion of looking towards their shoes to avoid interacting with the audience. The loud sound of "My Bloody Valentine" was heavily influenced by bands like "Sonic Youth" and "Dinosaur Jr.", a sound that did not seek to flatter the listener. Unlike most of the world, he integrated the vocals into the mix along with the instruments and not above the instruments. Similar to "Cocteau Twins," the lyrics on the album have less meaning, and they are mainly about relationships and sexuality. The singing style actually has meaning, and what's more, Shields and Butcher's vocals were recorded on two channels, one regular and one mumbled. In the mix, the two channels were combined together when the volume on the mumbled channel was turned up, creating a kind of mysterious and sweet ghost song. In "Loveless," we get a lot of vague, heavy love. From the moment we press Play, we enter a state of thick fog that is actually a dream but right in the middle of reality. On one album, Kevin Shields managed to bridge the mid-1980s noise-pop of "Jesus and Mary Chain" with the dream pop of the "Cocteau Twins", with his heavy use of that pedal creating a genre new for the British press, a genre they disparagingly called shoegaze. But, in the US it helped to brand shoegaze as a new and charming genre that later spawned bands like the "Smashing Pumpkins". In real time, the album reached only number 24 on the UK album charts, selling only 100,000 copies. Can you call this a chart failure for an album that naturally wasn't aiming there? Not sure. What is certain is that it was "My Bloody Valentine's" swan song for many years. For Listening: Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written By: Moti Kupfer Release date - 5.11.1984 It was the summer of 1984. Bryan Adams was in New York, working on his next album, "Reckless," which was released on November 5, 1984. After his breakthrough with "Cuts Like a Knife," he felt he had to "strike while the iron was hot". Adams and his producer Bob Clearmountain were at the famous "Power Station" recording studio in Manhattan. They were in the final stages of recording, nine tracks had already been recorded at "Little Mountain Sound" in Vancouver, the Canadian city where Adams had lived since he was a teenager. Now they were putting the finishing touches on it, adding vocal overdubs. But while Clearmountain was happy with the result, Adams felt it wasn't perfect. His instincts told him they needed something more, but he couldn't pinpoint what was missing, and he was also tired. He decided to invite his manager Bruce Allen to New York to listen to the album. Allen responded immediately with the question: "Where's the Rock?" According to Adams, Allen's question changed everything. The next day, he was on a plane back to Vancouver, and he called Jim Vallance, his songwriter and partner, and said, "We need to turn up the volume on the songs." With his manager's words still ringing in his head, Adams chose two re-recorded songs, " One Night Love Affair " and " Summer Of '69 ." In addition, he and Vallance wrote a new song that answered Bruce Allen's question in the most definitive way. They called this song " Kids Wanna Rock ." Adams was born on November 5, 1959 (he celebrates his birthday with the album) in Kingston, Ontario, to an English couple who emigrated from the city of Plymouth to Canada in the 1950s. His father was an officer at the Royal Military Academy Sandhurst in the British Army, and joined the Canadian Army, and later worked as an observer for the United Nations, and as a diplomat for the Canadian Foreign Service. As part of his last assignment, the family emigrated to Austria, Portugal, and Israel, where Adams attended the Scottish School in Jaffa, in the early 1970s. By 1974 they had returned to Canada, without his father who was stationed overseas. Adams bought his first electric guitar at the age of 10 in Reading. An Italian brand from Gherson, based on a Fender Stratocaster. He dropped out of school to play in a band called "Shock" and used the money his parents had saved for college to buy a grand piano. He began working in the Vancouver music scene with bands and as a session singer. At the age of 15, he became the lead singer of the glam rock band "Sweeney Todd", replacing original vocalist Nick Gilder. In 1978, Adams met the musician who would change his life, Jim Vallance, who became his writing partner. They met through a mutual friend at a Vancouver instrument store. Vallance was the former drummer and primary songwriter for the Vancouver rock band "Prism". Shortly before meeting Adams, he had left the band to focus on a career as a session musician and songwriter. They met at Vallance's home studio a few days later. This became the beginning of a fruitful partnership that lasted throughout the 1980s. Together they wrote for Adams, and for other artists, including "Kiss", Johnny Hallyday, Bonnie Tyler, Bonnie Raitt, "Loverboy", Rod Stewart , Carly Simon, Neil Diamond, and more. When Adams reflected on the earliest stages of creating "Reckless," he claimed he had no strategy. "I wish I could say I had a game plan,” he laughs, “but I didn't. I was just trying to keep the ball rolling, trying to pay the bills. That was all I was trying to do." Adams never claimed to be the next Dylan , nor did he make any sociopolitical statements like Bruce Springsteen . In truth, Adams was as much a working-class hero as The Boss, except that Adams didn't make it his appearance. "For me," he says, "there was no message, no attempt to be a man of the people. "I was just trying to write great songs." Before the duo began writing the songs for "Reckless," they already had several songs in development, including the ballad " Heaven ," which was originally recorded for the flop film "A Night In Heaven." The song was inspired by "Journey's" hit "Faithfully." Midway through the recording session, drummer Mickey Curry, who had warned Adams of his limited availability that day, announced that he had to leave because he had a prior commitment to a session with Hall & Oates. Adams called "Journey" drummer Steve Smith, who happened to be in New York at the time and he filled in for Curry. Producer Jimmy Iovine thought the song was not right for the album, and advised Adams not to include it, but Adams eventually managed to change his mind. Another song that was ready early on was " Run to You ", which Adams and Vallance had originally written for "Blue Oyster Cult", and even its opening riff was very reminiscent of their huge hit "Don't Fear (The Reaper)". After the band rejected the song, Adams decided to record it himself. The video was directed by Steve Barron, who had worked on most of Adams' videos at the time. Barron had directed Michael Jackson's video for "Billie Jean", and also directed videos for "Culture Club" and "Tears for Fears". The video was nominated for five MTV Video Music Awards. British Eurodance band "Rage" reached number 3 in the UK charts (1992) with their cover of the song. " Somebody ," which became the second single from the album, was written by Vallance and Adams about relationships and World War I, from their perspective. "Adams and I are both interested in First World War history (Bryan's grandfather served with the British Army in WW1). As a result, lyrical references to the war occasionally appear in our songwriting" Vallance said. They wrote " Summer of '69 " together, and the song went through several changes after the duo were not convinced it was good enough to be included on the album. In its first version, it was called "The Best Days of Our Lives". The two were inspired to write the song after listening to "The Beatles'" "Strawberry Fields Forever", which was a homage to John Lennon 's childhood, and they wanted to recreate that feeling of a sweet childhood memory. Adams later clarified that the lyrical meaning of "Summer of '69" was about having sex in the summer. Just think for yourself what the number 69 represents. Many of the lines in the song were inspired by songs by other musicians such as "Foreigner", Bruce Springsteen ("Jukebox Hero", "Thunder Road"), and "The Beatles" ("I Want to Hold Your Hand"). He looked as if he had been struck by lightning, half-shocked, he mumbled something... "It was almost like a tornado had come through the studio and just blown everything apart," Bryan Adams said of the moment Tina Turner finished recording her duet with him, the song " It's Only Love ." Adams, a young musician of 25 at the time, had not initially planned to record this song as a duet. But he felt he needed another voice, "to make this a special song." And he had only one candidate in mind: Tina Turner, the solo singer who had recently made a comeback with "Private Dancer." "Working with Tina Turner was amazing. I used to go to see her in the clubs when I was in my late teens/early 20s before she hit the big time. It was incredible to watch her years later," Adams said. This song takes an unconventional approach to healing from heartbreak, reminding us that it's just love, and life goes on even after love is over. Now Adams felt he had a gem of an album in his hands, but even he couldn't believe how big it was. All six singles from the album became hits in the US, reaching at least the Top 15 on the US charts, with "Reckless" selling 12 million copies worldwide. 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 - 6.11.1984 "I follow the Moskva Down to Gorky Park Listening to the wind of change An August summer night Soldiers passing by Listening to the wind of change" August 1989 and in the capital of the USSR, Moscow, the heavy rock bands "Motley Crue", "Bon Jovi", and "Scorpions" gather for a two-day festival titled "Moscow Music Peace Festival" The festival was dedicated to a non-profit organization that helps drug and alcohol addicts cope with their difficult situation. The festival, organized by American band manager Doc McGhee, and Russian rock musician Stas Namin, opened its doors to Western music for the first time to a Soviet audience. Klaus Meine , lead singer of "Scorpions", recalls the special atmosphere that surrounded the festival: "We took the boat down the Moskva River, And we were on this boat with all the bands, with MTV journalists, with Red Army soldiers... It was an inspiring moment for me. It was like the whole world was in that one boat talking the same language: music." Meine could not remain indifferent to the unprecedented sights he saw in the USSR. He felt that the world was at the threshold of a new era, an era of peace, an era of connections between East and West. Three months later, the Berlin Wall fell in East Germany, and at the very end of 1991, the policy of glasnost implemented by Mikhail Gorbachev caused the collapse of the Soviet Union. Meine wrote one of the most important ballads of the early nineties, " Wind of Change ", about that summer evening in Moscow in August 1989, a song that would become an anthem of peace, brotherhood, and friendship for the whole world. Together, and was released on the "Scorpions'" eleventh album, "Crazy World", which was released on November 6, 1990. The "Scorpions" were formed in the German city of Hanover by guitarist Rudolf Schenker , who at that time performed the vocal duties. In 1970, his brother guitarist Michael Schenker and vocalist Klaus Meine joined. Two years later (72), the band released their debut album " Lonesome Crow ", which was influenced by the krautrock scene that was at its peak in Germany at the time. The virtuoso abilities of the 16-year-old Michael Schenker did not go unnoticed by senior bands and he was offered to join the British rock band "UFO". Following Schenker's departure, the band almost disbanded, but like a phoenix, it rose and took on a new form. Before leaving the "Scorpions", Michael Schenker asked guitarist Uli Jon Roth to take his place in the band. Later that year, in the summer of 1973, the two original members of the "Scorpions" - Rudolf Schenker and Klaus Meine - joined forces with The four members of "Dawn Road" - Uli Jon Roth 's band, and thus one of the band's greatest lineups was established. During the 1970s, "Scorpions" established their status as a classic heavy rock band, and became pioneers of the hard rock/heavymetal genre in Germany. They reached the peak of their popularity in the mid-1980s after the release of the albums "Blackout" and "Love at First Sting", and immediately after with the successful "Love at First Sting tour". Towards the end of the 1980s (88), their tenth album "Savage Amusement" was released, which was received with disappointment by long-time fans after the band moved away from classic heavy rock on this album and it was felt that it was overproduced, which caused the band to part ways with their long-time producer Dieter Dierks, who had produced all of "Scorpions" albums since " In Trance " released in 1975. Dierks was replaced by the American producer Keith Olsen ("Fleetwood Mac", "Foreigner", Ozzy Osbourne ) who returned the band to a heavier and less glamorous sound with strong rock songs full of harmony and melody such as the aggressive " Tease Me Please Me " with its virtuoso guitar work, the slightly calmer " Don't Believe Her ", and two songs " Money and Fame" and " Crazy World " which are a kind of indictment against the modern society that worships profit-making. Above all, the two eternal ballads " Send Me An Angel " shine, a song in which Klaus Meine wonders to himself whether he should listen to his inner voice and go on a mission despite the dangers involved. And of course " Wind of Change ", a fascinating investigation into which led to the question of whether the responsible for writing the song was actually the American CIA, which wanted to use it to push young Soviets to bring about change in their homeland, which ultimately did happen. When Meine was asked about the theory, he replied with a smile, "It was pretty bizarre. And then I learned the story... the theory is a 'fascinating idea, and it's an entertaining idea, but it's not true at all". Is that true? What was definitely true were the album's sales, which soared to seven million copies worldwide, undoubtedly their most successful album in terms of sales. 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 - 8.11.1974 What's one year in the life of a band? Well, if we take "Queen" as a case study, the power is certainly impressive. Between July 1973 and July 1974, "Queen" managed to release two studio albums and go on tour supporting the glam rock band "Mott the Hopple". After an extensive tour of the UK, the two bands decided to tour the US together, "Queen's" first tour of the country. The bands would remain on friendly terms. "Queen's" first US show was on April 16, 1974 in Denver, Colorado. Freddie Mercury gave his take on being an opening act when he said: "Being support is one of the most traumatic experiences of my life". At the height of the Boston tour, Brian May was diagnosed with hepatitis, and the rest of the tour was cancelled, and "Queen" flew back home, where May was hospitalized. In June, the band reconvened at "Trident Studios" to begin rehearsing material for the next album, "Sheer Heart Attack", which was released on November 8, 1974. In early July, Brian May joined the rehearsals, which were held mainly at "Rockfield Studios" in Wales. In early August, work moved to "Wessex Studios" in London ( where " In the Court of the Crimson King " was recorded), but the work there did not last long, as May, starting to feel unwell again. He went to a specialist clinic on August 2 and collapsed in the clinic, as a result of a duodenal ulcer. May rested the next day, but was released from hospital shortly afterwards to recover at home. The other three members of "Queen" overcame the problems of May's absence during recording by leaving gaps in the songs for his solos. When he felt well enough, May went back and completed the tracks, adding his guitar solo and backing vocals. For this album, "Queen" changed their playing style from progressive rock to heavy rock songs, combined with classical music, a sound that would become even more associated with the band later on. The new sound that emerged was multi-layered, dense with harmony, melody and mystery. They carefully blended all the elements together with producer Roy Thomas Baker. Freddie Mercury knew how important this album was to the band, saying at the time, "The album is very varied, we took it to extreme I suppose, but we are very interested in studio techniques and wanted to use what was available. We learnt a lot about technique while we were making the first two albums. Of course there has been some criticism, and the constructive criticism has been very good for us". The album opens with " Brighton Rock ", named after a low-budget British thriller released in 1947. The film, based on a novel by Graham Greene, stars Richard Attenborough as a ruthless young gangster. The film also features a one-sided affair of sorts, and may have inspired the song, which is about a failed holiday romance. The song features a lengthy solo by Brian May . The next song is the upbeat hit " Killer Queen ", which songwriter Freddie Mercury clarified in an interview was about a high-class call girl. The song became "Queen's" continental hit, reaching number two in the UK and number 12 in the US. " Tenement Funster " was written and sung by Roger Taylor about youth, and youthful rebellion, while John Deacon played the song's prominent acoustic guitar parts in May's absence. " Flick of the Wrist " was written by Freddie Mercury about their questionable experiences on the road encountering people who try to take advantage of them or outlaw artists. The song features Freddie Mercury singing octave vocals throughout the verses. When Brian May returned to work after recovering from his hepatitis, he did not hear the song before recording his guitar and backing vocals. Freddie Mercury , who loved the French language and reading French novels, wrote " Lily of the Valley " based on the 1835 novel "The Lily of the Valley" by French author and playwright Honoré de Balzac. Another song written by Brian May was " Now I'm Here " about their difficult experiences during their early touring. " Stone Cold Crazy ," a speed metal song written by Freddie Mercury while he was a member of the band "Wreckage", would go on to have a major influence on American rock music, as even "Metallica" covered it as the B-side for their single "Enter Sandman." Mercury wrote " Bring Back That Leroy Brown " inspired by Jim Croce's song "Bad, Bad Leroy Brown" and dedicated it to the singer who was killed in a plane crash a few months before the album's release. Freddie described " In The Lap Of The Gods " as a prelude to the unforgettable " Bohemian Rhapsody " that would appear on the next album, " A Night At The Opera ". It is a composition in three parts. Less than a month after the album's release, "Queen's" struggle with their manager Norman Sheffield and "Trident Studios" to free themselves from the draconian contract they were bound by began. The following year would bring with it a new and promising future for this band, even they did not believe it to what extent. 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 - 8.11.1980 (According to some sources October 1980) In 1979, music writer Geoff Barton coined the term "New Wave of British Heavy Metal" (NWOBHM) to classify a series of new bands such as "Iron Maiden", "Def Leppard" and "Saxon". Bands that combined the heavy sounds of traditional metal with the energy of punk rock. Another band that fell under this definition was "Motörhead", which was among the bands that were difficult to define precisely, and actually played rock and roll influenced by British metal, only they played really fast and wild, when their defining moment came with the title song of their fourth album "Ace of Spades", which was released on November 8, 1980 (and according to some sources in October 1980). The unique playing style that made it difficult to define, together with the growling vocalist, with his hoarse voice, would have a decisive influence on the thrash metal movement that developed two years later, and included bands like "Metallica" and "Megadeth". Power, energy and unrelenting speed. "Motörhead" showed no mercy with their constant, fast, and energetic rhythm. The classic line-up of the band, included Lemmy Kilmister (bass/vocals), "Fast" Eddie Clarke (guitar), and Phil "Philthy Animal" Taylor on drums. The band's undisputed leader, and its raspy-voiced lead singer, was Lemmy Kilmister . Kilmister was greatly influenced by the rock 'n' roll style and the early work of the "Beatles", and joined several rock bands during the 1960s. The most important of which was the "Rockin' Vickers". He later became a member of Jimi Hendrix 's touring crew, and "The Nice", and next joined the space rock band "Hawkwind" in 1971. Four years later, he was fired from the band after being caught with drugs at the Canadian border.   Lemmy said that this was just an excuse to fire him, and that the real reason was the jealousy of the band's lead singer, Dave Brock, who was jealous that the song "Silver Machine" on which  Lemmy sang was the one that became a hit. Shortly after his dismissal from "Hawkwind",   Lemmy formed a band called "Bastard", changing It was later renamed "Motorhead", after the last song he wrote and sang in "Hawkwind". Before "Ace Of Spades", "Motorhead" had already made an impact with albums such as "Overkill" and "Bomber". These albums showcased the band's unique combination of punk energy and powerful heavy metal playing, which laid the foundations for their masterpiece. Recording sessions for "Ace Of Spades" took place at "Jackson Studios" in Rickmansworth, England, during August and September 1980. This studio, known for its intimate setting and quality acoustics, provided the perfect environment for "Motorhead" to unleash their musical abilities. The band's decision to work with Vic Maile, a producer with an impressive reputation, proved to be a key choice in shaping the album's sound. Maile, affectionately known as "Turtle" by the band, brought a wealth of experience to the project, having worked with such legendary artists as Jimi Hendrix and "Led Zeppelin". The album's constant use of harmonies, vocals, and instrumentation made it a hit for its time, making its heavy sound more accessible. An example of this can be found in the song " The Chase Is Better Than The Catch ". It was undoubtedly "Ace Of Spades" that made Lemmy a living legend. Through his lyrics, music, bass and voice, he reflected a "real" lifestyle, a man who literally lived for rock and roll. The song was written by Lemmy Kilmister as a metaphor for gambling, with an emphasis on cards and dice, with the song's progression sounding like the middle of a poker game. The song " Shoot You in the Back " uses the classic Wild West motif. Beyond the title track, the album is packed with gems like " (We Are) the Road Crew ," a tribute to the band's crew, and " The Hammer ," which perfectly illustrates the tireless energy of "Motörhead." Lemmy established his style with raspy vocals, aggressive lyrics, and a bass that not only accompanied but also served as a leading instrument. Direct bass distortion from his Marshall amplifier can be heard throughout his work. The influences that shaped "Ace Of Spades" were diverse, stemming from rock and roll, blues, and punk. Lemmy Kilmister 's admiration for artists like Little Richard and Chuck Berry infused the album with a raw, unfiltered energy that set it apart from its contemporaries. The band's ability to combine these elements with the evolving sounds of heavy metal and speed metal resulted in a unique sonic experience. Released in 1980, "Ace Of Spades" coincided with significant global events, such as the election of Ronald Reagan as President of the United States, the eruption of Mount St. Helens, and the launch of CNN, the first 24-hour news channel. The album's title, "Ace Of Spades", was inspired by Lemmy Kilmister 's love of gambling and the lifestyle that went with it. The concept of living on the edge permeated the album, from its lyrics to its cover art. The artwork, designed by Joe Pettenuo, depicted the band dressed as outlaws in a desert setting, reinforcing "Motörhead's" rebellious image. 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 - 19.11.1984 In Early 80s One of the most beloved bands in the US, "The Eagles" broke up with great noise, as personal differences between the band members became more and more intense due to fame, money, and drugs. This soap opera ended with mutual accusations and threats of violence. This happened at their last concert (until their comeback in 94), when singer Glenn Frey threatened guitarist Dan Felder with "I'm gonna kick your ass when we get off the stage". The band's drummer lead singer, and one of its songwriters Don Henley decided to start a solo career: "I said, 'God, can I do this by myself?' I thought maybe I should put another band together. Then I said, 'Nah, I can do this.' I drank a lot of Scotch making that first album," he told Record. "And then after it was done, I figured, 'Yeah, I can do this,' so this album was much more confident. ... I stretched further and took more chances." Before embarking on his solo career, Henley had come to a different way of thinking about performing as an artist in the new decade. "This is the '80s: you dress up now, you have lights. It's showbiz now. It's not the '70s and the '60s anymore; it's completely different" he claimed. In order to update and adapt his style to the 80s, Henley spent two years watching the performances of "The Eurythmics", Paul Young, and Tina Turner, in order to understand what was required of him. After his debut album "I Can't Stand Still" released in 1982, Henley felt more confident in himself, this happened when work began on his second album "Building the Perfect Beast" released on November 19, 1984. For the album, Henley was awarded many collaborations, starting with guitarist Danny Kortchmar (Carole King, Jackson Browne, James Taylor and others), and members of Tom Petty 's backing band at the time, "The Heartbreakers" who contributed to the songwriting, guitarist Mike Campbell, keyboardist Benmont Tench and drummer Stan Lynch. The album also features guitar playing by Lindsey Buckingham from "Fleetwood Mac", and vocals by Belinda Carlisle, and other musicians such as Randy Newman, Jim Keltner (Dylan), Waddy Wattle, Patty Smyth (singer of "Scandal"), the wonderful bassist Pino Palladino, and "Toto" member Steve Porcaro. This album established Henley as an artist in his own right after many years of success with "the Eagles", as he gave birth to many hits. His writing aimed at deep intellectual themes beneath the synthesizer sounds, and the rich production. The opening song, and the first single from the album " Boys of Summer " was given to Henley quite by chance. As the song was originally written for Tom Petty , by his backing band guitarist Mike Campbell. Campbell played the demo to Petty who politely rejected it. Henley, who knew Campbell through Jimmy Iovine, would occasionally drop by his studio to "fish" for new material. On one of these occasions, Campbell played him the demo in question. Henley wrote the lyrics with a nostalgic inspiration of summer, baseball games on empty roads, streets, and "Deadhead" stickers (the hippie and a die-hard fan of the "Grateful Dead"). Additional credit for Henley's high-pitched singing style on the song is given to Bob Seger, who stopped by the studio just before the song was completed and advised him to sing "Boys of Summer" higher. The song became Don Henley 's biggest hit of his solo career (in terms of sales) and second only to "Dirty Laundry" when it reached number five on the Billboard charts. The black-and-white video was shot by French graphic designer and photographer Jean-Baptiste Mondino. Mondino met Henley in California and said: "When I listened to 'Boys Of Summer,' there was something nostalgic - he was looking back, talking about something that he's leaving behind". When Henley accepted the award for Best Video, he admitted he had no idea what was going on when they shot the clip, but said Mondino and his crew made "Southern California look like the South of France." The clip won four awards, for Best Video of the year, Best Direction, Best Art Direction, and Best Cinematography. Henley has a knack for writing about the heart and soul of America, blending his love of country and small-town life (" Sunset Grill ") with cynicism about government, global instability (" All She Wants to Do Is Dance "), and modernization (" A Month of Sundays "). The album sold 3 million copies in the U.S., spawning another Top 10 hit (" All She Wants to Do Is Dance "). Henley's earnest delivery and universal messages give many of the songs on the album a timeless feel, and that's no small feat. 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 - 20.11.89 He is one of only three artists in the history of music (the other two are Paul McCartney and Michael Jackson) to have sold more than 100 million albums both in his solo career and as part of the band. Perhaps this is what causes a lot of envy towards him, among others super successful artists like Noel Gallagher from "Oasis" who said: “Just because you sell lots of records it doesn't mean to say you're any good. Look at Phil Collins”. Collins knows the criticisms that accuse him of over-commercialization, but you have to admit that there is a lot of grace in the way in which the drummer of "Genesis" in his early career, made his way up, with the special drum sound, and the brass section that was reflected in his albums. After finishing the tour with "Genesis" in 1987, and riding on the sucsess on the charts of songs from his fourth solo album "No Jacket Required" and from " Invisible Touch " with "Genesis", Collins decided to pause his musical career for a while, and turned to acting in the film "Buster", a romantic comedy film based on the Great Train Robbery. In March 1989, Lily Collins, Phil's first doughter, was born, and the world he saw before his eyes began to change. "I feel I’m treading new ground … writing about things that I’ve felt for a long time but never really written about," he said in an interview. It was Collins, more thoughtful and serious than ever, so it's no wonder he chose to call his fifth album, released on November 20, 1989, "...But Seriously." Collins of 1989 wrote and addressed more serious lyrical themes, socio-economic and political issues. Unlike his joyful previous album, in "...But Seriously" the atmosphere is heavier and much darker. True, here too there is the rhythm section that sometimes lifts morale a little, but still, the happy Collins's perspective was no longer complete, a new child was born, and added a lot of room for worry. The album was produced by Collins and Hugh Padgham who worked on his previous solo albums, and on the last "Genesis" albums throughout the decade. Collins returns to using a live drum kit, in contrast to "No Jacket Required" which featured extensive use of a drum machines. He also made prominent use of keyboards and electric piano, and less use of synthesizers. Collins made a conscious decision not to rely on vocal effects on this album, as his previous recordings, including with "Genesis", featured the use of a harmonizer, while in retrospect Collins saw this as a way to hide the shortcomings of his singing. The album opens, as if it were a continuation of its predecessor, with the rhythmic " Hang in Long Enough ", which alludes to the theme of "holding on", and fills the listener with ambition and optimism. But the optimism is immediately shattered when the anti-war ballad " That's Just the Way It Is " begins, a song Collins wrote about the difficult political situation in Northern Ireland, and features David Crosby on backing vocals. Collins had wanted Crosby to appear on his first solo album, "Face Value" from 1981, but he was unavailable at the time. The two met at a concert celebrating the 40th anniversary of "Atlantic Records" in 1988, and Crosby, eager to be on the album, also sang backing vocals on one of its biggest hits, " Another Day in Paradise ." Ballad follows a ballad, and this time " Do You Remember? " A song written by Collins from the perspective of a man who longs for his last failed relationship because he neglected his partner. Singer Stephen Bishop contributes background vocals here. Getting back to the rhythm with " Something Happened on the Way to Heaven ," a song written by Collins with "Genesis'" touring guitarist Daryl Stuermer, about a man who broke off his relationship with his lover and now hopes and believes he can bring her back to him. It was the last song written for the album and was initially intended for "Four Tops," but Collins ultimately decided to keep it for himself. While the song was being worked on in the studio in England, Stuermer came up with some chords for the chorus, resulting in Nathan East playing bass on the new parts, after bassist Leland Sklar left for the US. In the political " Colours ", Collins condemns apartheid in South Africa, the song was originally titled "Oh Mr. Botha, What Can We Do?", referencing the song "Oh! Mr Porter". On " I Wish It Would Rain Down ," Eric Clapton contributes his wonderful guitar playing to a gospel-influenced song written by Collins about a relationship that may have ended due to infidelity. Collins wrote " Another Day in Paradise " about homeless people and its first title was actualy "Homeless". Collins, who had never experienced hunger and poverty, was walking around the US capital, Washington, one day during a concert tour, where he encountered homeless people on Capitol Hill who were trying to keep warm. While leaving the studio recording the song, Collins encountered a homeless woman with two children who asked him for some money. Collins was disappointed by his own reaction, which included completely ignoring the woman and asking for her help. He realized that his instinctive reaction was what happens to most people, which reinforced in him the realization that one should not stand by and help must be given to her. " Heat on the Street " was written by Collins as a political song about street abuse and violence. " All of My Life" was written by Collins about his relationship with his late father and the regret that he did not have a better relationship with him during his lifetime. Steve Winwood plays the Hammond organ on the song. " Father to Son ", on the other hand, is a ballad about Collins' relationship with his eldest son, Simon. The album yielded six successful singles, sales of approximately 14 million copies worldwide, and won a Grammy Award. 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 - 22.11.63 In 1975, director Ken Russell's surreal musical film "Lisztomania" was released. The film was about the dramatic life story of the 19th century classical pop star, composer and pianist Franz Liszt. The term "Lisztomania" was coined by the poet and writer Heinrich Heine in response to the mass fan hysteria that accompanied his performances. About a century later, the cross-border hysteria returned again, called "Beatlemania". "Beatlemania" is a "mass psychosis" that struck Britain, the United States, and the rest of the world towards the mid-sixties in everything related to "The Beatles", especially among young teenage girls. "Beatlemania" was characterized by complete hysteria about everything related to the band, from their hairstyles, clothing, and more. Gatherings of female fans were documented at sites where the band members visited, with an emphasis on airports, and of course deafening screams during performances, how deafening? To the point where the members of the "The Beatles" could not perform properly due to the deafening noise, which damaged the quality of their playing. The phenomenon forced the band members isolation when they went on tour, due to the fear of being harassed, even in their free time. Ultimately, the phenomenon of "Beatlemania" hastened the retirement of "The Beatles" from live shows in 1966, after feeling disgusted by the insane number of performances they had done so far, and the poor quality of the performances due to the the hysteria in the audience. "Those years were a continuous hell for us", said George Harrison in his autobiography "I Me Mine". The term "Beatlemania" was first used at the end of 1963, a year that was exceptional in its chart success for "the Beatles". In March they released their debut album "Please" Please Me " which topped the British album chart for 30 consecutive weeks, while it gave way to their second album "With the Beatles" which was released on 22.11.1963, and created a streak of 21 weeks at the top of the British album chart. In total, "the Beatles" dominated the album chart for 51 consecutive weeks. Eight months after their debut album, "The Beatles" continued with the formula that had worked so well with short classic rock songs. The album featured six covers of Motown R&B songs, and eight original songs, seven by John Lennon and Paul McCartney , and a debut by George Harrison , whose next song would not appear until the album " Help " two years later. Ringo Starr 's contribution to the album (beyond drumming) focused on backing vocals on the song " I Wanna Be Your Man " and his diverse record collection that included blues and country, exposing his bandmates to many songs. The album was released in Britain on Friday, November 22, 1963. To Americans, this date sounds a little less festive. While demand for the newly released album was at record levels in Britain, including pre-orders of half a million copies, an event occurred across the Atlantic that shocked the world. It was early afternoon in the United States when three shots were fired at the motorcade of US President John F. Kennedy, seriously wounding him. Shortly after 1 p.m. US time, news anchor Walter Cronkite announced with a sad face the death of the president and the transition of Vice President Lyndon Johnson into the new president. That tragedy completely shocked the entire American nation, on the day of "With the Beatles" release, and this album would later turn out to be part of the healing process of American society, at least from the perspective of the youth who would focus on admiration for "the Beatles" instead of focusing on grief and mourning for their dead president. The lyrics of the songs dealt mainly with love and its derivatives, but Lennon and McCartney sometimes played with word games, as can be seen in the opening song " It Won't Be Long ", in which the word Yeah is mentioned no less than 56 times. The word games here between "It Won't Belong" and "till I belong" were one of Paul McCartney 's hobbies, who studied literature at school. In " All I've Got to Do " John Lennon admitted that he was inspired by From Smokey Robinson's songs along with the "Miracles". " All My Loving " was written by Paul McCartney while shaving one morning and thinking about his then-girlfriend Jane Asher. It was the first time McCartney wrote the lyrics before composing the melody. The fourth track on the album, " Don't Bother Me ," was Harrison's first lyrical contribution to a "Beatles" album. It was a song he wrote while he was sick with the flu and resting in a hotel between shows. Naturally, the song has a dark and pessimistic mood, telling the story of a guy whose girlfriend has left him and is looking to isolate himself from the world. " Little Child " seems like a simple love song, in which a child who is afraid of the dark asks his responsible adult to stay with him until morning. Who among us as a parent hasn't encountered such a request from their child? In fact, the song has a more complex meaning, especially in light of the period in which it was written. In the early 1960s, rock and roll music was considered to have a negative impact on young people. Many parents forbade their children from listening to it. "The Beatles" changed this by appealing to the general public, both young and old. The song was inspired by Walt Disney's film "Robin Hood." The dark and serious album cover, was a reflection of what was going on in the souls and minds of the fab four, who felt that they are growing up quickly. The photo was taken by the Sunday Times photojournalist Robert Freeman, who had photographed jazz musicians such as John Coltrane and Dizzy Gillespie, among others. "The Beatles", who loved black and white photography, showed Freeman photos from their Hamburg concerts that included plays of light and shadow, and asked him to create a similar image. 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 - 27.11.57 He is without a doubt one of the first, if not the first, on the list. An album that helped ignite everything in rock ’n’ roll music. In 1941, Les Paul designed the first solid-body electric guitar. A decade later, that guitar began gaining popularity. The seeds of rock ’n’ roll were forming through a fusion of gospel and rhythm & blues. Then it was radio DJ Alan Freed who coined the term “rock and roll” back in 1951. The "Les Paul" guitar helped artists like Chuck Berry, Link Wray, and Scotty Moore develop a more sophisticated style of rock ’n’ roll guitar playing. The earliest rock ’n’ roll songs began taking shape through artists such as Elvis Presley, Chuck Berry, "Bill Haley & His Comets", Little Richard, Jerry Lee Lewis, and others. Five years before the "Les Paul" was born, Charles Hardin Holley was born into a musical family in Lubbock, Texas (1936). He would later form the group "Buddy & Bob", together with Bob Montgomery. That name Buddy stayed with him until the day he died, on what would later be called “the day the music died” (3.2.59). That same Buddy Holly would go on to become one of the most influential musicians in popular music. "The Beatles" chose their name partly in homage to Holly’s band "The Crickets", who released their debut album “The ‘Chirping’ Crickets” on November 27, 1957. Elton John began wearing glasses long before he needed them, simply to resemble his idol Buddy Holly. Bob Dylan , who saw Holly perform as a teenager, said that this show inspired him to pursue music. Even "The Rolling Stones" considered Holly a major influence. At age 11, Holly started piano lessons, but he abandoned them after seeing a classmate playing guitar and singing on the school bus. It was the instrument that immediately captured his imagination. Holly learned guitar through his brother Travis, who had already taught himself to play. As a child, Buddy Holly was influenced by country artists such as Hank Williams, Bob Wills, Jimmie Rodgers, and Hank Snow. He practiced and played with Bob Montgomery, and he also started collaborating with other musicians he met in high school, including Sonny Curtis and Jerry Allison. Holly’s attraction to rock ’n’ roll began in 1953, when he and Sonny Curtis would sit in his car late at night tuning the radio to distant stations that played rhythm & blues, signals that could only be received after dark. This was the moment where Holly began merging his country background with R&B influences. From 1954 onward, Holly recorded demo tapes with local musicians such as Sonny Curtis, Jerry Allison, and Larry Welborn. Two years later, Holly’s band - then called "Buddy and the Two Tones" (with Curtis and Don Guess) - recorded a rockabilly album that ultimately failed. After Holly and his band opened shows for acts like Elvis Presley and "Bill Haley & His Comets", talent scout Eddie Crandall helped him secure a contract with "Decca Records". The deal turned out to be problematic. Holly soon found himself working with producer Owen Bradley, who controlled the arrangements and chose all the session musicians - leaving Holly frustrated by the lack of creative freedom. Following an unsuccessful tour, in January 1957, "Decca" informed Holly that they would not renew his contract, but yet insisted that he was forbidden from re-recording the same songs for anyone else for five years. In desperation, Holly began playing with Jerry Allison, bassist Joe Mauldin, and rhythm guitarist Niki Sullivan. Together they recorded a demo of “That’ll Be the Day”  at Norman Petty’s studio - a song Holly had already recorded in Nashville. This time, Holly played lead guitar himself, he showcased a fast, groundbreaking picking style that finally gave him the sound he had been searching for. But there was a catch. Holly could not release the song under his own name because of the restrictions imposed by "Decca". His bandmates stepped in to help, and the song was released under the band’s new name. It was Allison who suggested “The Crickets”, inspired by the band’s fondness for groups named after birds. Although "The Crickets" were widely viewed as Holly’s band, the album showcases the strengths of all its members. Everyone contributes equally, and the band wrote a substantial portion of the material, something highly unusual for groups of their type in those days. Norman Petty became Holly’s manager, and he was the one who sent the demo to "Brunswick Records" in New York. Neither he nor Holly realized that "Brunswick" was actually a subsidiary of "Decca". By late September, “That’ll Be the Day”  - the debut single by "The Crickets" - reached number one on both the American and British charts, staying there for three weeks. The follow-up single “Oh Boy!”  also reached the Top 10 in both countries, just a month before the album’s release. The rest is history… 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 - 28.11.69 UK 5.12.69 / US The late 1960s awakened the flower children and the entire world from the overwhelming optimism that had covered it. Yes, in 1969 the United States reached the moon, and a messy little festival turned into the defining Woodstock . But at the same time, protest movements were rising against the American government, sinking deeper into the mud of Vietnam. And in Britain it was Mick Jagger who sang “ You Can't Always Get What You Want ”, as if scolding a spoiled child lying on the floor in protest for not getting what he demanded. Jagger may have been singing about humanity’s elusive attempts to chase moment after moment of happiness, but beneath those attempts lay the closing song of the Stones’ eighth studio album, “Let It Bleed”, released on November 28, 1969 in the U.K. and on December 5, 1969 in the U.S., an album in which the band effectively said goodbye to one of its founders, guitarist Brian Jones . Jones, born on February 28, 1942 to Welsh parents, suffered from asthma throughout his short life. Both of his parents were deeply interested in music, and this passion clearly had a profound influence on their son. Brian’s father played piano and organ and conducted the local church choir. His mother was a piano teacher who began giving him lessons at a very young age. He quickly learned to read music and soon moved on to clarinet. Although he listened to classical music as a child, Jones preferred the blues, especially Elmore James and Robert Johnson. In 1957 he was introduced for the first time to jazz musician Charlie Parker. He convinced his parents to buy him a saxophone, just one of many instruments he would learn. Two years later, for his 17th birthday, they bought him his first acoustic guitar. After founding "The Rolling Stones" in 1962 and giving the band its name, Jones slowly lost creative influence as Mick Jagger and Keith Richards took over the band’s musical direction, especially once they became the central songwriting duo, the “Glimmer Twins.” Jones was a man of contradictions. “There were two Brians: one was introverted, shy, sensitive, and deeply thoughtful. The other was a preening peacock — flamboyant, artistic, needy, dependent on the reassurance of his peers. "He pushed every friendship to the limit and way beyond", bassist Bill Wyman recalled. As the band grew more successful, Jones spiraled deeper into drug and alcohol addiction. He entered multiple relationships, fathered several children, but could never maintain stability. His dream of becoming a full-time father shattered repeatedly against the rocks of reality. In 1967 Jones met Italian-German actress and model Anita Pallenberg backstage, beginning a serious relationship. At some point he became abusive, breaking his hand across her face. Keith Richards came to her aid, and eventually Pallenberg left Jones for Richards. Jones was arrested on May 21, 1968 for possession of cannabis, which he claimed had been left by former tenants. Because he was already on probation, he faced a long prison sentence if convicted. The jury found him guilty, but the judge sympathized with Jones, instead of jailing him, he fined him £50 and warned him not to get in trouble again, or this will be very serious... Jones’ legal troubles, growing distance from the band, drug use, and unpredictable mood swings became too large an obstacle for him to participate meaningfully in the band’s work. "The Stones" wanted to tour the United States in 1969, but Jones was in no condition to travel, and his second arrest complicated the process of securing a U.S. work visa. Jones attendance at rehearsals and recording sessions became unstable, and even when he did show up, he contributed very little. According to author Gary Herman, Jones was "literally incapable of making music; when he tried to play harmonica, his mouth started bleeding". He was eventually fired during the sessions and replaced by Mick Taylor . Before leaving, he contributed to only two songs: he played autoharp on “ You Got the Silver ” — written by Keith Richards about Anita Pallenberg leaving Jones for him, and percussion on “ Midnight Rambler ”, inspired by the Boston Strangler, a murderer stalking his victims in the dead of night. Jones wasn’t the only one whose body suffered while recording. Keith Richards ’ fingers began bleeding as he played acoustic guitar for hours while Jagger and the sound engineer worked on the drums. Some claim that this bleeding inspired the title “Let It Bleed.” Another interpretation ties the name to drug slang: “let it bleed” referred to the moment heroin users search for a vein. The album opens with “ Gimme Shelter ”, the primal scream of anyone living through such a turbulent, restless era. A desperate plea for shelter from the world’s chaos. Gospel singer Merry Clayton delivers the unforgettable female vocals. She was pregnant at the time, summoned late at night to the Los Angeles studio, arriving in silk pajamas with curlers in her hair. Jagger explained that she would be singing the line: “Rape, murder, it’s just a shot away.” The album’s only cover is Robert Johnson’s “ Love in Vain ”. "The Stones" recorded it with a distinct country feel rather than the original blues tone. With Jones unavailable, Ry Cooder stepped in to play mandolin. Keyboardists Nicky Hopkins and Ian Stewart were among the crucial contributors. Hopkins played on four tracks, including “ Monkey Man ”, a song often interpreted as referencing heroin use or a bad acid trip. Other guests include Al Kooper and the London Bach Choir, who appear on the album’s closing track “ You Can’t Always Get What You Want .” Later, the choir tried to have their name removed after discovering the album was titled “Let It Bleed” and contained “ Midnight Rambler ,” a song about a serial killer. Jagger approached artist M.C. Escher to design the album cover, but Escher refused. Ultimately, Robert Brownjohn created the surreal artwork. the "Let It Bleed" record spinning under the tone arm of an old phonograph, while a record-changer spindle supports a stack of objects, a clock face, a pizza, a bicycle tire, and an elaborately iced cake topped with figurines representing the band. The cake was partly crafted by an unknown young cook at the time - Delia Smith. Jones was fired in June 1969. One month later he drowned at his home, just 27 years old. The album pulses with fear, claustrophobia, and despair through its nine tracks. "Let It Bleed" captures the sound of an era coming to an end, filled with an underlying fear of what lies around the corner. Yet for "The Rolling Stones", it marked the dawn of a new day, the beginning of an extraordinary period of growth in the early 1970s. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website