A Sneak Peek... And this time, about one of the amazing events associated with the American Billboard charts. On June 11, 2011 "Pink Floyd's" album "The Dark Side Of The Moon" entered the US Billboard charts. The year 2011 you ask? Yes, this is amazing in itself, since as you know this album was released almost 40 years earlier in 1973. It's not that this album has not previously entered the prestigious Billboard charts, it has happened several times over the years since its release, but this time the entry into the charts pointed a historical and hysterical figure. The re-entry into Billboard in 2011 caused this album to cross a 1,000-week mark in which this album was on the charts in total. True, these are not 1,000 consecutive weeks but think about this crazy figure. 1,000 weeks is almost 20 years!! It's so amazing we'll write this again. This amazing album has been on American Billboard for twenty years !!! Ahhh ... and do not refer to the text in the picture is not up to date 😃😅😃 "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 10, 1983, "Pantera" released their debut studio album, "Metal Magic". To understand "Metal Magic", you have to wind the clock back to the early 1980s, when "Pantera" was a hungry, local Texas band just beginning to cut its teeth. Long before they redefined metal with groove-heavy riffs and raw aggression, the band—then known as "Pantera Metal Magic"—was a group of teenagers obsessed with the glam and heavy metal icons of the time: "Van Halen", "Judas Priest", and "KISS". At the heart of it all were two brothers: drummer Vinnie Paul and guitar prodigy Dimebag Darrell (credited then as Diamond Darrell), forming the nucleus of a band that would later become metal legends. The recording of "Metal Magic" was a true DIY affair. The album was produced by Jerry Abbott—father of Vinnie and Dime—under the pseudonym The Eld’n, in the family’s Pantego Sound Studio in Texas. It was released on their own label, "Metal Magic Records". The band’s lineup at the time included vocalist Terry Glaze, bassist Rex Rocker (later known as Rex Brown) and showcased a glam metal sound deeply rooted in the popular aesthetics of early ’80s metal, complete with flashy guitar solos and arena-ready anthems. "Ride My Rocket" opens the album with youthful, exuberant energy—equal parts "KISS" and "Motley Crüe". It’s raw, a little reckless, and drenched in cheesy rock ‘n’ roll attitude. There's no denying the catchy hook, even if the lyrics feel straight from a teenage fantasy. "I’ll Be Alright" attempts a shift into mid-tempo territory with a more melodic chorus. Glaze’s vocals are clean and high, almost sugary, contrasting with Dimebag’s early but already technically solid fretwork. "Tell Me If You Want It" offers up a sleazy groove and leans into "Van Halen"-esque swagger, especially in the guitar fills and solos. It's not subtle, but it’s confident. "Latest Lover" and "Biggest Part of Me" continue the glam-rock parade with polished riffs, romantic clichés, and an unapologetic embrace of glam’s over-the-top ethos. Glaze struts vocally, while Dimebag hints at the guitar wizardry he’d later fully unleash. The title track, "Metal Magic", is a tongue-in-cheek anthem—equal parts juvenile and anthemic. It’s the kind of track that screams for a smoke machine and leather pants, not mosh pits. Still, it’s infectious in its self-celebration. "Widowmaker" and "Nothin’ On (But the Radio)" are pure hair metal indulgence, laced with cowbell, harmonized leads, and cocky flair. There’s charm in the earnestness—even when the lyrics and themes are embarrassingly dated. "Sad Lover" takes us back to the classic heavy metal territory and "Rock Out!" is very dynamic and different in the landscape of the album, sometimes calm and sometimes upping the tempo to the border of speed metal. While "Metal Magic" didn't chart or make waves commercially, it serves as an essential artifact—a rare glimpse into the awkward adolescence of a band that would later become one of the heaviest and most influential forces in metal. At the time, it sold modestly through grassroots efforts and word of mouth, mostly in Texas. But in hindsight, it’s a fascinating prelude to greatness. No, it’s not the "Pantera" we celebrate from "Cowboys from Hell" onward—but it is the foundation from which Dimebag, Vinnie, and Rex would eventually rise. For Listening: YouTube "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 10, 2013, "Black Sabbath" stunned the metal world with "13", their first studio album with Ozzy Osbourne in 35 years !!! We must admit, when we heard in 2011 that the original band members were joining Ozzy Osbourne and working on a new album, our fear increased and our level of anxiety climbed up. We thought that this time the whole was going to be smaller than its parts and that it was going to be a weak and embarrassing album. The rumors about Tony Iommi's health condition and the publications about friction with drummer Bill Ward only reinforced the negative feelings. The intense love for Ozzy Osbourne and the band caused us anxiety and stress, mixed with a great hope that these veteran dinosaurs would not mess things up and that their old age would not embarrass their youth. We were later informed that the frictions with Bill Ward do not allow him to be part of the emerging album, and that the one who is going to take his place is none other than Brad Wilk of "Rage Against the Machine". On one hand, we were disappointed. We still hoped for a full reunion of the entire original quartet. But on the other hand, we shivered just at the thought of the combination of the legendary Geezer Butler and Brad Wilk on the rhythm section. Then we got the album and as soon as the needle touches the first groove of the vinyl record, one could hear the sigh of relief as far as Birmingham England. Fortunately, many of our concerns were dispelled! After Ozzy is faced with the question "Is this the and of the beginning" or is "This the beginning of the end", the opening song "End of the Beginning" assures us that there is no reason to be worried since it is only the "End of the Beginning". The ultimate opening to an album that may become the latest album from a huge band, that wanted to make it big one more last time. The music and atmosphere in the song undoubtedly correspond with the opening song of their first album, which also bears the band's name. Tony Iommi's rough and heavy riff divides your heart in two, and somehow even though 43 years have passed since then it still sounds relevant, innovative, and fresh as if it's being played here and now for the first time. This "borrowing" of the band from itself will return later in the album. "The Loner" Riff sounds like it was borrowed from "N.I.B." The immortal, guitar and vocals in "Zeitgeist" are reminiscent of "Planet Caravan" and the blues combined with a harmonica in the song "Damaged Soul" brings "Black Sabbath" back to its roots. But who cares if "Sabbath" "steals" a little from themselves? The band managed to recreate the gloomy and dark atmosphere from their debut album, but with the liveliness and enthusiasm of a young band, and it's amazing and it's good! The opening of "God Is Dead?" Reminds us right away why we love this band so much. Tony Iommi's heavy, slow and broken fingering strum immediately shakes your whole body. Each string in turn touches a different vertebra in your spine, from the neck down, and then comes the entrance that shakes you, beats you, just like Geezer Butler beats his wild bass, and you are addicted!, addicted to the rough sound, addicted to the slow rhythm, addicted to the atmosphere The darkness and you just want more and more of it. Very symbolically the album that begins with "End Of The Beginning" and the announcement that we are actually only at "the end of the beginning", ends with the sounds of rain falling to the ground and the bells ringing, just as the band's debut album "Black Sabbath" started 43 years earlier, on Friday the 13th of February 1970. If this album turns out to be the band's last album, it's undoubtedly a crazy turning point and a tremendous end to a glorious career of a legendary band, which will surely be recorded in the pages of history as one responsible for the birth of the metal genre. We of course cling to the notion that "it is not over until it is over" and look forward to the number "14". For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek... On June 10, two members of the Pixies + sister band were born... the sisters were born in 1961, and Joey was born in 1965 (Photo: Pixies) The first is Kim Deal, an American singer, and songwriter She grew up on bands like the "Sex Pistols", Elvis Costello, Undertones, and more... In January 1986 she was the only one who responded to an ad in the Boston Phoenix newspaper looking for a bassist. Kim was a guitarist unlike her sister who was a bassist but she took her sister's guitar and went to auditions. Needless to say, she got the job and then the "Pixies" band was formed. She was a member of the band until 2014 and was involved in four of the band's albums in which she adopted the stage name "Mrs. John Murphy". After the Pixies went on hiatus she formed "The Breeders", which after the release of their debut album were joined by her twin sister Kelly. "The Breeders" released five albums and were a resounding success. The second is Joey Santiago, an American guitarist, and composer Santiago is best known as the lead guitarist of the American alternative rock band "The Pixies" since 1986. After they took a break in 1993, Santiago produced soundtracks for film and television documentaries and he also co-founded "The Martinis" with his ex-wife Linda Mallari. He also contributed to the albums of Charles Douglas and former "Pixies" band member Frank Black (Black Francis). Santiago renewed his role as lead guitarist for the Pixies when they reunited in 2004. The third is Kelley Deal, an American musician, and singer, Kim's twin sister !! She was the lead guitarist and lead singer of the alternative rock band "The Breeders" with her sister Kim since 1992, and has set up her own side projects with bands such as "R. Ring" and the "Kelly Deal 6000". "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 10, 2022, German thrash metal giant "Kreator" returned with its 15th studio album "Hate Über Alles". This is the band's first studio album since "Gods of Violence"ת released in 2017, the longest gap between two studio albums in all of their career, and the first featuring bassist Frédéric Leclercq known among others from "DragonForce", who in 2019 replaced veteran Christian Giesler who accompanied the band for over two decades throughout their last eight albums. This album is a direct sequel to what we got on the "Gods of Violence" album, only it seems even more aggressive. After a brief introduction called "Sergio Corbucci Is Dead" which sounds like it was taken from an old Western soundtrack, we are embarking on a brutal attack of classic thrash metal, which very few bands seem to continue to produce today. The theme song "Hate Über Alles" is the classic example of this, with Mille Petrozza's creepy scream at the opening, which brought us back to the small living room in Ramat Gan forty years ago screaming our lungs out: "Slayerrrrrrrrrrrrrrrrrrr". The title of the song in free translation is "Hate Above All" and this is of course Kreator's protest against the hatred that is spreading in the world and their homeland, Germany. It seems that the line from the song says it all: "Hate is the virus of this world", since "Kreator" is a band that is not afraid to speak out on various issues like they did in "Second Awakening" which comes out strongly against anti-Semitism, "Side By Side" which deals with LGBT rights, "Suicide Terrorist" on suicide terrorism, "People Of The Lie" in opposition and protest against fascism In Germany and more. This brutal thrash attack continues throughout the album with songs like: "Killer Of Jesus", "Demonic Future", "Pride Comes Before The Fall", "Strongest Of The Strong", "Dying Planet" and more, with a small twist with "Midnight Sun", which presents the melodic and soothing singing of the German indie-pop artist Sofia Portanet. One of the best moments in this album is the song "Become Immortal", which is a kind of tribute to metal and a salute to 40 years of "Kreator", as can be seen in the video clip: And it is impossible to end this review without the Israeli connection. The stunning cover of the album was designed by Israeli artist Eliran Kantor, who has been living in Germany for the past few years. The band came to Israel right after the album release, on 15.8.22, and this was their sixth visit to Israel since it first landed here on the "Roxanne" stage in 1992, when they also shot a clip for the song "Renewal" in the Judean Desert. Song List: 01. Sergio Corbucci Is Dead 02. Hate Über Alles 03. Killer Of Jesus 04. Crush The Tyrants 05. Strongest Of The Strong 06. Become Immortal 07. Conquer And Destroy 08. Midnight Sun 09. Demonic Future 10. Pride Comes Before The Fall 11. Dying Planet For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 10, 1982, "Rainbow" released their sixth album, "Straight Between The Eyes". The name of the album came from a sentence Jeff Beck told Ritchie Blackmore to describe Jimi Hendrix's playing. Indeed, the album cover features the neck of the "Fender Stratocaster" guitar (Jimi and Ritchie's favorite guitar) emerging from the eyes of a cartoon character. This is the band's second album in lead singer Joe Lynn Turner's era, a period that was characterized by softening the band's sound, aiming into the mainstream, high charts, and sweet ballads. The lineup on this album is exactly the same as on the previous album "Difficult to Cure" released in 1981, minus keyboardist David Rosenthal who replaced his predecessor Don Airey. Roger Glover, Ritchie Blackmore's friend from "Deep Purple" and "Rainbow's" bass player from 1979, produced the album. The album opens with the song "Death Alley Driver" and from the very first note of the guitar emerging between the drum beats, you can see that this is actually a skinny version of "Highway Star". The sound of the roaring motorcycle engine at the beginning of the song, the riff with the monotonous rhythm, and especially the guitar solo show that this is indeed an attempt to recreate the magical moments of the original song from the mother band, "Deep Purple". The first ballad meets us already in the second song "Stone Cold", which was also the first single the band released from the album. There is no doubt that Joe Lynn Turner's voice range is tailored to ballads of this kind and it sounds excellent here. There is nothing to add to Ritchie Blackmore's professional playing, and Rosenthal's keyboards only add to the "classics" of the song. But the strength of this song lies precisely on the shoulders of Roger Glover's and drummer Bobby Rondinelli rhythm section. By the way, Roger Glover, who produced the album, recognized Rodinelli's dominant drumming style and made sure to bring the drum channels forward in the mix and production, even in ballads like "Stone Cold" and "Tearin' Out My Heart". Rodinelli's solid and aggressive drumming style drives the songs and sweeps the rest of the band members after him. And there’s also the “quiet power” in the form of the amazing keyboardist David Rosenthal, who although has just entered the band contributed so much to the overall sound of the album, especially as heard in the amazing song “Eyes of Fire” with oriental touches reminiscent of the old Ronnie James Dio days. Rosenthal also got to participate in writing one of the most beautiful songs on the album "MISS Mistreated" and Ritchie Blackmore even praised him with a really short intro that opened it. This album is certainly not one of "Rainbow's" creative highlights, but at the same time, it is probably the best album of the Joe Lynn Turner era. What still saves this album is Ritchie Blackmore's uncompromising playing, which stands out not only in his virtuoso and melodic solos, but especially in the classic riffs that hold songs like "Power" and "Rock Fever". This time we chose to attach a link to a complete performance of the band that took place in San Antonio during the tour to promote the album in 1982. The performance includes songs from "Rainbow" albums alongside classics by "Deep Purple". Ritchie Blackmore is seen and heard here at his peak: For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Yes, this is Matt Bellamy - guitarist, keyboardist, singer, creator and leader of the band Muse So let us tell you a little bit about the singer with the amazing range of voices, the virtuoso player and the main writer of Muse: (Photo: Gigwise.com) 1. He was born on 9 June 1978 in Cambridge London as Matthew James Bellamy. 2. His father George Bellamy was a rhythm guitarist in "The Tornados", a pop-rock band from the Sixties. 3. Bellamy started playing the piano at the age of six. 4. The first piece he learned to play on the piano was the opening soundtrack of the Dallas series. 5. At the age of 11 he had already switched to playing the guitar. 6. His first appearance was when he was 12, he played the piano in a school performance. 7. Already in school he was a partner in several bands and there he also met the drummer Dominic Howard. 8. The two later invited Chris Wolstenholme to join them as bassist. Chris was a drummer back then and he took bass guitar lessons to join the band. 9. In 1994 the three formed the band "Rocket Baby Dolls" and won a band competition at the school. 10. The band later changed its name to "Muse" after the three thought they needed a more mature name for the band. (Photo: Altpress.com) 11. Together with Muse he will release 8 studio albums during the band's 20 years of activity. 12. Bellamy have a tenor voice with a very wide range. He used to combine vibrato phrases with poetry, in which he was influenced by Jeff Buckley, whom he admired. 13. In 2020 he even purchased the Fender Telecaster guitar that Buckley used during the recording of the album "Grace". 14. In his guitar playing, Bellamy is influenced by, among others, Jimi Hendrix, Tom Morello and more. 15. Bellamy's compositions are usually composed and influenced by classical music composers. For example, you can hear influences from Sergei Rachmaninov in songs like "Space Dementia" and Butterflies and Hurricanes, "Camille" Saint-Saëns in songs like "I Belong to You (Mon Coeur S'ouvre À Ta Voix)" and Frédéric Chopin In songs like "United States of Eurasia". 16. When Bellamy records his singing roles he does not allow anyone to be in the studio, not even his bandmates. 17. Matt's guitars are designed and engineered by Devon's Hugh Manson and include triggers and built-in effects into the guitar. 18. He is a sheep lover and once owned 160 sheep. There were times he even brought him a sheep to an interview. 19. He is also a diving enthusiast and claims that he once almost died in a diving accident when the guide who was in love with his girlfriend filled him with only half a container of oxygen. 20. He wrote the song "Soaked" for Adam Lambert's first solo album from 2009. 21. That same year he wrote the music for the final segment of the film "The International". 22. He holds the Guinness record for the number of guitars he broke in one tour. These are 140 guitars. 23. As of 2017 he is part of a cover band called "Jaded Hearts Club" that plays "Beatles" songs. He plays a bass guitar there. 24. The first piece he wrote outside of Muse was "Pray" for the compilation album "For the Throne" which was influenced by the masterpiece series "Game of Thrones". 25. In September 2020 Matt released a cover version for the song "Bridge Over Troubled Water". The song is included among the ten EP songs called "Cryosleep", along with an original song "Pray" that starred in the cult series "Game Of Thrones" and his "Covid-19 Song" "Tomorrow's World". 26. So far Bellamy has released 9 studio albums with "Muse", the last of which called "Will Of the People" released on August 26, 2022. So go ahead and click play, raise your hands in the air in his honor and together with the snare drum enter the rhythm: one clap, two claps, one clap, three claps and so on. Believe us it is sweeping, fun and liberating... "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 9, 2003, "Radiohead" released their sixth studio album, "Hail to the Thief". At a time when fans and critics alike were wondering if "Radiohead" would return from their electronic rabbit hole, this album arrived not as a retreat but as a synthesis. It bridges the haunting digital isolation of “Kid A” and "Amnesiac" with the raw, guitar-driven force that defined “The Bends” and “OK Computer”. Written in the wake of the U.S. presidential election and the unfolding war on terror, Thom Yorke crafted lyrics steeped in the language of power—snippets of political speeches, media doublespeak, and Orwellian distortion—stitched together with the imagery of fairy tales and children's stories. The title itself, a biting pun on the U.S. presidential anthem “Hail to the Chief,” hints at deceit, corruption, and a stolen sense of security. The album kicks off with "2 + 2 = 5" and it's deceptive calm before erupting into urgency and alarm. It’s not just a song—it’s a warning. Yorke invokes Orwell to expose how easily truth is bent to the will of power. "Sit Down. Stand Up" followes with drum bits with electronic anxiety. "Sail to the Moon" drifts in like a bedtime prayer, written for Yorke’s son. But even its softness is haunted by resignation—a lullaby for a world already lost. "Backdrifts" takes us deeper into alien terrain: slippery, synthetic, and disconnected. "Go to Sleep" jolts us back to the analog realm. Jonny Greenwood’s guitar is angular and sharp, slicing through the arrangement with math-rock precision. "Where I End and You Begin" is primal and hypnotic. Driven by Colin Greenwood’s looping bassline beneath spectral textures as Yorke sings from a place between fear and transformation. With "We Suck Young Blood," "Radiohead" offers a slow, vampiric march that satirizes exploitation and greed that feels like a twisted bedtime story for a capitalist nightmare. "The Gloaming" slinks in like static on a darkened screen. Whispers, ghosts, and glitch form an atmosphere thick with threat. “You have not been paying attention,” Yorke warns. And he’s right. Then comes "There There"—a drum-heavy, guitar-layered climax. Tribal, spiritual, and poetic, it builds into catharsis. “Just ’cause you feel it doesn’t mean it’s there” is both lament and accusation, echoing in the dark. "I Will" is brief but harrowing. A hushed hymn to vengeance or mourning—possibly both—it lingers like a shadow after the flame. "A Punchup at a Wedding" is bitter, sarcastic, and full of quiet rage. "Myxomatosis" crashes in with fuzz and venom. It’s furious and unrelenting, blasting media manipulation and public complacency with distorted energy. "Scatterbrain" offers a moment of fragile beauty, drifting over a landscape of chaos. It feels like watching a storm from behind glass—safe, but never untouched. Finally, "A Wolf at the Door" closes the album with creeping dread and lyrical fury. Yorke swings between whisper and snarl, spinning a tale where fairy tales and political horror merge. The wolf isn’t coming. It’s already inside. "Hail to the Thief" may not be "Radiohead"'s most cohesive album, but it stands as one of their most fearless. It captures a band torn between worlds—analogue and digital, political and personal, structured and chaotic. Drawing from the icy abstraction of "Kid A" and the visceral punch of "The Bends," it weaves a complex, often confrontational soundscape. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Yuval Banay is celebrating his birthday today. Here are 20 interesting facts about him: Photo: PARGIT 1. He was born in Tel Aviv on June 9, 1962. 2. He is the eldest son of Ilana and Yossi Banay - actor, singer, comedian and writer. 3. He served in the Artillery Corps and took part in the First "Lebanon War". 4. The war affected him and his songs deeply, he wrote about it among other things the songs "The Cannon Rings Twice" from "Mashina"'s debut album, which talks about a friend's shell shock and "Can't Stop It", which recounts his experiences from the First Lebanon War. 5. He met Shlomi Bracha after the war when he instructed recruits in the "Shivta" military camp. 6. The two used to spend their vacations at the "Penguin" club, and under the influence of the bands that played there like "Minimal Compact" and "Jean Conflict" decided to form a band. 7. They wrote the entire first album of "Mashina" at the military base. 8. After their release from the Army, they formed "Mashina" in 1983 and began performing themselves at the "Penguin" club. 9. In 1984 he was cast in the film "Sun Blow" starring Anat Atzmon. He sang the theme song from the movie. 10. Later that year he was a part of the "Shlom Hatzibur" band, which also included his bandmate from Mashina - Iggy Dayan. 11. In 1985, the debut album of "Mashina" was released, since then he has released with the band 9 more studio albums, including masterpieces such as "The Association for the Study of Mortality", "Monsters of Glory", "Goodbye Youth Hello Love" and more. 12. In 1991 he produced the album of his then wife Orly Zilbershtz - "Miranda's Cabaret" and composed most of its songs. 13. In 1995 he musically produced the album "Journey with Myself" by the band "Eifo HaYeled?" and participated in the song arrangements. 14. In 1997 he released his first solo album "Yuval Banay". Bo composed all the songs on the album and wrote most of them. Since then, Yuval has released 4 more studio albums as part of his solo career. 15. In 1998 he participated in the musical project "Avoda Ivrit". He performed a cover version of Arik Einstein's song "I Love to Sleep", with the African Roots band. Photo: Last.fm 16. In 2012, he served with his friend Shlomi Bracha as a mentor in the TV program "The Voice". 17. In 2016, he was a guest on Shlomo Artzi's album "Whipped Cream". He sang with him the song "Forever Together." 18. In 2019, Banay staged the show "Yuval Shar Yossi" in which he performed the songs of his father, Yossi Banay. 19. In 2020 he participated in the movie "Mami". 20. He is the father of Elisha Banay - his eldest son known as a lead singer in the bands "Elisha Banay and the 40 Bandits" and "Got No Shame". "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek... And this time ... about the rock star trying to write a "trademark" on "Devil Horns" .... an act of fool or a marketing ploy? (Photo: Broadimage) Today in 2017 Gene Simmons of the Kiss filed a bizarre application to the U.S. Trademark and Patent Office. He sought to register the "Devil Horns" or "Metal Horns" mark as a trademark belonging to him. According to Simmons, he was the first to use the "devil's horns" symbol and this first happened on November 14, 1974. In these circumstances, Simmons claimed that it should be determined that it was a trademark belonging to him. Simmons' request was received with astonishment by various musicians and critics. First, Simmons' symbol included the use of three fingers instead of two (see photo) with the thumb also raised up along with the finger and little finger. This symbol is used in American sign language to say "I love you". Second, the use of this symbol was made by musicians and others long before Simmons claims to have first used it. For example, John Lennon used the symbol on the cover of the single "Yellow Submarine" and on the cover of the album "Yellow Submarine" which was released back in 1968 (see below). Third, the use of this mark was not made for commercial reasons but in an attempt to excite and thrill the audience and therefore it is doubtful whether it can at all be determined that it is a "trademark" as defined by law. Fourth, it is impossible to ignore the fact that Simmons' application was filed with a delay of over forty years during which many cultural figures made use of the symbol, so this should be interpreted as Simmons' waiver of the right. Fifth, the symbol of the devil's horns common among metalheads and rock fans uses only two fingers. The popularity of this icon is attributed to singer Ronnie James Dio who tried to capture the hearts of "Black Sabbath" fans after replacing singer Ozzy Osbourne. Dio needed his own hallmark to excite the audience. Anyone who has seen Sabbath's shows with Ozzy from the 1970s knows that Ozzy regularly used to use the V mark on his fingers. Ronnie needed his own mark but he could not look like his predecessor so he chose the mark his Italian grandmother used to use to get rid of the "evil eye" - the horn mark known today as "metal horns". The "metal horns" symbol soon became the hallmark of Dio. The symbol's popularity grew and it became a mark associated with metal and rock music. (Photo: Chiaki Nozu) In March 2021, Geezer Butler - bassist of "Black Sabbath" - added interesting details by saying that he used to use the symbol back in 1971. Geezer also provided a picture proving his words. He claims that although he used it before, Dio has adopted the mark and he will always be identified with it. Geezer noted that he used to signal to the audience before a quick piece of music in the song during live shows. Dio asked him what this mark he was doing, but nevertheless, Geezer praised Dio and said that since he was the one who adopted and became famous for it, he ask no credit no matter what. (Photo: Pinterest.com) And if we go back to Simmons for a moment, then it is possible that one or more of the reasons listed above led Gene Simmons to withdraw his application less than two weeks after it was filed. An act of fool or a marketing ploy? It is for you to judge ... "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 9, 2015, "Cauterize", Tremonti's second solo album, was released. If in the album "All I Was" review we told you how Mark Tremonti hatched from the egg to embark on his own independent path, but the "chick" that hatched from the egg turned out to be a "dinosaur", then this dinosaur grew and on this album became a formidable T-Rex that threatens the whole "Jurassic world" ". If you thought that on the debut album "All I Was" Tremonti released all his aggressions with materials that did not fit the musical line of "Alter Bridge" and "Creed", then in this album, he takes it one step further and unleash atomic energy that burns all things in its path. Tremonti simply unleashes all restraint here and fire his soul into the album. Make no mistake, anyone who listens to this album will hear the influences from the world of thrash metal on Mark Tremonti and especially of "Metallica" and "Testament", on which he grew up on. But not only that, we were able to notice also the influences of "Pantera" and even of "Gojira", the youngest in the bunch. Do not believe? Listen to Tremonti's guitar starting at 1:00 in the opening song "Radical Change". But that's not all. In this album, Tremonti begins to formulate his immortal formula, the private DNA of his own compositions. Tremonti's unique formula blends modern thrash metal with melody. If you listen to his songs, especially from this album on, you will surely be able to identify a number of salient elements that characterize most of them. They will usually start with cruel "Speed" riffs and even thrash metal ones, Tremonti will pour his unique melody over them and then paint them with complex rhythms and a lot of dynamics, moving from very fast sections to "mid-pace" rhythms and back again. He will take the listener into the eye of the storm, later pull him out of there to a calmer area, and then, without any prior warning, he will throw the listener back into the raging tropical storm and leave him there exposed, without protection, without a lifeline. In order to carry out his plot, Mark Tremonti gathers around him a tough and threatening gang no less than "The Chainsaw from Texas" (he is not really from Texas), in his own right. This album forms the backbone of the band that will accompany Mark Tremonti on future albums, including Eric Friedman on bass and guitar and Garrett Whitlock on drums, both from "Submersed" which disbanded in 2008. And this time Wolfgang Van Halen is joining the band as a permanent member as a replacement for bassist Brian Marshall. This album is the first of two albums recorded together in the same sessions. Tremonti recorded enough material for two albums in these sessions. He did not want to release a double album, so he chose to release two albums balanced in dynamics, number of songs and structure, with the album "Dust" being released a year later, in 2016. You can feel Tremonti's influences right from the opening track "Radical Change". The fast, thrashy groove sounds like a riff Metallica might have left behind on the editing floor of one of their albums. Tremonti never hid how much that band shaped him – he used to play their riffs for hours just to strengthen his technique. "Flying Monkeys" takes a different path – heavy, sluggish, and darker compared to the opener. When Tremonti sings “I’m inclined to take my time, I’ll take this to the grave…”, it’s clear he’s leaning into Doom influences here. "Cauterize" kicks us back into aggressive, speedy thrash. But when the slow, catchy chorus hits – it all makes sense. Tremonti’s formula just works. As the track winds down, Tremonti’s guitar and Wolfgang’s bass create a peaceful atmosphere, like the album cover itself – as if Mark Tremonti’s troubles have sunk with the setting sun. "Arm Yourself" brings back the full-throttle thrash assault with frantic guitar and machine-gun drum hits. So listen to Tremonti – “Arm yourself, ‘cause today it ends…” "Dark Trip" shifts us into a more melodic, melancholic mood that matches its lyrics beautifully. Rich with harmonies, it echoes the "Creed" days, blended with some bluesy flavors in the solos. "Another Heart" was the album’s first single – and it’s easy to see why. It showcases all of Tremonti’s strengths: metal riffs, great melody, a catchy chorus, and a killer solo. It’s the perfect gateway track to introduce him to a wider audience. "Fall Again" brings us back to Tremonti’s softer side. That clear voice, the range, the precision – it’s hard to believe he hid behind the guitar for years, content with backing vocals alone. "Tie the Noose" hits like a punch to the face. Bold and fierce, it was written in response to the riots in Ferguson, Missouri, after the police shooting of Michael Brown. A political cry wrapped in distortion. "Sympathy" shows what makes Tremonti unique in the metal landscape. While many metal acts pour out anger and protest, Tremonti often injects messages of hope into his lyrics. A gentle kind of power. "Providence" closes the album with one of its most emotional moments. It proves, yet again, that Tremonti's music can be ferocious and biting, but also accessible, melodic, and meaningful – even for those who need a positive message to hold on to. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"Velvet Revolver's" debut album, "Contraband," released on June 8, 2004, is a potent blend of hard rock and alternative sounds, showcasing the remarkable synergy of its rock veterans. Formed in 2002, the band features "Guns N' Roses" Slash (guitar), Duff McKagan (bass), and Matt Sorum (drums), joined by guitarist Dave Kushner of "Suicidal Tendencies" and "Wasted Youth", and fronted by Scott Weiland of "Stone Temple Pilots". The idea for Velvet Revolver emerged when Slash, McKagan, and Sorum performed together at a benefit concert for fellow musician Randy Castillo. Inspired to form a band, they enlisted Kushner and embarked on a high-profile search for a lead singer, documented by VH1. After auditioning several vocalists, including Josh Todd of "Buckcherry" and Kelly Shaefer of "Neurotica", they found their match in Scott Weiland. Weiland, already friends with McKagan and familiar with Kushner from previous gigs, offered his services after hearing the group's material, and the band clicked immediately. The name "Velvet Revolver" combines suggestions from both Slash and Weiland. The band's initial recordings included "Set Me Free" for "The Hulk" soundtrack and a cover of "Pink Floyd's" "Money" for "The Italian Job". These tracks were incorporated into the album, recorded in late 2003 amidst Weiland's legal battles and rehab stints. Despite these challenges, the band delivered a polished yet raw collection of songs. Notably, Slash recorded "Sucker Train Blues" using a 1956 Fender Telecaster and a 1965 Fender Stratocaster, adding a classic touch to the album's sound. "Contraband" benefits from stellar musicianship and production by Josh Abraham and the band. Slash's fiery guitar work, McKagan's solid bass lines, Sorum's precise drumming, and Kushner's rhythm guitar create a rich, cohesive sound. Weiland's versatile and emotive vocals shine throughout, tackling themes of addiction, redemption, and personal demons with authenticity and introspection. It's a powerful debut that captures the rebellious spirit of its members' past bands while forging a distinct identity. Its energy, musicianship, and memorable hooks make it a standout album that has stood the test of time. "Sucker Train Blues" opens the album with a blast of energy, featuring powerful riffs from Slash and Kushner, and Duff McKagan's driving bass. McKagan, often the unsung hero, provides a powerful and distorted groove that anchors the track. Matt Sorum's drumming is solid and reliable, holding the backbone together with concrete precision. Scott Weiland's singing style during the verses will remind you of Axl Rose. His gritty, raw vocals fit perfectly, especially in the anthemic chorus, while Slash delivers blistering solos. However, the album hits a slight dip with the next few tracks. While songs like "Do It for the Kids" and "Big Machine" try to maintain the momentum, they lack the spark that defines the opening track. Weiland’s vocals start to sound strained, and the band's attempts to sound modern sometimes feel forced. "Illeagal i Song" gets the band right where they belong with a great guitar riff and fierce energy. "Spectacle" who comes right after is a heavy solid rock and roll tune. "Fall to Pieces" is a standout, a heavy ballad with emotional depth and memorable melodies. The intro is reminiscent of "Guns N' Roses'" "Yesterdays," and Slash's soulful solos are unforgettable, bringing Weiland’s voice back to life with emotional power. "Headspace" has a killer rhythm. It brings back the energy with crushing grooves, showcasing the band's ability to blend modern touches with classic rock. "Superhuman" and "Set Me Free" feature promising riffs and intros, but the songs as a whole don't always grab you as much. The half-acoustic "You Got No Right" is another highlight, with a catchy chorus and Slash’s signature melodic soloing. The drop D tune "Slither" is the album's first single. It stands out with its infectious main riff, it's mid-paced hooks and a catchy chorus, earning the band a Grammy for Best Hard Rock Performance. Right after comes "Dirty Little Thing" a hard rocker that is very reminiscent of the opening track, with a killer solo by Slash. The song was written back in the time when Josh Todd and Keith Nelson from "Buckcherry" were part of the lineup. This song was the basis for a copy claim by Tony Newton from the band "Dirty Deeds" who managed to prove that the leading riff in the song is a copy of the riff in his band's song "Cyber ​​Babe". The album ends up with the ballad "Loving the Alien" which does not quite reach the level of writing and performance of the two previous ballads on the album. With a lineup like this, expectations were high. "Contraband" may not be the all-healing hard rock masterpiece some hoped for, but it is a very good hard rock record. The album doesn’t aim for anything fancy; it just rocks damn well. Slash and Duff McKagan are the true stars, delivering memorable performances that elevate the album. While the album has its highs and lows, the standout tracks make it a compelling listen. "Velvet Revolver’s" "Contraband" is a solid debut, offering a mix of classic and contemporary rock elements. Fans of rock music, especially those who appreciate the band's legacy, will find much to enjoy here. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website