Written By: Moti Kupfer Release date - 29.11.68 At first, I thought he was making up the words and the song as he went along. The second time, I discovered another layer and began to hear the melody. By the third time, I understood that there was something extraordinary here, and in general Van Morrison revealed to me a depth in music I had never known. Kevin Rowland, the singer of the band "Dexys Midnight Runners", has no doubt about the genius of "Astral Weeks", Van Morrison ’s second album, released on November 30, 1968. George Ivan Morrison was born in Northern Ireland in August 1945 and raised as a Protestant Christian in East Belfast. Morrison said that by the age of one people were already calling him Van as a nickname, and it stuck. His mother was an amateur singer, and his father was a shipyard worker who collected jazz and blues records as a hobby. Morrison mentioned that he inherited his father’s taste and his mother’s musical talent. His father’s record collection exposed him to musical genres and artists like Muddy Waters, Mahalia Jackson, Charlie Parker, Woody Guthrie, Hank Williams, and Jimmie Rodgers. At age three, he was already changing records on the old phonograph. Morrison expressed his admiration to Ray Charles, Lead Belly, and Solomon Burke. These artists gave him the inspiration and the strength to move forward, even in the toughest times. Without their music, he said, he would not have done what he accomplished over the next forty years. In the ened, Van Morrison has had an exceptionally prolific musical career. His first solo album came out in 1967, and by 2025 he had released no fewer than 47 albums. For many years, Van Morrison worked washing windows and stairwells, even after releasing early records that later became cornerstones of modern music, though at the time they provided no financial security. His father bought him his first acoustic guitar at age 11, and he learned to play basic chords from the songbook "The Carter Family Style" edited by Alan Lomax. At 15, Morrison left his parents’ home hoping to pursue a musical career. He played in several skiffle and rock and roll bands, and in 1964 he founded the rock band "Them" together with Eric Wrixon, who later became a founding member of "Thin Lizzy". The band had several hits, but Morrison left in 1966 after a United States tour because he was unhappy with the growing use of studio musicians. Morrison was almost ready to give up his music career until Bert Berns, the producer of "Them", convinced him to record a solo album for Bang Records. From those sessions the hit "Brown Eyed Girl" came out, but because Morrison was tied to a very bad contract, he did not earn even minimal profit from it. Eventually, Berns released Van Morrison ’s first solo album without permission and before it was finished, and the tension between them grew significantly. Morrison hated his first album. He said it came out with terrible sound quality, and was released without his approval. After Berns died of a heart attack in late 1967, Morrison became entangled in conflict with Berns’s widow, who accused him of being responsible for her husband’s death. Because he was still under contract with "Bang Records", Morrison was effectively blacklisted by recording studios, and most clubs avoided booking him out of fear of clashing with the widow of Bert Berns, who was known for her connections to the criminal underworld. Eventually, "Warner Bros." bought Morrison’s contract from "Bang Records" for 20,000 dollars in cash in a deal carried out in an abandoned warehouse on Ninth Avenue in Manhattan. Another harsh clause required Van Morrison to deliver 36 original songs within a year to Berns’s publishing company. He recorded them all in one session on an untuned guitar with lyrics about subjects ranging from ringworm to sandwiches. Ilene Berns considered the songs to be nonsense and never used them. He created his second album, "Astral Weeks", exactly the way he wanted. It feels like a small rock opera with an internal logic and an evolving story, an album with a unique language of its own. The music blends folk, blues, jazz, and classical elements, marking a radical departure from the sound of Morrison’s earlier pop hits. Lewis Merenstein, the producer of "Astral Weeks", brought Van Morrison to New York, where the album was recorded over just three days. Surrounded by experienced jazz musicians, Morrison formed a chemistry built on almost blind understanding between them. He gave them full freedom to play, improvise, and explore, and the strong connection between the musicians and the singer became one of the defining characteristics of "Astral Weeks". The songs on the album flow into one another like a single long piece, forming an intangible narrative of unreachable worlds. The album contains meditative pieces that weave themes of nostalgia, drama, and mysticism, embracing symbolism that would later become central in Morrison’s songwriting. It draws parallels between earthly love and heaven and comes as close as a living person can to that ideal. The album opens with "Astral Weeks" , which Morrison describes as a song where one can see the light at the end of the tunnel. During the song he mentions Lead Belly, one of his greatest inspirations. Later, Morrison sings love songs to his partner and children, looking at things from the outside without attributing them personally to himself ( "Beside You" , "Sweet Thing" ). In "Cyprus Avenue" , Morrison recalls the street in Belfast where he longed to live as a child, a place full of wealth. “ It wasn’t far from where I was brought up and it was a very different scene. To me it was a very mystical place. It was a whole avenue lined with trees and I found it a place where I could think. ” Later, Morrison sings about a teenager’s first kiss ( "The Way Young Lovers Do" ) and then drifts into mythical reflections in "Madame George" , a character composed, he says, of six or seven different people. The song’s original title was "Madame Joy" . Even Morrison himself could not commit to the character’s true identity, though he believes his aunt Joy is somehow connected to it. The album cover photograph was taken by Joel Brodsky, best known for his iconic “Young Lion” portrait of Jim Morrison . The circle and square on the cover symbolize the mystical emblem of the union of opposites, the sacred connection between sky and earth. Critics loved the album, but the wider public remained indifferent to the masterpiece. Morrison said that to the people around him he was a successful artist, but his bank manager thought otherwise, he still had to keep washing windows. 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 -UK 30.11.73 / US 5.12.73 Historically, Yoko Ono’s name will always be written in bright letters as the main reason for the breakup of the Liverpool fab four, “The Beatles”. Of course Yoko Ono was a significant trigger and a serious challenge, but in a broader view of the events, we can find additional reasons. One of them, which tends to be forgotten, is the Jewish businessman Allen Klein. Klein, who became the personal manager of many musicians, was called the Robin Hood of popular music after he endeared himself to many artists by extracting money from record companies on behalf of those he managed. In the case of “The Beatles”, Klein became the manager of John Lennon  and later also of George Harrison  and Ringo Starr . Only Paul McCartney , who did not trust Klein, preferred to appoint his father in law Lee Eastman as his own manager. Years after the breakup of “The Beatles”, Lennon would admit, after throwing Klein down the stairs, that McCartney had been right to distance himself from Klein. More than that, on July 25th 1973 George Harrison  became a very angry man. He wrote a check for one million pounds to the British government as tax payment for what they claimed were the proceeds from the album and film of “The Concert for Bangladesh”, held in 1971. After mutual lawsuits filed by members of “The Beatles” against Allen Klein and counter lawsuits from him, it became clear that one of the biggest obstacles to a reunion had now been removed. The question was whether it would happen and whether they still had anything meaningful to offer together. McCartney was the first to blink when he said in an interview that the only thing that had stopped them from reuniting was Klein’s contractual grip on the name of “The Beatles”. He added that once Klein was no longer in their way, there was no real reason not to get back together. There were probably more reasons why the idea never materialized. Instead of sinking into thoughts of what might have been, Paul McCartney  decided to aim high with his current band “Wings”, a band created in his image, with his partner Linda on keyboards and backing vocals, guitarist Denny Laine of the "Moody Blues", drummer Denny Seiwell and guitarist Henry McCullough who joined later. McCartney was determined to record outside of Britain. He asked EMI for a list of all their recording studios around the world so that he could choose an inspiring location for the band’s third album, “Band on the Run”, released on November 30th 1973 in the United Kingdom and on December 5th 1973 in the United States. McCartney wanted a pastoral and exotic landscape on one hand and on the other hand wanted to bring a slightly different musical flavor to the band’s fans. The McCartneys were known for their love of Jamaican music. In the first “Wings” album McCartney had already recorded a track in African style that reflected his affection for the genre. Believing that EMI maintained high standards in all of their studios, McCartney decided that “Wings”  would record in Lagos, the capital of Nigeria, which felt like an exciting destination for him and for the band. Even before landing in Nigeria the problems began to accumulate. McCullough and Seiwell felt like an unnecessary burden within the band and quit before boarding the plane. Denny Laine and the McCartneys did arrive in Africa and reinforced themselves with "the Beatles" sound engineer Geoff Emerick. When they arrived in Lagos they were shocked. The EMI studio was still being constructed. It lacked basic recording equipment. The console did not work. There were no acoustic walls and the studio was located next to a noisy factory. To make matters worse, at first there was not even a single microphone until someone found a closed box in a cabinet containing the needed equipment. In addition, the local musicians were not eager to cooperate. Nigerian musician and Afrobeat pioneer Fela Kuti came to the studio to observe the recordings and confronted the band members while accusing them of trying to steal African music and the Lagos sound. Later the McCartney's were robbed and all the recording materials they had prepared were stolen. This forced McCartney to recreate the songs he had written. At the end of September the band returned from Nigeria to London. The recordings made in Lagos on an eight track machine were transferred to a modern sixteen track machine. Orchestral arrangements were added by Tony Visconti who was well known for his excellent work with David Bowie . The album opens with the title track “Band on the Run” . Paul wrote the song about his ongoing frustration with his substance related problems in 1972 and the trouble they brought him. Paul used a sentence that George Harrison  once said in an "Apple" meeting that everyone is a prisoner in some way. Paul wrote a metaphor about a prisoner sentenced to life between four walls who swears that if he ever gets out he will donate everything to charity. The second song “Jet”  was written after the black pony owned by the McCartney family. Its lyrical meaning aims toward freedom, less direct intention and more free imagination as McCartney wanted for this song. “Bluebird”  was written by Paul during a vacation in Jamaica in 1971. Paul wrote about the blue bird that represents free love and detachment from material bonds. In the next song “Mrs. Vandebilt” , McCartney delivers his philosophy for solving life’s problems. The escape into nature because what is the point of worrying. Paul drew the name Vandebilt from the artist Gloria Vanderbilt and slightly altered it. She does not truly serve a role in this optimistic encouragement song and Paul admitted that he did not know much about her except that she was wealthy. The next song “Let Me Roll It”  is written about a subject that is clear from the first second and it is not about his long friendship with Lennon but about the rolling of a joint. Around February 1973 the members of “Wings” visited Marrakech in Morocco and stayed at a hotel whose name loosely translates to A Place of Refuge or in Arabic " Mamunia ". The full name of the hotel is The Sumptuous Mamunia Hotel and it is considered one of the most luxurious hotels in the world. For a person like McCartney every word or phrase can serve as excellent inspiration to write a song or melody and it seems that the luxury of the hotel had an impact on him just as much as the atmosphere of Marrakech. At the beginning of the year Denny Laine wrote “No Words” , which was a fusion of two of his songs that Paul McCartney suggested combining, while adding a few lines of his own. Among them was the short but important line for McCartney, "It’s only me". Paul explained that after a disagreement between him and John “We let it settle for a second and then he lowered his glasses and he said: ‘It’s only me.’ And then he put his glasses back on again. To me, that was John.” The song “Picasso’s Last Words”  featuring Ginger Baker on percussion, was written essentially about something insignificant after McCartney met actor Dustin Hoffman on the set of the film “Papillon”. Hoffman pulled out a magazine showing the story of Pablo Picasso’s death and his famous last words. Drink to me, drink to my health. You know I cannot drink anymore. McCartney began playing a melody based on those words on the spot, which made Hoffman call his wife and say Look, he is doing it, he is doing it. The closing song of the album “Nineteen Hundred and Eighty Five”  is a kind of apocalyptic prophecy. Some say it was influenced by George Orwell’s novel “1984”. The album cover was photographed in Osterley Park in West London by photographer Clive Arrowsmith. The picture shows Linda McCartney together with Denny Laine, Michael Parkinson, Kenny Lynch, James Coburn, Clement Freud, Christopher Lee and John Conteh dressed as prisoners caught in the spotlight of a prison searchlight. 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 - December 1995 The house we grew up in, the surroundings, the smells, the passions, the dreams, and the disappointments, all of these burst out at once in “Nemanut Ve’Tshuka” (“Loyalty and Passion”), which was released on December 1995. This is the debut album by three teenagers from "Talmei Eliyahu", Aviv Guedj, Gabriel Balachsan, and Dvir Lavi, known as "Algeir". I said "Talmei Eliyahu", but I meant a forgotten corner of the world, on the threatening border of Gaza. A settlement established in the early 1970s by members of the French Arnon garin, families originally from Algeria who came through France, holding secular socialist values. The collapse of the agricultural sectors of the moshav eventually led some families, including the families of Aviv Guedj and Gabriel Balachsan, toward religious return. Guedj and Balachsan had been together since the age of two. They drew together, wrote books, and read deeply. They especially loved entering the worlds of adventure novels, like two detectives who would save the world or at least their own village. I can picture Aviv and Gabriel reading eagerly, and I am taken back to my own childhood in a city that was still getting used to the idea that it was no longer a small village, "Ra’anana". Early 1980s. Even in "Ra’anana" there was not much to do besides ball games. And I devoured books about "the kids of East End", "the Secret Seven", Nancy Drew, and the “Chasach” gang with enthusiasm. "Talmei Eliyahu" was far from any real civilization, a ninety minute bus ride to "Be’er Sheva". And because of that, aside from football and basketball, there were not many ways to spend the time. Aviv and Gabriel turned to what felt like the most natural option. “There was nothing to do in the moshav”, Guedj explains, “so we filled the boredom and emptiness with playing. We had nothing to do, we would come home from school at two in the afternoon and there were only a few options, and you have to fill the time. That is how it happened that we played five to seven hours a day.” With no musical education and a tremendous hunger for playing and writing, they began to develop skills and a uniqueness usually found in musicians with many years of experience. The two young musicians knew they were creating art. They wanted to continue and play as much as possible, and not even bleeding fingers would stop them. They had set a goal. They began writing polished and complete texts. The first to recognize the potential in their lyrics was Shalom Gad, the bassist of the band "Punch", and Aviv’s older brother. Shalom, who was already working on his own solo album with Hed Artzi, approached Haim Shemesh, the man who had signed several young and promising rock bands in their early days such as “Taarovet Escot”, “Monica Sex”, “HaHaverim Shel Natasha”, and “Eifo HaYeled”. Speaking of “Eifo HaYeled”, Shemesh connected the members of "Algeir" with musician Assaf Sarrig who worked with them as a musical producer and also played guitar on the track “Warnings to the Soul 1995” . Because the band’s contract with "Hed Artzi" was relatively small, they recorded the album in a non sterile manner for the time, which preserved the band’s typical dirty sound. Since they lacked a bassist, Shalom Gad took on the bass guitar role. “Nehmanut Ve’Tshuka” was released while the band members were seventeen years old. Most of the songs dealt with destructive romantic relationships, such as “Sheli” , “Letters to Michali” , and other artistic pieces including the album closer “Warnings to the Soul 1995” , which contains only the words “Winter. War. Discount operations”. “Orphanhood has a decisive part in my lyrics, in my life”, Guedj says. When he was ten, his mother was diagnosed with cancer. His older brother Shalom, then twenty three, had already left home, and the responsibility of accompanying her fell on Aviv. He took her to chemotherapy treatments that did not help, and she passed away. “My mother, more than anything else, was the one who influenced me and shaped me. She would sing to me for hours. She gave me the love for music and literature. She passed on to me an important part of French culture.” He would sit with her while she read him all the texts of Jacques Brel and explained every small nuance. Together they listened to chanson and classical music. When Aviv was twenty one, his father also passed away. Guedj absorbed the love of music on one hand, and on the other hand the love of prayer, the chants and melodies of the synagogue. He absorbed music from both Western and Eastern cultures. All of this found expression in “Nehmanut Ve’Tshuka”. The album included seven songs, most of them long and dark, filled with sadness and with a feeling that makes you want to hug Aviv, Gabriel, and Dvir and tell them everything will be okay, even though those were the days of Rabin’s assassination and exploding buses in the streets. “Tzarfat” , which opens the album, is a long piece describing a chaotic reality involving a wedding that collapses into destruction, a mixture of sweetness and beauty on one side and violence and cruelty on the other. The name “France” does not appear in the lyrics but expresses the chaos felt by sons of immigrants who came from France to Israel. “God. God full of mercy. Send down love and rain.” Aviv pleads in “Letters to Michali” . Love is equal to rain, because love, compassion, and rain are all needed to live. “Sheli” , the second song on the album, is about a girl trying to “find a better way to live”. She “bites her lips. Bites them hard”. Searching for herself and for her romantic connection. The songs “Nehmanut Ve’Tshuka” , “Tzarfat” , and “Take the Rage”  were written as one piece. The opening monologue by Gabriel Balachsan, “Beauty like yours I have never seen. Who are you” is taken from a poem by Pinchas Sadeh, “About a Girl from Emek Hefer Who Approached Me but Did Not Say Her Name” , which begins with the same exact line. Critics praised the album, but the audience did not buy it in large numbers. “We were still teenagers and it was a genre specific record with a lot of guitar rock, not very accessible and not commercial at all”, Guedj admits. He and Balachsan shelved the album as an unsuccessful youthful attempt and went on a journey of self searching that began at the "Or Chaim" yeshiva in Jerusalem and continued into their disillusionment with the music industry. “We felt like a factory producing lollipops on a stick”, Guedj says. “And the ones who lose are the audience, who get products instead of music, hollow products without courage or imagination. Emotionally, music is supposed to be spiritual bread, and maybe this is why there is a situation of severe malnutrition”. Their inability to express the artistic fire inside them, and the process of writing the new material they were drawn into, led Balachsan and Guedj into heavy alcohol and drug use. "We got to the point of smoking heroin," reveals Guedj. "You can go very far with it, very quickly, and come back very slowly." The mental breakdown was not long in coming. Guedj attempted suicide by jumping off a bridge into the Ayalon Highway, which miraculously did not end in disaster. Balachsan swallowed pills by weight and was taken to the hospital in serious condition. Both were hospitalized in "Abarbanel". Despite the difficulties and the darkness in the closed institution, this was only the first chapter in the history of the "Alger" band, to be continued... 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 -1.12.67 Imagine you’ve recorded your debut album, you’re at the peak of your creativity, you’re working on another album where your songwriting has become more refined, your guitar playing is getting better, and then you leave half the master tapes of the upcoming album in a random taxi. Honestly, something like that could have driven anyone to an extreme act, say burning a guitar. But hey, when it comes to Jimi Hendrix , we can forgive him, because the man burned guitars for a living, and he also played guitar behind his back, with his teeth, without even touching the strings. He controlled the guitar with such perfection that he could play it with both hands. So yes, we can forgive him for a half-rushed mix on his second album "Axis: Bold as Love", released on 01.12.67. Johnny Allen Hendrix was born on November 27, 1942, in Seattle, Washington. At the age of four, his father changed his name to James Marshall Hendrix. After his father returned from military service, he struggled to find work, which led the family into poverty, and both parents into alcoholism. Jimi had two younger brothers and two younger sisters, and only his brother Leon remained with him under his parents’ custody. The rest were placed in foster homes. When he was nine, his parents divorced, and he remained in his father’s custody together with his brother. At age 14 Hendrix began playing the ukulele, and being an autodidact, he taught himself by ear as he listened to Elvis Presley songs like "Hound Dog". After his mother died of liver cirrhosis, Hendrix bought his first acoustic guitar, at age 15, for five dollars. He trained on it for hours every day, watching and learning from guitarists and blues artists such as Muddy Waters, B.B. King, Howlin’ Wolf, and Robert Johnson. Shortly after forming his first band, "The Velvetones", Hendrix realized he needed a more dominant guitar, so his father bought him his first electric guitar, a white Supro Ozark. At age 19, Hendrix was caught twice by police for driving stolen cars. Given the choice between jail time or joining the army, Hendrix chose the army, but was discharged after about a year due to unsuitability for service, according to his commander. After his discharge, Hendrix formed a band with his fellow serviceman, bassist Billy Cox, in Tennessee. After seeing Butch Snipes play the guitar with his teeth, the idea struck him to play that way himself. "in Tennessee, Down there you have to play with your teeth or else you get shot", Hendrix explained the idea of playing with his teeth. After playing on the Chitlin’ Circuit, a network of venues in the southeastern United States, and serving as a backing musician for Wilson Pickett, Sam Cooke, Ike and Tina Turner, and others, Hendrix won the amateur contest at the "Apollo Theater" and began playing as the guitarist for the "Isley Brothers’" backing band. After playing with the "Isley Brothers" and many other artists, while struggling to make ends meet, his long-awaited breakthrough arrived in May 1966, when Keith Richards ’ girlfriend noticed him and was mesmerized by his playing. Very quickly, Hendrix found himself teaming up with former "Animals" bassist Chas Chandler, who was interested in artist management and production and became his manager. Chas Chandler was the one who believed in Hendrix’s ability to create an impressive new version of Billy Roberts’ " Hey Joe ". Immediately afterward, Chandler began recruiting band members whose purpose was to highlight the abilities of the guitar hero. Bassist Noel Redding and drummer Mitch Mitchell joined, and together with Hendrix they found a shared interest in rhythm and blues. The power trio they formed was called "The Experience". In October 66 Hendrix arrived at the Polytechnic in London and met Eric Clapton . In the middle of "Cream’s" warmup, Hendrix walked on stage and played in a frantic manner that left Clapton stunned. Hendrix and his band began recording and continued performing at an insane pace, sometimes playing twice a day. Hendrix described their playing style as a free feeling, a kind of mix of rock, freak out, rave, and blues. After the first album " Are You Experienced ", which achieved impressive success in the United States and in Britain, Hendrix and "The Experience" cemented their status in the United States when they delivered an unforgettable performance at the Monterey International Pop Music Festival . They went on right after "The Who", watching Pete Townsend smash his guitar at the end of the show. Hendrix went up and delivered a show that ended with burning his guitar. Riding the wave of admiration from Monterey, Hendrix, Mitchell, and Redding entered the studio to record their second album "Axis: Bold as Love". They were joined by musicians like Graham Nash , Trevor Burton, and Roy Wood who collaborated with "The Move". Hendrix wrote about science fiction and an alien visiting Earth in " Up from the Skies ", about his high school years and his visits to a roadhouse in " Spanish Castle Magic ", about an ideal female figure resembling a guardian angel in " Little Wing ", and also songs that are a sort of autobiography like " Castles Made of Sand ". The album is sealed with " Bold as Love ", whose conclusion is that love comes in many shades, and that creating and maintaining a relationship requires commitment and courage. The album cover depicts Hendrix and "The Experience" as different forms of Vishnu. According to Hinduism, Vishnu is a deity whose role is to provide salvation to humanity. And finally, when listening to Jimi Hendrix’s singing voice, it is impossible not to imagine "Thin Lizzy's" vocalist Phil Lynott , who himself drew inspiration from Hendrix. 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 - US 3.12.73 "People try to put us d-down (talkin' 'bout my generation), Just because we get around (talkin' 'bout my generation), Things they do look awful c-c-cold (talkin' 'bout my generation), I hope I die before I get old (talkin' 'bout my generation)" When Pete Townshend wrote “I hope I die before I get old,” he certainly didn’t expect to survive another 60 years… When Roger Daltrey stuttered in the song, inspired by John Lee Hooker’s “Stuttering Blues,” perhaps as a hint for everyone to go to hell, he was actually expressing the frustration and rebellion of the Mod culture that Pete Townshend was a part of. Townshend later claimed that this was not his intention, but as often happens with great things, the song became a protest anthem for young people against their parents — the official rock anthem of the generation gap — one that dove into the soul and fears of the teenage mind. Before the song became a massive hit, the BBC refused to play it due to its offense toward people with speech impediments, and perhaps also because of the hint at the F-word. But then “My Generation” became the voice of countless people, the voice of that generation, from the debut album by “The Who,” titled “My Generation,” released on December 3, 1965. The Who are vocalist Roger Daltrey (harmonica, tambourine), guitarist Pete Townshend (vocals), bassist John Entwistle (backing vocals), and drummer Keith Moon (backing vocals). Daltrey, Townshend, and Entwistle grew up in London’s Shepherd’s Bush neighborhood. Daltrey, considered an excellent student, gave up the path of advanced academic studies for music. He built his first guitar from a wooden beam and founded a band called “The Detours,” in which he became the lead guitarist. Pete Townshend was born to a saxophonist father and a singer mother, and from a young age was drawn to rock and roll. He played with his friend John Entwistle in several jazz and Dixieland ensembles before joining Daltrey’s band. Entwistle was nicknamed “The Ox” because of his tendency to remain completely still onstage — the contrast between his offstage and onstage personas was huge: a quiet man offstage, but onstage he earned the nickname “Thunderfingers” for his loud, powerful playing. Keith Moon was born in London as a hyperactive child with a vivid imagination. From a young age, his teachers noticed his musical talent. Early on he switched to double bass-drum playing, after a conversation with drummer Ginger Baker . Moon played surf rock and rhythm and blues, and was heavily influenced by Gene Krupa, considered the greatest white jazz drummer in history. Moon also pushed the band’s habit of smashing their equipment onstage to the extreme. During a television performance he filled his drum with explosives and detonated it at the end of “My Generation.” Rumor has it that Pete Townshend came out of that incident with lifelong hearing problems. In 1961 Daltrey noticed Entwistle walking down the street with his bass guitar and recruited him to “The Detours.” A few months later, Entwistle suggested bringing Townshend into the band as a guitarist. Together with them were drummer Harry Wilson and singer Colin Dawson. In mid-1962 Wilson was fired and replaced by Doug Sandom. Shortly after, singer Colin Dawson left following repeated arguments with Roger Daltrey , who soon became the lead vocalist. The band secured a contract with local promoter Robert Druce, who began booking them as an opening act. In February 1964, the members of “The Detours” discovered that another band called “Johnny Devlin and the Detours” existed, and they decided to change their name. Townshend and his roommate Richard Barnes spent a night brainstorming new names, focusing on humorous ones like “No One” and “The Group,” before finally choosing the bizarre-sounding name “The Who” — strange even in English (and coincidentally in Hebrew as well). "The Who" replaced manager Robert Druce with Helmut Gorden, who arranged an audition for them at Fontana Records. As a result of that audition and after issues were found with the drumming style, Doug Sandom left the band. In April 1964, during a performance at Oldfield, they encountered the energetic drummer of “The Beachcombers,” Keith Moon . After playing a few songs with them, Moon left his former band and officially joined "The Who". Managers continued to change, and this time Peter Meaden decided to present them as representatives of the Mod movement, renaming them “The High Numbers.” But after the single failed, The Who returned to their original name and focused on strengthening their stage presence. Daltrey began incorporating crowd-jumping into performances, swinging the microphone cable like a whip. Moon threw drumsticks in the air, and Townshend mocked the crowd with his guitar while leaping onstage, playing in rapid windmill motion. To all this, The Who added their now-famous destruction of instruments at live shows. All that noise started to pay off - they got articles in Melody Maker and caught the attention of Kinks producer Shel Talmy. Talmy was impressed and signed them to Brunswick Records in the UK and Decca Records in the US. The band began working on original material, shifting direction from rhythm-and-blues covers toward original songs with tendencies toward heavy rock and proto-punk - before punk even existed. The album “My Generation” is considered a precursor to the power pop style, a blend of pop and rock. Pete Townshend himself coined the term after being asked about the type of music they played. 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Here Are 20 interesting facts about Rick Savage, best known as the the bass guitarist and one of the founding members of "Def Leppard". (Photo: Wikipedia) 1. He was born on December 2, 1960 in Sheffield, Yorkshire, England. His full name is Richard Savage. 2. In his youth, he learned to play guitar along with his older brother, covering songs like "Maggie May" and "American Pie". 3. Despite pursuing a football career with Sheffield United, Savage's passion for music led him to choose a musical path. 4. His early musical influences were "Queen", "Led Zeppelin" and "Black Sabbath". 5. Along with his schoolmates, Tony Kenning and Pete Willis , Savage, formed "Atomic Mass", covering songs by "Queen", "Slade", "Deep Purple", and Jimi Hendrix . 6. Recognizing Pete Willis as the superior guitarist, Savage switched to playing the bass guitar, a pivotal moment that would shape the future of the band's sound. 7. In November 1977 Pete Willis met Joe Elliott at a bus stop. 8. Elliott tried to get accepted to "Atomic Mass" as a guitarist, but eventually, they got him as a singer. 9. "Atomic Mass" then changed its name to "Def Leppard" a name suggested by Joe Elliott . 10. Together with "Def Leppard" Rick Savage he has released 12 studio albums to date. 11. He is among the 2 original members of the band together with Joe Elliott , and one of three who have taken part in all of the band's albums since its inception together with drummer Rick Allen. 12. Rick Savage played a crucial role in the band's debut album, "On Through the Night," released in 1980. 13. "Def Leppard" achieved international fame with their third album, " Pyromania " (1983), in which Savage played a significant part. 14. The band's fourth album, " Hysteria " (1987), became one of the best-selling albums of all time, featuring hits like "Pour Some Sugar on Me" and "Love Bites," with Savage contributing to the album's success. 15. "Def Leppard" has become one of the best-selling bands in the world with sales of over 100 million albums. 16. "Def Leppard" is one of 5 bands that has two studio albums that have sold more than 10 million copies - " Pyromania " and " Hysteria ". 17. Notably, Savage is a dedicated user of a plectrum or "pick" as his preferred playing style. In an interview with Bass Guitar magazine, he emphasized his reliance on a pick for consistency in sound across the fretboard, citing challenges with fingerstyle playing. 18. In 1994, Savage faced a health challenge when he was diagnosed with Bell's palsy, causing partial paralysis of facial muscles. Despite visible effects, he has since recovered. 19. "Def Leppard", with Savage as bassist, has received numerous awards and nominations, including induction into the Rock and Roll Hall of Fame in 2019. 20. The band is one of VH1's 100 greatest artists of all time list. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

"Foo Fighters" bassist Nate Mendel is celebrating his birthday today, here are some facts about him: (Photo: Joby Sessions) 1. He was born on December 2, 1968, in Richland, Washington. His name at birth was Nathan ‍Gregor ‍Mendel. 2. The first instrument he played as a child was the violin. 3. At the age of 13 he became interested in rock music and really wanted to join a band. One of his friends who played the guitar suggested he play the bass. At that time he listened to "Police" and really liked Sting's playing, especially in the album "Ghost In The Machine", so the idea fascinated him. 4. The first bass guitar he purchased was an imitation of "Steinberger". He noted that these were the 80s and that is what a 13-year-old boy could afford. 5. He very quickly switched to Punk-Rock and adapted himself to the style with the "Ibanez" guitar "Roadstar" series. 6. One of the first bands he played with was "Christ On A Crutch". 7. Nate noted that he mainly taught himself to play and it was not particularly complex, because it was Punk-Rock after all. 8. Nate later joined the hardcore punk band "Diddly Squat" which even managed to release one single in 1988. Surprisingly there is a video of one of their shows from 1988, so you can see 19-year-old Nate playing the bass, here: 9. After the breakup of "Diddly Squat" Nate moved to Seattle where the Grunge scene arose. He joined the band "Brotherhood" which played mostly "straight edge", a subgenre of Hardcore Punk. Also in this case there is historical documentation, here: 10. Later Nate moved to the band "Christ on a Crutch" which went a bit beyond the boundaries of hardcore punk. 11. During Nate's studies at the University of Washington, he joined another band called "Sunny Day Real Estate". It was one of the first Emo bands in the western United States. 12. The band released their debut album "Diary" in 1994 through the well-known Seattle label "Sub Pop". Two singles were released from the album: "Seven" and "In Circles". 13. Shortly after the recording of their second album "LP2" in 1995, "Sunny Day Real Estate" disbanded, with Nate and drummer William Goldsmith responding to Dave Grohl 's request and joining "Foo Fighters". 14. Nate is the only permanent member of the band that has been in since its inception to this day. To date, he has released 10 albums with the band ( Dave Grohl formed the band only after recording the debut album " Foo Fighters "). 16. In 2001 Nate played with the indie band "Juno", but it did not last long. 17. In the same year he formed "The Fire Theft" with his drummer friend William Goldsmith. It was three-quarters of the original lineup of "Sunny Day Real Estate", with guitarist Dan Hoerner the only one missing. 16. The band released their only album "The Fire Theft" in 2003. 17. He starred in the movie "Our Burden Is Light". He played as a member of a band called "Bleeder", consisting of him, Jessica Ballard, and drummer Taylor Hawkins . 18. In 2015 he released the album "If I Kill This Thing We're All Going To Eat For A Week", his first solo album under the name "Lieutenant". He wrote and composed all the songs on the album. Listen to Nate's solo album: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On December 1, 1975 "AC/DC" released their second studio album "T.N.T." in Australia. What burst out of Australia that year was not just a young band gaining confidence but the ignition of a force that would soon shake the entire rock world. "T.N.T." captured the moment where everything locked into place: the sound, the swagger, the attitude, and the unstoppable chemistry that would define "AC/DC" for decades. By the time they entered Albert Studios in Sydney, the Young brothers were sharpening their attack, turning raw instinct into identity. Bon Scott , still relatively new to the group, had already become its spirit animal, a fearless frontman with a voice full of danger, humor, and charisma. Angus Young  carved riffs that felt like electrical surges, wild and precise at the same time. Producers Harry Vanda and George Young captured the band live, loud, and unfiltered, preserving the sweat instead of polishing it. The sessions were quick and instinctive. No grand concepts, no studio overthinking, only a pure belief that rock should be simple, dirty, and hit straight in the chest. Out of that atmosphere came a collection of songs that would become the bedrock of "AC/DC’s" legend. "It’s a Long Way to the Top (If You Wanna Rock ’n’ Roll)"  opens with a mission statement for every kid who has ever dreamed of a stage. The mix of bagpipes and hard rock should not work, yet Bon Scott ’s punk-poet charisma makes it unforgettable. It is the band’s own biography in real time. "Rock ’n’ Roll Singer"  doubles down on the theme of rebellion. Bon Scott tears down expectations, declaring his refusal to fit into any mold with a mix of grit and humor, while the Young brothers propel the track with unstoppable momentum. "The Jack"  brings slow, heavy, blues-drenched swagger. Angus bends every note like a weapon, and Bon sings as though telling a dirty joke to a packed bar, the kind of performance that made him irreplaceable. Then comes the explosion. "T.N.T."  is one of the most iconic rock songs of all time. Its riff cuts like a chainsaw, its rhythm stomps like a riot, and Bon’s shout of “Oi!” became an eternal symbol of the band’s attitude. It is rock distilled into pure, rebellious adrenaline. "Live Wire"  builds from a creeping bass line into a firestorm, showing how naturally the band could build tension. "High Voltage"  lays down a clear declaration of intent, while "Can I Sit Next to You Girl"  offers a glimpse into the band’s earlier form, now transformed by Bon Scott ’s swagger and Angus Young ’s sharpened energy. Their take on "School Days" , the Chuck Berry classic, feels tailor-made for them. It is loose, loud, and alive, proving how deeply the Young brothers understood the roots of rock and roll. When "T.N.T." was released in Australia, it instantly positioned "AC/DC" as the loudest, rawest, most unapologetic band the country had to offer. Many of its tracks became core elements of their international breakthrough, shaping not only their live shows but their identity across generations. Today, "T.N.T." remains the moment where "AC/DC" truly became "AC/DC". It crackles with rebellion, humor, and electricity, capturing a band on the verge of exploding into global legend. For Listening: YouTube Playlist "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On December 1, 1973, "Black Sabbath" released their fifth album "Sabbath Bloody Sabbath". This album is a high point in the band's catalog and is without a doubt considered one of its best. But the birth of the album was not easy and even threatened the future of "Black Sabbath". After a tour of the fourth record " Vol. 4 ", the band returned to Los Angeles to work on their next album. The band members who were very pleased with the result of " Vol. 4 " sought to recreate the same atmosphere. They rented the "Record Plant" studios and settled in a vacation home in the Bel Air neighborhood, where they thought they could write the material for the album. But the heavy use of alcohol and drugs, the fatigue and exhaustion from the intense work (fifth album in 3 years including tours, gave their signals. The band and especially Tony Iommi have entered a creative dryness, a severe writer's block, which even made Iommi and his friends think that was it, the band's end has come and they have nothing more to contribute. After a whole month in Bel Air where not a single note was written for the album, the band returned to England and rented "Clearwell" Castle, a huge Gothic-style castle, in "Dean" Forest of Gloucestershire, which the stories was haunted with ghosts. In this castle, "Led Zeppelin", "Deep Purple" and "Mott the Hoople" recorded their albums. The change of place turned out to be good for the band. Apparently, the gothic atmosphere and scary castle did its thing, ideas began to emerge and the writer's block began to crack slowly. What eventually broke the dam was the moment Tony Iommi wrote the amazing riff for the theme song "Sabbath Bloody Sabbath." It was in the dungeon of that castle where Iommi decided to rehearse. When he played the riff to his friends everyone understood that they were back to business and from there everything was already flowing smoothly. The recordings were made at Morgan Studios in north London. "Yes" were recording the album "Tales from "Topographic Oceans" in the nearby studio and keyboardist Rick Wakeman was brought in at the request of the band members to play keyboards in the song " Sabbra Cadabra ". "Led Zeppelin" members, , were also present. Drummer John Bonham even asked to play in " Sabbra Cadabra ", but both bands wanted to play other material and their jam session was recorded but was never released. The good atmosphere in the recording studios found its way into the songs and the result was accordingly. This is an amazing album that is definitely one of the beautiful moments of "Black Sabbath". Ozzy Osbourne later noted that this album was the "beginning of the end" of the original lineup of "Black Sabbath" and there is some truth in his words, because except maybe " Sabotage ", after this album the band had a hard time producing a high-level album like this one. It's not that there were no great albums and songs afterward, but they did not equal in level to what the band had achieved so far. The album opens with the theme song " Sabbath Bloody Sabbath " and the immortal riff that Iommi wrote in the dungeons of the castle. This riff totally deserves the title "the riff that saved the band". And what a crazy riff it is. After one bar of Tony Iommi 's riff suddenly Geezer Butler 's bass explodes like a rolling rock that threatens to run us down the mountain. This is without a shadow of a doubt one of the band's greatest songs on its various lineups. A rocking journey between a heavy and dark electric riff to melodic and delicate acoustic chords, between Osborne's broken cries and his soft caressing voice. An amazing composition that perfectly matches the words written by Geezer Butler about the ups and downs of the band, the beautiful moments of creating the music, and the attempts of all people surrounding them to get rich at their expense. And then, when you're sure you already understand the course of the song, the ups and downs, the heavy and the soft, Iommi's solo begins at 2:25 and drags you down to the dark and heavy c-part, forged by the fire of hell, that begins at 3:20, then you realize you should expect the unexpected, because this song never ceases to amaze, as indeed happens from 4:50 minute where the song rhythm is doubled and leads us to the end of the song. The second track " A National Acrobat " opens like its predecessor with a heavy and powerful riff that repeats itself. But then, until you are sure you have cached the formula, "Sabbath" are surprising us with a long bridge section starting at 2:15 and with a faster rhythm that accompanies us starting From 4:50 with an instrumental part to the end of the song. Some believe that the lyrics of the song speak of Demiurge - a semigod created during self-fertilization known from the theory of Gnostics but Geezer Butler noted that the song speaks of the miracle of creation and birth. "Fluff" is a quiet and magical instrumental piece led by Tony Iommi 's acoustic. The track is dedicated to British radio broadcaster Alan " Fluff " Freeman, who at the time was one of the few who dared to play songs by the band on the radio. The song that seals the first side of the album is " Sabbra Cadabra ". It is one of the band's specials and another highlight of the album. The song includes the use of a Minimoog synthesizer and piano courtesy of Rick Wakeman, "Yes" keyboardist. Wakeman who did an amazing job, refused Sabbath's payment offer for his work, and was eventually compensated in the capital. A small anecdote, towards the end of the song Ozzy Osbourne uses inappropriate language and the recording technician, blurs the words into effects. The other side of the vinyl opens up with " Killing Yourself to Live " a song Butler wrote while hospitalized due to kidney problems caused as a result of excessive alcohol consumption and drug use. This song is one of Kirk Hammett 's favorites and an early version of it from March 1973 can be found on live albums "Live at Last" and "Past Lives". The second track on the other side of the album " Who Are You " opens with "robotic" and hallucinatory Moog synthesizer sounds played by Ozzy. This is the first song Ozzy Osbourne wrote alone. He bought the instrument but did not know exactly how to use it. Still Ozzy managed to play and it sounded like one of Sabbath's weird and special songs. Similar to the song "The Writ" from the album "Sabotage" this song also refers to the band manager they hated o much. The third track on the other side " Looking for Today " is one of the melodic and airy tracks on the album, which like the theme song includes a transition between the main riff and a more melodic and acoustic part, only this time we also enjoy the addition of flute and organ played by Tony Iommi . The album is sealed by " Spiral Architect " which uses string arrangements. The song corresponds with "A National Acrobat" in terms of lyrics and also deals with the process of creation, this time from a different angle, of life experience that together with man's DNA create his own unique personality. Unlike previous "Sabbath" albums which were only appreciated in retrospect, "Sabbath Bloody Sabbath" enjoyed positive reviews from critics already at the time of its release, and rightly so. The album was also a commercial success and reached number four on the UK charts and number seven on the US charts. For listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

He stands as a lifelong contributor to Israeli music, excelling as a guitarist, vocalist, instrumentalist, lyricist, composer, and music producer. Undoubtedly, he is considered one of the pioneers of Israeli rock and roll, having amassed a body of work so extensive that it would require two days to fully explore his creative accomplishments. Photo: Shay Franko 1. Sanderson was born on November 30, 1950, in Kfar Bloom to American parents. He spent his early years in Haifa and, at the age of 10, relocated with his family to New York City. 2. During his childhood, Sanderson acquired skills in playing the banjo and guitar, heavily influenced by both familial musical exposure and American culture. 3. At 18, he returned to Israel, joined the army, and served in the Nahal Chorus, where his musical and entertainment talents flourished. 4. Sanderson, along with Gidi Gov, Ephraim Shamir, Alon Olarchik, and Meir Penigstein, forged connections during their service in the Nahal Chorus. Beyond military duties, they performed together in clubs and occasionally collaborated in Sanderson's band, "The Schnitzels." 5. While on a road tour with the Nahal Chorus, Dori Ben Zeev, host of the radio show "From Him to You" on Galey Tzahal, recognized the unique humor of Sanderson and his friends. He proposed featuring their sketches on his show, leading to a regular segment named "Foggy's Corner." 6. In 1970, Sanderson crafted a rock opera titled "Foggy Opera," drawing inspiration from successful rock operas of the time and aiming to link the songs created within "Foggy's Corner." Despite lacking attention from television and radio stations, some opera songs were later integrated into "Kaveret" albums. 7. Post-army service, Sanderson ventured to London to pitch "Foggy Opera" recordings to record companies. Faced with discouragement, he returned to Israel and decided to focus on locally producing the opera. 8. In 1972, Sanderson, assisted by his bandmate and initial organizer Asher Bitansky, assembled Gidi Gov, Yitzhak Klepter , Alon Oleartchik , Meir Penigstein, Ephraim Shamir, and Yoni Rechter to form the band "Kaveret." Photo: Ilan Besor 9. The band, renowned for its melodic rock style infused with nonsensical humor and a blend of sketches, achieved significant commercial success, attaining cult status. Active until 1976, they released three studio albums: "Foggy Stories," "Foggy in Pita," and "Crowded in the Ear." Besides co-founding the band, Sanderson played a pivotal role in composing their lyrics and melodies. 10. Following the disbandment of "Kaveret" in 1976, Sanderson authored his inaugural book titled "Public Snoring." 11. In 1978, he took on the role of producer for Jonathan Geffen's show, "Salon Conversations," contributing to the musical arrangement. 12. During the same year, Sanderson, in collaboration with Avraham Deshe (Peshanel), established the band "Gazoz." The band operated as a joint business venture between the two, with all other members employed on a contractual basis. The lineup featured Mazi Cohen and Gidi Gov as vocalists, Moti Dichna as a bassist and vocalist, Danny Peer as a pianist, Meir Pfizer, Gary Reznik, and Ziv Ben on brass instruments, and Shlomo Hammi as the drummer. 13. Musically, the band embraced a strain of soft rock heavily influenced by American rock and roll from the seventies, enriched with elaborate arrangements featuring vocals and brass instruments. Singing responsibilities were shared among Gov, Sanderson, and Mazi Cohen. True to the tradition of "Kaveret," the lyrics often carried humorous themes and wordplay, resulting in several hits, including "Roni," "Mom and Danny," "Spaceship," "Tea makes you dizzy," and "Nine in the Square." 14. The band introduced their songs through a special broadcast on Israeli television, featuring music videos and interspersed sketches. This broadcast was among the early color transmissions in the country and is currently aired on the "Kan 11" channel. 15. Despite earning the title of Band of the Year in charts, the band disbanded immediately after releasing two albums that year: "Trimmed" and "Second Roll." 16. In the midst of "Gazoz" performances, Sanderson and Gov felt a desire for something more aggressive, a bit tougher and rougher in terms of rock n' roll. Following the dissolution of "Gazoz," they went on to establish the band "Doda." 17. Sanderson and Gov jointly financed the band, introducing guitarist Yehuda Adar (Sanderson's successor in the Nahal Chorus), along with bassist Alon Nadel and drummer Dovi Kizelstein, both from the show "Osher" (by Jonathan Geffen and Esther Shamir). 18. In 1980, the band released a self-titled studio album, featuring hits like "Hot Lydia," "Lost Evening," "Quiet Quiet," and "A Thousand Firefighters." 19. The audience did not embrace "Doda's" musical style, prompting Sanderson to incorporate more songs from "Kaveret" and "Gazoz" into their performances. This led to disagreements between Gov and Sanderson, ultimately resulting in Gov's departure and the subsequent disbandment. 20. Despite recording songs for a second album, these were shelved. A decade later, Gov himself recorded one of them, "In a Green Field," for his album "No More Day." 21. In 1982, Sanderson released his first solo album, "Natural Size," featuring singles like "I Fought," "Surfboard," "Reason to Live," and "Maybe Lela." Alon Hillel on drums and Alon Nadel on bass contributed to the album's recording. 22. The first reunion show of "Kaveret" took place in 1984. 23. That same year, Sanderson released his second album, "Innocent," yielding singles such as "Remote Control," "Shepherd's Song," "Thinking About You," and "What's Your Devine." 24. In 1987, Sanderson's third album, "Wise about Little Ones," was released. The singles included "With the Aunt and Uncle" (accompanied by a high-budget music video directed by Motti Kirschenbaum), "Do Not Move Away," "The Sense of Touch," "Wedding," and "Light." 25. In 1990, the second reunion show of "Kaveret" occurred. 26. During the same year, Sanderson released his fourth album, "Jumping for a Second," featuring singles like "She and I," "Be Realistic," "The Gray House," "She's Sick," and notably the hit "It's All for You," a collaboration with Mazi Cohen. 27. In 1994, Sanderson co-produced his fifth album, "Dead to Cry 2," with Alon Olearchik. The album included singles such as "The Chair Is Too Low," "Far Far Away," and "Yes No Yes." That year, Sanderson also ventured into stand-up comedy. 28. From 1995 to 1996, Sanderson hosted a television show on Channel 1, featuring various musicians who performed both individually and collectively with him. 29. In 1997, Sanderson released his sixth album, "The Unknown," widely acclaimed by critics, including Yoav Kutner, as his best work. The album embraced a classic rock 'n' roll style from the 1960s, with its theme song accompanied by high-budget music videos, becoming a major hit in Israeli rock during the 1990s. Other notable tracks on the album included "His Forever" and "I Told Her to Come." 30. In 1998, the third reunion show of "Kaveret" took place. 31. In 2001, Sanderson released his seventh album, a unique project titled "History of Water - Songs for Others." This album featured entirely new songs composed by Sanderson for other singers, created through collaborative arrangements and production with those artists. Sanderson himself performed in just one song on the album ("Quiet Life" by Mazi Cohen). 32. In 2005, Sanderson unveiled his eighth album, "Congo Blue," which he recorded and produced in collaboration with Ran Shem-Tov. 33. In 2006, Sanderson received the Lifetime Achievement Award for an author from ACUM. 34. In 2009, Sanderson released his ninth album, "Nothing Will Separate," differing from his previous solo albums as it included contributions from band members, such as Tamar Eisenman, Kfir Ben Lish, Yotam Ben Horin, and Keren Malka. The album's first two singles, "You Are Alone" sung by Sanderson and "If in Life Not Loved" sung by Ben Horin, received extensive airplay on radio stations. 35. In 2012, a musical titled "I Gave Her My Life," based on Sanderson's songs, graced the stage at the Habima Theater. Directed by Maor Zaguri, the musical portrayed the story of Yoram Zuckerman (Idan Alterman), a single man from Tel Aviv desperate for his life. While incorporating Sanderson's classic songs, the musical offered new interpretations and connections to familiar tunes. 36. In 2013, the fourth reunion show of "Kaveret" took place. 37. In celebration of the reunion, the band released a compilation called "Kaveret in a Box," featuring recordings that Sanderson had kept over the years. Additionally, in November of that year, the single "Hence the Road" was released on the radio. 38. In 2017, Sanderson's tenth album, "Hence the Road," emerged. Unlike previous albums, the songs on this album showcased a more personal and private side of Sanderson, featuring fewer humorous and plotted compositions. 39. Sanderson became a widower in 2005 after the passing of his wife Naomi Sanderson. His children include director Adam Sanderson and actress Dina Sanderson. Since 2008, he has been in a relationship with actress Anat Atzmon. 40. In 2021, Sanderson was honored with the EMI Lifetime Achievement Award. L isten to a special playlist we assembled for Danny Sanderson "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 28, 1974, John Lennon was hosted by Elton John on his show at Madison Square Garden. (Photo: Steve Morley) This surprising performance came after two years that John Lennon didn't appear live on stage, and was the result of a bet between him and Elton John . It was also John Lennon 's last appearance on stage in front of an audience, and it also revived the relationship between Lennon and Yoko Ono, after the long hiatus known as "The Lost Weekend" - a period of 18 months in which Lennon lived separately from Yoko. So as we noted, what led to John Lennon being a guest on Elton John 's performance was a bet that took place between the two during the recording of "Walls and Bridges" - Lennon's album released that year. Elton was featured on two songs from the album - "Surprise Surprise (Sweet Bird of Paradox)" and "Whatever Gets You Thru the Night". During the recordings Elton and Lennon made a bet on the song " Whatever Gets You Thru the Night ". Elton told Lennon that if the song reached number one on the charts, he would have to return a favor and perform with him on stage. It did happen, in early November 1974 John Lennon's song overtook "Bachman-Turner Overdrive's" " You Ain't Seen Nothing Yet " when it reached number one on the charts, and Lennon was forced to do his part and join Elton John 's performance held today in 1974. John Lennon's entrance to the stage left the audience speechless and overwhelmed. His guest appearance was not known before hand and did not appear in ads to promote the show. Lennon was greeted with loud applause and it is evident that he himself was surprised by the reaction of the crowd that was reminiscent of the days of "the Beatles". Lennon performed with Elton John three songs. "The bet song" - “ Whatever Gets You Thru the Night ” and two songs by the Beatles - " Lucy In the Sky With Diamonds " and " I Saw Her Standing There ", which John Lennon introduced to the audience as a song by his "fiancée in separate" - Paul McCartney : "We tried to think of a number to finish off with so I can get out of here and be sick, and we thought we'd do a number of an old, estranged fiancé of mine, called Paul. This is one I never sang . It's an old Beatle number, and we just about know it". As mentioned, this was John Lennon 's last appearance in front of an audience. Yoko Ono was waiting For Lennon behind the scenes. She was separated from him at the time. They each returned home, but this meeting between the two led to their reunion shortly afterwards. Less than 5 months later, on Friday April 18, 1975, John Lennon will preform 3 song at the New York Hilton Hotel in New York City, for a television special called "A Salute to Sir Lew Grade: The Master Showman". Since this TV special was recorded in front of an audience some consider it as Lennon's final appearance and not the Madison square garden show with Elton John. See here on mim. 22:00 of the video: "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Legendary composer, producer, and bassist Roger Glover is celebrating his birthday today. (Photo: Carlos Delgado) He was born Born near Brecon, Wales on November 30, 1945. He is best known for his membership in the MKII lineup of "Deep Purple", but he is definitely not just. Already while he was in high school he formed a band called "Madisons" with his friends. This band later turned into "Episode Six", of which Ian Gillan was also a member of. The two joined "Deep Purple" in 1969. Glover was chosen due in part to his writing abilities. The first bass role he recorded for "Deep Purple" was for the song "Hallelujah", which was released as a single. In September 1969 he recorded the album " Concerto for Group and Orchestra " with "Deep Purple", during a performance at the Royal Albert Hall. In June 1970, "Deep Purple" released its first rock album with Glover, " In Rock ". Already on this album Glover demonstrated his amazing writing and playing abilities. Glover will later release three more masterpieces with the band, before leaving the band with Ian Gillan . After leaving "Deep Purple" he released five solo albums, including the concept children's story album "The Butterfly Ball and the Grasshopper's Feast", in which he collaborated with David Coverdale and Ronnie James Dio , among others. Glover later became a sought-after producer who produced albums for bands such as "Nazareth", "ELF", "Judas Priest", Status "Quo", David Coverdale , " Michael Schenker Group", "Ian Gillan Band", "Rainbow" and more. From 1979 to 1984, beginning with the album " Down to Earth ", Glover served as bassist, songwriter, and producer for "Rainbow", along with Ritchie Blackmore , his friend from "Deep Purple". In 1984 he will be part of the reunion of "Deep Purple's" MKII lineup, with the marvelous comeback album " Perfect Strangers ", and since then he has been part of the band and has released 13 more studio albums to date, including the excellent studio album " Whoosh! " and the cover album " Turning To Crime ". In 1988 he released the album "Accidentally on Purpose" with Ian Gillan . Roger Glover also has quite a few collaborations and he has also appeared as a player on various albums and lineups, including "Nazareth", "Pretty Maids", Alice Cooper, and of course on the solo albums of his friends from "Deep Purple", Jon Lord , Ian Gillan and David Coverdale . In addition to playing the bass, Glover also sings and plays other instruments such as: guitar, keyboards, harmonica, and saxophone. So let's wish the rock legend a happy birthday and celebrate it with a nice playlist we've prepared for you : Click Here . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website