Photos By Brooke Striewski

The last time Rewind It Magazine made it out to Daytona Beach for the annual rock fest Welcome to Rockville in 2021, the event was held at the end of the year, and the weather was nearly perfect. Thankfully we skipped last year completely, which by all accounts reached near disastrous levels with torrential downpours that caused delays throughout the festivities.

Thankfully things did not go as terribly wrong by the time we decided to make an appearance on Saturday, May 20 (the first two nights just didn’t have enough to offer of interest in all honesty), although by the time we did finally make it, we had just missed Kreator’s (one of the main selling points of the day for myself personally) set, arriving just in time to see their crew breaking down their gear.

So we waited for Sepultura’s set on the very same stage instead. Having already seen them once back in 2011, I already knew what to expect more or less, and only stayed to hear a handful of tracks from them in the form of “Isolation,” “Territory,” and “Means to an End” before making our way onto better things.

One of the other main selling points for me personally this year was actually Jason Bonham’s Led Zeppelin Evening, which is what we promptly left said Sepultura set early for in order to catch their full set. It was a blast hearing the likes of “Immigrant Song,” “Good Times Bad Times,” “Over the Hills and Far Away,” “The Wanton Song,” “Ramble On,” “Misty Mountain Hop,” “The Ocean Song,” “Black Dog,” “Whole Lotta Love,” and “Rock and Roll,” even if many of these by now are beyond overplayed radio standards.

Chevelle were the next act to catch, and although I’ve never had too much of an issue with their music (this would be my third time seeing them live, too), it was a perfect chance to take a breather and catch a bite to eat while listening to the likes of “Face to the Floor,” “The Clincher,” “Send the Pain Below,” and “The Red” in the background.

Then there’s good old Alice Cooper, who at this stage in the game feels timeless. And speaking of time, this marked my fourth time actually catching him in concert (and two of those instances I had actually worked security for him). “Lock Me Up,” “No More Mr. Nice Guy,” “I’m Eighteen,” “Under My Wheels,” “Billion Dollar Babies,” “Fallen in Love,” “Snakebite,” “Feed My Frankenstein,” and “Poison” were all thrown out there before fans were given a guitar solo by the lovely Nita Strauss that ended in a jam of “Black Widow.”

“The Ballad of Dwight Fry” found Cooper singing in his signature straight jacket before his daughter Cheryl Cooper came on stage and decapitated him with a guillotine under the tune of “I Love the Dead.” The classic ’70s anthem “School’s Out” (complete with a few bars of Pink Fylod’s “The Wall” thrown in there for good measure) seemed to end the set before Cooper emerged behind a podium for an encore of “Elected.” Although far from my first time seeing him, it was surreal finally watching him with my two favorite people by my side, making it an especially fond memory for me.

For the life of me I’ve never really gotten the appeal of Godsmack, even though I have caught them live before as well (just once, back at Earthday Birthday in 2012). And how they were even remotely above Alice Cooper on the roster makes zero sense, but either way they opened with “When Legends Rise,” before going into the likes of “Cryin’ Like a Bitch!!,” “1000hp,” “You and I,” “Something Different,” “What About Me,” “Bulletproof,” and “Awake.”

By this time, frontman Sully Erna pulled back to have a “drum off” with drummer Shannon Larkin (who some may recall was the drummer for Ugly Kid Joe for many years). This lead to brief medlies of rock staples such as “Back in Black,” “Walk This Way, and “Enter Sandman” thrown in, and seemed like the perfect time to start heading over to the next stage.

And said stage contained what everyone had really came to see, the reunited Pantera. I was beyond lucky enough to see the band back at Ozzfest in ’97 when both guitarist Dimebag Darrell and drummer Vinnie Paul were both still alive, so it really didn’t bother me to see singer Phil Anselmo and bassist Rex Brown now joined by Black Label Society’s Zakk Wylde and Anthrax’s Charlie Benante filling in for the departed brothers in tribute to them (it also gave my wife and teenaged son a chance to finally see them for the first time as well).

While my memory is somewhat fuzzy as far as what the band played way back over twenty years ago, there’s no mistaking the band ripped through “A New Level,” “Mouth For War,” “Strength Beyond Strength,” “Becoming,” and the recently added “Suicide Note Pt. II.”

“5 Minutes Alone,” “Yesterday Don’t Mean Shit,” and “Fucking Hostile” continued the non-stop aggression before the band slowed things down a bit, showing video footage of the Abbott brothers with “Cemetery Gates” draped over top of it before segueing into their trippy cover of Black Sabbath’s “Planet Cavravan.” More hard-hitting classics in the form of “Walk” and”Domination/Hollow” followed before they closed things out with “Cowboys From Hell,” effectively leaving even the biggest of naysayers with their jaws to the floor.

The following day, Sunday, May 21, paled in comparison after what was beheld previously. By the time we had made it, Senses Fail were already on stage and wrapping it up, so after catching a couple of tracks like “Buried Alive, “Chop Suey/Break Stuff,” and “Can’t Be Saved,” we proceeded to the one that post-grunge ’90s rockers Filter was appearing on. They wasted no time with their five-song set as they plowed through “Welcome to the Fold,” “Face Down,” “(Can’t You) Trip Like I Do,” “Take a Picture,” and of course, “Hey Man Nice Shot.”

More ’90s rock followed as legendary skate punks Pennywise then took over the Octane stage. It was my third time seeing them since the very first Warped Tour I ever attended back in 2001, and I was still genuinely excited to hear tracks like “Peaceful Day,” “The World,” “Straight Ahead,” “My Own Country,” “Same Old Story,” “Fuck Authority,” a cover of Nirvana’s “Territorial Pissings,” “Pennywise,” “Society,” and “Bro Hymn.”

Sets from the likes of mediocre acts such as The Mars Volta and Coheed & Cambria were again perfect opportunities to grab a bite to eat and check out the merch tents before watching the likes of trap rapper Ghostemane. For perhaps the first time ever, I fully understood what it felt like to be that fish out of water parent just there for their kid, as I endured songs with titles like “Nihil,” “Bonesaw,” and “Trench Coat” that made little to no sense to me.

Another band I can’t say I’ve ever had much interest in at all, Incubus, were somehow after all this. And while I still can’t say I’m a fan by any means, I never realized what a jam band they really are in concert (nor how easy-on-the-eyes their current bass player Nicole Row, who’s also served some time with Panic! At the Disco, actually is). All of their staple songs were present of course, including “Nice to Know You,” “Come Together” (Aerosmith cover), “Pardon Me,” and “Wish You Were Here.”

Another act I was there mainly for my kid were Deftones (it’s not that I have anything against them, they’ve just never been my style). But I was surprised to see their live set was actually quite entertaining, despite some of their songs still landing on the tedious side for me. But they managed to pack in sixteen tracks with non-stop energy that included “Genesis,” “Needles and Pins,” “Be Quiet and Drive (Far Away),” “My Own Summer (Shove It),” “Diamond Eyes,” “Digital Bath,” “Tempest,” “Swerve City,” “Rosemary,” “Ohms,” “Minerva,” “Bloody Cape,” “Change (In the House of Flies),” “Rocket Skates,” “Nosebleed,” and “Engine No. 9.”

And finally, Tool. Sure, I was semi-into them when Undertow first came out back in the day like most sixth graders at the time. But I have long since disliked them ever since the first time I saw them live back in 2002, and frontman Maynard James Keenan performed with his back facing the crowd the entire time (exciting). I’ve seen them one more time since, in 2016 with Primus, where I promptly left soon after they hit the stage. On Sunday night, I did the same thing once again, making my way out of Rockville as they were performing “Forty Six & Two” (just their second track of the night).

I’ve since seen the images from the show and have heard others that stuck around for it express their disappointment as well. And Keenan’s drag outfit was far from some deep political statement about Florida or some meaningful artistic expression as some might try to spin it to be, but rather just another gimmick from an overrated, obnoxious hack. Hopefully this will be the final time I ever have to witness such a joke in person, and if anyone deserved to close out such a festival, it was definitely not them.

Retrospective: 30 Years Since we first entered ‘Wayne’s World’ By Jesse Striewski

Before Saturday Night Live became the embarrassing mess of mean-spirited, nasty nonsense that it unfortunately has, it actually gave us some great moments and memorable characters in TV history. In the ’70s the likes of the Coneheads stood out, while Eddie Murphy dominated the early part of the ’80s with multiple personas, including Gumby, Buckwheat, and Mr. Robinson.

But by the late ’80s, we were introduced to two guys who “rocked” out in a basement while filming a public access show, Wayne and Garth, potrayed wonderfully by castmates Mike Myers and Dana Carvey. The original Wayne’s World skit officially premired on February 18, 1989, ushering in a new era of pop culture phenomion. Shortly after, I began discovering many of the bands (Guns N’ Roses, Aerosmith, etc…) the duo would reference on their “show” on my own personal journey, so it made perfect sense for me to fall for these two lovable dimwits.

It didn’t take long for Producer Lorne Michaels and co. to cash in on their newfound hit skit, and by 1991, a film version for Paramount Pictures was green lit. Veteran rock director Penelope Spheeris, who at the time was best known for her Decline of Western Civilization films, was tapped to direct.

Released on February 14, 1992, Wayne’s World was an instant hit, eventually going on to gross over $180 million at the box office. Aside from Myers and Carvey, it also starred Tia Carre as Wayne’s sexy love interest, Cassandra, and ’80s brat packer Rob Lowe as sleazy television producer Benjamin, hell-bent on exploiting the show and stealing the girl all at once.

Wayne’s World was a one-of-a-kind ride like few others that came before it, with the two heroes stumbling upon a host of colorful characters along the way, with bit parts played by everyone from Meat Loaf, Ed O’Neill, Chris Farley, to even Alice Cooper himself (I couldn’t help but think of the film when I saw Cooper perform “Feed My Frankenstein” for the first time years later in 2005).

Aside from Cooper, it’s soundtrack also boosted many others who weren’t necessarily considered “in” by 1992’s standards, including Black Sabbath and Cinderella, as well as giving Queen’s “Bohemian Rhapsody” it’s highest ever chart position sixteen years after it’s original release (shortly before his death that same year, late Queen frontman Freddie Mercury actually gave his blessing for the song to be used in the film, reportedly loving the head-banging car scene it was used in).

I myself was not able to see the film during its original run in the cinemas; just two months after it hit theaters, I was involved in a car accident that would ultimately change my life forever and leaving me permanently disabled. But during the many months I spent recovering in the hospital, I watched the film for the first time with a fellow long-term patient shortly after it came out on video.

However, I was finally able to catch Wayne and Garth on the big screen the following year when Wayne’s World 2 was released in December of 1993. Although lacking some of the charm of the original (and the direction of Spheeris, who Myers reportedly butted heads with during production of the first film), the sequel did have some of its own memorable moments, including some stand out performances from the likes of Christoper Walken, Kim Basinger, and Oliva d’Abo, among others.

Still, even with all of its flaws, I will gladly take Wayne’s World 2 over ninety-nine percent of what passes as “comedy” these days. When the Wayne’s World films were released, there was still a sort of innocence that’s just been lost today; so much of what comes out now is either hollow, or contains a level of ugliness fueled by some need to push an agenda and/or criticize in the name of “social justice.” Society is indeed headed down an unfortunate path, and should really take a cue from Wayne and Garth, and just be “excellent” to each other again.

Retrospective: 35 Years Since ‘Friday the 13th Part VI: Jason Lives’ By Jesse Striewski

As a kid growing up in the ’80s, there was nothing more enticing when visiting the video store than the horror section (well, except maybe when they would have one of those “back rooms” in the shop but that’s another story itself). And in those times when I would wander off into the area reserved for horror films, my eyes would usually hone in on those already established, well-known franchises that included the likes of single name villains such as Freddy, Leatherface, Chucky, and of course, Jason.

Each of these individual films had their own unique covers, and I of course had to see them for this reason alone. As stated in a previous interview with actress Deborah Voorhees, the first entry of the series I would ever see was the Jason-less Friday the 13th Part V: A New Beginning. But I would eventually piece them all together slowly over time, with Friday the 13th Part VI: Jason Lives quickly becoming my favorite of the franchise with it’s classic monster movie feel, campy jokes (starting with its James Bond-esque opening credits), and rocking soundtrack featuring then-new music from a revitalized Alice Cooper. When Jason Lives was originally released in theaters on August 1, 1986, it quickly became the first film since the 1980 original to rightfully receive some critical praise.

After the lukewarm reception the previous year from the new concept introduced in A New Beginning, it was clear that the series was in dire need of getting back to basics. Written and directed by Tom McLoughlin, it saw the return of the character Tommy Jarvis (this time portrayed by The Return of the Living Dead star Thom Mathews) from parts IV and V, who mistakenly resurrects Jason with a friend (played brilliantly by the late Ron Palillo of Welcome Back, Kotter fame) at the start of the film. Tommy does his best to warn the local community, but is railroaded every step of the way by the local sheriff (David Kagen). The sheriff’s daughter Megan (Jennifer Cooke) is the only one who believes Tommy, and teams up with him to stop Jason.

Actor Roger Rose, who played one of Jason’s many victims in the film, Steven Halavex, recently lent some behind-the-scenes insight to Rewind It Magazine; “The movie had already been shot, and the phone rings and it’s Paramount calling (Director) Tom McLoughlin, saying there weren’t enough deaths in the film and they needed more, so they were going to go back and kill two more people. Tommy hangs up the phone and says, ‘I always wanted to do this…kid, I want you in my movie!’ And that weekend we shot my scenes. I said to Tommy, “Man I’d love to die brutally on film, that’s something I’ve always wanted to do (Laughs)!”

Still from *Friday the 13th Part VI* of Steven (Roger Rose) and Cythina (Annette Edwards) shortly before meeting their gruesome demise.

He continued; “Originally Jason was going to shish kabob me and my date, and there was this whole big special effect thing going to happen, but there wasn’t any time left. But it was still a real, rusty old machete that Jason “killed” us with, so that was actual fear you see on our faces in that scene!”

Another thing that stands out about the film is the previously-mentioned music. Aside from one track by hard rock band Felony, the majority of the songs featured were from Alice Cooper’s 1986 album, Constrictor. Most notably remembered is the track “He’s Back (The Man Behind the Mask),” which served as the film’s theme song, and also featured a Jason Voorhees-themed music video to go along with it. I’ve been lucky enough to personally see Cooper in concert three times over the years (see attached photo below), but alas, his material from this particular period in his career has remained long since retired unfortunately.

Jason Lives went on to gross over $19 million at the box office on a $3 million dollar budget, and has since become a fan favorite. Since its release, there have been four more entries to the original Friday the 13th franchise, as well as the 2003 crossover film Freddy vs. Jason, and a 2009 remake. But few have matched the all around heights achieved with Jason Lives, which will likely remain one of the higher points in the series. So if you’re looking to go back to Camp Crystal Lake (or Forrest Green) this Friday the 13th, consider giving Jason Lives a try (and be sure to keep an eye out for our full interview with Rose, coming soon!).

Alice Cooper performing in Orlando, FL on 10/25/13, courtesy of the author’s collection. Cooper provided most of the music for *Jason* *Lives*.

Album Review: Alice Cooper – Detroit Stories (earMUSIC)

By: Jesse Striewski

Alice Cooper has become far more than just an average rock musician at this point; he’s a flat out institution, as American as beer or baseball. And on his twenty-first studio effort, he knocks it out of the park once more, surpassing his last outing, 2017’s Paranormal album, by a longshot.

Detroit Stories starts off strong with a cover of The Velvet Underground’s “Rock and Roll,” and doesn’t let up once from there. Tracks such as “Go Man Go,” “Drunk and in Love,” “I Hate You,” and the single “Social Debris” all showcase Cooper’s love for versatility, stretching from everything from rock, blues, jazz, and punk across fifteen total numbers.

There’s a decent amount of Detroit-based covers as well, including The MC5’s “Sister Anne” and Bob Seger’s “East Side Story.” But hands down the best tracks here come in the form of the ones with a bit of a message behind them; “Hanging On By a Thread (Don’t Give Up),” “Wonderful World,” and “Shut Up and Rock” all offer a slice of real insight into Cooper’s true feelings towards the outside world, but without ever getting preachy (something he has always strayed far away from).

If Cooper has ever been your cup of tea, then Detroit Stories should be right up your alley. Whatever you do, don’t pass up this one.

Rating: 4/5 Stars

Film Review: Zappa (Magnolia Pictures)

By: Jesse Striewski

Many a year ago, I was minding my own business and listening to music at a friend’s house, when suddenly his dad emerged into the room and proclaimed, “you need to hear this!” He quickly removed whatever punk record we were listening to at the time, swiftly replacing it with a Frank Zappa album. Of course my instant reaction was “what in the world is this?!” before realizing I was already in love (thanks Andrew). So it’s a thrill seeing the late Zappa’s life and work finally compiled into cinematic form.

Directed by Alex Winter (of Bill & Ted fame), Zappa uses archive footage and interviews to tell the story of one of the most brilliantly inventive and diverse musicians in our lifetimes, but does so in a way that still feels fresh and new. A host of various family members, producers, and numerous celebrities/musicians that range from The Beatles, David Bowie, The Rolling Stones, and Alice Cooper, all help move the story along in the right direction.

It’s obvious Winter is a fan himself, and has treated the material here with the utmost respect and dignity. It’s a fitting tribute to a deserving icon that even the most casual of fans should view for themselves.

Rating: 4/5 Stars

Album Review: Alice Cooper – Breadcrumbs (earMUSIC)

Alice Cooper

By: Jesse Striewski

On his latest release, shock rock master Alice Cooper complies an ode of sorts of some of his favorite Detroit-based music. There’s even a few guest spots along the way from some of the region’s icons, such as MC5 guitarist Wayne Kramer and Grand Funk Railroad’s Mark Farner.

“Detroit City 2020” (a re-working of an older Cooper track) is far from the strongest track to kick off the EP, but things pick up swiftly with the punk-infused “Go Man Go.” More than admirable covers of Bob Seger’s “East Side Story,” the MC5’s “Sister Anne,” and Suzi Quatro’s “Your Mama Won’t Like Me” stand out as definite highlights.

Weak spots include Cooper’s take on “Devil with a Blue Dress On” (although ending it with “Chains of Love” was indeed interesting). In short, Breadcrumbs isn’t much more than a tease, but should at least tide Cooper’s most dedicated fans over until he gets back to the main course.

Rating: 3/5 Stars