Tag: Infamous Stringdusters

(Editor’s Note: This December, we continue our annual series – see also: Dolly in December, Dawg in December, Dylan in December, and Del in December – by celebrating the iconic, trailblazing jam band, the Grateful Dead, all month long! We’ll be featuring the Grateful Dead as our Artist of the Month, celebrating their enormous impact on bluegrass and roots music over the next few weeks.

To kick off our coverage, BGS contributor Garret Woodward pens a heartfelt and personal AOTM reveal. Plus, don’t miss our exhaustive Essential Grateful Dead Playlist below.)

The single most profound moment within my 39 years of existence (thus far) is the first time I heard the Grateful Dead. Not far behind that life-altering experience were my initial encounter with LSD (in high school) and finally cracking open Jack Kerouac’s seminal 1957 novel, On the Road (in college).

Summer 1994. I was nine years old and living a simple, yet happily mischievous childhood in the small North Country community of Rouses Point, New York. One mile from the Canadian Border. One mile from the state line of Vermont. Solitude. Desolation. Rural America. Mornings spent building tree forts and wandering vast cornfields surrounding my childhood home. Afternoons jumping off the dock into nearby Lake Champlain.

Even at that time, I was a bona fide music freak. Whether it was Top 40 radio (Gin Blossoms, Melissa Etheridge, Collective Soul, Sheryl Crow) blasting out of the small boom box in my bedroom or whatever my parents shoved into the cassette deck in the family minivan (Willie Nelson, Beatles, Rolling Stones, Nat King Cole, George Jones), I was in search of “the sound.”

But, everything in my existence changed one evening that summer at a family cookout at our camp on the lake. Sitting at the picnic table — chowing down on some burgers, beans and potato salad — I noticed a hat my aunt’s boyfriend was wearing. The logo on the front was of a dancing bear, with the back featuring a skull with a lightning bolt. I inquired.

“It’s the Grateful Dead,” he replied with a Cheshire Cat grin emerging from a bushy beard. “Have you ever listened to the Dead, man?” No, I replied. After dinner, he walked me over to his early 1990s Volkswagen Jetta. He hopped in, rolled the windows down and turned on the stereo. Again, with a grin, as if he knew what was going to happen once he pressed play and cranked the volume.

It was the Skeletons from the Closet album. The opening tune, “The Golden Road (To Unlimited Devotion),” hit me like an undulating series of waves in some endless ocean of melodic tones and lyrical truths. It was just like when Dorothy Gale entered the world of color in The Wizard of Oz.

Nothing really was ever the same after that moment. It was not only the first music I’d discovered on my own – without the radio or my parents’ influence – the Dead, for some unexplained reason at the time, immediately became “my band.” Something clicked deeply inside of me. I awoke. And I had arrived.

Soon, a seismic shift occurred in my adolescent life. I wore Dead shirts to my Catholic elementary school to the dismay of the nuns. Tacked up Jerry Garcia posters on my bedroom wall. The swirling sensation of “Sugar Magnolia” or “St. Stephen” echoing from the boom-box. Incense burning on the windowsill overlooking the cornfields and unknown horizon of my intent. I even had a small shrine to Jerry on my bookshelf for several years after he died. I was all-in.

Musically, the Dead were a bunch of incredibly talented bluegrass, folk, and jazz freaks, who were inspired by the onslaught of the Beatles to plug in and go electric. The band itself was this massive sponge, one which soaked in any and all influences it crossed paths with — either onstage or merely wandering down the road of life. That authentic sense of curiosity and discovery is key to the Dead’s magic throughout its decades of improvisational splendor.

At its core, the Dead’s message resonated within my often-bullied and ignored self as a kid. If you like the Dead, you’ll always find a friend out there in the universe to connect with. The band’s symbols are beacons of love, compassion, and acceptance once you walk out the front door. In essence, I’d found my tribe, this wild-‘n’-wondrous ensemble of loving oddballs, eccentric weirdos, and all-around jovial folk. My kind of people, who remain so to this day.

The Dead is about personal freedom. To not only be yourself, but to also seek out the intrinsic beauty of people, places and things in this big ol’ world of ours. Have adventures. Pursue wisdom. Radiate love. Be kind. Damnit, be kind. All of these things offered from the music and its followers were placed in my emotional and spiritual toolbox as I began to wander the planet on my own following high school, college and impending adulthood.

And here I stand. Age 39. That nine-year-old discovering the Dead is still inside of me somewhere, still burning incense and blasting “St. Stephen.” That youngster’s excitement for all things music (especially live), endless curiosity for what lies just around the corner, and running with a reckless abandon towards the unknowns of tomorrow are as strong and vibrant as ever — especially through this ongoing catalyst that is my career in the written word.

Case in point, I recently headed to the Bluegrass Music Hall of Fame & Museum in Owensboro, Kentucky, for another celebratory weekend for its current exhibit: “Jerry Garcia: A Bluegrass Journey,” on assignment and on the ground covering the festivities. An incredibly curated collection of rare Garcia artifacts and wisdom, the showcase will run onsite until next spring.

Before the inception of the Grateful Dead, Garcia was completely immersed in the bluegrass and folk scenes in the San Francisco Bay area in the late 1950s and early 1960s. He was part of numerous acoustic acts and ensembles throughout the bountiful period — the culmination of that vast knowledge and in-depth experience being poured into the Dead’s formation in 1965.

To note, there’s a lot to be said about Garcia’s talents on the banjo being applied to what would become his signature tone on the electric guitar. And to that notion, add in the sheer lyrical aptitude of Robert Hunter, who not only penned many of the Dead’s iconic melodies, but was also on a parallel journey to Garcia’s early on and throughout the band’s 30-year trajectory.

And there I was in Owensboro, some 400 miles from my current home in Western North Carolina. Traveling for hours just to arrive on the mighty Ohio River – the state line of Kentucky and Indiana, this crossroads of the Southeast and Midwest. And for what? To push further and farther down the cosmic rabbit hole that is Jerry Garcia, the Grateful Dead, and those who follow.

The next 48 hours were a whirlwind of sound and scope. Seemingly endless tribute sets to Garcia and the Dead at the Woodward Theater inside the museum from the Kitchen Dwellers, Lindsay Lou, Fireside Collective, and members of the Infamous Stringdusters to late-night jam sessions in hotel rooms next door.

The Grateful Dead are arguably the only musical entity to exist that – regardless of who or what genre is being represented – once one of their tunes is placed into a performance, folks either show up in droves or are already present with ears perked up to what’s radiating out from the stage. It’s a fact that no matter what style of music you play, if it involves the Dead in some form or fashion, Deadheads are game to check it out. You could be a polka group and we’ll be right there, standing front row, the second you roll into “Althea” or “Shakedown Street.” The music provides, always and forever.

Before I left Owensboro and the Garcia celebration at the museum, I found myself on a bourbon distillery tour on Saturday afternoon. I walked into the enormous facility and checked in with the host. All by myself and waiting for the tour to start, the host tapped me on the shoulder.

“You like the Dead?” his face lit up, pointing to the Dead stealie tattoo on the back of my right leg. “Sure do, my brother,” I shot back with a smile of solidarity. We talked about our favorite live Dead recordings and where we’ve caught Dead & Company in concert recently, kindred spirits now eternally connected by this band of roving musical pirates. It’s a genuine interaction that happens often to Deadheads and something I don’t ever take for granted.

Even as we stand in this uncertain time in American history – where nothing is the same, everything is the same – the Grateful Dead remain this portal to escape, to purposely choose compassion, camaraderie, and community. It’s about cultivation of one’s self and of the sheer magnitude and gratitude of daily life, so long as you stroll this earth with the pure and honest intent to connect, to listen, and to understand.

“I will get by, I will survive.”