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Lithium, Chptr. 13 – Xperience Fiction

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Lithium, Chptr. 13 – Xperience Fiction – by Liam Sweeny.

The road swallowed tread and spit it out, gravel spitting out in all directions. The pings of stone against the undercarriage made Mel feel like it was raining up hail and they were encased in tin roofing. Mel and Andy were quiet when they left the farm, not a word spoken. Mel could still feel the fine tremor of tension from the punch he’d needed to throw but was denied. His ears were also pricked for the sound of sirens, in case Burle did call the police.

Andy had his cards in his hands, rearranging them in an endless cycle of nervous dissipation. He explained once that the cards were a game, and he was building decks for that game, should he be challenged to one. But Mel understood that the cards were Andy’s power; his control, much in the same way Mel’s last painting was. And to think, saving them wasn’t the first thing on his mind when they got evicted.

Andy glanced over. “You okay, dad?”

“Yeah, fine,” Mel said. “Why do you ask?”

Andy leaned over to touch Mel’s cheekbone, and Mel flinched just an inch.

“That,” Andy said.

Mel chuckled. “It’s probably going to be a black eye.”

‘It’s already a black eye. And puffy.”

“Isn’t the first one I’ve ever gotten. Or given, for that matter.”

Andy laughed. “You, punching somebody,” he said. “I can’t believe you went after Burle.”

“He thought he could say anything and get away with it.”

Andy turned his gaze back to the road ahead. “He kinda’ did.”

Mel sighed. “Yeah, he kinda’ did.”

They kept on down the highway. It was only twenty minutes to Jamestown from the farm, but it was a long, barren twenty minutes of pasture and lines of spruce and spring foliage.

“I think I’m going to have to wean myself off of my meds,” he said. “There’s no way I can afford to keep taking the full dose right now, and rationing a small dose is like not taking them anyway. You have to be taking enough to be therapeutic, and we’re not going to have therapeutic money.”

“Are you going to go crazy, end up in the hospital? You told me you did before.”

“No, I’m not,” Mel said. “I went in the hospital the first time not knowing anything about bipolar. I know everything there is to know about it now. I’m not going to drink or do drugs. I’ll get plenty of sleep. It’ll be tough, but it’s only until I can get us back in business. Maybe a month without them.”

“What do I do if you start acting weird?”

Mel hadn’t thought about the fact that if he went off, his son would end up a de facto caretaker. Eleven-year-olds should only be taking care of themselves, and not even that.

“If you see me acting weird, tell me,” Mel said. “And if I start doing something that’s unsafe, I want you to call 911, no matter where we are. But tell them I have bipolar, so they don’t think I’m on drugs.

“And if I ever ask you to do something unsafe, you don’t do it. You call 911.”

Andy nodded after each thing that Mel told him. His cards were in his hands, and he was shuffling them without looking at them. God damn Mel for putting so much on him at that age. Mel thought that if he had any family he trusted, or any good close friends, and if Debra wasn’t on the hunt for him, Mel would find someone to take care of Andy until he could get on his feet.

They started to see signs of civilized life as they neared Jamestown. They were quiet again. Mel wanted to break the quiet, but he couldn’t think of anything that wouldn’t further press into Andy’s shoulders. Andy spoke up.

“Are we going to the tent city? The one Allie was talking about?”

“I was thinking of it,” Mel said. “What do you think?”

“I have a choice?”

“Yeah,” Mel said. “But we have to go somewhere. And unless you want to end up with your mother and Sam, we have to go forward, not backward.”

Andy sat still for a moment.

“Can I get my own tent?” He asked.

“I don’t see why not,” Mel said. “As long as we can find one.”

“I’m scared, a little bit,” Andy said. “What if the kids there don’t like me like it was here?”

‘You made friends with the kids here, didn’t you?” Andy nodded. “So you’ll be able to do it there. You’re a good kid. Nobody can take that from you.

“And we’ll get through this,” he added. “The tunnel will be lit, and we’ll come out of this better.”

They drove down Center Street, stopping for every yellow light, lest they draw attention. To be fair, stopping at yellows drew attention also. Mel had decided to go to the Ark Church Mission, with the thought that they might have a food pantry, and they could load up.

The receptionist at the mission was elderly, with white, curly hair in a hairdo Mel couldn’t name, but he’d seen in every picture of an extended Southern family. Her wrinkled skin was soft around the creases, giving her an adorable look. She directed them to a long room inside the side building of the church, loaded with canned goods, dry goods, fresh fruits and vegetables, even some meats. The man in the pantry gave him three bags, one more than the customary two, due to Andy. He and Andy battled over what to load, Andy going for what tasted good, Mel going for what would pack a bag best.

Mel did make one concession; there was ground beef, a pound of it. The man told him there was a park in the center of town with grills. Mel figured he could afford a small bag of charcoal briquettes. Maybe not buns, cheese, mustard, ketchup, or paper plates, but at least they could get briquettes.

Three bags filled, they came back out to the lobby and nearly knocked over one of the residents, a man with a crutch that looked amazingly like Max.

***

Mel shut the door once he had the groceries in. Andy and Max joked around with each other, slap boxing, with Andy having the advantage.

“What the fuck happened?” Mel asked.

“Fractured my leg,” Max said. “Concussion, lacerations, stitches.”

“So Burle and Casey drove you to the hospital?”

“Oh, hell no,” he said. “They drove me to the park and dropped me off, gave me a hundred bucks for some new clothes.”

“Charitable of them.”

“Yeah, right. So I actually walked to here and just passed out.” He pointed his crutch at the door. “Margaret called the ambulance and checked up on me in the hospital.”

“Jesus,” Mel said. “You could go after Burle for something, reckless endangerment, something…”

“And what good would it do?” Max said. “Everybody knows that fucking guy around here. And not everybody even likes him. A lot of people think he’s a piece of shit, but he’s not on the street. And if Barry’s Burgers wants fresh ground chuck at a good price, they don’t question what goes on at the farm.”

“But you’re okay,” Max said.

“Eh.” Max tapped his leg with his crutch. “Can’t work right now. You never think you’re gonna miss shit work, right?”

“I know. Feeling that a little bit right now.” Mel told him about payday, and the fight.

“Ulysses always breaks up fights. It’s cause he got a warrant on him. It’s too bad he was standing there. Burle could use another good socking. Thanks for standing up for me, though.”

“No problem.”

“And my tent’s really in a tent graveyard?”

“I saw it with my own eyes.”

“I saw it too,” Andy said.

“Unbelievable.”

Mel invited Max to the park to have a burger. To Mel’s surprise, Max had an all-purpose seasoning that he managed to snag from the food pantry. The grills were caked with the carcasses of burgers past. Mel used his ice scraper to get rid of most of it. The fire from the charcoal did the rest.

All in all, the burgers weren’t so bad. They ate and gossiped, gossiped and joked, joked and sat back by the small pond lined with sapling pines and dreamed about a world wide open to them.

“You guys want a third to Nashville?” Max asked. “I’m good company, and I’ve been saving up those shitty paychecks. I can help with food and gas getting down there.”

“What do you think, Andy?” Mel asked.

“Fuck yeah.”

“Watch it.”

“Okay. Hell yeah.”

“Better. Sort of,” Mel said. “We’re going to want to take off tonight. Is that okay with you?”

“There is nothing keeping me here,” Max said. “If we can, I’d like to go back to the mission and thank Margaret.”

“Yeah, we’ll drop you off,” Mel said. “Besides, there’s something I want to do before we go too.”

Mel dropped Max off at the mission, then took off down the road, not really a distance, but a few blocks. He pulled up in front of Horizons.

“Get it out of the trunk. Face it to you. When I open the door back up, come on in.”

Mel opened the door and walked into the gallery. His painting was no longer in the window, but he noticed the corner of it behind the counter. The owner was talking to a well-dressed couple staring at a mock impressionist work by a local artist. He walked around, hoping she would hurry up. Andy was out front with his smoking gun.

Eventually she joined him.

“Hi again.”

“Hi,” Mel said. “I see you took the Roy Miller down.”

“Yes. I’m going to bring it home,” she said. “I’m far too guilty of doing that. You should see my house.”

“I’ll bet,” Mel said. “About that painting. There’s something you should know.”

Mel told her about the painting being his, though he let her keep thinking his father painted it. He explained that Burle sold it to her and kept the money, telling him it was there on commission. Her face sank.

“That’s hard to believe,” she said.

“I have proof.” He walked over to the door and signaled Andy to bring in his smoking gun.

“Turn it around, Andy.” He did to reveal “The Son.” The owner’s mouth dropped.

“Oh my God, you’re telling the truth,” she said.

“Yeah,” Mel said. “Look, I know you paid for it, but you should know what kind of guy he is.”

The owner pressed her hands against her cheeks. She walked over to Andy. To the painting.

“It’s the most amazing thing I’ve ever seen,” she said. “Best Roy Miller, for sure. Are you selling it? I don’t know if I could ever give you what it’s worth.”

“I’m not selling it,” Mel said. “It’s the only thing I’m keeping.”

Mel was ready to leave when the owner stopped him.

“Look, I know you got the raw deal with the last painting,” she said. “But I’ll make you my own deal. If you let me grab my camera and take a picture of you holding that, I’ll give you fifty dollars.”

Mel thought about it for only a second or two, agreeing. She ran, literally ran, in the back and picked up her camera.

Mel walked out of Horizon’s feeling slightly vindicated, fifty dollars richer, and not one painting lighter. They drove over to the mission and picked Max up, fitting his crutch in the back row and he in the center row. He had a large duffel back full of everything that kept Max running, items unknown to Mel except on the occasion that Max would pull something out.

Mel was close to empty, but they waited until they were on fumes to find a gas station to fill up. Mel wanted a full-from-empty tank mostly for symbolic reasons; a clean break from the soul drag of the farm.

Mel had one-hundred and thirty-six dollars in dollar and coin, and he’d be lighter by the end of the trip. He adjusted the rearview and the side views, turned on the radio and tuned to the first channel he could find, country, fitting for a trip to Nashville, and hit the gas.

***

They’d been on the road for three hours, and by the map Mel pulled up on his phone, they had anywhere from six to eight hour left before they hit Nashville. They drove through populations, signs for Cleveland and Akron. He knew the next major city they’d hit would be Columbus, then Cincinnati after that. But most of the trek had been forest and farmland. And somewhere in that forest and farmland, a point was raised.

“So where exactly is the tent city?” Max asked.

“It’s outside of Nashville,” Mel said.

“Yeah, but where outside exactly? Nashville is huge. Do you have an address? Or does it even have an address?”

Mel couldn’t answer because he couldn’t stop mule-kicking his brain for driving all that way on such a vague location.

“Shit.”

Max laughed. “Oh, this will be an adventure,” he said. “Seriously, Nashville is big. Not New York City big, but big. A least a million people.”

“Albany area has almost a million.”

“Yeah, but how many live in Albany, like a fraction of that? I’ve been to Albany and Nashville. No comparison.”

“Okay,” Max said. “So what do we do?”

Max tapped Mel’s phone. “Trust me to make a call?”

“If it helps, go for it.”

Max picked up the phone, tapped, and swiped till he was punching in digits. He held it up to his ear as Mel turned the radio, largely static, down.

“Coop? Fucker, it’s Max Attacks. Buenos Dias, my man. Listen, I’m on a borrowed phone. I need to ask you something real quick. We’re on our way to Nashville, looking to set up. I got this solid gold painter, man, you wouldn’t believe, but he heard about a tent city for artists.”

“No, he’s a painter-painter, like canvases. I mean, he can paint a house too, but… listen, anyways, you heard of a tent city outside of Nashville, artsy thing?”

“Uh huh,” Max said. “Uh huh, oh, okay. So it’s like that. Will they still let you in, though? We’re a long way, ya know? Any port?”

“Yeah? Okay, sweet. So how do we get there?”

Max shoved open the glovebox and pulled out the envelope Mel’s registration sticker came in. He fished around and pulled out a pen and started writing.

“Alright man, we’ll be there,” he said. “Peace, bro.”

He tapped to end the call, folded up the case flaps and set it back down. Then he picked up the envelope and held it up to the light.

“Okay, it’s a good news/bad news kind of thing,” he said. “Good news, there is a tent city outside of Nashville and my buddy knows where it is. He lives in Nashville, you know, stays there. Bad news is it isn’t an artist place. He said it accepts all types, so you might find artists, but it just accepts all types. So it’ll accept us.”

“So that’s the address?” Mel asked.

“Nope, that’s where my buddy will be for the next day. He’ll be there when we show up – it’s a shelter. He said he’ll take us if we give him a ride too. He’s tired of the shelter.”

“Did he tell you about the place?”

“Nah, not really. He just said he knew where it was. He’s the kind of guy you don’t get a lot out of. So you take what little you get like gold and don’t complain.”

When they passed through Columbus, Mel realized the magnitude of what they were doing. He could tell that Columbus was bigger than Albany, and he knew it was small compared to cities like New York and L.A, but there was a grandiosity to it. They were traveling through a known city, and they would travel through other ones before the trip was through.

Andy slept, which was about the best thing he could do, since being awake meant staring out the windshield at uncertainty. Even Mel’s stomach was going north on a south road. Max was reading a magazine that had been in the car for two years.

“My dad used to collect these model airplanes.” Max pointed to a picture of one in the centerfold. “He spent so much time on these fucking things, just, beyond a hobby, you know?”

“My dad had weird shit like that, too.” Mel didn’t know if he wanted to tell Max about his dad collecting his paintings for resale.

“My dad was a prick,” Max said. “I mean a nasty, twisted prick. I never tell people about him ‘cause I’m afraid just saying his name will summon him.”

“So he’s dead?”

“Yup. Shot in the chest by a pimp when he got caught beating up a hooker.” Max turned over with a smile on his face. “I paid the pimp’s bail.”

“You did, really?? Mel said. “Damn.”

“I didn’t really. I was twelve. But he did get off, cause dad beat the shit out of her. He got a charge for being a pimp, but he beat the murder rap.”

“Damn, I thought my dad was bad. He took my paintings and sold them with his name on them.”

“Don’t sell yourself short on bad dads,” Max said. “That’s bad in its own way.”

“I guess. But the hooker thing is wild.” Max nodded.

They drove through a landscape of extremes, through extremely rural turf where tractors were displayed out front of the farms like classic muscle cars, to cityscapes that bustled but all contained the same chain stores and the same traffic lights and the same congestion he knew back home.

They got into Nashville just before eleven o’clock. They had only taken two rest stops and were road tired and hungry. Max pulled out the envelope and started directing them to the shelter. With only one detour due to getting lost, they made it there before midnight. Max went in and came out a half hour later with a tall, thin man with grey straggles of hair and just a little bit of stubble. His jacket was shabby, but his sneakers sparkled, so Mel didn’t know how to parse that.

“This is Coop,” Max said, and he made introductions. Coop hopped in the back and directed them to I-40 West. Mel was worried about getting there that late, but the situation was beyond him. They were on the road another half-hour, entering a city called Bellevue, when Coop told them to hang a left on a highway called 70 S. No sooner had they done this that he told them to keep an eye out for a dirt road headed by a big rainbow flag, which wasn’t hard to spot.

They pulled in.

 

 

More from Liam Sweeny…

Interview: Sam Edelston Redefining and Popularizing The Dulcimer

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Interview: Sam Edelston
By: Rob Smittix

Photo Credit: Fischman Swan

RRX: All right, Sam. Looks like we’re in business.

SE: OK, talk to me.

RRX: Well, first I see that you’re coming to town here to the Capital Region of New York. It’s the Northeastern Regional Folk Alliance Conference that’s coming to The Desmond, early November. I’ve never been, I don’t know if you have but what’s that all about?

SE: OK, well, so… just as doctors go to medical conferences and lawyers go to legal conferences, folk music, I’ll call it an industry; has its folk music conferences and this is the one for the Northeast. It’s gonna be several 100 musicians, venues and presenters, there’ll be some agents, recording studios and everything else. I’ll just be one of several 100 performers and others trying to learn to do more and trying to get noticed by the other right people.

RRX: Yeah, well, it sounds like you’re getting noticed because I’m talking to you! (Laughs)

SE: Oh, that’s a great thing. Especially coming in with something that’s just so different from everybody else.

RRX: That it is. The dulcimer is not the common instrument. You don’t see it, you know? Every night of the week when you’re going out and and watching live music, that’s for sure.

SE: Well, I’m working on that.

RRX: Right? We actually do have a dulcimer player from the area. I would imagine she would be at this conference that you have going on. She goes by the name Deb Cavanaugh, I’m not sure if you’re familiar?

SE: As a matter of fact, she’s a friend of mine.

RRX: No way. Well, there you have it.

SE: I run a little showcase at this conference. I call it “Anything But Guitars” because everybody else is playing guitars, and she will be one of 24 people performing in my showcase.

RRX: Well, cool, I guess I don’t have to hook you up then. I’m glad you are friends. Well, that sounds awesome. Tell us a little bit about your history and what got you into doing the music.

SE: Well, I’ve been into music ever since I was about in 8th grade, started out as a songwriter and had to get away from the loud piano that was right next to the kitchen. So I got on to the guitar, finger style guitar, used to playing a complete sound, had no interest whatsoever in the mountain dulcimer for 30 years. I did get hooked on the other instrument called a hammer dulcimer, which is more of a very distant low-tech cousin of the piano. As a result of that, I became the chair of a dulcimer festival down here in Connecticut where I live. And as a result of that, I decided I’d better get acquainted with the other side of the family. Sure enough, I discovered that I could produce music with melody, accompaniment and bass lines all at the same time. It’s a much richer instrument that I had given it credit for. So, it’s an instrument that I could teach you or any other total novice to play an interesting song within 5 minutes.

RRX: Well, sign me up, I’m interested.

SE: Yet at the same time, it’s sort of like chess. You can teach anybody the moves in 5 minutes but the deeper you get into it, the more possibilities there become.

RRX: Absolutely. I’ve always been intrigued by instruments, I’ve been into music pretty much all my life, at the same time, I’m also a firm believer that almost anything can be an instrument. I play a mean soda can, I play a great steering wheel but I can’t get behind a drum set and make it sound great, you know? It’s kind of like a new exploration I think… of music. I’m totally down to try it and see if I can do something within 5 minutes and smile! I picked up a banjo once and that didn’t work out too well.

SE: Well, the banjo is an art form, but I play that too. Once you get the hang of it, that works out really well as well.

RRX: I didn’t give it much of a chance.

SE: But, you know? The fascinating thing to me is that the mountain dulcimer comes from a long beautiful tradition. It’s been around since late 1700s, early 1800s. It’s got ancestors in Northern Europe. And so most of the players come to it through the traditional side of the music, you know? Folk music had sort of a folk revival in the 50s and 60s, and I came to it from the opposite direction. Just as the folk played the music that was around them that the kin and their neighbors played, I with the advantage of radios, tape recorders, stereos and cars to get in to see concerts, I play the music that’s around me.

RRX: I noticed.

SE: I’m playing all sorts of popular music, rock and roll, some classical, a little bit of jazz and bossa nova, all over the place but my special cause is the music of the people, rock and roll.

RRX: I checked out a bunch of your videos and songs that you had online. What you just said is what I noticed. You’re not doing it 100% traditional. We’re exposed to all this other music, so you take your own approach on it. But you keep it as fun, and I like that.

SE: Well, that’s the important thing. Music is fundamentally something that just speaks to people. And so when somebody says, what is that thing you’re playing, I’ll say, what kinds of music do you love? And they’ll say, whatever, a big band or Motown, classical or hymns, and I’ll play them a little bit of something that they already know and love.

RRX: Yeah. Well, I am definitely digging it. What would you say is the the most outlandish cover that you’ve done? Something that no one would expect to hear out of Dulcimer?

SE: Well, I guess Bohemian Rhapsody has to be one good answer to that.

RRX: Wow! Yeah, that’s gotta be a tough one.

SE: That was the one song that really made me understand that I needed to make a CD.

RRX: Mhm.

SE: And then it was just a matter of finding the right person to do the CD with, which took a few years.

RRX: Well you gotta do it the right way, that’s for sure. So you put out this CD, this album recently, right?

SE: It’s actually been out for about a year but it’s still getting the word out. Obviously, without record label type budgets, it takes time for that information to spread.

RRX: Oh, you’re not kidding. But, you know? If you could stay away from the record labels, do it as much as you can. It’s a DIY world that we live in now.

SE: Yep. I called the album ‘Making Waves,’ and it takes time for waves to propagate.

RRX: Yeah, ain’t that the truth. Well, if you had to talk to our audience that’s reading this right now… what would you say to give them a little push to come on out to the convention that’s going on in Albany?

SE: Well, that one is really for members of the industry.

RRX: Oh, I get it now! I’m slow (Laughs).

SE: If you’re part of the folk music world, then go to nerfa.org and there’s complete information about that. If you’re not part of that or if you are just looking for a casual introduction to the dulcimer, there’s actually an organization called the Dulcimer Association of Albany. They actually have a festival in March, that anybody can sign up for.

RRX: No kidding. How did I not know this? Thank you for filling me in.

SE: It’s like any other special interest, it’s invisible to the general public but if you’re in the network, you can find it anywhere. So the place to find out about the Mountain Dulcimer Music Festival that is gonna be in Latham, March 13th to 15th, is dulcimerassociationofalbany.com.

RRX: That’s wild. I never knew it. That’s awesome though.

SE: I’ll be teaching there and I’ll be performing a couple of songs on stage.

RRX: Oh, cool. I’m glad that you’re coming to our area more than once, a couple of times here. I’m glad that you already know Deb Cavanaugh because I was definitely gonna recommend her to you but you’re way ahead of me.

SE: (Laughs) There are quite a few great dulcimer players that have come out of the Albany area.

RRX: Well, she’s the only one I’m aware of but I’m sure there are. See, I gotta do my homework a little bit.

SE: Ah, Don’t worry about it.

RRX: Well, I appreciate your time. Is there anything else that you’d like to say to people? Any notes of positivity, prosperity, or good vibes?

SE: At the Nutmeg Dulcimer Festival a couple of weeks ago in Connecticut the T-Shirts for that said: “If everybody played dulcimers, we all could live in harmony.”

RRX: I dig that. And you know what? I think that’s probably true.
For more on Sam Edelston visit: Samthemusicman.com

Sara B Presents “Live From The 518” S1 E1

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Today we visit Oh Corn! Arepas and More and chat with Jose Theoktsisto, enjoy a performance by Chris Busone. and take an in depth tour of RadioradioX studios with Rob Smittix

Kisstory @ Vapor, 10/31/2025

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The Saratoga Casino celebrated Halloween in style, as its Vapor nightclub hosted Kisstory in all their splendor.

 

Photography by Stephanie J Bartik.

Read an interview with Kisstory here ….

 

Brian Zink – An Xperience Interview

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Brian Zink – An Xperience Interview – by OP Callaghan

When I was 9 years old (and still had time to dream), I mailed a letter to the Ludwig drum company. In my letter, I explained to them that I was an aspiring young drummer who was interested in playing Ludwig drums. I painstakingly edited this letter multiple times, making corrections, revisions, and even including an illustration of myself playing Ludwig drums. I mailed my masterpiece out and waited. After what seemed like an eternity, I finally received a large envelope from Ludwig. Inside was a letter, thanking me for my interest, and some sheet music with basic rudiments. Last but not least was the Official Ludwig Drum Catalog for 1978. This complete listing of all the Ludwig Drums, configurations, colors, finishes, and artist profiles captured my imagination like no other publication. I read through every page, multiple times. Ludwig Big Beat, Pro Beat, Octoplus, Quadraplus, Rock Beat … sweet fancy Moses. I fell asleep multiple nights reading that catalog. Now, this was the ‘70s; an era of the Bee Gees, conversion vans, Grease, and the last Who performance with Keith Moon. For Ludwig Drums, it was the introduction of the “Tequila Sunrise” drum set, an acrylic kit in yellow, orange, and red. This drumset graced the cover of the catalog and was simply mind-blowing. Never before had any manufacturer of fine percussion instruments (or s**t to hit) presented something so original, so dazzling, or beautiful as the Tequila Sunrise kit. This month, I would like to introduce a drummer who not only has great chops, great time, is a truly wonderful guy, but who was also literally raised under a Tequila Sunrise. Please welcome to Capital Region Time Keepers, the incredible (and newly married!) Mr. Brian Zink!

RRX: How did you get your start behind the kit?

BZ: I’ve been playing my entire life. I had a drum set in my bedroom from basically day one. It was a beautiful Ludwig Tequila Sunrise Vistalite kit that belonged to my dad. I just kind of gravitated towards it and eventually started to try and play along to KISS records, gradually started jamming and chipping away at it until I could badly play along to those songs. Eventually, I moved on to more complicated records, drummers, and concepts, and have stuck with it ever since.

RRX: Are you formally trained, or did you take lessons?

BZ: I had initially started self-taught, by playing along to all sorts of records. However, I lucked out that I had a great music program at my school, and the drum instructor was another fine local time keeper, Andy Hearn, and he was my first real drum instructor. That’s where my formal training started and where my journey with lessons began. He really did a great job teaching me the fundamentals and starting me out without any bad habits. There is still so much practical advice he’d given me that I use today. I studied with him from 5th grade all the way up through 12th grade.

However, I really took an interest in taking lessons with as many people as I could, realizing pretty early on that I could gain a lot of different insight and advice from studying with different drummers. I’d gone down to the Drummers Collective when I was 15 and met a ton of great teachers there that I studied privately with for many years after that.

Then, when I was about 13, I unknowingly met a teacher (and friend) who would change the direction of my playing and career. I just so happened to walk into Drome Sound (R.I.P.) and saw a poster on the wall to take private lessons with Jason Bittner. I’d just seen him on the cover of Modern Drummer and figured he was coming through the area doing some private lessons for a day or two on a clinic tour or something. Fortunately for me, that wasn’t the case. He lived locally, and so began the now 22-year relationship we’ve had. I was a drum student first, then a serious drum student, then subbed for him in a project or two while he’d be on tour, then his drum tech, and now a peer. Happy to report that he and Tony Tirino (both featured in this article previously) are the best men at my wedding, so I’d say I’m in good hands!

RRX: Who were some of your influences as a young drummer?

BZ: My biggest drum influence, then as well as now, is the professor, Neil Peart. I can’t think of another drummer who has had a more significant impact on my playing and musical ideology from an early age onward. That said, I think there is a lot of merit to the notion that a player’s sound is ultimately the combined sum of all their influences, so even early on, I tried to be open to a lot of different music and the drummers who were playing on it. Peter Criss, Art Blakey, Steve Smith, Dave Weckl, Jason Bittner, Stewart Copeland, Steve Gadd, Terry Bozzio, Danny Carey, Buddy Rich, Carter Beauford, and the list goes on and on. I lucked out that I had a subscription to Modern Drummer for the last few years it was an actual physical magazine (pre-digital publication), and it was an absolute treasure trove of knowledge and introduced me to a ton of drummers and music I probably wouldn’t have discovered on my own.

RRX: Do you come from a musical family?

BZ: Not per se. No one besides myself in my immediate family plays an instrument. My dad can play drums, but I didn’t really mine the aptitude as much as he would have or would have liked to, I think. However, one of the greatest things about my family while I was growing up was their introduction to so much good music, and furthermore, bringing me to shows. They took me to my first show when I was 4 years old (Rush at the Knickerbocker Arena on the Counterparts tour in 1994, not surprisingly) and really did a great job bringing me to anything and everything worthwhile that would come through the area after that, especially if there was a great drummer involved. For example, I may have convinced my dad to sneak behind the stage with me at a James Taylor show to try and meet Steve Gadd. Believe it or not, that proved to be a successful venture! I have the pair of sticks he gave me as proof that this actually happened. So, while they aren’t musicians in that sense, they certainly had an impact on me musically and the direction I eventually headed in.

RRX: Tell me about your first drum kit.

BZ: My first kit was a five-piece Tequila Sunrise Ludwig Vistalite kit. All classic big seventies sizes; 24” Kick, 18” Floor, 13” and 14” racks with the matching snare. Happy to say I still have it. It survived a house fire in 2014 and doesn’t look too bad considering, thanks to Chris Toma. Thank you, Chris! I’ll hang onto it forever at this point. Such a cool kit, still functional, and she’s been there for the whole ride! Plus, if you’re not playing Bonham triplets on a Ludwig Vistalite, are you even really playing Bonham triplets?

RRX: You are not! What are you playing now?

BZ: I’ve been a Pearl drums and Zildjian cymbals guy for years. My main rig for The Accents is a Pearl Session Studio kit (Birch/Mahogany shells) in this beautiful black sparkle finish. One up, one down. Basic four-piece setup. 10” tom, 14” floor, and a 20” kick. I use different snares for different rooms and gigs, depending on what will work best. The main one I have been using of late is a Pearl Music City Custom snare made by Pearl’s master craftsman, Ron DePew. It’s a 6.5×14 Solid Maple with a center inlay of figured maple between two Macassar ebony inlays. It’s a beautiful instrument and sounds unreal! The cymbals also change depending on the gig, but always Zildjian. I also use Remo drumheads, Vic Firth sticks, and my trusty DW 9000 pedals with cool purple sparkle grip tape on them! I’ve used that set of pedals for the last decade and a half at least, and they still feel the best.

My setup for when I’m playing the metal stuff is considerably larger. 6” and 8” Concert toms. 10” and 12” racks. 14” and 16” floors, and a bigger 22” bass drum. Way more cymbals, but still all the same brands. More fun to play, less fun to set up at venues.

RRX: Are you a drum collector?

BZ: Yes, but in a functional sense, so says me anyway. I’m sure my wife (or soon-to-be, depending on when this is published) would say otherwise. I buy gear with the intention to use it, and I do use almost all of it. Even some of the more “collectible” items I have are in rotation. I’ve always felt like drums want to be played, not sit on a shelf. Obviously, some gear inevitably sees more action than other gear. I have my favorite snares or rides or hi-hats that are my go-to stuff, but having options, especially if you’re playing in a lot of different rooms or situations, is imperative to sounding right on the gig or in the studio.

RRX: Tell me about your first band/gig.

BZ: The first band I remember playing in was with two kids I went to high school with, called Kids In Play. Pretty creative band name for a bunch of teenagers, so I thought. That was my first time being in that situation and getting to record stuff I actually came up with my own parts for. It was short-lived but a good experience. I’ve had a few different “first gigs” that stand out to me. My first gig filling for Jason with Sludge Factory. My first gig and tour with Battlecross. My first gig in Europe. My first gig with the Accents. I’ve been fortunate to work with some pretty cool people who have kept me working, and in this business, that’s a good thing. Always better to have more first gigs than last gigs, I think.

RRX: And who are you playing with now?

BZ: My main gig since 2021 is with the Accents. Locally, they surely don’t need an introduction since they’ve been active in the area since 1958. Benny Cannavo, the founder of the band, was the drummer. His sons, Joe and Frank, who have been in the band most of their lives, run it now. When he retired from playing, the band managed to get quite a who’s who list of local talent on the throne. Given all of that, I feel like in many ways I’m upholding a very important legacy by being the drummer in that particular band. It’s a very different gig than the one I had prior to it.

I’m also the drummer in Battlecross. Thrash metal out of Detroit is only a little bit on the opposite end of the spectrum from a wedding dance band. I toured with them from 2014 up until our final “we’re actively on indefinite hiatus starting now” show in 2022. Hopefully, the stars will align in the next few months, and there’ll be some new music sooner rather than later.

RRX: That would be great! Who influences your playing now?

BZ: Presently, I’ve been on a massive Vinnie Colaiuta and Sean Reinert kick. I am someone who ingests music retrospectively, for the most par,t I’ve come to realize. There are a plethora of great drummers who have material from decades ago that I’d somehow missed or didn’t give enough time to growing up. It seems like every year, there are a handful of records I’ll discover or rediscover and really deep dive on, critically listen to, and take influence and inspiration from.

The two big ones this year have been Death’s “Human” and Sting’s “Ten Summoner’s Tales.” Kind of an ironic dichotomy when you think about it, given the two records’ overall vibes. However, Vinnie and Sean are both players who could kind of do it all, and are truly what can be considered drummers’ drummers. I’m sure Vinnie is a bit more of a household name than Sean for a lot of drummers, but both had such tremendous ability inside and outside of their respective genres. Such great feel, intuition, groove, tastefulness, creativity, execution, and so much facility on the kit. I think people forget that Vinnie was on a Megadeth record, too! Both have had a major impact on what I’ve been playing a practicing this year for sure. I can actively hear it seeping into my playing.

RRX: Incredible players. I love Vinnie’s work with Zappa. If you could play drums for anyone, who would it be? Put together your dream band.

BZ: First and foremost, I’d put Rush back together in a heartbeat if I could. That’s a dream band for me. I don’t even want to sit in. There’s only one guy for that as far as I’m concerned, and it would be a treat to see them live in their element just one more time. Just one more mind-blowing drum solo!

That said, there’s a ton of bands or artists that I’d love to sit in with, though; Steely Dan, Slayer, The Grateful Dead, John Coltrane, Oasis, Alice in Chains, Marcus Miller, Van Halen … I could go on forever.

RRX: Well, your wish is coming true! Tell me about your favorite gig or performance so far.

BZ: I’ve been fortunate to play a lot of great shows over the years, so narrowing it down to one is really difficult. My first time playing with Battlecross in New York City was pretty cool. We were direct support for GWAR on their 30th anniversary tour, and we played the big room at Webster Hall. My parents came out to the show, and it was the first time seeing me in the band.

We played a great set, and Pustulus from GWAR came out and played Pantera’s “F**king Hostile” to close our set. Video is still on the interwebs if anyone wants to see it. The thing with the New York City fans is that they have seen it all, so the bar to impress them is pretty high when you play there. They were super into it and really fired up, and it was a special night for me. There’s a bunch of them! That said, my favorite gig is always the next one!

RRX: Any gig Horror Stories?

BZ: There are always little things that can take you out of a gig. Gear issues, a disarray of endless cables leading to everywhere and nowhere on stage with no organizational thought put into it whatsoever for the drummer to just have to walk over, physical issues and pains. But those are pretty normal things that can crop up from time to time, and you learn to accept them, adjust, and rise above. The two things that come to mind are opening the mainstage at Knotfest back in 2015 and my second gig with Battlecross the same year. The Knotfest gig went great from a playing standpoint. It was one of the biggest shows I’d played up to that point, and we really played great. Truly a great experience. The issue was when we were loading off the stage, and I kindly asked a few stagehands not to touch a few specific pieces of gear (my snare in the case), only to turn around seconds later and watch someone pick it up, the snare fall off the stand, then proceed to roll down a flight of 10-15 metal stairs side stage, and eventually come to rest on a landing at the bottom. The sound it made on the way down was indescribable. Needless to say, I was not so happy a camper.

The other is my second gig ever with Battlecross. As I stated earlier in the questions, I got offered that gig on 10 days’ notice, and it was a bit of a whirlwind, to say the least. Our rehearsals and first show went pretty great, all things considered. I wasn’t naive enough to think I had it mastered by any stretch of the imagination, but at least knew the ability to pull the material off well was somewhere in there. The next night, we were playing in Milwaukee, and during the second song, I got off from the band. The issue was, the material wasn’t in my muscle memory yet, and so I started thinking while I was playing, which is dangerous territory if the stuff you’re playing is rehearsed enough to be automatic. It snowballed, and we drifted further apart. We got back on eventually, but I was rattled. We start the next song, and the same thing happens. I was so obviously in my own head, and it seemed like that happened in most of the songs that night. It was excruciating and seemed like it went on forever. To date, if anyone asks, I can say, with certainty, it was the worst gig I have ever played in my professional career. I was too inexperienced and not as seasoned as I am now. I was so mad at myself, which was

obvious to the other guys, and they cut me some slack, reassured me they had picked me for a reason, and knew I could do it. We moved forward, and I can say, with a great sigh of relief, I’ve never had a gig that’s come close to that ever again. In hindsight, it was a crucial learning experience for me at a very pivotal time in my development, and I learned a lot from it.

I also got super sick on a tour in Europe for like two weeks because of a sandwich I decided to eat in Hungary. I sensed before I ate it that something was amiss, and I was starving and ate it anyway. Of course, I was throwing up for days after that and still had to do the shows. Not a job you can really call in sick to after all. Nothing worse than being sick on tour, especially in Europe. All that good food you can’t eat. At least I managed to keep it together for the shows, and that’s really the most important part.

RRX: Ugh! I’m so sorry! Any future plans? When is the next gig?

BZ: The immediate next big gig on my schedule is my wedding on 10/18. I’ve played so many weddings with the Accents at this point that it’ll be a welcome chance to attend one and not be on the bandstand. I also just so happen to be the groom in this case.

Beyond that, the Accents are busy year-round, and we have gigs from now through December and are already booked into 2026. I have some pretty substantial studio work coming up in December and January that I’m working on right now. Some really cool prog-metal stuff. It’s a fun challenge because it’s an album’s worth of material that spans all sorts of genres, dynamics, time signatures, and feels, and is keeping me busy insofar as writing. Most exciting of late, I’m also hoping to get some new Battlecross material worked on and begin the file sending process between now and the end of the year, too!

RRX: We’re looking forward to it all! Thanks for being here, and congratulations on your wedding!!

 

 

More from OP Callaghan…

Brown Eyed Women @ Lark Hall, 10/24/2025

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Brown Eyed Women came together at Lark Hall to celebrate the music of the Grateful Dead like only they can.

 

Photography by Timothy Reidy.

More from Lark Hall here …

Ezra Furman / The Golden Dregs @ No Fun, 10/22/2025

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Ezra Furman packed No Fun on a Wednesday night, while Benjamin Woods brought the Golden Dregs to kick things off. Quite the double bill.

 

Photography by Timothy Reidy.

More from No Fun here …

 

 

Caffe Lena – Week at a Glance

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Greetings – While a good chunk of Saratoga was swamped by a power failure on Halloween, the lights mercifully stayed on at Lena’s for a couple shows of Grateful Dead covers by Deadgrass. The crowd had a heck of a good time punctuating the familiar songs with whoops and cheers. Good vibes fueled by good music, happy memories, and, well, probably a bit of something that’s legal now and didn’t use to be when the fans first fell in love with these songs. I found a Frank Zappa quote recently: “It isn’t necessary to imagine the world ending in fire or ice—there are two other possibilities: one is paperwork, and the other is nostalgia.”  I’m rooting for nostalgia, and there’s nothing that fuels it like music.

But this coming week we look forward, with a very talented trio, the Cody Sisters, for our Bright Series. These young women grew up in a family band and they can really pick. We also have the wise and wonderful Flamy Grant, who is the folk world’s favorite (only?) drag queen; plus superb old-school jazz from NYC with The Lovestruck Balladeers, and singer-songwriter Dan Navarro who never fails to take our hearts on a journey. I encourage you to join us!

See you at the show,
Sarah

Life on the Cutting Edge – Discoveries and Advancements – 11/3

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Life on the Cutting Edge – Discoveries and Advancements

Quantum Battering Charges Instantly and Stays Charged Forever
https://www.sciencedaily.com/releases/2025/10/251023031612.htm
New Toothpaste Derived from Human Hair Helps Rebuild Enamel
https://www.bbc.com/news/articles/c9qy0w27213o
1GWh Molten Salt Battery Powers 100,000 Homes for 10 Hours
https://www.warpnews.org/energy/denmarks-first-molten-salt-battery-can-power-100-000-homes-for-10-hours/

Candice Night – An Xperience Interview

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Candice Night – An Xperience Interview – by Jason Irwin.

For more than 25 years, Candice Night and Ritchie Blackmore (Rainbow, Deep Purple) have been enchanting audiences around the world with Blackmore’s Night, blending Renaissance-inspired melodies with folk-rock magic. As the band embarks on their 2025 fall tour, including a stop at the Cohoes Music Hall on Sunday, November 23rd, I was able to chat with Candice to find out a little more.

RRX: Your live shows seem to welcome people to step back in time, with fans in costume and all. What’s that atmosphere like from the stage?

CN: It’s incredible. One of my favorite quotes (to paraphrase Shakespeare) is that the “mask is not to conceal but to reveal.” For me, seeing people show the world a side of themselves they usually keep hidden — or step into a totally different role — is fascinating. We’ve seen full knights, monks, queens and kings, jesters, fairies, peasants, gypsies — you name it. It’s like a costume party wherever we go. The great thing is watching people make their costumes their own identity. It’s such a beautiful way to express themselves. You don’t need to dress up, but it makes the event feel that much more special. Often, those who do dress up find like-minded people, trade compliments on their garb, and make lifelong friends. It’s quite a community we’ve built around these shows — and that positive energy is electric.

RRX: Ritchie stepped away from arena rock for this kind of music. What pulled you toward the Renaissance and folk style?

CN: He did. I never heard this type of music before I met him — in the early ’90s, he was listening to Renaissance music all the time. When I moved in with him in 1991, he would play it around the house. Looking out at the falling snow and deer in our garden in our dark Tudor home while that music played felt like being inside a movie soundtrack — the perfect meeting of audio and visual. It became the perfect soundtrack for nature, and that escape from modern stress has held a deep, special place in my heart ever since.

RRX: You play all kinds of medieval instruments — which one’s your favorite?

CN: The pennywhistle or the gemshorn. I love the wind instruments that have a more airy, muted sound, compared to the ones I often play onstage that are loud and bombastic for the full band — like the shawms or rauschpfeifes. Each instrument is so individual and adds a different texture to our songs beyond the typical five-piece band sound.

RRX: If you could make it happen, what film or story do you think Blackmore’s Night’s music would be the perfect soundtrack for?

CN: I see so many period films and TV shows that would suit our music — anything from “The Tudors” to “Outlander,” even witchy Halloween-vibe shows or movies like “Practical Magic 2.” I guess we’re not top of mind for music supervisors yet, but even gaming would work. Open to ideas!

RRX: You always support local animal shelters on tour — why is that cause so important to you, and what kind of response have you seen?

CN: Animals ask so little but give so much in return. The joy and unconditional love they give is immeasurable. The people who work in shelters — healing, helping, saving animals year-round — are angels on earth. Big celebs often pair with national organizations, but when we come to town, we try to bring funds, supplies, and awareness to the local shelters that work so hard and see so much pain. We donate at home year-round and, on the road, try to shine a spotlight where it’s needed. The response is always heartfelt.

RRX: Your lyrics often celebrate nature and simple joys. Do you see your music as an escape from today’s busy world?

CN: Absolutely. Music has always been my escape from stress and pressure. As a teenager who didn’t fit in, I’d go home, put on vinyl or headphones, and connect with songs — that got me through difficult times. I covered notebooks with lyrics, which led to poetry and then song lyrics. Nature is a great healer for me: sunsets, fireflies, shooting stars, feeling the wind, catching snowflakes, the colors of autumn — those small miracles renew mind and spirit.

RRX: If you could bring one modern convenience back to the Renaissance, what would it be — and would you use it on stage?

CN: If we changed conveniences in time, that might mess with the time-space continuum — we wouldn’t be where we are now! But if I lived then, I’d love sanitary conditions, plumbing, and air conditioning. Yes — I’d definitely use air conditioning onstage!

RRX: What’s something about Renaissance culture that’s often misunderstood?

CN: It’s funny — Ritchie is more of a Renaissance purist, and I’m more drawn to the fantasy and romantic imagery. That in itself is a misunderstanding: the romanticized version (ambient lighting, bonfires on hills, maidens waving from castle windows) isn’t the full reality. The era has a very romantic visual in my mind, but people often conflate fantasy with historical reality.

RRX: If Blackmore’s Night really lived in the Renaissance, what role would you play?

CN: I’d probably be a peasant swept off my feet by a wandering minstrel, singing and playing as we travel — much like my role today.

RRX: Despite your intent not to perform songs from Ritchie’s Deep Purple or Rainbow days, have you ever had an audience member go off track and give a shout for “Smoke on the Water”?

CN: Of course — even my son did that when he was six! We were at the Paramount in Long Island; Ritchie spotted him in the balcony and asked, “OK, Rory, what do you want to hear?” He yelled, “Smoke on the Water,” and the audience went crazy — so we obliged. Ritchie will play those songs (he’s done “Street of Dreams,” “Stargazer,” “Temple of the King,” “Hush,” “Man on the Silver Mountain,” “Rainbow Eyes,” “Child in Time,” even a 16th-century “Greensleeves”), but only when he wants to. After decades of playing the same requests, he got tired of being obliged — now he has the freedom to play what he wants when he wants, and that creative freedom is wonderful.

RRX: What’s it really like being in a band with your spouse for over 25 years?

CN: The hardest part is that I wear many hats — I write lyrics, sing, play woodwinds, and also handle fix-it tasks when things go wrong: travel, bandmates, stage sets, dinnertimes, wardrobe. That can be mentally taxing. But stepping on stage with your soulmate and performing music you created together for fans who truly share your path — those couple of hours can be pure magic.

RRX: When you’re not playing medieval music, what’s something surprising on your personal playlist?

CN: With both my children now teenagers, I hear a lot of newer radio music I wouldn’t have otherwise. My playlist is varied — I’m a child of the ’70s and a teen of the ’80s, so I still rock out to hair bands and classic rock in the car — much to my kids’ embarrassment!

RRX: After all these years, what do you hope new listeners take away from a Blackmore’s Night concert?

CN: A couple of hours spent in our fantasy world. My favorite thing is watching generations come to the shows — children, parents, grandparents. Kids dress as princesses or Robin Hood, men are often die-hard Blackmore fans, women enjoy the softer female vocals, and grandparents appreciate melodic music — there’s something for everyone. Our fan base defies genre and generation. Seeing people take the emotional journey the music offers, connect with us, and leave with that after-show glow of positive energy is a blessing every time.

 

 

 

More from Jason Irwin…