Category: Regions

  • Film Review: Meeting the Beatles in India

    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. 

    meeting the beatles in india

    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.

    Meeting the Beatles in India

    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.”

    meeting the beatles in india

    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.

    meeting the beatles in india

    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.

  • Harry Nichols’ First Release Since 2014 Doesn’t Disappoint

    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

    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.

    Harry Nichols

    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.

  • JUST VOTE Campaign Announced by HeadCount and Global Citizen

    JUST VOTE Campaign was announced by HeadCount and Global Citizen on September 8, in hopes to mobilize young voters for the upcoming presidential election. The campaign will reward voters for checking their registration by entering them in for a chance to win exclusive experiences, performances, and memorabilia from big names like Billie Eilish, Taylor Swift, DJ Khaled, and more. 

    The non-partisan campaign hopes to reach one million young voters and get 50,000 young people registered to vote ahead of the 2020 elections. It also offers the option for people who won’t be 18 by the 2020 elections can still enter the campaign for a chance to win prizes by pledging to become a voter when they turn 18. The cangain is focusing on young people because research shows that more than a third of eligible voters are Gen Z or Millennials. 83% of people between the ages of 18-29 believe they have the power to change the country and the world but dishearteningly only 60% of people in that age range are planning to vote. Unsurprisingly voter registration numbers are also down this year as a result of the COVID-19 pandemic. The hope of this campaign is to close that gap and get more young people to register and vote in the upcoming presidential election. 

    Artists supporting the campaign include a Billie Eilish who is supplying a signed vinyl, hoodie, and t-shirt, Billy Porter who is supplying a replica ‘Kinky Boot’, DJ Khaled who is supplying a virtual meet & greet, FINNEAS who is supplying a signed vinyl, hoodie, and t-shirt, Julianne Hough who is supplying a private virtual dance class, Loren Gray who is supplying virtual front row seats, Nicky Jam who is supplying a private, virtual concert, Quavo who is supplying a private happy hour, Taylor Swift who is supplying a guitar signed by Taylor Swift, and Usher who is supplying a virtual dance lesson with Usher and his choreographer. Once people check their voter registration status they can choose which experience they want to be entered into. A winner will be chosen at random on October 7, 2020. Voter registration not required for entering drawing. Full contest rules can be found here.

    Hugh Evans, co-founder and CEO of Global Citizen spoke on the campaign saying, “We are proud to launch the ‘Just Vote’ campaign to encourage more young people to check their status and register to vote. For years, we have been activating global citizens to be part of the solution to key issues like extreme poverty, climate change, and now pandemic relief. Voting is a vital way to exercise that power. We are excited about ‘Just Vote’s’ potential to drive young voter turnout in November and beyond.”

    For information on  the JUST VOTE Campaign and to enter in to win the exclusive experiences, performances, and memorabilia visit Global Citizen’s website.

  • Ozzy Osbourne Plays to a Soaking Wet Crowd at Jones Beach on this day in 2018

    On Sept. 8, 2018, Ozzy Osbourne played to a soaking wet crowd at Jones Beach Theater, but once The Prince of Darkness hit the stage, nobody seemed to mind. Ozzy himself came out first before the rest of band and told the crowd, “The crazier you get, the longer I’ll remain on stage.” That’s all it took to get the sold out crowd of 15,000 plus going f—–g crazy!

    At this point it was freezing cold and had been pouring for the last few hours, especially during opening act Stone Sour’s set, and the floor was a foot deep with water seeping in from Zach’s Bay where the venue stands. Regardless, Ozzy sounded just as good as I have ever heard as he kicked off the show with “Bark at the Moon.”

    ozzy osbourne

    Zakk Wylde was back in the lineup on guitar along with Blasko on bass, keyboardist Adam Wakeman and drummer Tommy Clufetos. The stage backdrop was highlighted by a giant cross made up of screens projecting extraordinary imagery and at times looking like a medieval sculpture.

    Ozzy’s solo hits made up most of the setlist including “Mr Crowley,” “Suicide Solution” and “No More Tears,” but he also slipped in a little Sabbath like “Fairies Wear Boots” and the epic “War Pigs.”

    Black Label Society frontman Wylde was giving his own 20 minute showcase during the show at which time he made his way into the audience playing a medley of songs. He was tearing it up as he played with the guitar behind his neck and even with his teeth at times. He is one of the best metal guitarists the genre has ever known so it was good to see him play alongside Ozzy again. He was even wearing a custom Ozzy denim vest.

    Ozzy Osbourne closed the main part of the set with, in my opinion one of the greatest metal songs ever written, “Crazy Train”. The show concluded with an encore of “Mama I’m Coming Home” and Black Sabbath’s “Paranoid.”

    Setlist: Bark at the Moon, Mr. Crowley, I Don’t Know, Fairies Wear Boots (Sabbath Cover), Suicide Solution, No More Tears, Road to Nowhere, War Pigs (Sabbath Cover), Guitar Medley: Miracle Man/Crazy Babies/Desire/Perry Mason, Drum Solo, I Don’t Want to Change the World,
    Shot in the Dark, Crazy Train

    Encore: Mama, I’m Coming Home, Paranoid (Sabbath Cover)

  • Melanie Penn Shares New Single, Video: “Avenue of The Americas”

    NYC singer-songwriter, Melanie Penn, has released an inspiring New-York centric pop anthem paired with a stunning music video for her new single, “Avenue of The Americas”.

    Avenue of The Americas

    As a native of the big city, Melanie celebrates her ties to New York in the cinematically beautiful “Avenue of The Americas” music video. Melanie’s love for the city becomes more apparent with each elapsing second of the video.

    The song itself outlines Melanie’s climb to success, with lines referencing dreams of one day finding the spotlight in the Big Apple. Crescendoing synths pulsate in the background as “Avenue of The Americas” gives us an intimate understanding of Melanie’s hopes and aspirations.

    Melanie believes now is the perfect time to debut a song that honors both beautiful and humble New York City. At a time where the country is under massive racial and political tension, the uplifting video released along with the single inspires hope and reminds us of our commonalities as New Yorkers.

    The music video and single are a part of a promotional roll out in preparation for Melanie Penn’s upcoming, More Alive Vol. 1, full-length album which is set to release September 25. The album is centered around faith, modern upheaval and, overcoming common struggles. The album, which features 10 songs, has been described by Melanie as a tracklist full of “hopeful pop anthems” that will hopefully inspire a sense of community amongst listeners.

    To stay up to date with future news regarding Melanie Penn and her music, visit her website.

  • Uptown Theatre in Utica Added to National Register of Historic Places

    Uptown Theatre for Creative Arts (UTCA) is a historic venue in Utica, NY that was recently approved last week to be added to the National Register of Historic Places

    Uptown Theatre photo from Uptown Theatre’s website.

    The process of a building being added to the National Register of Historic Places is a lengthy one. To be added to the list, a building has to be submitted, reviewed, and approved by the state before the state makes a recommendation for said building to be added to the National Register. The New York State approval for Uptown Theatre took more than a year.

    Uptown Theater has been showing films at its location on Genesee Street since December 29, 1927 when it opened but was unused for several years after shutting its doors in 2013. Then in May of 2017, Devin Mahoney, who was from South Utica decided to form a small team and formed UTCA to take ownership of the Uptown Theater in hopes of restoring and reintroducing the building as an entertainment destination for the Utica community. It’s now known for featuring live music performances, comedy acts like The Uptown Improv Company, classes, and much more.

    According to the 315 Music, the venue being included in the National Register makes, “commercial properties or historic homes eligible for such funding as state and national grants, state and federal historic rehabilitation tax credits, preservation programs, and civic charities that promote local history, culture and arts.” The Uptown Theatre will now be available theoretically for such funding. 

    There are currently extensive renovations already taking place at the Uptown Theatre. They hope as venues come back amidst the COVID-19 restrictions they plan to add live music and comedy to their schedule when it becomes safe to do so. They are also offering online events and classes while they remain closed in consideration of New York State COVID-19 prevention guidelines and occupancy restrictions.

    People interested in learning more about Uptown Theatre can visit its website.

  • Blue Oyster Cult Release Videos ahead of first Album in over two decades, ‘The Symbol Remains’

    Do you need more cowbell? Blue Oyster Cult thinks you do because they’re released music videos for “Box in My Head,” “That Was Me” and most recently, “Tainted Blood” off the Long Island classic rock group’s first album in over two decades, The Symbol Remains.

    The early days of the Blue Oyster Cult.

    “That Was Me” is one of the many singles being featured on their upcoming album, The Symbol Remains. Their new album comes out Oct. 9 and embodies the well-known saying, “Good things come to those who wait.”

    Music video for new song, That Was Me.

    Blue Oyster Cult started producing the album in 2019 and thinks it represents the where the band is ‘here and now.’ The album is a mix of music they worked on years prior and brand new tracks.

    “With the song demos emerging for this record, we realized there was as much if not more variety in style and content on this record as any in our history. We embraced this and the thing tying all the disparate elements together is the band’s sound and performance,” said Eric Bloom, vocals/guitarist.

    Blue Oyster Cult formed in Long Island, NY at Stony Brook University in the late 1960’s. There, Donald “Buck Dharma” Roeser and his friends created sounds of psychedelia and acid rock. Through a jam session, rock critic Sandy Pearlman overheard the band and decided they were worth it.

    Over the years, they created a melody of rock tunes that would captivate the world. One of their most famous, “(Don’t Fear) the Reaper,” reached 12 on the Billboard charts and became a rock classic.

    Roeser talked about the band’s goals in creating this new album saying, “The goal was for the new music to stand up to the quality and vitality of our legacy recordings, and I believe we have successfully done that. Other than that, the sound of our voices and style of our writing and playing can’t help but sound familiar to fans of our work.”

    BOC has recently released the video for “Box in My Head,” the second single off The Symbol Remains, due out on October 9. For more information visit Blue Oyster Cult’s website.

    The most recent premiered video for the single “Tainted Blood” was written by Eric Bloom and Richie Castellano, featuring lead vocals by guitarist Richie Castellano. The Symbol Remains will be released on Friday, October 9.

  • Where does the time go? A look back at the best sit-ins in moe.down history

    Labor Day weekend is a weekend to enjoy the last remnants of summer, catch up with friends and family. For most Labor Day weekends since 2000, moe. fans found themselves heading to Turin (or Mohawk), NY for the end of summer festival, moe.down.

    We’re taking a look back at moe.down this weekend and reminiscing on the lineups, the incredible bands that were discovered, and of course, moe. But one aspect of moe.down that was always unpredictable were the special guest sit-ins, if not the weather. Explore these 10 choice sit-ins, presented in random order, for this weeks installment of moe.mondays.

    moe.down sit-ins
    photo by Brian Cornish, moe.down 17

    We’ll start with something for the children, literally. moe.down 8 started out with an afternoon set that featured the Kids Tent joining the band on stage. That year’s theme for the kids was ‘Year of the Pig’ so naturally, “Buster” was the perfect song to invite the kids up to sing. With parents close by, 20+ kids took the stage and sang “Pig can fly!” alongside moe., for a spectacular start to the day’s music.

    moe.down 8 indeed had more than its fair share of guests, and as the Saturday afternoon set came to a close, Meat Puppets Curt Kirkwood joined moe. for a shredding ~19 minute version of “Mexico.”

    moe.down sit-ins
    Curt Kirkwood sitting in with moe.

    Jumping back to moe.down 4, and moe. took a unique spin on their improv-friendly “Rebubula” by playing it for an entire set – nearly an hour in length. Listen below or check out an AUD on the Internet Archive.

    For two years (2010-2011), moe.down relocated to Mohawk, NY and performed on the Gelston Castle Estate, and brought out some heavy hitting names in the process. Bob Weir was a special guest with Levon Helm’s band, and Weir joined moe. for “The Other One” > “Smokestack Lightning” > “The Other One,” Dylan’s “Stuck Inside of Mobile With the Memphis Blues Again” and a set closing “Feel Like a Stranger.”

    Of course, Weir has performed earlier in the day with Levon Helm’s band, and sang (among many others) one of the Dylan songs that The Band and Grateful Dead had in common, “When I Paint My Masterpiece.”

    moe.down 6 was held over Labor Day weekend 2005, as the remnants of Hurricane Katrina soaked the crowd throughout the weekend. Keller Williams joined moe. for “Stairway to Watchtower” through the pouring rain.

    Umphrey’s McGee, who first caught the attention of moe. when Brendan Bayliss sent Al Schnier a demo of their cover of “Rebubula,” have appeared at multiple moe.downs, not to mention 20 Summer Camp Music Festivals together. Watch Umphrey’s join moe. for Pink Floyd’s “Time” from moe.down 13.

    https://www.youtube.com/watch?v=N0nAjm8d3XQ

    Earlier that day, Umphrey’s McGee welcomed Stanley Jordan for part of their set, including a “40’s Theme” -> “Hajimemashite” > “40’s Theme,” allowing Jordan’s guitar skills to shine.

    More recently, moe.down 17, held over July 4th weekend 2019, featured Blackberry Smoke, Fishbone, Railroad Earth, Ryan Montbleau, Twiddle, and Mike Dillon Band, who welcomed moe. percussionist Jim Loughlin for their set. moe. would return the favor by bringing up Otto Schrang from Mike Dillon Band for “McBain,” adding a second percussionist on Coughlin’s vibraphone.

    Rounding our our list, let’s go back to moe.down 8, which had a deep lineup as many moe.downs have. When Ryan Adams had to back out at the last minute, the festival was blessed with the founder of Lollapalooza himself, Perry Farrell and his Satellite Party. Few complained about this lineup swap, and after Farrell and his party worked through all the hits, moe. welcomed Farrell to the stage for the only hit not played yet – “Ocean Size.” After some banter behind the Mayor of moe.ville competition, the band broke into the Jane’s Addiction arena rocker.

    Did we miss any? Let us know in the comments!

  • Venues Across New York File Federal Lawsuit Against State Restrictions on Live Music

    New York music venues decided to file a Federal lawsuit against State restrictions on live music on September 6, 2020 in the U.S. District Court in Manhattan. The lawsuit involves ten establishments across New York who believe the live music restrictions are unworkable and unconstitutional.

    The Federal lawsuit challenges both the ad ban and the rule against charging for shows as being arbitrary since there is no evidence those actions have any effect on the slowing coronavirus spread.

    Lark Hall lit up in red demanding the passage of The Restart Act.
    Photo by Zach Culver.

    Last week New York state announced rules that aimed to contain the spread of the coronavirus according to state officials but many venues feel they have been disproportionately singled out in this new ruling. The rules allow only what the state calls “incidental” music to be performed at venues making it impossible to promote performances and therefore making it difficult for venues, bars, and restaurants to intrigue an audience to attend their establishment. 

    The ten establishments involved in the lawsuit are establishments that serve liquor and host or promote live music or entertainment. These venues come from all across New York state including four in New York City. The others are located throughout upstate New York in Buffalo, Niagara Falls and Clifton Park. The plaintiffs in the case are Turks Group, LLC, operating as The Sultan Room & The Turk’s Inn in Brooklyn, 49 Illinois Restaurant, LLC, operating as Buffalo Iron Works in Buffalo, The New York Independent Venue Association, a trade association, Columbus Ale House, Inc., operating as The Graham, in Brooklyn, Upstate Shows, Inc., operating as Upstate Concert Hall in Clifton Park, Jayarvee, Inc., operating as Birdland Jazz Club in Manhattan, Capitol Enterprises, Inc., operating as The Capitol Theatre in Port Chester, Jukimoo, LLC, operating as Littlefield in Brooklyn, nfinity on Main, Inc., operating as Tralf Music Hall in Buffalo, and Rapid Theater Niagara Falls USA, Inc., operating as The Rapids Theater in Niagara Falls.

    Times Union Center lit up in red demanding the passage of The Restart Act.
    Photo by Zach Culver.

    The defendant named in the lawsuit is the State Liquor Authority Chairman Vincent Bradley. The State Liquor Authority has been the leading charge in enforcing Governor Andrew Cuomo’s coronavirus orders. They do this by having the ability to suspend liquor licenses and impose fines on establishments not following the rules.

    According to syracuse.com, “The lawsuit asks the court to halt the state’s enforcement of the orders. It also seeks payment for the cost of the lawsuit and lawyer’s fees, but does not specify monetary damages.” The state’s coronavirus rules are simple and easy to follow for most of these establishments. People being required to wear a mask, social distance, use hand sanitizer, having employee health checks, and ect would be very doable for establishments who host live music and yet they are being singled out from being able to promote their businesses. 

    The Federal lawsuit says, “The advertising and ticketing of shows would allow establishments to maintain better control over their limited capacity, allowing them to tell patrons in advance that an evening is sold out and thus avoiding the gathering of crowds trying to gain admission (and the increased risk of transmission that comes along with such gatherings).”

    For more information on the New York’s new guidelines for establishments and how they effect the establishments and musicians read NYS Music’s article on the guidelines.

  • On this day in Grateful Dead history, Jerry Garcia debuts ‘Wolf’ aboard a Hell’s Angels cruise with Merl Saunders

    Among the many guitars in the cache of Jerry Garcia, “Wolf” stands as the most legendary of them all. “Wolf” was customized by luthier Doug Irwin, and was delivered to Jerry ahead of his appearance at a private show for the Hell’s Angels on September 5, 1973 in NYC.

    jerry garcia wolf

    Late in 1972, Garcia came across the first guitar Doug Irwin made for Alembic, which he bought on the spot for $850. He then asked Irwin to customize a guitar for him, and “Wolf” was born. Made from amaranth/purpleheart and curly maple with an ebony fingerboard and twenty-four frets, which were inlaid with African ivory (the first fret is mother-of-pearl).

    The original version had a peacock inlay, later followed by Irwin’s eagle logo in its place. Later, a cartoon wolf licking his chops was placed by Jerry Garcia just below the tailpiece, which gave the name to the guitar. Irwin would later inlay the sticker into the guitar, which was labeled as “D. Irwin 001.” The guitar would cost Garcia $1,500, or around $8,700 in 2020 dollars.

    “Wolf” would be played for two decades, becoming his most well known guitar and played across countless recordings, concerts and even in “The Grateful Dead movie.” Here, Irwin discusses the intricate detail of “Wolf.”

    jerry garcia wolf

    A few years after I delivered Wolf to Jerry, the guitar took several tumbles during Grateful Dead’s European tour. The first, a fall of about fifteen feet off the stage onto cement, had no effect on the guitar at all, but the second incident caused a crack to appear in the peghead. When Jerry finally brought me the Wolf for repair, the crack was actually very minor, but a stitch in time, saves nine. Repairing the crack wasn’t much of a problem, but having the guitar again made me reassess my early inlay work, and prompted me to reface the peghead with ebony and replace what I determined to be a poor excuse for a peacock with my signature eagle inlay cut from mother-of-pearl.

    Doug Irwin, on “Wolf”

    “Wolf” was played throughout the ’70s and ’80s, alongside “Tiger” and “Rosebud,” also designed by Irwin. “Wolf” was brought out of retirement in 1989 when Jerry explored using a MIDI synthesizer, and was played for the last time with the Grateful Dead at Oakland Coliseum Arena on 2/23/93.

    In 2002, “Wolf” was purchased by a Deadhead, who later auctioned the guitar off for a great cause. The anonymous fans said:

    I’ve been a fan of The Dead since I was a kid, and playing this iconic guitar over the past 15 years has been a privilege. But the time is right for Wolf to do some good. My wife and I have long supported the efforts of the Southern Poverty Law Center, and if ever we needed the SPLC, we sure do need them now.

    Anonymous owner of “Wolf”

    “Wolf” would be auctioned off at a price of more than $1.6 million, a bid that was matched by an anonymous donor, raising a total of $3.2 million for the SPLC.

    jerry garcia wolf

    The first show that Jerry Garcia would play “Wolf” at was a private show dubbed “Pirates Ball” on September 5, 1973, a private Hell’s Angels party aboard the S.S. Bay Belle. Performing with Merl Saunders in New York Harbor, the ship was known as the “largest marine ballroom afloat,” and was renamed to the Sound Line later after the show. The show also featured Bo Diddley, Elephant’s Memory and Mission Mountain Wood Band.

    jerry garcia wolf
    The S.S. Bay Belle, later named Sound Line

    The guitar can be see in the movie/documentary Hell’s Angels Forever, directed by Richard Chase, Leon Gast, Kevin Keating, and Lee Maden.

    Setlist: It Ain’t No Use, Favela, You Can Leave Your Hat On, Mystery Train, Harder They Come, Think, Finders Keepers

    Wolf’s first appearance with the Grateful Dead was at the Nassau Coliseum on September 7th, two days later. The Dead were off the road for a month, and were refreshed getting back to business. Donna Godchaux was pregnant at the time, with her husband Keith having taken over keyboard duties from Pigpen a year prior.

    This show marks the debut of Weir/Barlow’s “Let It Grow,” and one of the last “Bird Song’s” of 1973 before the song was shelved for a few years. Highlights include “New Potato Cabooose,” the jam that arose from “Playin’ in the Band,” a hefty jam from “The Other One,” and the “Eyes of the World” that followed.

    Deadheads reported a heavy police presence that evening, with many fans arrested at or after the show. Cops reportedly drove on the sidewalks as the show ended and attempted to clear the crowd. They also seemed to use their batons to clear the area in front of the band between sets. This would influence the Dead’s decision not to return to Nassau for many years, until January, 1979.

    Setlist: September 7, 1973, Nassau Coliseum, Uniondale, NY

    Set 1: Promised Land, Sugaree, Mexicali Blues, They Love Each Other, Jack Straw, Looks Like Rain, Deal, El Paso, Bird Song, Playin’ In The Band

    Set 2: Here Comes Sunshine, Me & My Uncle, Loser, Let It Grow-> Stella Blue, Truckin’-> Drums-> The Other One-> Eyes Of The World-> Sugar Magnolia, E: Around & Around