On November 23, 1999, an album capturing a remarkable collaboration in the realm of rock music was released. It featured a performance by the metal powerhouse "Metallica" accompanied by the "San Francisco Symphony," under the baton of American composer Michael Kamen. While such collaborations are not unprecedented in our world—the older one among us may recall "Deep Purple's" " Concerto for Group and Orchestra " from 1969 — But "Metallica stands out as one of the most exceptional, thrilling, captivating, and impressive collaborations we've ever witnessed. By the way, a subsequent performance, " S&M2 " , has already taken place! Kamen had a prior connection with "Metallica" during the era of the Black Album , having collaborated on the orchestration of " Nothing Else Matters ." A year later, at the Grammys, the members reconvened, and it was during this meeting that Kamen introduced the idea of a collaboration with the symphony. It's possible that during the interim period, while the concept was brewing, Metallica released two albums, "Load" and "Reload," which, although not considered the peak of their artistic prowess, might have spurred them to pursue something distinctive and unique. It's worth noting that James Hetfield mentioned in an interview that the inspiration for the idea came from Cliff Burton , who had a deep appreciation for classical music and was significantly influenced by it. (Photo: San Francisco Chronicle) Undoubtedly, many of you have experienced the electrifying atmosphere of "Metallica" concerts, perhaps attending at least one in your lifetime. The opening segment of these shows is likely ingrained in your memory—an instrumental piece titled " The Ecstasy of Gold ," composed by Ennio Morricone for the soundtrack of "The Good, the Bad and the Ugly." BUT!!!! The recollection of the instant when we pressed play on that initial disc and the symphony took command of the aforementioned opening segment is etched in our minds forever. There are instances when music establishes an unfiltered and immediate connection with the neural pathways in the brain—indescribable. This particular moment left us stunned, hypnotized, and utterly captivated. From that point onward, resistance was futile! Respecting the exhilarating opening, let's offer an impartial perspective here (acknowledging the paradox of an "objective opinion"). Kamen's collaboration with "Metallica" stands as a lesson that should be studied in the most esteemed music institutions. Setting aside the inherent challenges a composer and arranger confront when engaging with a formidable metal force, perhaps the most formidable challenge, in our view, is to add genuine value. To create another dimension—not merely to "accompany" or support, but to become an integral and indispensable component of the musical lineup. In this aspect, Kamen excels, surpassing expectations by a wide margin! While we considered providing specific examples of songs where the symphony stands out, it seems unnecessary. Each track in this setlist is remarkably articulated, elevating "Metallica" to heights we could hardly have imagined. The symphony's colossal size, power, and grandeur impart an immeasurable galactic dimension to the already monstrous presence of "Metallica." Some data for ending... This live album consists of no less than 21 songs which are 133 minutes of pure enjoyment, the songs were taken from the albums "Ride The Lightning" , "Master Of Puppets" , "Metallica" , "Load" , "Reload" and "And Justice For All " . In addition to the songs from these albums, two new songs were added: " No Leaf Clover " and " Human ". Now click play and get ready to get excited !! Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 23, 2008 “Guns N’ Roses” released its sixth studio album “Chinese Democracy”. But is it really a “Guns N’ Roses” album? That was the immediate question when fans realized that this was the band’s first studio release to feature none of the classic lineup members except vocalist Axl Rose . What arrived under one of rock’s most iconic names was, in truth, an entirely new entity — a massive creative collective built around Axl’s singular vision rather than the chemistry that once defined the classic era of “Guns N’ Roses” as heard on “Appetite for Destruction” . This was the beginning of one of the longest, most complicated and most expensive recording processes in rock history. The creation of “Chinese Democracy” stretched across more than a decade, moving between studios in Los Angeles, New York and Las Vegas, with endless producers, rewrites, abandoned arrangements and revolving musicians. Reported production costs exceeded $13 million, making it the most expensive rock album ever made, wrapped in rumours, lawsuits, leaks and almost mythical anticipation. By the time the album took its final form, “Guns N’ Roses” no longer resembled the band that expanded its cinematic scope on “Use Your Illusion I & II” . Axl Rose stood completely alone at the creative center, surrounded by musicians who brought new textures and colors: Buckethead ’s avant-garde guitar language, Robin Finck’s industrial edge, Bumblefoot’s technical firepower, Brain and Frank Ferrer shaping the rhythmic backbone, Tommy Stinson anchoring the bass, and Dizzy Reed and Chris Pitman layering orchestral and electronic atmospheres. The classic lineup members who once defined the band — Slash , Duff McKagan , Izzy Stradlin , Matt Sorum , Steven Adler , and Gilby Clarke  — were long gone, and this album was never intended to recreate their era. The recording process became the album’s defining mythology. Songs were built, torn down, rebuilt and reshaped repeatedly. Hundreds of guitar tracks were layered. Electronic sequences merged with live drums. Orchestral arrangements were written, replaced and rewritten again. Axl pushed every idea to its limit, forging a futuristic blend of industrial rock, electronica, orchestral ambition and dense studio architecture. The album opens with “Chinese Democracy” , a jagged and metallic statement of intent that immediately throws the listener into the new era — sharp riffs, industrial textures and Axl’s attacking vocal delivery. “Shackler’s Revenge”  follows with even more electronic aggression, fusing processed drums and twisted guitar lines into something closer to industrial metal than classic Sunset Strip rock. With “Better” , the third track, the first real emotional breakthrough arrives: a powerful collision of electronic pulses, thick guitars and one of Axl’s most soaring choruses, where all the tension of the preceding years suddenly feels like it’s bursting out at once. From there the album leans into its grander, more melodic side. “Street of Dreams”  channels the emotional grandeur once associated with the band’s piano-driven epics, wrapped in warm orchestration and an aching vocal performance. “If the World”  pulls the music into unexpected territory, blending flamenco-styled guitar lines with trip-hop–tinged beats and a smoky, cinematic atmosphere. “There Was a Time”  builds slowly from wounded reflection into a monumental, multi-layered climax, and stands among the finest compositions of Axl’s career, a true centerpiece that captures the album’s mix of heartbreak, anger and obsessive detail. The midsection continues with “Catcher in the Rye” , which brings a brighter, almost nostalgic lift, filled with Beatles-inspired harmonies and a sense of looking back at lost innocence. After that, the mood turns more restless and jagged with “Scraped” , all choppy rhythms and layered vocal chants, and “Riad N’ the Bedouins” , which throws the listener into a whirlwind of chaotic riffs and tension, reflecting some of the conflict and paranoia that surrounded the album’s long gestation. Things grow darker and more personal with “Sorry” , a slow-burning, brooding confession wrapped in bitterness, exhaustion and wounded pride. Axl’s voice moves between resigned vulnerability and cold defiance, while the music surrounds him with thick, shadowy guitars and atmospheric weight. It feels like an open wound, a message aimed at ghosts from the past — ex-bandmates, critics, or anyone who doubted him — and it perfectly mirrors the emotional burden that hangs over the “Chinese Democracy” era. “I.R.S.”  keeps that mix of paranoia and confrontation alive, with tense guitars and a vocal performance that sounds like a man fighting his way out from under a mountain of pressure. “Madagascar”  then expands the scope again, merging orchestral drama, martial rhythms, gospel-flavoured backing and sampled speeches into one of the album’s most cinematic and politically charged moments. In the final stretch, “This I Love”  strips things down emotionally, a devastatingly intimate piano-led ballad that feels like Axl at his most exposed — fragile, wounded, almost operatic in its vulnerability. Then comes “Prostitute” , the true closer of the album, blending vulnerability and defiance into one of his most affecting performances. Its sweeping arrangements, layered guitars and aching vocal melodies feel like a final exhale after years of turmoil — a fragile yet dramatic conclusion to an album built on reinvention, obsession and the refusal to surrender. Upon release, “Chinese Democracy” debuted at #3 on the Billboard 200, fueled by nearly two decades of anticipation. Critics were sharply divided: some praised its ambition, emotional depth and massive production scale, while others longed for the chemistry of the classic era. After the release of “Chinese Democracy,” the band’s history took another dramatic turn. In 2016 Axl Rose reunited with Slash  and Duff McKagan  back into the fold for the phenomenally successful “Not in This Lifetime...” tour. And yet, the creative world of the “Chinese Democracy” sessions continued to echo into the future, as tracks conceived during that decade-long period were later reshaped into the singles “Absurd” , “Hard Skool” , “Perhaps”  and “The General” . Anticipation for the long-awaited next “Guns N’ Roses” album has never been higher. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 23, 1987, "Black Sabbath" released their thirteenth studio album "The Eternal Idol". It arrived during one of the most unstable, chaotic, and uncertain periods the band had ever endured. After years of internal turmoil, shifting lineups, management disputes, and creative exhaustion, "Black Sabbath" were once again fighting for survival. This album became the first to feature vocalist Tony Martin . What happened behind the scenes was nothing short of a storm. Recording began in October 1986 on the island of Montserrat with producer Jeff Glixman, bassist Dave Spitz, drummer Eric Singer, and vocalist Ray Gillen. But almost immediately the ground began to shake beneath the band. Glixman left early in the process, and Vic Coppersmith-Heaven was brought in to replace him. Spitz left during the sessions, and Bob Daisley — one of the most respected bassist/lyricists in the hard rock world — was brought in to re-record the bass parts. But he too left the band before production was complete, choosing to commit to his work with Gary Moore . The situation became even more complicated when Ray Gillen, struggling with the lyrics, walked away shortly after returning from Montserrat. Singer recorded his drum tracks and immediately left as well, eventually joining Daisley in Gary Moore ’s touring band. Both of them would later form "Badlands" with Greg Chaisson and Jake E. Lee . With Gillen gone, the band held a series of auditions. Among those who tried out was Jon Oliva of "Savatage". But ultimately, they chose a young, and then unknown vocalist — Tony Martin — whose voice possessed the perfect combination of power, melody, and emotional weight. Under the guidance of producer Chris Tsangarides, Martin re-recorded all of Gillen’s vocals at "Battery Studios" in London, rewriting phrasing, shaping new melodies, and giving the album the identity it desperately needed. Meanwhile, the album credits were becoming as messy as the lineup. The sleeve mistakenly listed Dave Spitz as the bass player, though every note was performed by Bob Daisley. Bev Bevan, credited with percussion, only added small cymbal overdubs to “ Scarlet Pimpernel ,” while Eric Singer played all drums. And in the eye of the storm stood Tony Iommi , the last original member, holding the entire project together with unwavering determination. Alongside him, shaping atmosphere, was longtime collaborator Geoff Nicholls , whose keyboards once again served as the album’s unseen emotional spine. "The Shining"  opens with enormous force — a blistering Iommi riff and Martin’s soaring voice colliding into something dramatic and urgent. In a single moment, a new era of "Sabbath" was born. "Ancient Warrior"  drifts into deeper mystery. It is dark, melodic, and cinematic, a shadowy hymn wrapped in layered guitars and slow-burning tension. "Hard Life to Love"  brings a brighter, melodic metal feel, still anchored by Iommi’s unmistakable heaviness but infused with accessibility and confidence. "Glory Ride"  is fierce and energized, with a chorus that lifts Martin into near-operatic territory. It sounds like a band rediscovering its strength. "Born to Lose"  opens the second side of the vinyl. It is sharp, cutting, and emotionally charged — a reflection of the frustration behind the scenes. "Nightmare"  returns to a brooding, doom-laden atmosphere, echoing the band’s early darkness while filtered through late-80s production. "Scarlet Pimpernel"  offers a brief, delicate instrumental detour — a moment of breath and melancholy shaped largely by Nicholls’ keyboards. "Lost Forever"  moves aggressively, driven by urgency and raw determination. It feels like the band fighting back against everything trying to tear it apart. "Eternal Idol"  closes the album with scale and weight. It is slow, towering, and emotionally rich — one of Iommi’s greatest late-80s compositions and one of Martin’s most powerful performances. Later reissues added a wealth of bonus material, including Ray Gillen’s original vocal takes — rough, intense, and fascinating glimpses into an alternate version of the album that never came to be. Bonus tracks like "Black Moon"  (featuring Geoff Nicholls on bass) and "Some Kind of Woman"  (featuring Dave "The Beast" Spitz  on bass), provided additional insight into the fragmented and evolving creative process surrounding the sessions. Upon release, "The Eternal Idol" struggled commercially and received lukewarm reviews, overshadowed by the band’s earlier storms and the constant changes in its lineup. But with time, fans rediscovered its depth. Today it stands as the quiet beginning of the Tony Martin era — an era many fans view as one of the most musically rewarding and emotionally rich periods in the band’s later history. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 22, 2005, "Rush" released the DVD and double disc "R30: 30th Anniversary World Tour". The disc and DVD document the special tour that the band went on for the occasion of its 30 years of activity. They were recorded during the band's performance held on September 24, 2004 in Frankfurt, Germany. The album features songs from all of the band's albums, including the " Feedback " EP released in light of the 30th-anniversary celebrations and included cover versions of songs on which the band grew up, but with the exception of " Presto " that we reviewed just yesterday. When we say performance from all the band's albums, we also mean the amazing Medley " R30 Overture " that opens the show and includes riffs of songs from the band's first six albums, as follows: (" Finding My Way ", " Anthem ", " Bastille Day ", " A Passage to Bangkok ", " Cygnus X-1 ", " Hemispheres "). In fact "R30" is the only official live album of "Rush" where you can hear the band performing cover versions of other bands, with 4 of the 8 songs on Feedback included in the Setlist. Since the show and DVD were released only two years after " Rush In Rio ", the band made an effort not to repeat themselves in terms of choosing the songs for the Setlist. Although the stylist includes 22 tracks, the full show included 30 songs and these can only be found in the Blu-Ray version. The eight songs that have been dropped out from the list of songs on the CD and DVD version, are those that have already appeared on the live album " Rush In Rio " which was released two years earlier, and these are: " Bravado ", " One Little Victory ", " By-Tor and the Snow Dog ", " La Villa Strangiato ", " YYZ ", " Red Sector A ", " The Trees ", and " Secret Touch ". The show features two songs in an unplugged version performance. " Resist " and the cover version " Heart Full of Soul " performed by Geddy Lee and Alex Lifeson on guitars, at the end of Neil Peart 's drum solo, after he leaves the stage. If we already mentioned " Rush In Rio ", then "R30: 30th Anniversary World Tour" is different from it in many ways. As you may recall, the band arrived late for the show "Rush In Rio" due to a severe tropical storm that took place in the area. They took the stage late, at 10 pm, without a sound check and without the recording crew checking and examining the recording equipment. Conversely here, everything has been prepared with meticulous precision in advance and without any misses and this is definitely reflected in the sound. The sound in Rio was also heavier than any other performance of the band we know and here an attempt was made to stick to the original sound of the albums. Another difference is the audience. While the audience in "Rush In Rio" was the fourth member of the band, sweeping the band members after them in their endless energies which is reflected in the final mix, in this case, a reverse attempt seems to be made to give the listener as clean production as possible, while filtering background noise and in our opinion even some of the crowd channel with it. There is no doubt that the performance in the case of the "R30: 30th Anniversary World Tour" is tighter and more precise. From Geddy Lee 's voice to Alex Lifeson 's guitar that was missing something in " Rush In Rio " making many of his solos sound a little awkward. And of course, it is impossible without mentioning Neil Peart 's " Der Trommler " drum solo. The solo was built by Peat very carefully and with a lot of thought. It lasts more than 8 minutes and includes a variety of styles and a lot of sounds and effects that go beyond the usual drums and percussion sound. So for those who are wondering. Peart's electronic drums allow him to program certain sounds for a drum, pad or cymbal so that any tapping on them will play sounds and pieces of music that accompany Peart during the solo. So even if you do not have two hours plus free time, to listen to the shortened version of the disc, do yourself a favor and at least listen to the first tracks of the album and at least to the " R30 Overture " medley. Enjoyment is guaranteed: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

A Sneak Peek... Have you ever wondered what was the first album ever to be played in space? On November 22, 1988, "Pink Floyd" released the double concert album "Delicate Sound of Thunder". The album was recorded during five consecutive concerts held at the Coliseum "Nassau" in New York, between August 19-23, 1988, as part of the tour supporting the album " A Momentary Lapse of Reason ". The shows reunited on stage the three remaining "Pink Floyd" members David Gilmour , Nick Mason , and Richard Wright , after the court ruling that they could continue to use the band's name after Roger Waters left it in 1985. Of course, the album included a high presence of songs from the album " A Momentary Lapse of Reason ", but the band also performed classics such as: " Shine On You Crazy Diamond ", " Time ", "Wish You Were Here ", " Us and Them ", " Money ", " Another Brick in the Wall (Part 2) " and of course " Comfortably Numb ". At the same time as the album, the band also released the performance on video, which included several additional tracks recorded on June 21-22, 1988 at the Chateau de Versailles in France. As we mentioned above, "Delicate Sound of Thunder" became the first album to be played in space, when Soviet cosmonauts took it aboard the "Soyuz TM-7", which was launched into space only four days after the release of the album, on November 26, 1988. David Gilmour and Nick Mason were present during the launch. Interestingly, an extended version of the album was included in the 2019 box set "The Later Years 1987–2019". It included songs not released on the original version including: " Signs of Life ", " A New Machine (Part 1) ", " Terminal Frost ", " A New Machine (Part 2) ", " The Great Gig in the Sky " " Welcome to the Machine ", " On the Run " and " One Slip ". All tracks have been remixed for the 2019 re-release. This time we also leave you with the full video performance: For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

From a small room in Netzer Sereni, through stages with Israel’s top artists, all the way to the spotlight of Israel’s biggest rock band… Ladies and gentlemen, please welcome Yahav Lipinsky!! The drummer of “HaYehudim”, for whom drums are far more than an instrument… they’re a way of life, a passion, and a pure obsession. Photo: Avihai Levy = Yahav was born on November 22, 1975 and grew up in Kibbutz Netzer Sereni. = During his childhood he lived in Germany for about three years while his father was on a mission managing a local Zionist youth movement on behalf of the Jewish Agency. = At the age of 11, during a winter camp in Italy, he was exposed to drums for the first time and was instantly captivated. Since the drummer there always took his sticks with him, Yahav searched for a way to play and used wooden kitchen spoons as makeshift drumsticks. = At age 12 he would walk around all day, drumming with his teeth. His father noticed his enthusiasm and bought him his first drum, a snare for ten Deutsche Marks. He also found him his first teacher, a German keyboard player named Tom, who taught him to play songs rather than drum techniques. = When the family returned to Israel, Yahav continued learning drums with Chaim Ben Yakar, a local musician and conductor who taught him theory, sight-reading and classical pieces. In parallel he learned from veteran musicians in the kibbutz who contributed greatly to his development, including Ilan Katchka. = During this period he began playing in a small room beneath the kibbutz Live Shows Hall, where rehearsals of leading Israeli artists took place. His room was directly under the stage, and stage technicians would often come down and remove him because of the noise. Photo: Yahav Lipinski = His first truly formative live-music experience was a concert by "Rita" at the kibbutz hall in 1988, where drummer Alon Hillel performed. The production, the sound and especially Hillel’s drumming were so powerful that 13-year-old Yahav realized in that exact moment that this is what he wanted to do when he grew up. = From that day on he became completely obsessed with drums, diving into every detail he could learn and explore about this instrument. = He grew up mainly on the music his parents listened to, such as "The Beatles", "Elvis", "Simon and Garfunkel" and more. = The first album he ever owned, received as a Bar-Mitzvah gift from his aunt, was by drummer Bill Bruford, who was also the drummer for the progressive rock band "Yes". He also vividly remembers watching a televised "Guns N' Roses" concert on Israel’s experimental Channel 2, where he was exposed for the first time to distorted guitars and explosive rock drumming. = During one of the rehearsals at the kibbutz (a rehearsal of Gidi Gov and Yehuda Poliker), while he was practicing in the small room beneath the stage, he suddenly heard loud banging on the door and shouting. When he opened it, he found himself face to face with Nir Zidkyahu, then a 20-year-old drummer who would later become one of the top studio drummers in America. Instead of scolding him for the noise, Zidkyahu told him “you play nicely,” helped him tune the drum set and adjust all the hardware, and then invited him to come upstairs to the rehearsal hall so he could listen without disturbing the session. He seated him quietly in the corner and asked him to watch without being noticed. Yahav spent many days like this, sitting silently, observing and learning from some of Israel’s greatest musicians. = At age 14 he moved with his family to Nes Tziona and wanted to buy a proper drum set. On one of his walks through the neighborhood he heard someone drumming inside a house and called out from the street. The drummer invited him in, and shortly after, Yahav’s father bought the drum set from him for just a few hundred shekels. Photo: Avihai Levy = He searched for a professional framework to study drums, and at that exact time a new music school by “Klei Zemer” opened in Nes Tziona. He enrolled and discovered that his teacher was none other than Nir Zidkyahu. He studied there for several months alongside leading instructors such as Erez Netz, Ziv Harpaz, Michel Amar, Yossi Bozin and others. Yahav says that with Nir he learned to execute everything with maximum precision, including styles and rhythms he didn’t initially connect to, such as jazz and Latin. Nir had a tremendous influence on Yahav’s playing style and on the way he approaches the drum set as a whole. = At age 16 he continued his studies with Shaul Shuval (Nir’s teacher) at the “Metronome” school in Tel Aviv, which at the time was the only drum-focused school in Israel and a true pilgrimage site for drummers. There he dove deep into the smallest technical details of drumming. = During high school he began performing with various cover bands in clubs around Rishon LeZion. His father would drive him to every gig, and only years later did Yahav discover that his father stayed quietly in the audience each time and watched the shows. Around the same period he also began teaching drums himself at the "Klei Zemer" school in Nes Tziona. = At the same school he reconnected with Erez Netz and bassist Avi Strol. Erez took both Avi and Yahav under his wing, mentored them, invited them to shows, rehearsals and soundchecks, and occasionally even had them join him onstage. = From Erez he received his first recommendation for a professional gig, a show with "Shimi Tavori", which became the true starting point of his professional stage career. = A remarkable story from that time: Yahav’s father, whose son was only 17, insisted on meeting "Shimi Tavori" before allowing Yahav to travel and perform with him (including abroad). Shimi agreed, came to meet the family, and even performed a private concert in their living room. = One day a unique performance took place above the music school in the small Nes-Tziyona Mall "Knyoter", a jazz/fusion show by the late drummer Asher Fedi and an unknown guitarist. The show left a deep impression on Yahav and led him to study drums with Asher for a short period. = Around that time Yahav played everywhere and with every possible lineup, from small club cover bands to weddings and events, and even with well-known acts such as "Hakol Over Habibi" and "Avi Toledano". This time allowed him to meet many musicians in the industry, including Itzik Solam. = In 1995 he joined the rock opera “Tzevaoni Shachor” as a substitute drummer for Yuval Lyon. The opera, produced by Micha Shitrit (HaChaverim Shel Natasha), was written by Ron Solonim and Eyal Paran, sung by Alona Daniel, with guitarist Itzik Solam, the same Itzik who would later introduce him to his future band. = Itzik Solam , who was already playing with Tom Petrover and Orit Shahaf in their emerging band “HaYehudim”, invited them to see Yahav perform. They were immediately impressed, sent him tapes with songs, and invited him to an audition at the “Feedback” rehearsal rooms in Tel Aviv’s central bus station. The musical chemistry was instant. At one point they even asked if he could play harder, that was when Yahav knew he was exactly where he belonged. = In 1995 “HaYehudim” completed the recording of their debut album “Metziut Nifredet” . The album received an unusually large budget from the Hed Artzi label and featured Orit and Tom, Shmulik Budgov on guitars, Eran Mitelman on keyboards, Avi Yifrach on bass and the late Asher Fedi on drums. Photo: Ronen Lalena = “HaYehudim” wanted their debut performance to take place on the album’s release date and not before, so they began preparing for the big moment. Yahav replaced Asher on drums, Itzik Solam replaced Budgov on guitars, and the band poured every resource and every drop of energy into what was supposed to be their breakthrough, the opening slot for "Aviv Geffen" at the Arad Festival in front of tens of thousands of people. = But the breakthrough never came. The "Arad Festival Tragedy" led to the cancellation of the entire event, the cancellation of Aviv Geffen ’s show, and naturally the cancellation of “HaYehudim’s” debut performance. As a result, the band held its first-ever show parallel to the album’s release at the small “12th Night” club in Ramat Hasharon, where only 20–30 people attended. = “Metziut Nifredet” was released on August 18, 1995. It did not achieve the success the band had hoped for at first, but over the years it became an iconic, timeless album, the band’s most successful work and one of the major milestones in Israeli rock history. To this day, a significant portion of the album remains part of their live setlist. = If you don’t start big, you start small... The band believed fully in themselves and in their music, refusing to let anything stop them. The young, hungry group performed in every club they could find across the country, often in front of only a few dozen people, grinding through endless gigs and crossing Israel from end to end. At the same time, they worked any job they could just to finance the band. From then until today, the band has remained the center of each member’s life. = The label, watching its large investment collapse, decided to cut losses and shut the support down. The project known as “HaYehudim” was handed to Dana Kaminsky, who was placed in a small corner office. Dana believed in the band as fiercely as the band believed in itself and quickly became the engine behind the scenes. She booked shows, handled logistics, managed rehearsals, did sound, and took care of every detail the band needed in order to keep moving forward. Photo: Avihai Levy = Over time the band became a phenomenon, and with every show the audience grew, from a few dozen people to hundreds at each performance. Although the debut album was distributed only in limited quantities, it somehow found its way into the IDF ranks, where it spread like wildfire and triggered a nationwide explosion. From hundreds of fans, suddenly thousands of soldiers began showing up, turning every concert into a rock-and-roll force of nature. = Radio stations completely ignored the band and refused to play even a single track, largely due to the political and cultural shock that followed the assassination of Prime Minister Rabin, which reshaped the entire Israeli music landscape. This media disregard became a recurring theme in the band’s career, mentioned frequently in interviews and milestones throughout the years. = One of the defining moments came when Haim Shemesh, a key figure at Hed Artzi label, walked onstage during one of their shows, a year and a half after the debut album’s release, and presented the band with Gold records for the sales of “Metziut Nifredet.” Photo: Avihai Levy = Feeling they were on the right path, "Rockstars" but without the money, the band entered the studio, and in August 1998 released their second album, a self-titled record. The album was produced with a much smaller budget than the debut and under heavy time pressure from the label regarding both schedule and production demands. = Three interesting facts about the album… = During the final section of the song “Lifamim,” right before the line “You got to be free,” Yahav threw his headphones off mid-take due to a tempo mismatch with the keyboards and ended up recording the drum part without any playback at all. = At the end of one of the tracks (you’ll have to guess which), you can actually hear the tape reel running out. The entire album was recorded on 2-inch reel-to-reel tape. = Although the band redid the mix and mastering several times, they were never fully satisfied with the final sound and always hoped to remaster the album properly. Years later they learned that the master tapes had been sold to NMC, and the reels themselves had disappeared after being reused for other artists’ recordings. As a result, a new mix or remaster can never be created. = In 1999 the band won the title “Band of the Year” on the radio station "Galei Tzahal". They weren’t even nominated, yet they won purely thanks to hundreds of letters and dozens of phone calls from fans flooding the station. That same year they opened for "Metallica" at the Amphipark in Rishon LeZion, and a year later they opened for "Rage Against The Machine" at the Cinerama Hall in Tel Aviv. = In July 2002 the band released its third album, “Pachad Mavet.” The album had a larger production budget and was overseen by Yehuda Adar, but the process was challenging and included guitarist changes. After the album’s release the band experienced a decline in attendance, once again finding themselves performing for only a few dozen people and having to rebuild their reputation from the ground up. = At that time he felt he was losing some of his passion and inspiration for music, and searched for a different way to reignite that spark. In 2003 he earned a private pilot license for light aircraft with the aviation company "Shirgal-Knafa’im" , before he even had a driver’s license. = Also in 2003 the band released the unique and one-of-a-kind live album “HaYehudim LIVE,” recorded at their home base during those years, the "Theater Club" in Jaffa. The album was released as a double CD and DVD, featuring a new song titled “Ani Ro’eh Dam” as well as the continuation of the song “Milchama Sheketa.” = The album, which captured the raw stage energy of the band (despite significant sound challenges), triggered a renewed breakthrough, brought audiences back in huge numbers, and once again placed Israel’s biggest rock band at the top. = Another major factor in this renewed success was the song “Kach Oti.” The live version began gaining momentum on radio stations and, for the first time ever, a song by the band entered the Galgalatz playlist. That same year, Ninet Tayeb performed the track on the reality show “Kochav Nolad,” exposing the band to an even wider audience. = In December 2004 the band released the acoustic, one-of-a-kind live album “HaYehudim UNPLUGGED,” which for the first time showcased a stripped-down and intimate side of the band. The album documents the acoustic concert held on July 3, 2004 at Heichal HaTarbut in Tel Aviv and broadcast on Channel 24, featuring the band’s hits in raw arrangements for piano and acoustic guitars while still preserving the emotional power and intensity that define “HaYehudim.” The album generated significant media buzz, brought the band to new audiences, and included the track “Im Kvar,” which became a major radio hit and a permanent part of the band’s live setlist. = In 2005, after a full year of working on their next album, the band decided to take a break and fly to the United States for a music-inspired trip. They arrived in New York hoping to feel and be moved by the local music scene. The experience didn’t quite live up to their expectations (see: the song “New York City”), but they still enjoyed the trip and performed several shows under the name I.U.D.M. = When they returned to Israel, they came back sharply focused on recording the new album. Unlike previous albums, this time they chose Yossi Hasson, then a young and unknown recording engineer whose story parallels that of Adam Kasper with the "Foo Fighters". Having worked as a sound engineer on the "LIVE" album, Yossi understood exactly what they wanted sonically, and the band felt he could capture and translate their vision. They brought him on as the recording engineer for the album. = In July 2007 the band released its fourth album, “Forte.” For many fans, this is considered their best-sounding record, an album that manages to capture and convey the full power of the band. For the band itself, “Forte” marked a major turning point: they took full control over the sound and production direction, working closely with Yossi Hasson, who deeply understood their artistic intention and translated it into a precise, powerful result. The internal band chemistry, especially with Daniel Brecher and Guy Beer on guitars, was tighter and more in sync than ever, enabling the band to deliver exactly what it envisioned. = Between 2008 and 2012 Yahav returned to the “Shirgal-Knafa’im” flight school, this time as an instructor. He was also responsible for operating the digital learning system and developing pedagogical technological tools, eventually establishing the first virtual flight-training school in Israel. From there he went on to study computer science between 2013 and 2017, which led him into the high-tech world. He worked full-time from 2015 to 2019 while still performing and rehearsing with the band. = In 2019 a turning point arrived. On the very day his company was launching a new software version (a classic startup scenario of 24/7 work), “HaYehudim” had a major concert at Heichal HaTarbut in Tel Aviv. Yahav realized the combination was no longer sustainable. He moved to part-time work and eventually left the employee world altogether to become self-employed. = In July 2015 the band released its fifth album, “Yoter Lo.” The album featured Nir Maimon on bass and Omri Agmon on guitar alongside Guy Baar and the rest of the band. Although it remains one of our personal favorites, it did not achieve significant commercial success and is only minimally represented in the band’s current live setlist. = In 2020, during the COVID-19 pandemic, the band halted all activity like many artists around the world. This unexpected break brought the members closer as friends and allowed them to invest more time in their families. Yahav says this period strengthened the human bond within the group, a foundation he believes is one of the main reasons the band has stayed together for so many years. = On June 1, 2022, a rare and extraordinary event took place for the first time in Israel. “HaYehudim,” together with Raviv Kaner and 400 musicians, guitarists, drummers, bassists, keyboardists and singers, under the musical direction of Guy Mezig, performed two songs for Jerusalem Day: “Mechapes Tshuva” and “Yerushalayim Shel Zahav.” The event was held on the walls of the City of David, supported by the Jerusalem Municipality and produced by “Kappaim.” Since we ourselves took part in that event, we can say wholeheartedly that it was one of the most powerful and emotional musical moments we have ever experienced. = Another element that keeps the band united is its built-in dynamism. Each member invests in creative work outside the band as well: Tom also produces, engineers sound and edits video; Orit creates electronic music in addition to being a visual artist and clothing designer; Itzik has worked as a programmer and is involved in production; and Greg is likewise active in sound and production work. = In the studio, Yahav prefers preserving the energy and authenticity of live performance. He chooses to record full takes with the band playing together rather than constructing songs from separate pieces. = The band continues to perform relentlessly and develop new material while maintaining a balanced and collaborative dynamic. Typically, Tom and Orit bring the lyrics and melodies, and the entire band works together on arrangements, each member contributing their own musical perspective. We eagerly await the next album and continue attending shows religiously. Until the new album arrives, we invite you to listen to the incredible “Yoter Lo” on Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Today we want to tell you about Michael Hutchence. A talented singer, songwriter and actor, best known from the Australian band "INXS". (Photo: The Daily Telegraph) 1. He was born on 22 January 1960 in Sydney, Australia. In his youth, his family moved to Hong Kong for his father's business needs. 2. In 1972 the family returned to Sydney, where during high school he met keyboardist Andrew Farriss who offered him to join his band "Doctor Dolphin", which also included bassist Garry Beers. 3. In 1977 they formed a new band "The Farriss Brothers" which included Tim Farriss on lead guitar, Andrew Farriss on keyboards, Jon Farriss on drums Garry Beers on bass and Kirk Pengilly on saxophone and guitar. 4. The band that would later change its name to "The Vegetables" and later to "INXS", made their first live appearance on August 16, 1977, in a suburb outside Sydney. 5. The band released their first single in May 1980 and in October of that year their first album called "INXS" was released. 6. Hutchence was the band's lead songwriter throughout the years. 7. In 1984 the band won its first Australian hit "Original Sin", which reached number one on the charts. 8. The band's big breakthrough was in 1987 with their sixth album "Kick", which won the band great success outside Australia as well and sold more than 20 million copies. 9. The band's seventh album "X" was released in 1990 and rode the wave of success of its predecessor. 10. In 1991, Hutchence won the Best International Artist Award at the British Music Awards. 11. He wrote the song "Suicide Blonde" about Kylie Minogue with whom he had a romantic relationship. 12. Michael Hutchence' name has also been linked to other celebrities such as singer Belinda Carlisle, Danish model Helena Christensen and actress and Australian TV presenter Kym Wilson. 13. In August 1992 while walking with Helena Christensen on the streets of Copenhagen, Hutchence was attacked by a taxi driver after he refused to move his vehicle. 14. As a result of the attack, Hutchence was left with a skull fracture and an almost complete loss of sense of taste and smell. 15. The attack plunged Hutchence into a deep depression that also made him aggressive. The band members testified that at that time he also attacked them. 16. In the mid-90s, Hutchence began a romantic relationship with TV presenter Paula Yates, who left her husband Bob Geldof in his favor. A daughter named Tiger was born in 1996. 17. Shortly before his death, Paula was supposed to visit Hutchence along with her four children (three of them from the marriage to Geldof), but Geldof prevented this following custody battles over them. 18. Hutchence was found lifeless in the hotel where he was staying in Sydney on November 22, 1997. Paula and Geldof were the last to talk to him, he was broken by the fact that he could not see his daughter Tiger and hang himself. 19. The cause of death was determined to be suicide, although his partner Paula Yates later claimed it was suffocation as a result of sexual intercourse. 20. Hutchence' funeral was held on November 27 with the coffin being carried by the rest of his INXS bandmates and his younger brother. 21. The song played during the funeral was the band's big hit "Never Tear Us Apart". 22. Hutchence has released ten albums that have sold over 60 million copies with "INXS". 23. After his death, his friends from "INXS" participated in the reality show "Rock Star: INXS", in which they chose a singer to replace him in the band. 24. The band released two more albums with Hutchence, along with the replacement singer, but failed to replicate the success they had while Hutchence was a member of the band. 25. A documentary about Michael was released In 2019. It told his story through stills picures and videos. The movie is called "Now Mystify: Michael Hutchence". "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

"The Beatles" album, also known as "The White Album", was released on November 22, 1968. There are so many interesting facts about this album, so this time we had to make an effort to make it short. So here are 53 facts about "The White Album": 1. This is the band's ninth studio album and it's only double album. 2. The album cover is plain white with no graphics or text other than the band name, as a contrast to the colors and the visual clutter on the cover of the previous album " Sgt. Pepper's Lonely Hearts Club Band ". 3. Although not included on the album, the songs " Hey Jude " and " Revolution " (a different version of which exists on the album) were recorded in the same sessions and were released as successful singles. 4. Most of the songs on the album were written by the band members during their stay in Rishikesh India with the Maharishi Mahesh Yogi. 5. The atmosphere in the studio at the time of the recordings was not good. (Photo: thewhitealbumproject.com) 6. Drummer Ringo Starr left the band for two weeks during the recordings, he felt unappreciated by his friends, got on the yacht of actor Peter Sellers, and sailed to Sardinia. 7. In his absence Paul McCartney was forced to play drums on the songs " Back in the U.S.S.R " and " Dear Prudence ". 8. Eventually the band sent him a telegram in which they stated that he is the best rock and roll drummer in the world. That was enough for him to return. When he returned to the studio he was greeted with the inscription "Welcome Back, Ringo" written with flowers on his drum set. 9. The one who gave Paul McCartney the idea for the opening song " Back in the U.S.S.R ", is none other than Mike Love from "The Beach Boys". He spent time in India while Paul McCartney was there and heard him play what would become the song during breakfast. Love told McCartney that he needed to write something about girls from the Soviet Union. 10. The song was written by Paul McCartney as a parody of Chuck Berry's song "Back in the U.S.A.". 11. The jet plane effect in the song differs between the mono version and the stereo version of the album. 12. The phrase "Georgia on My Mind" in the song, refers to Georgia which was once part of the Soviet Union. 13. The song " Glass Onion " includes titles from five other Beatles songs. "I Am the Walrus", "The Fool on the Hill", "Fixing a Hole", "Strawberry Fields Forever" and "Lady Madonna". John Lennon wrote the song as a mockery of the band's fans who were looking for hidden messages in the band's songs. 14. It was the first song recorded with all four friends in the studio, after Ringo's return. 15. In the song John Lennon points out that the Walrus is Paul. John later noted that this was a joke. 16. " Dear Prudence " was written about Prudence Farrow - the sister of film actress Mia Farrow. She stayed with the Maharishi Yogi in India in 1968 and locked herself in a room for weeks, as part of what Lennon described as an attempt to find God faster than anyone else. The song is Lennon's attempt to persuade her to get out of her room. 17. " Ob-La-Di, Ob-La-Da " means life goes on in the language of the Yoruba tribe from Nigeria. 18. Paul heard Nigerian conga player Jimmy Scott-Emuakpor use the words and got the idea for the song. The Conga player later sued "the Beatles" for royalties but lost. 19. " The Continuing Story of Bungalow Bill " was written by John Lennon , about a rich and spoiled student he met in Rishikesh. His name was Richard Cooke III and he went hunting for tigers during his stay in the ashram. He killed a tiger and later regretted it and said he would never kill another animal. The instrument that sounds like a flamenco guitar at the beginning of the song, is actually a Mellotron. 20. " While My Guitar Gently Weeps " was written and sung by George Harrison . Lennon and McCartney did not want the song on the album, but Harrison brought his friend Eric Clapton to the studio and when he arrived they changed their minds. Eric Clapton did not get credit for his playing because of contractual matters with the record company. (Photo: The Beatles in 1970 On Twitter) 21. Although Clapton is known as a man of Fender Stratocaster, in this song he plays a Gibson Les Paul. 22. "Happiness is a Warm Gun" was written by John Lennon after he saw a headline in a firearms magazine called "American Rifleman". Lennon thought this sentence was just delusional, since the rifle is hot only after you shot someone. 23. The character Martha in the song " Martha My Dear " is Paul McCartney 's dog, but the words are unrelated to the dog. Paul plays here with session players, without any other Beatles members. 24. " I'm So Tired " was written by John Lennon in India, after sleepless nights due to his longing for Yoko Ono. 25. This song was part of the conspiracy theory about the death of Paul McCartney , some fans claimed that if you play it back you hear the sentence: "Paul is dead man, miss him, miss him, miss him". 26. There are some versions of " Blackbird ". One of them is that it was written by Paul McCartney in India after hearing the "Blackbirds". Another version is that it's about human rights organizations in the United States, and that it was especially inspired by the "Little Rock Nine" incident, when a group of nine black students faced discrimination and segregation. 27. " Piggies " was written by George Harrison with the help of his mother and John Lennon , as a humorous bite on the word "pig" that was once attributed to greedy cops and politicians. 28. " Rocky Raccoon " was Paul McCartney 's attempt to write a cowboy song. The song was written in an ashram in India and is the result of a jam session between him and John and Donovan who did not receive credit for it. 29. " Don't Pass Me By " took Ringo Starr 5 years to write. This is the first song he wrote for the band - melody, and lyrics. 30. The line "I'm sorry I doubted you, I was so unfair, you were in a car crash and you lost your hair" from it, was one of the facts that fueled the conspiracy theory about Paul McCartney 's death and his replacement. 31. " Why Don't We Do It In The Road? " was written by Paul McCartney after seeing two monkeys having sex in India. Paul and Ringo are the only ones playing the song. 32. The bass notes heard in the song " I Will " are not played by Paul McCartney 's bass guitar. They are sounds he made by voice. 33. " Julia " was written about John Lennon 's mother. The words "ocean child" in the song refer to Yoko Ono whose name translated from Japanese is "child of the ocean". (Photo: Beatles Archive On Twitter) 34. Donovan was the one who taught John Lennon the guitar strumming style in this song. 35. You can hear an almost identical strumming style and melody in the song "Look at Me" from Lennon's 1971 album "John Lennon / Plastic Ono Band". 36. " Birthday " you can hear Yoko and Pattie ( George Harrison 's wife) singing background vocals. 37. The song was written as a collaboration between Paul and John after watching the movie "The Girl Can't Help It". They tried to sound like Little Richard starring in the movie soundtrack. 38. " Yer Blues " was written by John Lennon and inspired by the blues-rock bands "Fleetwood Mac" and "Cream". 39. The only Beatles member to play " Mother Nature's Son " is Paul McCartney , who also wrote it. Producer George Martin is responsible for the addition of the brass instruments in the background. 40. " Everybody's Got Something to Hide Except Me and My Monkey ", was born from a jam session with the four friends. The version that appears on the record is more accelerated than the original. 41. " Sexy Sadie " was written by John Lennon following his disappointment with the Maharishi, after hearing that he had harassed actress Mia Farrow. 42. " Helter Skelter " was written by Paul McCartney because he wanted a more powerful song than "I Can See For Miles" by "The Who". The song is considered one of the band's heaviest and one that influenced the development of Hard Rock. 43. Sadly the song served as an inspiration to the cult members of Charles Manson to commit their murders. 44. The chord passages in the song " Long, Long, Long " were borrowed by George Harrison from the song "Sad Eyed Lady of the Lowlands" by Bob Dylan. 45. The one who plays the Hammond organ in the song is Paul McCartney . 46. ​​" Revolution 1 " is the first of 3 Beatles' "Revolution" songs. This specific version is a blues one. There is another version that came out as a b-side to the song "Hey Jude" and it is in the hard rock/rock and roll style. The third song that also appears on the white album is called "Revolution 9" and is a psychedelic-avant-garde track. 47. " Wild Honey Pie " is one of the band's short songs. It stands at only 0:53 seconds. Paul McCartney plays and sings everything we hear in this song. Among other things, he plays the harpsichord. 48. " Savoy Truffle " was written by George Harrison about Eric Clapton 's over-fondness for chocolate. The title of the song and some of the lyrics come from a chocolate bar of "Mackintosh's Good News". 49. " Revolution 9 " uses the orchestral sections from the song "A Day In A Life". 50. " Good Night " was written by John Lennon for his son Julian. Ringo Starr is the only band member featured in the song, along with an orchestra conducted by George Martin. 51. During the recordings of the album, "The Beatles" members created additional songs that would be used later in their solo careers. For example, the song " Junk " by Paul McCartney which will be released on his first solo album, and the song " Look at Me " appeared on John Lennon 's first solo album and whose melody is almost identical to the song "Julia" and the song " Not Guilty " written by Harrison that will appear later in his solo career. 52. During the recordings of the album John Lennon wrote the songs " Mean Mr. Mustard " and " Polythene Pam " which will appear a year later as part of the medley on the second side of the album Abbey Road . 53. Producer George Martin thought it would be worthwhile to reduce the number of songs to fit only one album that would include the best songs written in those sessions, but the Beatles members thought otherwise. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On November 22, 2004 “U2” released their eleventh album “How to Dismantle an Atomic Bomb”. By the time this album was released, “U2” had already lived several musical lives, yet they entered these sessions with a hunger that felt closer to a new band than a legacy act. After reviving their classic pulse on “All That You Can’t Leave Behind”, they wanted a hard-hitting record built on instinct—loud guitars, emotional precision and the feeling of four musicians locking into place. Early sessions in 2003 with producer Chris Thomas produced ideas but not urgency; it was Steve Lillywhite’s return in early 2004 that transformed the material, sharpening the songs into a direct, rock-driven statement. With Bono  processing the loss of his father and The Edge  navigating themes of faith and personal change, the album gained a distinctly human weight beneath its power. Recording stretched across Dublin, France and California, with Brian Eno, Daniel Lanois, Flood and Jacknife Lee helping shape mood and texture. Yet at its core this album wasn’t about production—it was about rediscovery. The musicianship is crisp, the emotions unfiltered, and the sound more grounded than any "U2" record in years. Bono described the album as "our first rock album" and indeed, the album detonates with “Vertigo” , a burst of jagged guitar and frantic momentum that reintroduced the band with adrenaline and defiance. "Miracle Drug"  shifts the tone toward something more spiritual. Inspired by the paralyzed Irish writer Christopher Nolan, the band knew in school, who overcame severe physical disability to communicate through technology. The emotional center comes with “Sometimes You Can’t Make It on Your Own” , Bono ’s intimate, unresolved farewell to his father, a performance filled with vulnerability and the weight of unspoken words. “City of Blinding Lights”  follows a different path—uplifting, shimmering and wide-eyed, a song that captures the rush of rediscovery and captures the feeling of stepping into a city and feeling overwhelmed by hope. No wonder it became one of the band’s most enduring 2000s anthems. “All Because of You”  rides on a raw, energetic guitar riff, but beneath the surface Bono draws on themes of rebirth and identity. It’s simple and bright, grounded in the band’s classic ’80s DNA. “A Man and a Woman”  began with an acoustic, chopped-up idea from The Edge , later transformed into a warm, intimate groove reflecting on mature love. Bono cited "Thin Lizzy" member Phil Lynott as the influence for the style in which he sings the song. “One Step Closer”  takes its title from a conversation Bono had with Noel Gallagher while his father was dying—when Bono asked whether his father understood what was happening, Gallagher replied, “He’s one step closer to knowing.” The song carries that suspended emotion. “Original of the Species” —partly inspired by watching Bono ’s daughters grow—became visually tied to the iPod era when Apple used a live performance in one of its campaigns. Everything narrows into clarity on “Yahweh” , the album’s closing reflection. Named after the Hebrew God’s name, it is a quiet, humble plea for transformation rather than a grand finale. Bono sings not from authority but from longing, asking for renewal and guidance. The bonus track “Fast Cars”  (included in select editions) was recorded on the last day in the studio. Bono later commented about it: "It was really just for fun, but it came out so well.." The album’s impact was immediate: it debuted at No. 1 in more than 30 countries, selling over 800,000 copies in the United States during its first week and eventually 9 million worldwide. Critics praised its emotional clarity and guitar-driven strength, and the album went on to win eight Grammy Awards, including Album of the Year. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

The album "Vitalogy" which is "Pearl Jam's" third album was released on November 22, 1994. This is the album where we went in separate ways (because we decided to go with Dave Abbruzzese) so here are some interesting facts about it... 1. This is the last album recorded with drummer Dave Abbruzzese, who joined immediately after the release of the album "Ten" and was a partner in the creation and recordings of "Vs" . Although he was not one of the creators of "Ten" he definitely matched this album perfectly and continued to give the band the vibe it had on the album. 2. This album is considered by many, to be the band's most "experimental" album to date. 3. It was the second fastest-selling album in the history of the band when in the first place was "Vs". 4. Most of the album was written and created during the sound checks of the "Vs" album tour. The recordings were made in the breaks between performances. 5. During the recordings of the album, there was a legal and public battle between the band and the production company Ticketmaster following the ticket prices for its performances. It was also the catalyst for Dave's dismissal. 6. During the recordings, the relationship between the band members was at a very low point. Lack of cooperation, the deteriorating relationship between Dave and Jeff Ament and Eddie Vedder (which were very tough anyway), and the fact that the mediator and peacekeeper, Stone Gossard stopped doing his job because he was broken by Eddie dictating the musical and creative direction (he even plays guitar on the album). Politics was very difficult and power struggles took place in the background. (Photo: Tony Mottram) 7. Add to all this the absence of Mike McCready from the recordings since he had to go into an alcohol and drug rehab facility. 8. The one who paid the price for the state of the relationship was drummer Dave. Just before the end of the album recordings, the band members decided to fire Dave for a reason of incompatibility. In various interviews, the band members said that the dismissals came as a result of Eddie's disgust with the character and behavior of Dave, who loved the glorious life and sought to increase the band's success (he opposed the fight with Ticketmaster). 9. Our personal opinion is that Dave was the most suitable drummer for "Pearl Jam" after Dave Krusen who recorded "Ten". After he left the band did not sound anymore like it did on the first two albums and with all the respect and immense appreciation we have for Matt Cameron he is less suited to the style. But who are we to judge, the band decided to go another way. 10. The first and founding drummer of the "Red Hot Chili Peppers", Jack Irons, was brought in to replace Dave on the very last song of the album "Hey Foxymophandlemama, That's Me". 11. There's another song where Dave is not playing the drums but the band's drum technician Jimmy Shoaf replaced him in the song "Satan's Bed", following a tonsillectomy that Dave had to undergo at the time. 12. Some of the reviews praised the unstoppable style, roughness, eclecticism, and daring of this album. No unnecessary production or emphasis on accessible hits and melodies. But some see it as a band with no direction or statement but a collection of songs or caprices, which have not been worked out to the end for something to hear. 13. Reporter Al Weisel from Rolling Stone wrote about the album "A wildly uneven and difficult record, sometimes maddening, sometimes ridiculous, often powerful" 14. Most of the album talks about the famous dissonance that Eddie has with the music industry and the fame, the pressure created following the success, and the lack of privacy as a result of the fame. In songs like: 15. “Not for You” which expresses anger at the bureaucracy of the music industry that takes talented young people and sells their souls for final exploitation. 16. The song "Pry, To" ..... "Privacy" ...... "Priceless" .... 17. The song "Corduroy" which talks about one person's relationship with millions of people... 18. The song "Bugs", the insects that are everywhere in Eddie's head, you decide to whom he refers to... 19. In the song "Immortality" he describes the right to be famous as: "As privileged as a whore" 20. And we do not want to talk about the creepy and disturbing song "Stupidmop" that closes the album. 21. The vinyl version of the album held the top spot for the highest sales in the first week until 2014 when Jack White's "Lazaretto" album stole the lead. 22. This album earned the band its first Grammy Award in 1996 for Best Hard Rock Performance thanks to the song "Spin the Black Circle". 23. The song "Better Man" is the most successful song from the album that conquered the rock charts. 24. We talked about Ticketmaster... So during the tour to promote the album, the band boycotted the company and refused to perform at the company's events/halls. The band members were surprised that no other band joined them in the boycott... (wasn't it a shame to lose Dave because of that?) 25. The name of the album means "Exploration of Life". The initial name of the album was "Life" while on the back of the first single "Spin the Black Circle" which came out of the album was written, "From the Epic album Life". 26. The album cover is based on a book of the same name that Eddie purchased at a yard sale that contains outdated discussions about health and well-being. If you want to listen to an eclectic, difficult, and "dark" album on: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Singer David Coverdale is celebrating his birthday today!!! (Photo: David Coverdale On Twitter) Coverdale began his musical career in 1969 with the band "The Government", but his big opportunity came when he saw an ad in the "Melody Maker", that "Deep Purple" was looking for a singer. He sent a tape to the band and was immediately summoned to an audition after which he was informed that he had been accepted into the band. David Coverdale replaced Ian Gillan in the MKIII lineup of "Deep Purple" and later in the MKIV lineup, between 1973 to 1976 and released 3 studio albums, among them the masterpiece "Burn". In 1977, after the breakup of "Deep Purple", David Coverdale burst into his solo career when he teamed up with guitarist Micky Moody and released the album "White Snake". Later the name of this album will become the name of the band "Whitesnake", which will be lead by Coverdale with a high hand for more than four decades, to this day. As part of "Whitesnake", Coverdale managed to magnetize two of his former friends from "Deep Purple". Initially, keyboardist Jon Lord will release the album " Lovehunter " with him, and later drummer Ian Paice , who has participated in the albums " Ready An' Willing " and " Come an' Get It ". Coverdale will continue to recruit the best musicians for his band, such as drummer Cozy Powell who participated in the album " Slide It In ". In 1987, Coverdale replaced all the band members and fundamentally change the band's musical style, on their most successful album, " Whitesnake (1987) ". After Ronnie James Dio left "Black Sabbath" in 1982, the band offered Coverdale to join in, but he declined. In 1993, Coverdale will surprise the music world when he joins guitarist Jimmy Page . The two will release the album " Coverdale/Page ". During his extensive career, David Coverdale has released no less than 20 studio albums. Three with "Deep Purple", the same number of solo albums, one album in which he collaborated with Jimmy Page and 13 studio albums with his band "Whitesnake". Coverdale also starred in the song "Behind the Smile" from the album "The Butterfly Ball and the Grasshopper's Feast" which Roger Glover released in 1974. He has also collaborated and been featured on albums by other artists, including Jon Lord , Bernie Marsden , Eddie Hardin and more. Two more small trivia details: 1. Coverdale contributed his voice to the soundtrack of the movie "Days of Thunder" with Tom Cruise, in a song he recorded especially for the movie called "The Last Note of Freedom." 2. He recites the words "Walking the fine line between Pagan and Christian" At the end of the immortal instrumental piece "For the Love of God" by guitarist Steve Vai . On November 2025 Coverdale announced his retirement with a video message he released. And now let's listen to a playlist of his songs that we compiled especially for you: H ere . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

A Sneak Peek... On November 20, 2001, "Creed"'s third album "Weathered" was released. This album is the band's final chord, even though eight years later their last album "Full Circle" was released and the band officially disbanded in 2004. This marks the initial album without bassist Brian Marshall , with Mark Tremonti assuming all bass responsibilities in the recordings. Right from the outset, it's evident that the band, likened to a "Sawmill from Texas," opted for a heightened intensity, wielding a double-chain saw instead of the usual. Concurrently, Scott Stapp 's vocals seem to delve into lower octaves. Apart from standout tracks like "Bullets," showcasing Tremonti's peak performance and standing out as one of the band's most forceful songs, "One Last Breath," and the emotionally charged "My Sacrifice," the album lacks many standout or dazzling songs. Despite this, the album swiftly claimed the top spot on the Billboard 200 and achieved nearly a million copies in its inaugural week of release. All the tracks were penned by Scott, while Tremonti handled the musical composition. Let's delve into the symbolism behind the album's title and cover. The album's title, meaning erosion by weather, suggests a process of gradual wearing down over time, whether it be bone, a person, or anything else susceptible to environmental forces. This choice could reflect the state the band found itself in during the album's release — a period where internal strains and challenges were causing fractures, hinting at an impending end. However, the album cover introduces a compelling contrast. It features the faces of the band members engraved on a tree, a symbol of strength and endurance that appears impervious to weathering. This visual paradox prompts reflection. Despite the title's connotation of erosion and decay, the image on the cover seems to defy this concept. The robust and enduring tree, with the band members' faces etched upon it, might signify resilience and the ability to weather challenges, suggesting a potential for lasting survival even in the face of internal turbulence. In essence, the juxtaposition between the album's title and its cover creates a thought-provoking narrative, inviting listeners to contemplate the band's resilience and enduring spirit amid the perceived erosion within. Now put on a helmet and press play, the first song is just a ballistic missile !! Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website