After a dismal season four, which centered around basic high school bullying stories and juvenile humor geared towards the lowest common denominator possible, I wasn’t expecting much from season five of Cobra Kai at all, though I went in with as much of an open mind as possible…
…And I’m definitely glad I did. Surprisingly, season five reels it back in and once again makes us actually care about the characters, starting with Johnny (William Zabka) traveling to Mexico to find the down-and-out Miguel (Xolo Mariduena), who set out to said country to find his birth father he never actually knew. This instantly brings the much-needed human element back into the picture, something sorely lacking for too long now.
Meanwhile, Daniel (Ralph Macchio) and the Miyagi Dojo are still at odds with Cobra Kai and its vengeful owner Terry Silver (Thomas Ian Griffith), and goes as far as enlisting not one, but two former nemesis’ to help infiltrate the dojo and take him down; once again, Chozen Toguchi (Yuji Okumoto) from The Karate KidPart II, and this time, Mike Barnes (Sean Kanan) from Part III.
Is it a stretch to try to make us believe that these characters would actually care so much about childish rivalries that they’d be willing to take a round trip around the world to fight these battles? Perhaps. But if you’ve been a fan of the series since the first season, but felt discouraged by the direction of the show after that horrendous last season like me, this might just win you back. It may not be the “best around” overall, but it certainly crane-kicks that last season to the ground (can you tell how much I didn’t care for that one?).
Last night, the Rewind It Magazine family took an unexpected road trip to catch classic rockers the Scorpions perform at the Amalie Arena in Tampa, FL. But not even traffic delays and copious amounts of of rain could dampen the mood when we arrived (fashionably) late to the event.
To see such legends as vocalist Klaus Meine and guitarist/band founder Rudolf Schenker, not to mention former Motorhead/King Diamond drummer Mikkey Dee (I always felt somewhat cheated when he was actually absent the one and only time I saw Motorhead back in 2009, although former Guns N’ Roses drummer Matt Sorum in his place was was a more than worthy fill-in) was worth every bit of stress it took to get there.
Although Whitesnake were originally on the tour with them, they unfortunately had to opt out due to frontman David Coverdale’s ongoing health issues. As disappointing as this may be, the all-female group Thundermother were still pegged as the openers. But, due to said road and weather conditions, we missed their set completely too (though we were able to finally see the girls doing an autograph signing session at the end of the night).
In fact, The Scorpions were actually already in the middle of their second song, “Make It Real” (“Gas in the Tank” served as the opener) by the time we even arrived. The laid back vibes of “The Zoo” and the instrumental “Coast to Coast” followed before a couple more-than admirable new tracks in the form of “Seventh Sun” and “Peacemaker.”
The band took things back to the ’80s for a bit with “Bad Boys Running Wild” and “Send me an Angel,” throwing in another instrumental, “Delicate Dance,” in between. This was followed up by the massive 1990 power ballad “Wind of Change,” which was no doubt a collective emotional moment for everyone in attendance last night.
“Tease Me Please Me” and the title track to their latest album, “Rock Believer” proceeded before a bass/drum solo between Dee and bassist Pawel Maciwoda commenced. After which, the guys started breaking out the big guns in the form of “Blackout” and “Big City Nights.” A short reprieve brought the band back for an encore of “No One Like You,” and finally the massive hit anthem “Rock You Like a Hurricane,” which sent everyone there home breathless.
There’s no denying the sheer rock greatness that graced the stage in Tampa last night, and the memory of it all will no doubt last a lifetime.
I found myself actually excited for a Megadeth album for the first time in a long time upon first glimpse of Vic Rattlehead on the cover. But I must admit, their eager dismissal (again) of original bassist David Ellefson last year left a sour taste in my mouth (and that’s no disrespect to returning bassist James LoMenzo – I’ve seen the band live with each bass player in the past, and both are masters of their crafts).
But I digress; The Sick, the Dying…and the Dead – the band’s sixteenth full studio release – is an admirable effort from Dave Mustaine and company nonetheless, filled with the typical crunching riffs and intricate guitar solos that’s come to be expected on a Megadeth album, with the epic title track charging the way and setting the tone right off the bat.
Sure, the lyrics at times can be a bit on the generic side (another common trait with Megadeth records), but overall, tracks like “Life in Hell,” “Night Stalkers” (featuring a brief appearance by Ice-T) “Dogs of Chernobyl,” “Killing Time,” and “Soldier On!” can easily fit alongside any of the band’s previous material up until now.
I may have lost touch with Megadeth in more recent times as previously alluded to, but TheSick…may just be the album that gains the interest of many older fans such as myself again. Check it out for yourself and see if you agree.
Despite having one of the longest titles I ever seen for a book before, Double Talkin’ Jive, the new account from former Guns N’ Roses, Velvet Revolver, and Cult (among many others) drummer Matt Sorum (with assistance from authors Leif Eriksson and Martin Svensson) is a relatively short read. And although not quite as detailed as the last biography I read (ironically another drummer, Dave Grohl), it’s no doubt still a ride full of intriguing stories.
Having seen Sorum play several times over the years – first with The Cult in 2001, twice with Velvet Revolver in 2005 and ’07, and most recently touring with Motorhead in 2009 – it makes it all the more interesting to hear what was actually going on behind the scenes during many of these eras and then some.
And unlike a lot of other bios I’ve read, Sorum doesn’t waste too much time analyzing his upbringing or past traumas, but gives readers just enough insight into his background, going through many of the chapters with a rapid frequency. But the highlights are indeed that of his initiation into global titans Guns N’ Roses, up to his eventual bitter exit.
Even if none of Sorum’s former bands were up your alley, it shouldn’t be too hard to find some sort of interest in his life experiences. Give it a try and you might just find out why.
Roger Waters finally graced Orlando as part of his This Is Not a Drill North American tour. The three-hour, visually stunning spectacle covered his legendary career as co-founder, bassist, co-lead vocalist, and principal songwriter for Pink Floyd and the solo work that followed his departure from the band in the early ‘80s.
The tour, originally set for July of 2020, was postponed due to the COVID-19 pandemic. It’s clear, however, that after experiencing Waters “in the flesh” at the Amway Center, it was well worth the wait. As a Pink Floyd fan from youth, who still considers them my all-time favorite band, I’m also a fan of Waters’s solo work. I even love Radio K.A.OS., the 1987 album later disparaged by Waters himself. Understandably, he was going through a difficult time back then.
The tensions between Waters and his former bandmates ultimately erupted after the resounding success of their 1979 rock opera masterpiece, The Wall. As a cohesive band, they produced one last album, The Final Cut (1983) before Waters’s bitter exit and lengthy court battles that followed. Egos clashed as he tried to single-handedly lay claim to the Pink Floyd name and material. It was a fight he eventually lost.
Guitarist/vocalist David Gilmour, keyboardist Richard Wright, and drummer Nick Mason retained the name, and Waters ventured into solo territory, competing against the very band he launched to stardom with The Dark Side of the Moon in 1973. Thus ended the Waters era of Pink Floyd.
Gilmour assumed front man duties, with the release of A Momentary Lapse of Reason in 1987 and a world tour that completely “eclipsed” Waters’s own earnest solo endeavors. The times, however, have somewhat changed. Following the passing of Richard Wright in 2008, all hopes of another Pink Floyd album after The Division Bell (1994) diminished. Gilmour rightfully stated that, “It would be wrong to continue as Pink Floyd without him.”
In their absence, Waters has since ironically done his part in bringing Floyd’s music to the fans throughout the past twenty years. This Is Not a Drill follows his Us + Them tour (2107-2018) that followed The Wall Live (2010-2013). I was fortunate enough to see him perform The Wall in Tampa, Florida in 2010. Experiencing the album in its theatric entirety still ranks as one of the best concerts I’ve ever seen.
The thrill of seeing Waters again (for possibly the last time) was every bit as exciting as attending the Paul McCartney concert months prior in Orlando. In both cases, we’re increasingly aware of their inevitable retirements on the horizon. The vitality of rock and roll defies expectations, when two men close to (or in) their eighties can embark on such sweeping tours.
I’ve heard enough live Waters albums to know how he performs the Floyd material without the soulful voice and guitar playing of Glimour and the equally strong backing of Wright and Mason. Waters without Floyd is the same as Floyd without Waters. They’ve both become their own thing equal to the sum of their parts. With This Is Not a Drill, I can confidently say that Waters delivered in every way.
From the center of the stadium, massive LED screens hung above the cross shaped stage that extended in all four directions. The show started promptly at 8:30 pm in darkness as text scrolled across each lit screen accompanied by a British announcer, instructing patrons to turn off their cell phones and “fuck off to the bar,” if they like Pink Floyd’s music but don’t care for Waters’s politics. From the start, I expected a politically charged show evident in Waters’ own poignant songwriting for decades past. He’s an artist of conviction, consistently political throughout most of his career. Alas, I was there for the music, while also aware how seriously Waters takes “the message.”
The show started with a slow, moody version of “Comfortably Numb,” accompanied by dystopian visuals on the screens. Waters and his sizeable touring band remained unseen during its lengthy duration. An abundance of flashy, colorful lights followed as Waters ripped into the precursor song, “The Happiest Days of Our Lives,” accompanied by its famous helicopter droning and exhilarating crescendo of “Another Brick in the Wall, Part 2.” Waters then hammered through “Another Brick in the Wall, Part 3” as the audience erupted in jubilation.
Things shifted down a notch with “The Powers That Be” from Radio K.A.O.S and “The Bravery of Being Out of Range” from Amused to Death (1992). I was ecstatic to hear two songs from his solo albums, but the energy didn’t seem as infectious upon the crowd. Nonetheless, “The Powers That Be,” featured fantastic visuals of fascistic animated foot soldiers marching through town, while “Being Out of Range” gave us the first moments of Waters “stripped down” on the screen in black and white, strumming his acoustic guitar and singing.
To capture an “intimate moment” in a stadium show is quite the feat. But Waters pulled off just that with what appeared to be completely new material for an endearing, personable segue entitled “The Bar.” Waters, seated at a grand piano, played and sang beautifully, while calling for unity of all peoples from all cultures and stripes.
It was a touching moment from an otherwise intentionally divisive artist. His band belted out another Floyd rock anthem and radio mainstay “Have a Cigar” from the iconic Wish You Were Here 1975 album. This was then followed by none other than “Wish You Were Here,” which predictably brought the place down.
Around this point, I felt most excited, because I had no idea what would follow. Anything could happen. Scrolling text and narration then discussed the early days of Floyd and its founder Syd Barrett, whose mental illness and drug use during the ’60s propelled a swift exit from the band after their first album, The Piper at the Gates of Dawn (1967). Barrett led a private, solitary life that became the stuff of folklore among Floyd fans before he passed away in 2006. Many Pink Floyd albums have been dedicated to or written about Barrett, and to continue to honor his legacy in such a way was particularly touching. Waters continued music from Wish You Were Here with the second half of Shine on You Crazy Diamond (Parts VI-IX), capturing the raw power and energy of the song from beginning to end.
A giant, remote-controlled inflatable sheep then floated around the stadium to introduce a powerhouse rendition of “Sheep” from the 1977 album Animals, a personal highlight for me. A brief intermission followed, bridging the gap between the two sets, and the best was yet to come.
After intermission, the stage was draped with x-shaped hammers from above, signifying a return to The Wall. We were treated to the closing anthems, “In the Flesh” and “Run Like Hell,” featuring Waters in full, black leather fascist gear, mimicking moments where he gunned down the audience with a fake, illuminated machine gun.
Giant inflatable pigs, flashing lights, and the barrage of vivid imagery against a red visage became a delightful assault on the senses. Two songs followed from Waters’s majestic Is This the Life We Really Want? (2017). The Nigel Godrich-produced album is, in my opinion, his best solo work, and it virtually came out of nowhere, which made it uniquely special hearing live.
Waters then delved into his greatest commercial triumph with a series of songs from The Dark Side on The Moon. “Money,” “Us and Them,” “Any Colour You Like,” “Brain Damage,” and “Eclipse” thundered through the stadium in consecutive order with captivating visuals and light show motifs. A string of laser triangles filled the center stage with a stunning backdrop of faces, sunsets, and fire.
An encore followed with the apocalyptic “Two Suns in the Sunset” from The Final Cut, more material from “The Bar,” and the appropriate closer “Outside the Wall,” before sending us home, wanting more. Waters’s fantastic visuals, touching tribute to his former band, and love for performing was on full display. As the tour title suggests, his concert presented an alarming view of current times, while keeping the music alive.
I looked past the ego, sanctimony, and destructiveness of an artist who once tried to end Pink Floyd after “deciding” they had reached their peak and witnessed the sheer talent and passion of an artist who believes in the power of it all. Being active is perhaps the greatest gift Waters can offer. I hope he was as thrilled to host Orlando as we were to have him.
There was never any shortage of teen flicks to choose from while channel surfing on cable TV back in the day. But 1982’s Fast Times at Ridgemont High was one I would nearly stop on each and every time it passed by my radar (I can even clearly recall watching the film as a teenager after working the very first day of my very first job at my father’s roofing company).
When originally released on August 13 of 1982, something about its honest portrayal of American youth during that time period just struck a nerve like never before with audiences, made all the more authentic thanks to screenwritter Cameron Crowe’s ability to go undercover as a student at a San Diego, CA high school to get his story prior. The result, helmed by future Clueless Director Amy Heckerling, was nothing short of a fun, original ride.
Rounded out by a cast of talented young up and comers that centered around all-American brother and sister Brad (Judge Reinhold) and Stacy (Jennifer Jason Leigh) Hamilton, it touches on various comedic and dramatic subplots of relatable teenaged woes that affect the two siblings and their numerous classmates. Other standout performances include Brian Backer as the nerdy Mark Ratner, and of course Sean Penn as the legendary stoner Jeff Spicoli.
And then there was Phoebe Cates as Stacy’s best friend Linda Barrett. No conversation about Fast Times at Ridemont High could ever possibly be complete without discussing that slow mo pool scene of Phoebe Cates in that red bikini with The Cars’ “Moving in Stereo” playing over it, hands down one of the most iconic and duplicated frames in any ’80s film. I had long since fallen in love with Cates when I first saw her in 1984’s Gremlins. But to see, that much of her, was simply overwhelming for me, and confirmed there was no doubt that I was one-hundred percent girl crazy from that moment on.
Many homages in pop culture and even a spinoff television series titled simply Fast Times briefly appeared in 1986 (featuring both Ray Walston and Vincent Schiavelli reprising their roles of teachers Mr. Hand and Mr. Vargas from the film, respectively). All these years later, the legacy of the film itself remains a staple of American cinema that continues to embrace the highs and lows of those awkward teenaged years we must all endure, like it or not. Kudos to the flimmakers for hitting the nail on the head so perfectly. And thank you once again to Phoebe Cates.
For nearly any metalhead kid growing up in the ’90s, GWAR was a dysfunctional American institution as relevant as Beavis and Butt-Head, and to attend one of their over-the-top theatrical shows was indeed a twisted rite of passage.
If I’m being completely honest, I haven’t really paid much attention to the band in quite some time, so the prospect of a new GWAR album wasn’t exactly something I was patiently waiting for. It also does not help that the first song (“Ratcatcher”) that introduced me to The New Dark Ages was one of the weakest tracks found among the whole collection.
But when I actually dove in, I recognized those unmistakable thrash-y riffs that I once knew and loved so well as a teenager, apparent on such tracks as “New Dark Ages,” “Blood Libel,” “Completely Fucked,” and “Bored to Death.” There are still some filler tracks of course (“The Cutter” comes to mind), but overall The New Dark Ages is a surprisingly admirable effort.
Chances are I won’t be going out of my way to catch them the next time they come through town (already been there, done that many a time now). But I can’t deny I wasn’t filled with some nostalgia while listening to The New Dark Ages; far from perfect for sure, but escapist fun good for killing some time none the less.
Volusia County was pulsating with the sounds of boisterous ’80s hard rock this past Saturday, July 23, as the criminally underrated Cinderella frontman Tom Keifer and his band blistered through the hot and humid night with fellow ’80s rockers Faster Pussycat in direct support (L.A. Guns were originally scheduled to perform in between the two acts, but unfortunately cancelled at the eleventh hour).
Faster Pussycat have always been one of those bands from back in the day that I tend to forget about sometimes (often times due to inactivity), but am always quickly reminded by how fun they truly are. Opening with “Jack the Bastard,” Taime Downe and company (it should also be noted that although L.A. Guns were not able to play, Faster Pussycat bassist Danny Nordahl and drummer Chad Stewart previously both served some time with them between 2007-2012) quickly got bodies moving.
More heavy-hitting cuts followed, including “Where There’s a Whip, There’s a Way,” “Cathouse,” “Slip of the Tongue,” “You’re So Vain,” “Ain’t No Way Around It,” “Number 1 With a Bullet,” and “Sex Drugs & Rock-n-Roll” before they finally slowed things down a bit to play their hit 1989 power ballad, “House of Pain.” The guys then brought out guitarist for Tom Keifer’s band Tony Higbee to finish off their set with “Don’t Change That Song” and of course their signature rowdy anthem, “Bathroom Wall.”
Faster Pussycat vocalist Taime Downe with Tom Keifer Band guitarist Tony Higbee performing at Destination Daytona on 7-23-22.
Finally, the legendary Tom Keifer took the stage, armed with a stellar band of musicians, and that unmistakable voice, kicking things off with the solo track “Touching the Divine,” before treating fans with some favorite Cinderella tracks in the form of “Night Songs” and “Coming Home.” “It’s Not Enough” and “Somebody Save Me” followed before Tom and company slowed things down a bit for the piano-driven title track of his latest album, “Rise.”
Another Cinderella classic in the form of “Nobody’s Fool” got the crowd back on their feet again, before one last solo tack, “Solid Ground,” paved the way for a slew of Cinderella staples, including “Bad Seamstress Blues/Fallin’ Apart at the Seams,” “The Last Mile,” “Don’t Know What You Got (Til It’s Gone),” “Shake Me,” and “Shelter Me.”
The band took a brief reprieve before taking to the stage once again for an encore that included dueling guitar solos between Keifer and Higbee, then finally closing out the night with “Gypsy Road,” leaving the audience dripping with sweat, yet fully content. I’ve said it before and I’ll say it again; Keifer often does not always receive the recognition he truly deserves, and any list of greatest hard rock frontmen should include him right alongside the best of them. At least those of us catching him on this tour right now understand the true depths of his greatness.
Guitarist Tony Higbee (left) and Tom Keifer performing at Destination Daytona on 7-23-22.
I was first introduced to Nova Rex back in 2016 via band founder and bassist Kenny Wilkerson, when I was scheduled to interview him for a now-defunct magazine I was writing for at the time (whose name I will never utter here). Since then, I’ve come to know and deeply respect Kenny and all the endeavors I’ve watch he and the band create for themselves since.
So it was my pleasure to attend the premiere of the band’s new documentary Ain’t EasyStaying Cheesy – their follow up to 2011’s Ain’t Easy Being Cheesy – last week along with numerous friends, family, and colleagues – as well as most of the band themselves – in tow (a night to remember indeed). And it was all the more special to personally receive a small credit in the film for contributing some brief interview questions during one of its segments.
At first, the film seemed all-too familiar as it once again recounted the band’s early days as they experienced various lineup changes and tried their hands at different markets. Eventually this segued into their current incarnation and many of the things they’ve done since, such as played the Hard Rock Hotel in Daytona Beach with fellow ’80s rockers Pretty Boy Floyd, or played the Amway Center in Orlando, not once but twice now (all events Rewind It was lucky enough to be there for).
Of course things finally cumulated with the addition of current frontman John Bisaha of The Babys in place of most recent vocalist Adrian Adonis, which includes some bittersweet moments while also ending things on a high note. All in all, Ain’t Easy Staying Cheesy is a fun ride from start to finish, and should be required viewing for just about any true ’80s-era rock fan.
Rating: 4/5 Stars
From left to right; Jesse Striewski (author), Kenny Wilkerson (Nova Rex), Jacob Striewski (photographer), and Terry Harger (photographer) at the premiere of Ain’t Easy Staying Cheesy at Aloma Cinema Grill on 7/13/22 (photo by Brooke Striewski).
For many, the only acceptable version of Journey will forever be the one with Steve Perry at the helm. But for those with open minds, the band is still relevant with lead singer Arnel Pineda at the forefront, even if the rest of the lineup remains a bit shaky at the moment, too (the current rhythm section is already different from the one that recorded on Freedom).
Freedom is the first album of new material from the guys since 2011’s Eclipse (and third with Pineda on vocals), and contains fifteen new tracks with that classic Journey “sound,” composed mostly by guitarist/founder Neal Schon, keyboardist Jonathan Cain, and now-former drummer Narada Michael Walden.
The group have already released a slew of singles from Freedom, beginning last month with “The Way We Used to Be.” Even if that track did not really do it for you, follow-ups like “You’ve Got the Best of Me” and the almost-poetic “Don’t Give Up on us” more than make up for it. Other tracks like “All Day, All Night,” “Come Away With Me,” and “After Glow” invoke that same spirit classics like “Anyway You Want It” still have the power to after all of these years.
I may not be an “expert” when it comes to the world of Journey’s music, but I like them enough to have gone to see them in concert (back in 2015). I’ve said it before about many a band, and I’ll say it once again here about Journey; I’d rather have some version of them in existence, than no version at all.
