Around this same time last year, local rockers Nova Rex brought the thunder to the Amway Center for pre-game and halftime sets during an Orlando Predators home game. This past Friday, July 1, the band rocked the house again, this time with The Babys singer John Bisha behind the mic.
I’ve caught the band live several times over the years, but this was my first time seeing them with Bisha on vocals. The band – which is still rounded out by founder/bassist Kenny Wilkerson, Britny Fox guitarist Greg Polcari, and drummer Shawn Lowery – seemed as rejuvenated as ever on this particular night.
As usual, Rewind It Magazine arrived fashionably late thanks to I4 traffic and rain hit along the way. So by the time we did make it, the band was already well into their pre-game set with the hard-hitting “Break Away.” Shortly after the guys launched into the ’80s-esque power ballad “Alone Tonight,” one of my personal favorites of theirs that I don’t recall ever hearing them perform live any of the prior times I saw them. They rounded out their first set with the anthem “Turn it up Loud” before turning things over to the Orlando Predators to host the Jacksonville Sharks in their final home game of the season.
Things did not look too bad for the Preds as they went into halftime down by just two points 21-19, and Nova Rex took over the stage once again. This time they brought the big guns, launching into “Bring the House Down Tonight” and new track “Time Is Up For You,” complete with plenty of bangs and pyro explosions finish the night.
The Predators did not fare as well however, ultimately losing to the Sharks 37-34. But the action was far from over, as former F.L.Y. (Fast Life Yungstaz) singer Vee Fly, who now goes by 4MULA9, ended the night with some hip hop, including his most well known hit, “Swag Surfin’.” It was a fitting end to an already eventful night, one that will surely be remembered for a long time to come.
The latest (and final?) installment in the Jurassic World series, and overall sixth film in the Jurassic Park franchise, has received some negative backlash since its release. But in comparison to the last lackluster entry, 2018’s Fallen Kingdom, it’s world’s above in every way possible.
The story picks off exactly where the said previous film had left off, with Owen (Chris Pratt) and Claire (Bryce Dallas Howard) living off the grid and raising the clone we were first introduced to in Fallen Kingdom, Maisie Lockwood (Isabella Sermon) in total seclusion, in a world where mankind is now living side-by-side with dinosaurs.
But of course there’s some bad guys out there who will go to extreme measures to get her back (as well as the young velociraptor offspring of Blue’s, Beta), including the crooked CEO of Biosyn Genetics, Dr. Lewis Dodgson (Campbell Scott). While Owen and Claire fight to get her back along with the help of some new friends they meet along the way (including a former air force pilot played by DeWanda Wise) doctors Grant (Sam Neill), Sattler (Laura Dern) and Malcolm (Jeff Goldblum) are also uncovering the corruption at Biosyn after a series of events reunites them all back together.
Jurassic World: Dominion is everything a nerd fan boy could want, honestly; high speed chases, loud fights between gigantic monsters, and original characters/actors thrust back together and put onscreen alongside the newcommers. Is Jurassic World: Dominion often cliche and predictable? Sure, I won’t deny it doesn’t tread into those territories from time to time – how can it not at this point?
But overall, I fond myself getting totally lost and engrossed in the material here, probably for the first time since going to see the original Jurassic Park on the big screen all the way back in 1993. Steven Spielberg truly opened our collective imaginations with that first film all those years ago, and for my money, Dominion is the closest I’ve come to having that same feeling again from any of the other films in the franchise since.
It’s taken three attempts and nearly two years, but after numerous false starts, the massive Stadium Tour featuring Def Leppard, Motley Crue, Poison, and Joan Jett and The Blackhearts finally rolled through Orlando via Camping World Stadium this past Sunday, June 19. And as Def Leppard frontman Joe Elliot noted at one point, “Third time’s the charm.”
Rewind It Magazine arrived fashionably late for the event, as Joan Jett was well into the hit “Cherry Bomb” from her Runaways days. The last time I saw Jett perform was actually at the 2006 Warped Tour, and not only had the Blackhearts lineup changed since then (most notably former Billy Idol drummer Thommy Price had been replaced by Bouncing Souls drummer Michael McDermott), but so had her set list, which was apparent when she went into “Light of Day” next from the 1987 film of the same name she co-starred in with Michael J. Fox.
More covers and originals like “Everyday People,” “You Drive Me Wild” (another early Runaways track), “Do You Wanna Touch Me (Oh Yeah)”, “Fake Friends,” “Crimson and Clover,” “I Love Rock n’ Roll,” and “I Hate Myself For Loving You” followed before finally closing things out on a high note with “Bad Reputation,” which some may recall served as the theme song to the late-’90s teen show Freaks andGeeks.
Poison were up next, and were the one and only act on the bill I had never seen prior, although frontman Bret Michaels’ solo shows have played a pivotal roll in the Rewind It family over the years (it was the first concert my wife/photographer Brooke and I ever attended together in 2013 while we were still dating, and a few years later in 2018 we covered one of his Downtown Concert series shows for Rewind It, which you can still read on here).
Bret was on fire on this night, with guitarist C.C. Deville, bassist Bobby Dall, and drummer Rikki Rocket behind him as they launched into “Look What the Cat Dragged In.” “Ride the Wind,” “Talk Dirty to Me,” and “Your Mama Don’t Dance” lead to a guitar solo from Deville, which found him briefly touching on Van Halen’s “Eruption” as a tribute to late guitarist Eddie Van Halen.
More hits including “Fallen Angel,” “Unskinny Bop,” and the epic power ballad “Every Rose Has Its Thorn” were up next before the guys ended it with the ultimate ’80s party anthem, “Nothin’ But a Good Time” (at this point, the only possible way for them to end a set), priming the crowd just right for the rest yet to come.
The first couple of times I saw Motley Crue live (in 2005 and 2012, respectively) were each mind-blowing experiences, and I never tire of seeing one of my all time bass idols – the one and only Nikki Sixx, of course – on stage. Ironically though, I always seem to miss the beginning of their sets. But this time I made sure to be there for the entire thing, as the band ripped through classics like “Wild Side,” “Shout at the Devil,” and “Too Fast For Love” right off the bat.
After the first trio of tracks however, drummer Tommy Lee vacated the stage due to his well-publicized rib injury (no rollercoaster drumsets this time around!), making way for Ozzy Osbourne/Black Sabbath drummer Tommy Clufetos, who quickly picked up the pace on “Don’t Go Away Mad (Just Go Away),” “Saints of Los Angeles,” “Live Wire,” “Looks That Kill,” and only their fourth performance ever of the 2020 track “The Dirt” from the film of the same name (and it definitely showed – frontman Vince Neil’s voice wavered a time or two while trying to reach some notes on it).
The guys then launched into a number of their most well-known covers, including “Rock N’ Roll Part II,” “Smokin’ in the Boys Room,” “White Punks on Dope,” “Helter Skelter,” and “Anarchy in the U.K.,” before going through some more original classics in the form of “Dr. Feelgood,” “Same Ol’ Situation (S.O.S),” and “Girls, Girls, Girls.” Tommy Lee then returned to the stage once more and fans turned on their cell phone lights for the massive power ballad “Home Sweet Home,” before they finally closed things out for the night with “Kickstart my Heart.”
And finally, Def Leppard came on stage…and initially sucked the life out of the room. When I first saw them back in 2003, they opened with a couple of early ’80s tracks in the form of “Let it Go” and “Rock! Rock! (Till You Drop).” There were no such classics like those to be found anywhere in their set this time around, instead opting to start off with a couple newer numbers (which I get they need to promote) in the form of “Take What You Want” and the uber-lame “Fire it Up,” both bad choices in my opinion.
By track number three, the band finally started to treat the crowd with what they really came for, the “classics.” “Animal,” “Foolin’ (tragically one of the very few songs performed from 1983’s Pyromania album, my personal favorite of the band’s along with the two before it), and “Armageddon It.” Another new track, “Kick,” was thrown in before more Hysteria-era tracks “Love Bites” and “Excitable.”
After which, the band stripped things down and went acoustic for a bit, with frontman Joe Elliot performing “This Guitar” solo before being joined by the rest of the guys again on “Have You Ever Needed Someone So Bad” and “Two Steps Behind.” “Rocket,” “Bringin’ on the Heartbreak,” and “Switch 625,” which featured a solo from drummer Rick Allen, got things back on track.
Finally, the band threw it all out there, unleashing “Hysteria,” “Pour Some Sugar on Me” “Rock of Ages,” and “Photograph” on the now-exhausted crowd (yours truly included).
I’ve since been asked who the best band of the evening was, and it’s far from easy to answer. Def Leppard were probably the strongest as far as overall sound is concerned, although their set list was merely “meh” in comparison to the last time I saw them, as previously noted. But I’d have to say Motley Crue were definitely the most exciting to watch as always, with Poison coming in a close second. And I’m pretty sure nearly anyone who was in attendance on Sunday night will agree they indeed got enough bang for their buck.
I was no stranger to Faith No More before owning their dark swan song Angel Dust; prior to owning it, I had already collected copies of their 1985 debut, We Care A Lot, as well as their 1989 breakthrough effort, The RealThing. But as soon as Angel Dust came across my radar, I was hooked.
I can even remember the day I first got it; I was still in high school, and had to ride my bike to the pawn shop I found it at (along with some Danzig and Monster Magnet CD’s thrown in the mix, too). I also remember trying to hurry home before a thunderstorm hit, and to this day I can’t listen to the album without picturing those overcast Florida skies.
Lead singer Mike Patton reportedly spent many nights hanging around bus stops and diners, people watching in preparation for the songwritting, and it shows. The funk-driven “Land of Sunshine” kicks off the madness, with Patton giving his best infomercial salesman try, proclaiming at one point, “Here’s how to order!” This is followed by the thrash-esque “Caffeine,” which the band performed live that year for an MTV taping. The album’s first single, “Midlife Crisis,” continues things with Patton’s menacing whisper-vocals layering over an eerie keyboard riff from Roddy Bottum, with bassist Billy Gould and drummer Mike Bordin’s pronounced rhythm section leading the way.
The jazzy “RV” almost comes off as upbeat, if not for the it’s depressing trailer park anthem lyrics that Patton mumbles in his most sinister way possible. “Smaller and Smaller” continues deeper into the void, complete with some of Gould’s best bass work over top of aboriginal chanting. In contrast, the poppy “Everything’s Ruined” proceeds things on the lighter side, and is one of the most underrated singles from the album.
“Malpractice” is arguably one of the sloppiest songs on all of Angel Dust, and never quite finds its footing. But things quickly get back on track with the macabre-sounding “Kindergarten,” which looks back on lost playground memories. “Be Aggressive,” Bottoum’s ode to oral sex, follows and features a cheerleading squad spelling out the chorus, highlighting the absurdity of it all.
“A Small Victory” is without a doubt one of the finest pieces of music found here, and could have easily ended the album. Featuring some of Jim Martin’s best guitar work, it should’ve been a massive hit when released as a single, but barely made a dent on the charts. A beautifully constructed song from start to finish indeed.
“Crack Hitler” and “Jizzlobber” are on the sillier side, but have their own unique merits when in the proper mood. And the instrumental theme from “Midnight Cowboy” always seemed like an odd choice to end the album on, but is yet another example of its overall experimental nature.
Angel Dust would prove to be the band’s final output with Martin on guitar, who claimed to even hate the album’s title from the get go. Despite its dark tendencies, it was praised at the time by critics, many even calling it “album of the year,” which would ironically be the name of their next album’s title four years later. It’s unfortunate they would never have the chance to catch lightning in a bottle the way they did here again, but for that one moment in time, Faith No More gave us a brief flash of genius.
Long before Stranger Things, are imaginations were captured by a man named Steven Spielberg, and a loveable little guy known simply as “E.T.” The film became an immediate hit, and a staple for every ’80s kid such as myself (what kid back then didn’t want to be able to fly on their bikes with their friends, and after dark at that?!).
Originally released on June 11, 1982 (after premiering at Cannes on May 26), E.T. the Extra-Terrestrial follows the story of Elliot (Henry Thomas), a suburban ten-year-old who discovers his newfound friend from another world in his backyard. Along with his older brother Michael (Robert MacNaughton) and kid sister Gertie (Drew Barrymore), Elliot keeps E.T. a secret from his single mom (Dee Wallace) and government agents hot on the trail, all while bonding with the little fella and incorporating some of his traits.
The film sways from Sci Fi/adventure to drama (with just a hint of horror in the beginning), and broke the record of highest grossing film of all time, knocking Star Wars out of the coveted spot and remaining there until another Steven Spielberg film, Jurassic Park, took the title of number one eleven years later in 1993.
It also spawned countless toys and merchandise, including the ill-fated Atari game, notoriously remembered as one of the worst video games of all time after being rushed for a Christmas 1982 release (to this day it still remains a topic of lore to many). There’s even been theme park rides, such as the original E.T. Adventure ride still operating at Universal Studios Florida to this day.
In a 2020 interview with the film’s star Dee Wallace, I had to ask her what made the film so endearing after all of these years. Her response was simple enough; “I still cry, I still laugh. As we all know it’s just a magical movie, and has become a part of our consciousness. I never get tired of it, or talking about it – and I can’t say that about all of my movies (laughs). It opens hearts and reminds people of what’s really important, and we just need a lot more of that these days.”
I couldn’t have possibly said it better myself if I tried. All these years later, instead of terrifying, this little green man from another planet still manages to pull at our heart strings. Spielberg has entertained us all and caught lightning in a bottle both before and since its release, yet there’s still just something special about E.T.
Tom Cruise returns as Pete “Maverick” Mitchell and director Joseph Kosinski takes over for the late Tony Scott (whom the film is dedicated to) to deliver the long-awaited sequel to the 1986 blockbuster Top Gun. And unless you’ve been living under a rock, you’re probably already well aware of what an all out thrill ride Top Gun: Maverick truly is.
Kenny Loggins’ hit from the original film “Danger Zone” opens the film the only appropriate way possible, as we quickly find our protagonist still working as a test pilot in the U.S. Navy, purposely avoiding promotions all these years in order to continue flying. But he’s quickly whisked away back to Top Gun to train a group of elite pilots for a specialized mission that ultimately only he can pull off.
Initially, my only complaint was the actual establishments of said new pilots – who come off just a tad on the obnoxious side at first – and the quick pace we’re introduced to new characters as though we already know them (the lovely Jennifer Connelly plays a former love interest perfectly, though). But once the awkwardness passes, it’s pure escapist entertainment of the highest level, filled with plenty of action, and unexpected drama (no spoilers, but the scenes with Val Kilmer, who briefly reprises his role as Tom “Iceman” Kazansky from the first film, really got me).
In this entry, Maverick not only faces adversaries in the sky, but several on his own team, having to prove himself not only to an admiral (Jon Hamm) who doesn’t want him there, but the son (Miles Teller) of his former late RIO and best friend from the first film, Goose (Anthony Edwards).
Forget whatever negativity the anti-establishment, blue-haired “critics” out there might want to spew about this being a “recruitment” video (they’re just miserable with their lives anyway); this is a damn good film that brings back the days of when movies were actual “events,” and I felt like that kid in the ’80s again, popping his copy of the first film in the VCR to re-watch it again for the umpteenth time). Cruise is at the top of his game in Top Gun: Maverick, and you’re missing out if you don’t take flight along with him.
Few things can tap into our inner fears like ghost stories. Gothic ambience, supernatural mystery, and fears of the unknown often drive the fascination with the haunted house sub-genre popularized in books and films throughout the ages.
Shirley Jackson’s 1959 novel The Haunting of Hill House remains a literary landmark of psychological horror finely adapted into The Haunting in 1963 and later a Netflix series directed by Mike Flanagan. The classic film House on Haunted Hill (1959) starred Vincent Price as an eccentric millionaire, offering unsuspecting guests $10,000 to spend the night in his haunted mansion.
George C. Scott left his mark on the genre, starring in the 1980 thriller The Changeling. Stanley Kubrick adapted Stephen King’s The Shining into one of the most influential horror films of all time with his epic take on the modern ghost story. We’ve witnessed the mediocre fare of The Amityville Horror series, the found footage phenomenon of Paranormal Activity, Japanese imports like The Grudge, and a slew of others from the likes of Blumhouse and A24.
There are too many to mention, but one thing is clear, horror sometimes works best when it’s consigned to the familiar surroundings of home. No other film in recent memory captures this localized premise quite like the 1982 horror hit Poltergeist, where one family faces malevolent spirits from beyond.
The film’s opening credits impose over a closeup of an American flag on television with The Star-Spangled Banner playing, followed by white noise. The Freeling family sleeps soundly as their youngest daughter Carol Anne awakens and approaches a flashing television. She then engages in conversation with an unknown entity. After placing her hands on the screen, an apparition bursts from the TV and flows into the wall above her parents’ bed. The room rumbles, shaking the parents awake. They find their daughter unfazed and welcoming their new visitors with the now iconic line, “They’re herrre.”
Five-year-old Heather O’Rourke made movie history with that line. She was perfect for the role as was the entire cast. Since its release, Poltergeist has become a mainstay of our culture. It remains a timeless work, boasting impressive special effects courtesy of Industrial Light and Magic (ILM) and Robert Edlund of Star Wars and Ghostbusters fame.
The movie embodies a uniquely idyllic time and place, centering on an average American family facing an unreal situation. Their plight intensifies after Carol Anne is sucked into parallel dimension, with little hope of getting her back. This frightful spectacle of suspense, drama, and horror was achieved through the combined forces of movie master Steven Spielberg and horror legend Tobe Hooper. Rarely would we ever experience such a film from two artistically opposite spectrums. Their differing sensibilities created a perfect balance of heart and horror amid a movie embroiled in controversy over creative control and the tragic fates that would later follow some key actors involved.
Poltergeist concerns the Freeling family who reside in a quaint California subdivision complex. The father, Steve (Craig T. Nelson), is a realtor who sells homes among the very complex he lives in. His wife Diane (JoBeth Williams) spends her time raising Carol Anne, eight-year-old Robbie (Oliver Robins), and teenage Dana (Dominique Dunne). Their seemingly normal existence is upended upon the presence of an unexplained paranormal phenomenon. TV channels change on their own, glasses spontaneously break, chairs move, and the family dog seems fixated on the wall above the parents’ bed. These strange and subtle occurrences are only the beginning of an increasingly sinister threat determined to wreak havoc on all who occupy the home.
After Carole Anne’s inexplicable disappearance, her parents enlist the aid of an investigative parapsychologist team to provide answers and help recover their daughter. The sympathetic team soon determine that the house is besieged by the presence of a “poltergeist” that must be studied and recorded with video cameras and audio equipment. The stakes are raised, and the true nature of what they’re up against becomes more apparent (and frightening) as the story proceeds. Rescuing Carol Anne is the catalyst for a desperate family pushed to the brink. After bouts of sleepless nights, the father discovers matter-of-factly from his boss (James Karen) that their entire housing development was built on a former cemetery, where they moved the headstones but not the bodies underground.
Poltergeist is the kind of movie dominated by everlasting set pieces. I don’t find the movie “scary” in a traditional sense today, but there were moments as a child, where I was too frightened to watch. The giant oak tree crashing its branches through the children’s second-story bedroom window, the clown doll coming alive, skeletons spilling out of coffins, and the house imploding into another dimension are just a few memorable moments of macabre. And who can forget the hapless researcher tearing his face off in a bout of hallucinatory fervor?
It’s a gripping story, where everything on screen works, including Zelda Rubinstein’s turn as the predominant medium who attempts to “clean” the house once all hell breaks loose. All is not what it seems, and just when we think it’s over, the movie pulls us back in, accompanied by Jerry Goldsmith’s heart-pounding score.
As viewers, we’re invested in the family’s plight because they’re down to earth and relatable. Such traits have always been Spielberg’s strong suit with characters. The movie feels very much like a Spielberg film, which fueled endless debate over who actually directed it. As writer and producer, Spielberg was contractually obligated to E.T. the Extra-Terrestrial (1982)at the time and unable to direct. He hired Tobe Hooper based on the strength of Hooper’s landmark horror classic The Texas Chain Saw Massacre (1974) and his first studio film, The Fun House (1981). Hooper, in turn, wanted to emphasize the horror aspects over what was originally a science fiction story, with wondrous results.
During production, A Los Angeles Times article insinuated that Spielberg was the real director of the film based off comments Spielberg made about “taking charge.” This, coupled with marketing Poltergeist as a Spielberg film, further casted doubt on Hooper’s role, but the record has since been made repeatedly clear…mostly. Anyone who knows and admires Hooper’s work (as I do) can clearly see his directorial touches. It is undoubtedly a Tobe Hooper film. Despite it being his most commercially successful work, he never quite recovered from the implications following the film’s release, which has since become Hollywood lore.
Further infamy arose around the murder of actress Dominique Dunne by her ex-boyfriend shortly after the film’s release. Heather O’Rourke then succumbed to a rare form of intestinal septic shock after filming Poltergeist III in 1988. There has been countless speculation of a Poltergeist “curse” due to the use of real skeletons in the film’s climax and its overall exploration of the supernatural. Such notions are common but no less disrespectful to the talents lost and their families.
An entire piece could be written about the television symbolism portrayed throughout Poltergeist, for starters. The film’s endearing relevancy comes down to its realism, intelligence, and innovative take on the supernatural. Such rarity is further distinguished by its status as one of the most notable PG-rated horror films out there. Spielberg and Hooper successfully appealed the MPAA’s initial R rating. It’s a movie that left a huge impact on my childhood that can still be enjoyed and embraced by fans and newcomers alike. Just leave the light on after watching. You can never be too sure.
I can’t say that pop punkers Simple Plan have ever been at the top of my list of bands to see – and I’m pretty sure I actually have seen them at at least one of the many Warped Tours I made my way to in the early 2000’s (though can’t say I even remember). But, my teenaged kid wanted to check them out at Epcot’s Garden Rocks series, and knowing this is the band that does the theme song for What’s New Scooby-Doo?, I said “why not?”
It was quickly apparent after arriving in time for their second set this past Saturday, June 4, that this was obviously not the same crowd that were here with us for other recent shows like Starship Featuring Mickey Thomas. But still, there was no denying the amount of energy on stage, and it was no doubt infectious on tracks like “Nothing’s Ever Going to Bring Me Down,” “Jump,” “When I’m Gone,” “The Antidote,” “Vacation,” “I Can’t Keep My Hands Off You,” and “Crazy.” A brief guitar solo segued into the band’s biggest hit, “I’m Just a Kid” (which appeared in just about every clunker stoner flick back in the day like Grind and The New Guy).
When the band re-emerged for their third and final set of the night, they surprisingly played a completely different set (albeit still no theme from Scooby-Doo thrown in, unfortunately), and opened with the 2002 pop punk staple “Addicted” (one of the few songs in the band’s catalog I actually know well, thanks to it forever being tied to the memory of a break up at the time).
From then on the band continued to bring it with both old songs and new in the form of “The Worst Day Ever,” “Astronaut,” and “Iconic” before going though a trio of covers that the crowd went crazy over, including Smash Mouth’s “All Star,” Avril Lavigne’s “Sk8er Boi,” and The Killers’ “Mr. Brightside.” The band then wrapped things up with “Where I Belong” and finally, “Perfect,” which saw cell phones lighting up the night sky.
Although I probably won’t be rushing to see Simple Plan again the next time they come around, I can’t say I regret catching them this past weekend. And if their brand of catchy pop tunes is up your alley, by all means, check them out if you get the chance.
It speaks volumes for a show to still be as captivating as Stranger Things is four seasons in, and yet somehow this series only gets better with time. Within seconds of it starting, you’re instantly sucked into its world, and forgot about everything and anything else going on around you, the ingredients of not only great, meticulous writing, but flimmakers who actually care about their art.
This latest season contains so many subplots, I’m not sure if I can even sum it all up accurately without giving too much away. Long story short, a new evil in the form of a demon named Vecna is threatening Hawkins, and after the popular school cheerleader (Grace Van Dien) is killed in the house of local metal head and leader of the local D&D club, Eddie (Joseph Quinn), the kids get wrapped up in solving the mystery while trying to stay alive.
Meanwhile, Eleven (Millie Bobby Brown), who has since lost her powers and struggling to adjust to living a “normal” life, is brought back to a facility by Dr. Owens (Paul Reiser) to help regain her strength back. And while all this is going on, Hopper (David Harbour), who survived the events of season three but has since been imprisoned in a Russian hell, is plotting his escape while Joyce (Winona Ryder) and Murrary (Brett Gelman) get tangled up in a kidnapping while attempting to free him.
While the show has always paid homage to ’80s films like E.T. – the Extra-Terrestrial (among many others), this particular season has a strong influence from the A Nightmare on Elm Street series, with dream-like sequences similar to those from said franchise (there’s even a brief appearance from Freddy Kruger himself, Robert Englund). And the tributes to such metal bands as Dio and W.A.S.P. via the Eddie character are a nice touch as well.
Since the show first started in 2016, it’s caused an unprecedented pop culture phenomenon, and rightfully so, considering the care and attention to detail put into Stranger Things is immaculate. There’s an artistic integrity often not found elsewhere these days, and I find myself wanting to go back to revisit the earlier seasons each time a new one emerges. There’s a simple reason why we respond so strongly to ‘throwbacks’ like Stranger Things; maybe it just reminds us of a time when the world – and life itself – was just a simpler place.
I’ve witnessed greatness on stage many times in the nearly three decades since I first started going to concerts. I’ve seen many early rock and heavy metal bands from “back in the day,” including pioneering acts such as Black Sabbath, Deep Purple, Blue Oyster Cult, Aerosmith, and even The Rolling Stones. But never before have I managed to catch one of The Beatles, the ones who started it all, and undeniably my earliest memory of rock music going back to when my parents had first introduced me to them so many years ago.
But that finally happened this past Saturday, May 28, when legendary former Beatle himself Paul McCartney took the stage at Camping World Stadium in Orlando, FL. I was there to witness this much anticipated event with my wife, son, mother-in-law, and extended family and friends of the Rewind It Magazine family. I don’t think a single one of us could issue a word of complaint if we tried.
Opening with the classic Beatles track “Can’t Buy Me Love,” I was instantly transported back to childhood memories of seeing old black and white footage of the fab four bobbing around on stage together. For the next two and a half hours, I found myself so transfixed on that stage, possibly the most lost in music I’ve ever been in my lifetime prior.
The next few songs, “Junior’s Farm,” “Letting Go,” “Got to Get You Into My Life,” and “Come On To Me” all served as decent enough warm ups that were paving the way to better things, the blues-ly Wings staple “Let Me Roll It” and the Sgt. Peppers-era “Getting Better” being a couple of said things. “Let ‘Em In” followed before McCartney dedicated “My Valentine” to his wife (who was in attendance for the show) and oddly enough featured actors Johnny Depp and Natalie Portman “signing” the lyrics on the video screens.
“Nineteen Hundred Eighty-Five” was up next with some retro lazer light work, while more classics like “Maybe I’m Amazed” and The Beatles’ “I’ve Just Seen a Face” followed. Paul then dug deep with a track from his pre-Beatles Quarrymen days, “In Spite of All the Danger,” as well as “Love Me Do,” each featuring a little history of their original recordings from McCartney.
The semi-newer track “Dance Tonight” was next before McCartney took the stage solo with an acoustic guitar to perform “Blackbird,” another chill-inducing moment. “Here Today” was next up, before McCartney joked about the lack of interest usually reserved for newer music, before appropriately going into a newer track in the form of “New,” featuring the refrain “We can do what we want.”
Another Beatles number, “Lady Madonna,” proceeded before the interesting “Fuh You,” and although the Sgt. Pepper track “Being For the Benefit of Mr. Kite” attempted to bring the psychedelic vibe with it, it was definitely one of the weaker moments of the night. A little backstory on late Beatle George Harrison preceded a ukulele-driven version of “Something” before picking things up again with the goofy but harmless “Obla Di, Obla Da.”
From then on it was nothing but the best, including some Abbey Road (my favorite Beatles album) era classics like “You Never Give Me Your Money” (which McCartney explained he and his current band had never performed live before) and “She Came In Through the Bathroom Window,” before launching into “Get Back.”
Another Wings track, “Band on the Run,” followed before McCartney took the piano again to serenade the crowd with “Let it Be,” blow everyone away (literally with various pyros and explosions) with the James Bond theme “Live and Let Die,” and invoke the entire stadium to sing along with “Hey Jude,” the unforgettable, massive Beatles anthem from 1968, and close out the first set.
It didn’t take long for McCartney and company to take the stage again for an encore, beginning with “I’ve Got a Feeling,” which he explained Get Back director Peter Jackson had isolated John Lennon’s vocals for specifically for the tour, and fans were therefore given a rare treat. “Birthday” and “Helter Skelter” got the crowd on their feet again, while the epic climax of “Golden Slumbers/Carry That Weight/The End” (hands down one of my favorite Beatles medlies) was finally enough to choke up an old dog like myself, as I became overwhelmed with emotion, knowing just what greatness I had just experienced.
As if this wasn’t all enough in itself, a chance encounter on the way out of the stadium found us actually crossing paths with Alter Bridge and Creed guitarist Mark Tremonti (see photo below), who was more than happy to briefly chat with us about the concert we had all just witnessed (among other things). I couldn’t possible write a better ending to an already epic story if I tried.