Photos by Brooke Striewski

As alluded to in my previous article, last week was a whirlwind filled with shows and live music, all taking place in Daytona Beach. It all started with the combo concert/fight that was Blood 4 Blood, featuring the likes of Black Label Society and Crowbar on Wednesday, 5/6, one of Rewind It Magazine‘s “official” covered shows of the year.

Then beginning the very next day it was the massive annual outdoor festival Welcome to Rockville, which the family and I have been attending nearly every year since 2021, though this year I only made it out to the first two days. (Though my son did stick with it for all four.) In that time span I was able to finally catch the likes of several extreme/death metal acts – many of which that had long since eluded me – in the form of Carcass, Cradle of Filth, Death Angel, Kreator, and Deicide, as well as several more contemporary bands such as Ice Nine Kills, Dethklok, and Atreyu. (Guns N’ Roses were also the headliners that first night, and their quality has long since gone downhill since the last time I caught them back in 2006, even with the current “reunion” of the band intact.)

But between the large crowds, excessive heat and all-around terrible weather (we actually left early on the second night due to the show being postponed by a thunderstorm), and overall lack of interest in the bands scheduled on the last two nights, there was very little reason to get me to go back and endure two more full days of it.

Yet this all turned out to be a blessing in disguise that would free us up to once again to catch up with former Misfits frontman Michale Graves at Bam Bam’s in Daytona, another show confirmed for Rewind It just days prior, and our second time covering him live and acoustic since 2021.

I’ve seen Graves onstage many times over the years going as far back as 1999 – both as a member of the Misfits, and as a solo artist – and he never disappoints. These days, his shows are the only place to go for those wanting to still hear ’90s-era Misfits live (And if you were a card-carrying member of the Fiend Club back in the day such as myself, its certainly worth it.)

The atmosphere was completely palpable by the time Graves took the stage, and he no doubt had the crowd in the palm of his hands as he launched into “The Best of Me, quickly followed by “Wanderer,” and “I Believe.” A couple of Misfits cuts in the form of “Descending Angel” and “Shining” had the crowd singing along, before Graves unleashed the fan-requested Web of Dharma track, “Ophelia.” (A personal favorite of mine as well – nice touch!)

Michale Graves performing at Bam Bam’s in Daytona Beach, FL on Sunday, 5/10/26. (Photo by Brooke Striewski.)

“Nobody Thinks About Me” and “Almost Home” followed before launching into the track that more or less put him on the map, “Dig Up Her Bones.” “All the Troubles” lead to another Misfits classic in the form of “Saturday Night,” while part of Nirvana’s “Come As You Are” would segway into “Fiend Club.” Emotions ran high for “American Prayer,” “Boxcar Headed East,” and even “Dawn of the Dead,” which all lead up to closer “New Song.”

It’s a shame so many contemporaries out there refuse to even give Graves the time of day, simply because he hasn’t fallen in line with the status quo the way they have. (How very “punk rock” of them.) Graves is a sincere, humble musician AND human being that I have no doubt more would be able to see if they’d only open their minds up a bit more. In fact, I felt so inspired after his set this time, I even had him sign my right arm for a potential future tattoo. (Which still remains to be seen if I do indeed make permanent).

And what did Graves do? He not only graciously signed it, but also showed signs of legit concern for me actually going through the procedure of getting another tattoo, knowing at this point that I was only about half a year removed/in remission from a nasty bone disease after our brief conversation beforehand. I have no doubt this is the exact same type of humility Graves displays for fans across the board, and is indeed the type of person I think of whenever I think of Michale Graves.

Black Label Society, Malevolence, Crowbar, and Slaughter to Prevail at Blood 4 Blood at the Ocean Center in Daytona Beach, FL on 5/6/26 Words and Photos By Jesse Striewski

I had known for months leading up to this past week that I would be heading to Welcome to Rockville with the family again for the fifth (?) consecutive year in a row (at least “partially” attending anyway), but I had no idea that Rewind It Magazine would get approved the week prior for the Rockville “pregame” hybrid show/fight, aptly titled Blood 4 Blood, at the Ocean Center in Daytona Beach with Black Label Society, Malevolence, Crowbar, and Slaughter to Prevail all in tow.

I also hadn’t expected to be directly in the photo pit tackling the photography duties (usually its either my wife Brooke or son Jacob handling that aspect, but the approval this time was only for one), but there I was for the first time in I have no idea how many years taking on the task myself. (And I’m pretty sure I was the only one doing so that night with a walking boot on at that!)

And speaking of Rockville, I had caught openers Slaughter to Prevail at one of them in the past before, though must admit I don’t know much when it comes to their music. Still, their frenzied live set and masked band members no doubt created enough energy to prime the stage for the rest of the acts of the evening. (Frontman Alex Terrible was also one of the headlining fighters on the bill for the night.)

Slaughter to Prevail’s Alex Terrible primes the Ocean Center crowd last Wednesday, 5/6. (Photo by Jesse Striewski.)

Mighty sludge metal titans Crowbar were next up, and were one of the acts I was looking most forward to seeing to say the least. Although only a casual fan, they’ve been one of those acts over the years worth revisiting every now and then, and hearing tracks like “Repulsive in its Splendid Beauty,” “To Build a Mountain,” and “Planets Collide” was a thrill nonetheless. (Having Saint Vitus/Down bassist Pat Bruders back in the lineup was an added area of interest for me personally as well.)

Crowbar performing at the Ocean Center in Daytona Beach, FL on 5/6/26. (Photo by Jesse Striewski.)

Hardcore veterans Malevolence were up next, and while I recognize they were able to give the audience a surge of adrenaline, their sound has never really been my style. (Nor has the main attraction of bare-knuckle fighting for that matter – I’m more of a WWE kind of guy.) Still, the momentum was indeed there by the time Zakk Wylde and company took the stage.

I had seen Wylde perform live once before, though it would be with Pantera (once again, at Welcome to Rockville) rather than when I saw Ozzy Osbourne back in the ’90s (Oddly enough, both bands were touring together at that time, though Wylde was replaced by former Lizzy Borden guitarist Joe Holmes by then. Even stranger now, Wylde has another Borden-alumni in the current incarnation of BLS, guitarist Dario Lorina.)

But I digress – seeing Wylde in such a setting where he’s afforded more creative ability rather than simply playing a paint-by-numbers set was a sight to behold indeed. “Suicide Messiah” and “Stillborn” were of course some of the highlights, while even just a snip-it of the classic track “Black Sabbath” from Zakk’s guitar was enough to invoke a roar out of the crowd. Definitely an evening full of some of metal’s finest, and some memories I’ll no doubt treasure for many years to come.

Former Ozzy Osbourne guitarist Zakk Wylde lead the charge on stage in Daytona this past Wednesday, 5/6 (Photo by Jesse Striewski.)

As far as the fighting itself goes? Well, to each their own. (More photos from this event to come soon).

Series Review: One Piece Season 2 – Into the Grand Line (Netflix/Kaji Productions/Tomorrow Studios/Boy Detective Inc.)

By: Jesse Striewski

How does one really sum up One Piece, the Netflix adaptation of the famed anime series that first got its start in the late ’90s, to those unfamiliar with the material? Lord knows I had little-to-no knowledge of it myself prior to its first season as a live action series in 2023, but once again, my now-grown kid introduced me to something I knew next to nothing about that I ended up enjoying.

This season finds our heroes (or “pirates”) – Monkey D. Luffy (Inaki Godoy), Nami (Emily Rudd), Roronoa Zoro (Mackenyu), Usopp (Jacob Romero Gibson), and Sanji (Taz Skylar) – traveling the seas to “The Grand Line” to finally find the “One Piece.” Along the way, they pick up a new member of the gang, Viv (Charithra Surya Chandran), an agent for the Baroque Works (a.k.a. “the bad guys) who actually turns out to be a Princess in her homeland, while encountering further dangers and/or allies with each island they set foot on, all the while still dodging evil agents hot on their trail.

There’s also a backstory that includes two doctors (played by Katay Sagal and Mark Harelik) and a talking reindeer (yep) named Chopper (voiced by Mikaela Hoover and destined to be on someone’s Christmas list this year) that eventually intertwine with our main characters.

Think Pirates of the Caribbean meets The Neverending Story; just a massive, imaginative adventure that takes viewers for a journey on a massive scale. Escapist entertainment (usually) at its finest for those willing to go in open-minded.

Rating: 4/5 Stars

Album Review: Exodus – Goliath (Napalm Records)

By: Jesse Striewski

I’ll be perfectly honest, I never really gave the Rob Dukes-era Exodus too much time of the day until I finally caught this version of the band live at last year’s Welcome to Rockville festival in Daytona. (Needless to say, I was pretty much won over.)

On their first effort with Dukes at the helm since 2010’s Exhibit B: The Human Condition, the band brings on the standard thrash, fast and strong just like they’ve always been known for. From album opener “3111” to closer “The Dirtiest of the Dozen,” Goliath is filled with (mostly) bangers, sans a few uber tough-guy moments that tend to lose some interest. (See, “Hostis Humani Generis.”)

That’s not to say it doesn’t field some of its own epic moments, namely “The Changing Me” (featuring Hypocrisy’s Peter Tagtgren), and the seven-and-a-half-minute epic “Summon of the God Unknown.” Definitely material for a very specific audience here.

Rating: 3/5 Stars

Film Review: Michael (Lionsgate Films/Universal)

By: Jesse Striewski

I can remember a time when Thriller was still the “new” Michael Jackson album (and to the best of my memory, the first LP I ever owned), and families would stop what they were doing to watch his groundbreaking music videos whenever they appeared on TV. Hell, somewhere there’s even a photo of yours truly in a red leather jacket about to head out to my first day of grade school in true Jackson fashion. (I also blame “Beat It” for my initial love for Van Halen, and still hold it as one of the greatest songs ever written and recorded.) These examples barely even scratch the surface of the kind of impact the late Jackson had on the world at that moment in time.

If you share memories similar to this from back then, then you likely also recall when ABC released the two-part miniseries The Jacksons: An American Dream in late 1992. Featuring Angela Bassett and Lawrence Hilton Jacobs (of Welcome Back, Kotter fame), the film chronicled the abusive upbringing of the Jackson children, and eventual rise to superstardom via both The Jackson 5, as well as the early days of Michael’s solo career. Viewers more or less get the same treatment here with Michael, only this time it’s told through a more modern lens, and a bigger budget.

Jaafar Jackson, the actual son of Jermaine and nephew of Michael, convincingly portrays Michael, while Colman Domingo and Nia Long play Joseph and Katherine Jackson this time around, respectively. And just like that original miniseries (without giving too much away), this one also leaves you wanting SO MUCH more. Another disappointing factor with Michael is the unfortunate use of special effects, namely the CGI used to create crowd scenes and even the animals in the film; I understand these methods no doubt reduce costs and liabilities, but it’s sad to see what we’ve lost in the world of cinema in terms of realism.

But sadder still is what we’ve since lost in the bigger picture; I found myself getting choked up numerous times throughout, thinking about the massive talent, and even the sense of shared togetherness we’ve lost since the days Michael Jackson dominated the pop world. There’s truly never been anyone else like him in any of our lifetimes, and I certainly can’t think of a single current “star” even remotely comparable to him. For that alone, the film is indeed worth a view, especially on the big screen.

Rating: 4/5 Stars

Book Review: Vagabond: A Memoir By Tim Curry (Grand Central Publishing)

By: Jesse Striewski

Some memoirs you pick up and simply have no idea what exactly to expect; Vagabond, the long-awaited life story from beloved actor Tim Curry, is one such autobiography.

While many other celebrities may focus more on tell-all smear pieces, Curry makes it clear from the get-go that he’s there just “for the facts.” (Although from time to time he does echo some disappointing sentiments all-too familiar with the majority of Hollywood these days.)

Curry goes directly through his life story with rapid fire succession. From his early childhood, to formative years in the theater, to The Rocky Horror Picture Show and nearly every role that since followed, he takes fans on a fascinating inside journey that even includes his brief foray into music (an often forgotten footnote in his career), all leading up to the eventual health issues that would significantly deter his acting career.

But aside from wishing to hear more about his work in such slapstick films as National Lampoon’s Loaded Weapon 1 and Scary Movie 2, there’s really not much else to complain about here. Overall Curry’s life and career are more than worthy of certain levels of respect, and for the most part Vagabond does him a justice that’s indeed deserved.

Rating: 3.5/5 Stars

In Memoriam: Chuck Norris (1940-2026) By Jesse Striewski

The terms “legend” and “icon” often get thrown around loosely these days, but if there’s one man deserving of such recognition, it’s the one and only Chuck Norris. It’s nearly impossible to describe the entire impact he’s had on the entertainment and martial arts worlds (among many other things) in simply one article, but I’ll do the best I can to lend at least one perspective here.

If you grew up in the ’80s/90s like myself, then surely you remember the days when weekends were filled with macho films in the likes of Missing in Action and The Delta Force overtaking cable networks like TBS. As with Schwarzenegger or Stallone, these movies felt like a rite of passage at the time.

Norris began life as Carlos Ray Norris in Ryan, Oklahoma on March 10, 1940. The oldest of three brothers (his youngest brother, Weiland, was later killed in action in Vietnam), he joined the United States Air Force in 1958, where he was an Air Policeman and first began learning martial arts in the form of Tang Soo Do. After his time in the military, Norris settled in California, where he began competing in martial arts competitions and even started his own karate school.

A brief appearance in the 1968 film The Wrecking Crew lead to his on-screen battle with the legendary Bruce Lee in 1972’s The Way of the Dragon, a breakout moment for him no doubt. The sky seemed to be the limit from then on, with starring roles in the likes of 1977’s Breaker! Breaker! and 1978’s Good Guys Wear Black paving the way to superstardom.

By the 1980’s, Norris was hitting his stride, with Lone Wolf McQuade (1983), Code of Silence (1985), Invasion U.S.A. (1985), Firewalker (1986), and the previously-mentioned Missing in Action and Delta Force films – which each spawned a franchise of their own – solidifying his tough guy reign at the box office. By the early ’90s, Norris was in homes across the nation on the small screen via Walker, Texas Ranger, which ran for eight seasons from 1993-01. (I can remember watching I believe the premiere episode the night it came on at my grandmother’s house when I was still a kid.)

Chuck Norris VHS set from the author’s personal collection.

There’s a memory that sticks with me to this day that I always think of whenever discussing Norris. I was maybe twelve years old and in the hospital, having a (very painful) central IV line installed in my arm that was proving easier said than done. In the background on the TV set in my room, Missing In Action 2: The Beginning was playing. Life imitated art at that exact moment, as I watched Norris’ character being tortured on the screen while it felt like I was enduring a type of torture of my very own. Yet I tried to put on my best “tough guy” face, which I like to think was due in part of the bravado that was on my television screen at the time. (Although I’m fairly certain the procedure had me in tears.)

These days there’s so few newer Hollywood action stars that are as noteworthy or comparable as Norris (most of them are unable to capture my attention to begin with, let alone standout in any noticeable way). Chuck Norris was the embodiment of the prototypical American family man and patriot that loved his family, God, and country in a way that we should each strive to (I’m ashamed to admit I did not fully see the merit in such traditional values until far later in life than I wish I had, but am still learning everyday.) The world may have lost an overall great human being by his loss yesterday, but what’s been gained by his presence these past eighty-six years will no doubt prove immeasurable. Rest in peace Mr. Norris, you earned it.

Quiet Riot and Vixen at the Hard Rock Live in Orlando, FL on 3/6/26 By Jesse Striewski/Photos By Brooke Striewski

Back in late 2006, I had been a new father for just over half a year when I ventured out to Ormond Beach, FL for Biketoberfest to catch Quiet Riot and Skid Row – two bands I loved while growing up that many of my middle/high school peers would surely give me flack for still rocking out to at the height of grunge and nu metal (Though I never cared much what anyone else thought). It ended up being one of the funniest shows I had ever been to up to that point, and I’ll forever be grateful to have seen the late legends Kevin DuBrow and Frankie Banali on stage together prior to their unfortunate, respective passings since.

Twenty years later, and a lot has certainly changed. But I knew when I saw Quiet Riot were coming to the Hard Rock Live in Orlando with Vixen in tow on Friday, March 6 (coincidentally one year to the day since I was also discharged from the hospital), it was time to finally catch the band live again, this time with my wife and Photographer Brooke beside me for the ride, too, who was ready to once again break out her SLR camera again for the occasion. (As crazy as the first week of March might have started out for us, too.) And after putting in a last-minute request, we got the “okay” from none other than Quiet Riot guitarist Alex Grossi himself (the only remaining member of the band left from said time I caught them back in ’06 who I also interviewed for Rewind It Magazine back in 2021), we were all set to go. (Thank you again, Alex.)

Almost immediately after entering the building it was clear that we had made the right decision to go. While preparing to start photographing the show from the side of the stage, Brooke ran into longtime (and legendary) Quiet Riot bassist Rudy Sarzo, whose initial time in the band stretches all the way back to the late ’70s, and recently returned to the lineup in 2021. Sarzo – who also served some time in both Ozzy Osbourne’s band and Whitesnake in the ’80s, and has also had stints with the likes of Dio and Blue Oyster Cult, among so many others – was no doubt one of the major selling points for us to go that night in the first place (Especially yours truly, having come from the school of bass players myself.)

Another group that we’ve caught live before who have also experienced some significant lineup changes since the last time we saw them back in 2019 (opening for Sebastian Bach, ironically at the very same venue), the always-lovely Vixen, who now featured new lead singer Rosa Laricchiuta, and temporary bassist Jennifer Jo Oberle filling in for Julia Lage. (Who is currently on tour oversees with Smith/Kotzen, and admittedly I was a bit disappointed to find out was not there, though Oberle no doubt did an admirable job in her place).

Vixen on stage at the Hard Rock Live in Orlando, FL on Friday, March 6. (Photo by Brooke Striewski.)

The gals kicked off the night with plenty of energy though, opening with “Rev It Up” before launching into “Charmed Life,” “How Much Love,” “Crusin’,” “Hard 16,” and “Cryin’.” A medley featuring parts of “Runnin’ with the Devil,” “I Want You to Rock Me,’ “Perfect Strangers,” “What You’re Doing,” “War Pigs,” and “Still of the Night” kept the momentum going before a drum solo from Roxy Petrucci lead them back to “I Want You to Rock Me.”

Yet the girls were still far from finished, with “Streets in Paradise, “Love is a Killer,” “Not a Minute Too Soon,” “You Ought to Know By Now,” “Love Made Me,” and of course, “Edge of a Broken Heart” all finally wrapping up their whopping seventy-five minute long set.

By the time Quiet Riot hit the stage the excitement was undeniable. The previously mentioned Sarzo and Grossi were now joined by another former Rewind It interveiwee, Jizzy Pearl of Love/Hate (another band whose show we covered some years back in 2018), and drummer Johnny Kelly of Type O Negative and Danzig fame. (Who I was also lucky enough to catch on stage with both acts in the past in the ’90s and ’00s.)

Bass icon Rudy Sarzo commanded the stage with Quiet Riot at the Hard Rock Live this past Friday, March 6 (Photo by Brooke Striewski).

In an instant the entire audience was transported back in time with the likes of “Run For Cover,” “Slick Black Cadillac,” “Mama Weer All Crazee Now,” and “Love’s a Bitch,” all paving the way for what was still to come. The tender “Thunderbird” was then introduced and then dedicated not only to late guitarist Randy Rhodes (who the song was originally penned for after his tragic death in the early ’80s), but also DuBrow, Banali, and another former Sarzo bandmate, Mr. Ozzy Osbourne himself.

“Party All Night,” “Blackout in the Red Room,” and “The Wild and the Young” all kept the party going before the guys unleashed a medley of their own that featured “Let’s Get Crazy,” “Crazy Train,” a guitar solo from Grossi that segued into Van Halen’s “Eruption,” and a touch of Type O Negative’s “Black No. 1 (Little Miss Scare-All)” before coming full circle back into “Let’s Get Crazy” again.

By that point, there was not much more left to do other than the one-two punch of “Cum On Feel the Noize” and “Metal Health (Bang Your Head).” No doubt it was a night full of fun and classic anthems, but there’s more to it than just that; each time bands like Quiet Riot and Vixen hit the stage, they’re keeping not only the music itself alive, but also the memories of all those those who had a hand it helping to create it.

Film Review: Scream 7 (Spyglass Media Group/Project X Entertainment/Paramount Pictures)

By: Jesse Striewski

I’ve been a fairly loyal fan of the Scream films over the years, having gone to see each and every one of them on the big screen since the release of the original way back in 1996. But if you recall my scathing review of the last (and arguably worst) entry, Scream VI a few years back in 2023, I was convinced that the series had run its course indeed.

But there’s always a chance for redemption, and for the most part, Scream 7 hits the mark that’s been largely missed with the majority of the sequels that have come since. Writer/Director Kevin Williamson, whose imprint on the series has been there going all the way back since the original (this marks his first time directing, and first time returning as a screenwriter to the series since Scream 4 in 2011), invokes the same sort of atmosphere and “whodunit” type quality that Wes Craven gave us way back when that’s been largely missing since 1997’s Scream 2.

It’s no secret that this time around Neve Campbell returns as Sidney Prescott (now Prescott-Evans) after missing in action for that last horrid entry. This time around, she’s in the role of wife and mother as her husband Mark (Joel McHale) and teenaged daughter Tatum (Isabel May) are terrorized by another Ghostface killer (or killers). And for the first time in far too long, we’re actually given some characters whose well-being the audience truly cares about again, too.

There’s plenty of nods to the earlier films, with Courtney Cox once again returning as Gale Weathers, and – without giving away too much here – other franchise alumni, including Matthew Lillard, David Arquette Laurie Metcalf, Scott Foley, and of course the all-too familiar voice of Ghostface himself, Roger L. Jackson, each show up one way or another, yet it never comes off as too overly nostalgic. Even Mason Gooding and Jasmin Savoy Brown as twin brother and sister Chad and Mindy from the past two films return for the proceedings here as well.

Sure there’s some cliche or predictable elements that still work their way in, and the big reveal ending is definitely one of the weaker points (though still nowhere near as as bad as that over-the-top car crash of an ending we got in part six). But I heard someone else describe Scream 7 as a “reset” for the series, and after the direction it was heading with the “whiny sisters” (whose sudden absence is honestly not felt one bit here) plotline the past two films were following it is indeed a welcomed return to form. Far from perfect, but a much-needed step above its predecessor.

Rating: 3.5/5 Stars

Interview with Fatal Opera Bassist Travis Karcher/Tribute to Former Bandmate/Late Megadeth Drummer Gar Samuelson (R.I.P.) By Jesse Striewski

I’ve made no secret over the years how I was the stereotypical, Beavis and Butt-Head watching metal head type growing up in the ’90s. Yet by the time the late ’90s had arrived and I had relocated to Volusia County, FL, I had no idea at the time that I was neighboring at that point with legendary metal drummer Gar Samuelson of Megadeth, who was now residing right next door to me in nearby Orange City.

After performing on the first two, now-classic Megadeth albums – 1985’s Killing Is My Business…and Business Is Good! and 1986’s Peace Sells…but Who’s Buying?, Samuelson was abruptly dismissed from the group along with guitarist Chris Poland for substance abuse issues in 1987. Yet his playing on each of these records was enough to earn him a rightful spot alongside the the greats within the thrash metal world.

Samuelson briefly played in an act called Metalist prior to relocating to central, FL and forming Fatal Opera in 1990, alongside his brother Stew Samuelson on guitar, Dave Inman on vocals (and later Andy Freeman), Travis Karcher on bass, and guitarist Jeff Bloom (and later, Billy Brehme). The band released two albums throughout the ’90s – 1995’s Self-Titled effort, and 1997’s The Eleventh Hour, before Samuelson’s untimely passing from liver failure in 1999 at the age of just 41. (Former Megadeth bandmate Dave Mustaine would later announce Gar’s death at the Woodstock festival that same year, and the reissue of the first album in 2002 would ultimately be dedicated to him). A belated third effort titled Fatal Opera 3 was also released years later in 2022.

Needless to say when I first heard about all of this sometime later in the 2000’s, I was intrigued, and eventually started slowly but surely checking out his work with Fatal Opera, which was all fairly solid enough in its own right. Fast forward to 2020, I started retracing of sorts some of Gar’s steps, visiting the area (as best as I could anyway – see photo below) where Gar turned a former barn in Orange City into a recording studio, and opening communication with bassist and former Fatal Opera bandmate Travis Karcher.

For whatever reason, life got in the way though, and the project more or less just fizzled out. But alas, I’m not one to let things go by the wayside no matter how much time might’ve passed, and it was finally time to pay tribute to Samuelson the only way I knew how (and in time for what would’ve been his 68th birthday on February 18th no less, too), and began talking to Karcher once more about resurrecting the project.

When I initially spoke with him nearly six years ago now, we of course discussed that previously-mentioned recording studio, to which Karcher said; “I think the band would be flattered to hear it called it a studio, since we built it out of an old tractor barn/metal shed. (Laughs) Gar called it Headstone Heavy Recorders, and most of the experience was self-taught. I’d be surprised if the building is still there, although it may be, but I doubt it’d still be in the condition it was when we used it.”

Location of the former Headstone Heavy Recorders in Orange City, FL, built and utilized by the metal band Fatal Opera in the 1990’s. (Photo by Jesse Striewski, October 2020)

Once I started talking with Travis again recently in late 2025, I wanted to go back even further, and hear how he and Gar had originally met. He informed me; “I met both Gar and Stew through a friend of mine, John, who was a rock memorabilia collector, specifically guitar pics. He was thumbing through the Volusia County phone book one day and found Gar and called him, and was surprised when he actually answered. Gar said he didn’t have anything for him, but that he was looking for a bass player for a band he was starting with his brother. I went and auditioned on a Tuesday, and came back again two days later for another rehearsal. After that, my equipment didn’t leave Gar’s house for ten years. I was nineteen at the time and fresh out of high school, and Gar and Stew were in their 30’s.”

He continued; “In that time there were a lot of lineup changes, but the core of Gar, Stew, and myself always stayed the same. We also had a record contract with the German label Massacre Records (which also had King Diamond on it), and put out two albums on their label.” He continued further; “I still talk to (guitarist) Bill Brehme, and actually asked him to play leads on some of the current material I’m working on. Bill and I were involved in a minimal role in Fatal Opera 3, but it was mostly Andy’s show. I really haven’t spoken to Andy in a few years. Most of us are not too thrilled with the way that project came out.”

Still unsure if I had ever caught the band live during their ’90s run, I was also wondering what venues the band had played “back in the day.” Karcher stated; “We played a lot of shows around Florida. We started at a small bar near the Naval training center in Orlando called the Sunburst Pub. We also played at the Fairbanks Inn, The Beacham Theater, The Fern Park Station, and probably a few more I’m forgetting about. And we also played a lot of Daytona gigs, a few shows in Tampa and Jacksonville, and some road trips down south to Melbourne, Fort Lauderdale, and Fort Myers.”

Fatal Opera flyer from the personal collection of bassist Travis Karcher.

A few more things I was definitely curious about was whether or not Fatal Opera ever played any Megadeth covers in their set lists or not, as well as what Gar’s thoughts were on the band’s material released after his tenure with them. Karcher explained; “We never played any of the Megadeth stuff, nor was it ever talked or thought about. I think we all understood that Fatal Opera was its own project.”

He continued; “Of course Gar thought So Far, So Good…So What! would’ve been better with him playing on it, but I think he liked Rust in Peace since we heard it before it came out via a demo and listened to it around the studio. I also remember him saying Countdown to Extinction was a little too commercial, though I know Gar really liked and respected Nick Menza.” And as far as what Gar might’ve (hypothetically) thought on Megadeth’s latest, final studio album if he were still here with us today? Karcher stated; “I think he would’ve thought that it was more or less Dave solo with hired guns?”

And last but not least, regarding what Travis has been up to himself these days musically that we touched upon earlier? He informed me; “I’ve been working with an electronic music producer friend of mine who comes from the EDM world. We are working on some crossover style music in the same vein as Nine Inch Nails or Stabbing Westward. I don’t really know what to call it at the moment, but it’s loud and aggressive, just the way I like it!”

We’ll definitely keep an eye out for any and all upcoming music from Travis (and be sure to do the same!), and happy heavenly birthday, Gar!