Over the summer, NYS Music began to take a look at the state of New York music venues. In June, July, and August we saw venues closed for the foreseeable future, support for Black Lives Matter, and some venues beginning to offer performances with social distancing in place.
September kicked off with Red Alert RESTART, and venues across the country (and world) going red to encourage action to save independent music venues. With hope for passage of relief bills in Congress limited, and only ‘incidental music’ currently allowed, venues remain mostly closed for live music, in quiet anticipation of the day crowds can return.
Tarrytown Music Hall – photo by Steve Malinski
Working with a dozen photographers to document more than 40 venues in 12 cities across New York State, NYS Music presents the fourth edition of our monthly series that looks at the current state of our beloved venues.
Immense thanks goes out to all photographers and venues who are taking part in this monthly series. We’ll start the fall off in the Hudson Valley with Mickey Deneher’s look at the historic venues that pepper the towns along the Hudson River. Visit NIVA to find out how you can help venues across New York, and the country. We need to #saveourstages and preserve live music for when this is over.
Each Sunday evening from 7-9pm on 102.7 FM, you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear music from The Reckless Few, ERIE, and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to a ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
From Troy, The Reckless Few is a sextet featuring Louis Emory (guitars, vocals), Bob Boyer (drums, percussion, guitars), Tim Lynch (piano, organ), Kate Sgroi – (bass), Rocco DiDonna (vocals) and Eliyahu Baruch (vocals). Their inspirations include The Beatles, The Rolling Stones, Bob Dylan, The Band, The Beach Boys, Frank Sinatra, Motown, and Muscle Shoals. Singer/Songwriter Louise Emory has been writing and recording original rock ‘n roll with a diverse family of local musicians for over 20 years. This song was released fifteen years after it was written while floating on a boat in Long Island sound.
From Albany, ERIE earlier this year self-released record the week before Covid-19 started running rampant and put us all into quarantine. With all that, the band managed to get picked up by Mint 400 Records out of Jersey City, NJ. They will be re-releasing the record on Friday, September 18 and have a virtual release show planned at The Linda on Monday, September 21.
What is there to say, but it is great to hear live music once again. Having spent the last six months at home counting down the days to when we can all be together, on September 8, for just a few hours in the small town of Morris, CT, it felt like the curse of darkness had been lifted, thanks to Manic Presents and Marcus King Band. The team at South Farms have figured out a way to bring music and entertainment back to the people, and boy do we all need it.
The new venue at South Farms for this power house team is unassuming and not a first choice for a one-night event. The venue has everything a fan would want and more: picturesque views of killer sunsets, incredible sound that echoes in the rolling farm hills and of course, great sight lines that make fans feel as though they’re in an amphitheater atmosphere all the while being socially distant Talk about a win-win!
The evening began with Early James, an Alabama singer/songwriter whose sound is a blend of country, southern blues, and jazz, and has a lyrical style that is a mix between Bob Dylan and Tom Waits. This one-two punch tonight allowed fans to be reintroduced to the concert format with James’ incredible talent. A highlight of his opening set was “Easter Eggs” with honky guitar licks and southern slide guitar.
As the sun set a loud roar and the sound of woo-hoos echoed the night sky, Marcus King, with drummer Jack Ryan and bassist Stephen Campbell took the stage. Marcus joked saying how it was great to actually see people, instead of cars for the first time once again. The trio jumped right into playing a version of “I Just Want To Make Love To You/Hoochie Coochie Man”
The highlight for this photographer came as the trio began “One Day She’s Here,” a song that is hauntingly beautiful and can resonate with the times. “She” could be considered to so many people in the music industry this year.
Pretty little girl in a Coupe de Ville Saw her disappear up across the hill One day here, now the next, she’s gone Didn’t even get to hear me sing my song She disappears just like the dawn One day she’s here, the next, she’s gone
Other highlights of the night included a rocking version of “Virginia”, a southern rock song that just is so gritty and raw that those who were in attendance who had their eyes closed would have sworn Warren Haynes came to the farm early. And of course a stellar encore of “The Well” and Black Sabbath’s “War Pigs.”
One thing is for sure, that night at South Farms with Marcus King reminded us that “she” will come back one day and boy has she. Music is alive and well, as long as there are those who listen and follow the rules. Those who work in this industry will not go down without a fight. If you’re missing seeing acts at your local venue, do yourself a favor check out South Farms, because “Music is better on grass.”
Since March, the Coronavirus global pandemic and government shutdown had left many people in their homes stuck with nothing to do. That is until, famed producers Hit-Boy and Boy-Wonder began the Verzuzcraze on Instagram Live, playing their most popular records back-and-forth. Timbaland and Swizz Beats expanded on the phenomenon, elevating it by pairing older, iconic acts together to showcase their catalogs in a 20-song format.
Verzuz battles have helped keep the general public’s minds off of the pandemic and the success from each ensuing battle has fans creating dream matchups of who they want to see next, and which artist they want paired with who. One of the artists that many fans want to see step into the ring is Jay-Z. Widely considered as one of, if not the greatest rapper ever, conversations surrounding a potential Hov battle have people asking two questions: given his immense stature, would he actually do a Versuz battle? And, who exactly would be his opponent?
The first names that have been tossed around are his long-time rival Nas and Lil Wayne. Nas and Jay-Z’s rivalry is well-documented and dates back to the late 90’s. Their problems began when Nas turned Hov down for a feature on Jay-Z’s song “Dead Presidents” off of the Reasonable Doubt LP, because Nas’ voice was sampled for the record. With that, animosity began to build, as both rappers exchanged shots for years throughout multiple songs until the rivalry met its climax in 2001.
https://vimeo.com/316958866
First came Jay-Z’s “Take Over” from his Blueprint album, while Nas replied a few months later with “Ether.” Their battle marked Nas’ to hip-hop superiority, as well as the first real loss by Jay-Z. It only makes sense that their convoluted history has fans yearning for a Verzus battle between the two.
While Lil Wayne’s case is centered on his dominance of the rap game during the mid-to-late 2000’s, he has also had a healthy rivalry with Jay-Z with the two sharing subliminal shots at each other on various records. While all these names are legendary in their own right, the best opponent for Jay-Z isn’t Lil Wayne or Nas, but none other Method Man.
Making a name for himself in the early 90’s as the face of the most gritty and diverse group in hip-hop history, Wu Tang Clan, Meth has been a part of many classic albums in his own right. From his work with the Clan, his own solo albums and guest features, he has enough in his arsenal to give Jay-Z his toughest matchup in a Versuz Battle.
Why Meth and not Nas or Wayne
Some will say that Method Man isn’t a better choice to battle Jay over Nas or Lil Wayne and they would be wrong. Artists have egos and want to be matched up with other rappers whom they believe are of their stature. Jay-Z is at the pinnacle of hip-hop as a mogul, artist and legend. He is constantly praised by hip-hop media outlets who have been the main reason for him being mentioned as the “G.O.A.T.” in recent years. Prior to his success as a businessman, that title was reserved for the likes of Tupac Shakur, The Notorious B.I.G., Rakim, LL Cool J, and Nas.
Jay-Z has always been conscientious of how people perceive him. In a 2019 Breakfast Club interview, rapper T.I revealed that Jay-Z phoned him over comments he made where he stated that he believed Tupac Shakur was the greater emcee.
Jay-Z took some offense, which let the masses know that being considered the greatest is important to him. From his pespective, why go head-to-head with Nas again? Because of the extent of his radio catalog, he would would be the heavy favorite, to the point that most would write off Nas, just as they did in 2001.
While a Verzuz battle is meant to be hit-for-hit, we’ve seen them deviate from this course and highlight quality records over just radio-friendly music. In this scenario, Nas could come with 20 of his best records and possibly sneak a win from Jay-Z, and if he does, then his status among mainstream media as the best rapper ever would come into question.
The same thing can be said for Lil Wayne, only his win would come from his sizable radio catalog. If Jay-Z were to battle him and go hit-for-hit, there is a possibility that he would lose. Another overlooked aspect is that Nas, Lil Wayne and Jay-Z all have laid-back personalites, which might not be the most entertaining to the public as other battles have been. This is where Method Man comes in. As the host of TBS’ Drop the Mic, his personality is effervescent and thus would serve as better entertainment to audiences, as he would surely provide great banter during a Verzuz battle. Meth is not considered usually in the conversations for best rapper ever, he is thought of like Snoop Dogg; a dope rapper in their prime, who have been featured on great songs throughout their careers.
If Jay-Z were to get defeated by Method Man it would be more of a look for Meth and his catalog than a diminishment of Jay-Z’s. Meth is pulling from not only his catalog but the entire Wu-Tang Clan’s, as well as guest verses he has done throughout his career. If Jay-Z does defeat Method Man, then he can say he took down Method Man (who was at one point viewed as a better emcee than Jay-Z in the mid to late 90’s), while also claiming that his own catalog was able to overcome Wu-Tang Clan’s discography, which would make his case as the greatest ever stronger.
How Would Their Battle Go?
A battle between Method Man and Jay-Z would be interesting because of their contrasting styles. Meth has a gritty gutter style and has been known to rhyme over tougher beats. Jay-Z is smoother and rhymes on more polished sounding production. Meth might probably start off with his first single off the 36 Chambers album “Method Man” or “Protect Ya Neck,” the track that put the entire Wu on the map. This would put Jay-Z in a bind, as a lot of the early Wu Tang records are considered some of the best rap songs of all-time. This would probably force him into playing a lot of his older, more acclaimed work but, he would most likely still play some of his newer songs like “Story of OJ,” due to its popularity and current climate of the world, with race relations and internal bickering amongst the black community.
A major risk in this battle is sequencing. Would Jay-Z try and use his Billboard hits against Method Man with songs like “Déjà vu” with his wife Beyonce? While one of his highest charting songs ever, against Method Man, the underdog in this battle, it would not be wise to play those kind of records.
Method Man has gotten a bad rap for “whining” about being overlooked in his all-time ranking when people mention the greatest emcees. A Verzuz battle with Jay-Z not only brings new listeners to his already iconic catalog and also opens up discussions about where Method Man should be ranked in the pantheon of hip-hop greats. This also works in Jay-Z’s favor, as Method Man has a legendary and mostly underrated discography. If Jay-Z were to lose, it would be shocking but no one would question his superiority over Method Man in the rap hierarchy. If Hov wins, then he would reaffirm his status as the best rapper of all-time.
Here is a list of both MC’s potential versus picks.
Bob Holmes, a member of SUSS and Joel Mellin and Christopher Romero of Gamelan Dharma Swara collaborated to create the minimalist group numün. They released their first album, voyage au soleil, French for “voyage to the sun,” on Friday, September 4. With their different backgrounds, numün is able to achieve a unique sound by using both American and traditional Balinese instrumentation, aided by synthesizers and looping.
The album first began as a project to commemorate the 50th anniversary of the 1969 moon landing. As with much ambient music, there is an inspiration from Brian Eno, but numün is able to break away from him using unique instrumentation and a key central element for the listener to follow.
The album begins with “Tranceport,” a song that invites the listener into the album. Even on this first track, the use of less-common instruments is evident. The song uses a gong that rings periodically. This functions as a start to the album, but also a start to the journey the listener is about to embark on. It transitions into a more guitar-heavy section, eventually fading into the next track, “First Steps.”
“Tranquility Base” works as a recap of the previous two tracks while also looking ahead to the future. As the longest track in the album at 8:22, numün is able to use this time to glance at the journey in front of them. The group reflects on what happened and looks to what is in store. The final three tracks work to propel the reader towards the finish, the heart of the sun.
The listener can get lost in the music and drift, but they will never get too far. There is always something that can pull the listener back. Sometimes it is a repetitive melody changing; other times it may be the use of an instrument that is foreign to the listener’s ear. voyage au soleil is a journey through it all: the unknown, the pitfalls, and the triumphs.
Key Tracks: Tranceport, Tranquility Base, Voyage Au Soleil
Americana/bluegrass artist Molly Tuttle has released the music video for her cover of FKA twigs’ “Mirrored Heart.” The video coincides with Tuttle’s quarantine cover album, …but I’d rather be with you, comprising 10 covers, both classic and contemporary. Released through Compass Records, the album was co-produced by Tony Berg, a frequent collaborator of Phoebe Bridgers.
The original version of “Mirrored Heart” came out last November, as part of FKA twigs’ second studio album, Magdalene. Whereas FKA twigs’ version is electronic and avant-garde, Tuttle puts an acoustic, familiar twist on it while retaining its sense of melancholy. Her stab at “Mirrored Heart” informs the rest of …but I’d rather be with you, where she makes songs as old as the 1960s into her own.
“I absolutely love the whole album, Magdalene. But this song stood out to me specifically. It totally brings me back to my first heartbreak. FKA twigs really nails the feeling of not being seen and accepted by the one you love. For this album, I turned the lights out in my room and recorded all the vocal, guitar, and harmony vocals myself. We decided not to add anything or anyone else to it, which felt fitting since the song is so intimate. I read a quote of her saying she can’t get through it without crying, and even though I didn’t write it I found myself tearing up while singing it as well — music is wild like that!”
Molly Tuttle
On …but I’d rather be with you, the Nashville singer-songwriter leaps from the Rolling Stones to Harry Styles with ease. The perpetually-sunny “She’s A Rainbow” is an early high point, and its momentum continues into covers of Arthur Russell’s “A Little Lost” and Karen Dalton’s “Something On Your Mind.” Even on the album’s most depressing songs, Tuttle’s voice is warm and inviting. There are no true skips, as every cover showcases another mood for her to breathe to life. The closing track, a cover of Cat Stevens’ “How Can I Tell You,” immediately incites a thirst for the next album.
In addition to “Mirrored Heart,” Molly Tuttle has released videos for her covers of “She’s a Rainbow,” The National’s “Fake Empire,” Rancid’s “Olympia, WA,” and the Grateful Dead’s “Standing On The Moon.” The “She’s a Rainbow” video is a feminist statement with messages from friends, fans, and famous artists. Linda Perry, Tom Morello, Chris Shiflett, Buffy Sainte-Marie, and more all appear holding signs to promote the cause.
For more information, visit Molly Tuttle’s website. Stream …but i’d rather be with you below:
Oliver Wood released a single of the cover, “The Battle Is Over (But The War Goes On)” on September 4. This classic protest anthem cover is only his second solo single, the first being “Soul Of This Town.” Both are found across all streaming outlets. To donate to the American Civil Liberties Union (ACLU), you can purchase the song now at Bandcamp.
Oliver Wood (Photo by Come To Life)
Recently branching out on his own as a solo artist, Oliver Wood has been a part of an American folk band, The Wood Brothers, since 2004 and has released seven studio albums with them since. The Wood Brothers have played in high profile shows such as Red Rocks and Bonnaroo and even earned a Grammy Award-nomination. Check out more about The Wood Brothers on thewoodbros.com. He has also been a part of Medeski, Martin & Wood where he opened for them and sat in on their show.
Now, stepping into his solo career, the release of the cover “The Battle Is Over (But The War Goes On)” follows his original genre of American folk/Rock to get the message out about standing together. In his recent interview about the single, Oliver Wood stated, “With all that’s going on today, it felt inspiring to put this song out in the world again and help keep the momentum of a movement that really needs everyone’s help.” This song has a great rhythm and powerful lyrics that make you think about the message he is trying to convey as well as the emotions that go with it.
“If talk was money, you’d be a millionaire If thoughts could kill, there’d be no one here So many thinking’ evil and talkin’ jive But its in only true love, this old world cans stay alive”
This verse is moving, and you hear the truth through Oliver Wood’s voice. Keeping the song fun and upbeat, listeners get tied into this single and only makes one want more from the new solo artist.
Over the last few years, Queen tribute band, Almost Queen has been on a roll. Selling out across the US, with 2020 starting out the same way. Then Covid-19. No shows, no touring, nothing. So, what’s a band to do? Some started doing social media performances, while others put out new music to cover the void. Neither route quite fit the mold of Almost Queen.
Plan B? What was old is new again. Drive-ins. Yup, drive-ins. Dating back to the 1910’s, hitting its popularity in the ‘50s’ and ‘60’s, drive-ins are experiencing a rebirth as the arena for live music. If you park it, they will play.
Almost Queen; Sunset Drive-In Concert Series
Now let’s be clear here. This is not The Capitol Theatre, The Strand Center, or Brooklyn Bowl. This is a drive-in. When the lights go down, it’s because the sun has set. So how do you prepare to play in this new realm? “With great difficulty” Randy Gregg, bass player for Almost Queen, cites. “Very different from the way we would prepare normally. What used to be this, is now this. It’s a whole different system of doing things now.“
Almost Queen; Sunset Drive-In Concert Series
“Our job as a band, is to break down this barrier between the band and the crowd, and get that crowd on your side before 90 minutes is up. That’s always the plan with any band. Now, that barrier is even thicker when they’re in their cars. “
Almost Queen faced this challenge head on in June when a band, booked to perform at a drive-in Hempstead, Long Island show, had to be quarantined, having just been in Florida. Almost Queen was called on a Wednesday to play that Friday.
Tailgating; Sunset Drive-In Concert Series
“What had us very nervous was jumping into a drive-in show with two days notice. With all the work it takes to put a show on, and now it’s minimalized to hours to do things.” Gregg recounts. Adding to that, because of Covid, the band hadn’t played together in four months. The pressure was mounting. After squeezing in a rehearsal the night before the show, “we came out with the gloves on, just raring to go,” Randy quips. “Four months will do that to you when you’re cooped up. Apparently four months does that to everybody who was in the crowd that night. Even though everyone was in their cars, it seemed a bit explosive, if you will. People leaning on their horns, flick’n their lights, and you could hear people screaming and clapping from inside their cars. Definitely a different situation then it has been in the past. It is what it is. If there is a will, there is a way.”
With their foray into parking lot rock a success, the band started thinking of ways to interact with their audience, while adhering to restrictions. The solution? A “goodie bag,” given to each car when they arrive. Think of it as somewhere between a program and swag. In the “bag” is a brochure that shares info and photos about the band, glow sticks, and assorted rock accouterments that can be used during the show.
Almost Queen; Sunset Drive-In Concert Series
Our job as a band, is to break down this barrier between the band and the crowd…that barrier is even thicker when they’re in their cars.
Randy Gregg. Almost Queen
NYS Music tagged along with the band as they played the Sunset Drive-In Concert Series presented by Bergen PAC, at Garden State Plaza, in Paramus N.J. The lot used was a in a remote location behind the mall and isolated enough that you didn’t notice that Route 4 and 17 were beyond the perimeter. When we pulled up to the gate, our temperatures were taken, goodie bag received, and we were guided to our parking spot by a member of the on-site logistics team. Tailgating was approved for the show with each car given an additional space next to it, specifically for those purposes. Pre-show festivities went from people pulling drinks from a cooler to spreads with tables and tablecloths, candelabras and complete dinnerware sets. The “house” was filled with cars as far as the eye could see and large video screens were set up on each side of the stage, to insure that all had a full view of the action. Those attending ran the gamut from early Queen fans (circa 1970), to those who won’t learn to drive for a few years.
Almost Queen; Sunset Drive-In Concert Series
With the sun preparing to sink below the horizon, Almost Queen took to the stage, greeting the crowd with “We Will Rock You,” letting all know what was to come. Joe Russo, who takes the role of Freddie Mercury, embodies the lead singer’s spirit with his vitality and charisma. Not to take away from the rest of this rock tested band: John Cappadona on drums, Steve Leonard on guitar, and Randy Greggs on bass; who amplified their rock personas, performing as if they are in a 100,000-seat stadium and not a drive in.
Almost Queen; Sunset Drive-In Concert Series
As the night progressed, more and more cars could be heard honking their horns in approval of the show. Midway through the night, the band dedicating the apropos “I’m in Love With My Car,” to all in attendance as a thank you for attending. Even though this was a wide-open, socially distanced drive-in show, singing was encouraged with Russo engaging the audience in a song round establishing a sense of solidarity between band and crowd.
Pulling songs from the vast catalog of Queen, the night’s set included, “Killer Queen,” “Radio Ga Ga,” and “Another One Bites The Dust,” with each song building on where the last one left off. The show closed with a multi-song encore, including “Bohemian Rhapsody” and “We are the Champions.”
Joe Russo, Almost Queen; Sunset Drive-In Concert Series
It takes the right act to be able to connect with an audience that has restrictions placed on them. Almost Queen proved worthy of the challenge by piercing the veil of disconnect and pulling everyone, whether in a car, back of a truck, or standing in their socially designated spot, into being part of the band.
Almost Queen will be performing this fall at various Covid approved shows in the northeast including Saturday, September 12th at the Northeast Delta Dental Stadium in Manchester, NH. Check there website for future shows. Whether you’re a Queen fan or not, you own it to yourself to see Almost Queen. A band that goes beyond being just a tribute, to what a rock ‘n roll band should be.
In February of 1968, The Beatles pulled the ultimate disappearing act. The world’s most culture-bending and publicized foursome went radio silent, forsaking the comforts of Swingin’ London for a humble ashram in remote Northern India to study transcendental meditation with Maharishi Mahesh Yogi.
For two months, the justifiably world-weary fabs were alone but very together, with just their romantic partners, trusted roadie Mal, and a few heavy friends like Beach Boy Mike Love, the singer Donovan, actress Mia Farrow and her soon-to-be immortalized sister, Prudence. And, oh yes, one very lucky 22-year-old Canadian, Paul Saltzman, who unknowingly stumbled into the world’s most exclusive mystical gathering, all in hopes of learning meditation as a way to mend his recently broken heart.
Now an Emmy Award-winning filmmaker with over 300 credits, Saltzman spent 10 days in close company with the Beatles at Rishikesh. The lush color photographs he casually snapped of them in blissful repose, often cradling their precious Martin guitars, would become vital artifacts of what is arguably their most creative period. It was one where they wrote up to 48 songs, classics like “Blackbird,” “Mother Nature’s Son,” “Goodnight,” “Julia,” “Mean Mr. Mustard,” “Revolution” and “Junk” that would appear not only on The White Album, but Abbey Road and their solo offerings.
Saltzman’s new documentary, Meeting the Beatles in India, is much more than gossip about what happened behind the ashram’s exclusive gates. It is a profound and personal study, through the prism of the Beatles, of how the enlightenment and peace produced by meditation can impact creativity, as well as our physical and emotional well-being.
Narrated by Morgan Freeman, Meeting the Beatles in India expertly weaves together a mountain of rarely seen archival film and some never-before-seen in film photos from Saltzman’s collection, along with interviews from a bevy of notables like Harrison’s ex-wife Pattie Boyd and her sister Jenny and long-time meditation champion and film director David Lynch. Together they captivatingly tell the story of the Beatles time in India, the impact it had on their creativity and the Western World’s lasting embrace of Maharishi’s TM. Beatles history buffs will, of course, delight in the new factoids unearthed. These include how the band’s falling out with the Maharishi came about (we’re looking at you, Magic Alex!). And, in a face-to-face meeting in Hawaii with the real-life Bungalow Bill, we hear how his hunting trip with his mom inspired the tune, and how the tune then inspired him to put down a gun and pick up a camera to capture wildlife more peaceably.
The film also takes Saltzman back to India, with legendary Beatles historian Mark Lewisohn in tow and suitably agog. Here, they visit the former site of EMI Studios in Bombay where George recorded The Inner Light, with master musicians like flautist Hariprasad Chaurasia who is interviewed in the documentary and, of course, to the ruins of the ashram and the bank of the holy Ganges River to trace the Beatles’ steps.
Saltzman’s chance meeting with the Beatles came about when he headed to the ashram to learn meditation in an effort to mend a heart crushed by a “Dear John” letter sent from his girlfriend in Canada. On arrival in Rishikesh, he was turned away, being told that the ashram was closed to host the Beatles, who he was unawares were even in India! A kindly staffer let him stay in a tent outside the gates, and after eight days, he was allowed to enter and take a one-on-one session to learn TM. It took less than five minutes, and his first 30-minute meditation was ‘a miracle’ that healed the agony of his heartbreak.
In a blissed-out state following the session, Saltzman was walking through the ashman and saw the Beatles and their party sitting at table. When he asked to join them, the always leader-like John warmly welcomed him with an, “Of course, mate!”
Over the course of the next week, Saltzman hung out with them often, and even had private discussions, such as the one where John, addressing the young man’s recent heartbreak, told him: “The really great thing about love is that you always get another chance.”
In the film, Saltzman revisits the spots where Paul and John first sang Dear Prudence to Prudence Farrow, the serious-minded sister of Mia Farrow, and the beginnings of the unfinished song that would become Ob-La-Di, Ob-La-Da, with the partial set of scribbled lyrics set beneath McCartney’s shoe. In the convivial atmosphere, Saltzman used his low-end Pentax camera to casually capture some of the most intimate and relaxed photographic portraits ever taken of John, Paul, George and Ringo. These include the famous “Class Photo” of the group, their friends and 40 or so others who are at the ashman learning to become TM instructors.
Meeting the Beatles in India also takes viewers to The Beatles Story Museum in Liverpool. Here, Saltzman reunites with George Harrison’s ex-wife Pattie Boyd and her sister Jenny, who were both in Rishikesh with the Beatles, as they revisit their memories at an exhibit of Saltzman’s photos. This great documentary broadens the focus in an interview with famed filmmaker David Lynch, who also served as an Executive Producer of the film. In it, he discusses the impact TM has had on his own life and creative output and his foundation’s work to expose children around the world to the mental, physical and creative benefits of meditation.
When young Saltzman returned to Canada, his experiences with meditation and the Beatles were chronicled in a single story in a leading magazine, with a select few of his images. The pictures were then put away and forgotten for 32 years until his daughter, Devyani, suggested he do something with them. Several gallery shows and books followed a few years ago, setting the stage for what Saltzman’s believes is the most far-reaching and meaningful document of the experience, this new film.
With COVID-19 decimating traditional distribution means for film, the producers of Meeting the Beatles in India are plying an exciting new avenue for its premiere.
Gathr Films will host a World Event Cinema Premiere on Wednesday, September 9 at 7 PM (local times all around in the world) on its Gathr At Home™ platform. The film will be followed by a live Q&A with the filmmaker.
For another in-depth look at Saltzman and his experiences with the Beatles, check out episode 223 of the original all-talk Beatles’ podcast, Fab4Free4All, hosted by three New Yorkers, Tony Traguardo, Mitch Axelrod and Rob Leonard. Also recommended is Jenny Boyd’s 2013 book, It’s Not Only Rock ‘n’ Roll – Iconic Musicians Reveal the Source of their Creativity. In it, Boyd, now a psychologist, studies the sources of creativity of famous musicians in her orbit including Eric Clapton, George Harrison, Ravi Shankar, Joni Mitchell, Keith Richards, her former husband, Mick Fleetwood, and dozens more.
Alternative Ithaca musician Harry Nichols released a new solo EP, A Spoonful of Sugar, on September 4. Nichols has been influenced by various styles–beachy, punk-pop, folk, indie, and rock, to name a few–but this EP has its roots in electro-pop.
Harry Nichols started writing music at fourteen. He has been releasing music as an independent artist since 2010, and has several albums and EPs out on Bandcamp, which draw inspiration from Blink 182, The Beach Boys, and Bob Dylan. He has made a name for himself in Ithaca’s concert scene, and has been playing live for years. Many of his concert videos are on the Finger Lakes Music Press YouTube channel.
Since his last nerd-life inspired record This Isn’t the Album you’re Looking For…,Nichols focused on contributing to his bands Noon Fifteen and Julia Felice and the Whiskey Crisis. He released a few demos and solo EPs since, but this September, Nichols finally releases his latest solo EP. Nichols considers this easy listening track, A Spoonful of Sugar, his first major release in six years.
ASoS was written and recorded entirely during the COVID-19 quarantine. The track is much poppier than Nichols’ other work, and the razor sharp melodies match the emotions behind the lyrics. Nichols takes pop punk and soul and blends them into synth and digital drums, as those were the tools he could work with by himself during quarantine.
Although the lyrics are a reflection on the loneliness of social distancing, the music is upbeat and energetic. Nichols lets the listener momentarily escape from the current sadness and stress and live in this poppy world he makes with A Spoonful of Sugar. ASoS is available for purchase on Bandcamp now.
