Typically when asked what my “favorite movie of all time” is, I struggle to give a definitive answer. But in the field of comedy films, for decades now my mind has almost instantly always gone to 1984’s This Is Spinal Tap, the rock mockumentary featuring the fictional band of the same name. So as soon as I heard the news about Spinal Tap II: The End Continues, I knew I would be there on opening night (or more accurately, an early IMAX screening of it on September 10).
The film itself follows the core of Spinal Tap, Nigel Tufnel (Christopher Guest), David St. Hubbins (Michael Mckean), and Derek Smalls (Harry Shearer) reuniting after a fifteen year gap for a comeback concert in New Orleans, all while being filmed again by Director Marty Di Bergi (Rob Reiner).
Inner band turmoil and the search for that ever elusive drummer all ensue, and there’s appearances by the likes of Paul McCartney and Elton John (among others). But the jokes unfortunately don’t always go to “11” this time around, despite how hard they may try to (although the pay off in the end is rather satisfying).
Flyer for the previously-mentioned early showing of Spinal Tap II the author attended on 9-10-25, although the Q&A advertised here was nowhere to be found, only a brief introduction from Director Rob Reiner prior to the film was present.
Can I recommend Spinal Tap II? Of course. But if you’re not as big of a fan of the first film as myself, you might find yourself lacking interest in the proceedings here. But still, we live in a world where Spinal Tap (the band) are still around to give us at the very least one more round; that alone can’t be all that bad.
Who knew I’d be reviewing a new album from The Rolling Stones in 2023, and it’d actually be well above average material at that? This Christmas almost felt comparable to when I actually received my first Stones album, Voodoo Lounge, as a Christmas gift all the way back in 1994.
Hackney Diamonds, the band’s first album since 2016 (and first one of all new material since 2005’s A Bigger Bang), reminded me much of said Voodoo Lounge album. It is also unfortunately now their final album to feature late drummer Charlie Watts on the tracks “Mess It Up” and “Live by the Sword,” each great tracks and recorded prior to his death in 2021.
Beginning with lead off track/single “Angry,” the entire album sounds fresh, and Jagger and Richards are on top of their writing game here (with the assistance of Producer Andrew Watt on three tracks as well). The legendary Paul McCartney lends bass to “Bite My Head Off” (which no doubt stands out as one of the strongest numbers here), and even former Stones bassist Bill Wyman makes an appearance alongside Watts on said “Live By the Sword.”
I suppose the seven-plus minute ballad “Sweet Side of Heaven,” featuring both Lady Gaga on co-vocals and Stevie Wonder on piano/keyboards, should be the song to gush over here. But for my money, “Get Close,” “Depending on You,” “Whole Wide World,” and “Driving Me Too Hard” are all far more superior. And should this be the last studio album the world ever receives from The Rolling Stones (which I truly hope it is not), it’s one hell of a way to go out for sure.
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.
The Rewind It Magazine crew (from l to r; Jacob Striewski, Shawn McKee, Jesse Striewski, and Brooke Striewski) with Alter Bridge/Creed guitarist Mark Temonti after Paul McCartney’s show last Saturday, May 28 (Photo by Jhennifer McKee).
For just the third time in his career (and first time since 1980’s McCartney II), legendary Beatles singer/bassist/songwritter Paul McCartney has written and recorded an album full of compositions penned and performed entirely by him. And for someone pushing eighty years old, he’s still got it.
The album starts off with a near-jam piece in the form of “Long Tailed Winter Bird,” by far one of the strongest tracks found here. Unfortunately, it’s followed by a number of mediocre tunes before finally picking back up again. Luckily, things are redeemed by the edition of “Lavatory Lil” and “Slidin’,” which sound as though they would’ve both been able to fit in the White Album-era Beatles catolog.
Even if you were drawn more towards Lennon’s work in The Beatles (as I personally was), there’s no denying McCartney’s influence in the rock and pop worlds. We should all be thankful he’s still here and producing new, positive music at a time when the world truly needs it the most.
