First of all, what a beautiful drive! I went north from Philly to the foothills of the Poconos, then west over hills, past forest and farms to a campground in central PA. To quote Mel Brooks: “Everything’s so green!”
I’m camped at A Bears Picnic, a hippy fest somewhere North of Harrisburg. A Hippy fest is somewhat different from a jam band fest. It’s a little more friendly and relaxed, with a lot more Grateful Dead influence, without the funk and hip-hop that the jam-banders sometimes favor. There’s less ecstasy circulating through the crowd, and more LSD. I’m not familiar with most of the bands, so it’s my chance to learn something.
First up on this sunny and breezy Friday afternoon is Steal Your Face, a Grateful Dead cover band out of Philadelphia. They’re okay, but their covers are a little too faithful to the originals for my taste. They’re faithful to the point of using the same guitar effects as the Dead used. There’s nothing wrong with playing covers, of course, but note-for-note covers lack spontaneity, to say the least. I spent their set sitting under my awning, sipping a cold drink, chatting with passers-by, and watching the folks in the next campsite struggling to put up their own elaborate awning. They‘ve declined my offers of help, so I can sit without guilt and chuckle as the wind catches the parachute cloth and flips the entire assembly, over and over. It’s like watching an Abbot and Costello movie where they’re trying to be plumbers or something.
The second band, Lumber Truck, is a power trio- bass, drums and guitar. Although I assume they’re named after a Frank Zappa song, they’re clearly Dead-influenced, but they play some originals and a wider assortment of covers. Far superior. I walk to the pavilion and give them my full attention. The campground has a large pavilion with an aluminum roof. The band area is under this, so we can stay in the shade as we listen to the band. It works well, but if this festival gets any more popular, shady spots will become objects of furious competition. Or possibly not. This isn’t a particularly ambitious crowd, and many are content to listen from their own campsites. The campground is small, and the music can be clearly heard everywhere.
Next up is Lumpy Gravy, who I’m sure are named after a Frank Zappa record. They’re a 4-piece, with a saxophone in place of a second guitar. They remind me more of Phish than of the dead, but they’re their own thing. A few more hippies wander up to the pavilion, girls in sun dresses or sequined bell bottoms, guys in t-shirts and baggy shorts.
I got what I need
When my pocket’s full of weed!”
Yep, drugs are casually consumed everywhere, but I’m not seeing anyone visibly intoxicated. Despite all the extralegal commerce, the atmosphere is safe and friendly. Little kids run around everywhere in perfect safety, watched by some 4,000 caring eyes. I don’t see or hear any nitrous oxide dealers. I’ve been to festivals where I couldn’t sleep at night for the nitrous hiss.
Willie Jack plays another Dead-influenced set, but they get some originality points for their Dead-style covers of songs not ordinarily associated with the Dead. The Juggling Suns then add a bit of prog rock influence to the Dead vibe. I shouldn’t be surprised at the heavy Dead presence, especially after my Scottypaluza experience two summers ago, but it seems to me there used to be more variety on the hippy scene. It’s not that any of the bands are bad, but they’re getting a little monotonous. Where is the blues influence? Where’s the Appalachian music? Where’s the jazz? What about the middle-eastern-influenced stuff?
Just when I think if I hear another version of Friend of the Devil I’ll have to take a hostage, Cabi
The Zen Tricksters have been a staple on the jam band scene for over a decade. In recent years they’ve hooked up with former Grateful Dead chanteuse Donna Jean Godchaux-MacKay. There are deadheads who love Donna and those who hate her, but there’s no denying that she’s got the name recognition. Donna and the Tricksters have gotten a lot of bookings based on those couple of years she sang with the Dead over thirty years ago. I like her, and them, but her style tends more to the slow, contemplative grooves than the more danceable songs I’d prefer at this stage of a summer afternoon. They play enough up-tempo tunes to keep my pulse up, and Donna’s harmonies with vocalist Wendy Lanter sound almost like an organ. They mix a few Dead covers in with Trickster originals, and the crowd is well primed for the appearance of Saturday headliner New Riders of the Purple Sage.
NRPS started out as a Grateful Dead splinter group. Jerry Garcia wanted a situation in which he could play his new pedal steel guitar. He also wanted a band to play with when the Dead weren’t touring, so he got together with some friends from the San Francisco music scene to form a country rock band in the style of the Flying Burrito Brothers and similar bands that were making waves around the same time. Garcia didn’t stay with the project long, but the band has continued through personnel changes, breakups and reunions, since then. The current lineup includes original member Dave Nelson and pedal steel player Buddy Cage. I used to see Buddy in nasty little bars up in rural Connecticut in between NRPS runs.
Today, he’s playing a monster rig with two sets of twelve strings, ten pedals and seven knee levers. The pedal steel is a fascinating instrument. The couple of times I’ve had the opportunity to mess with one have been enlightening. Each set of strings is tuned to a full chord, including sevenths and twelvths, if there are enough strings. The pedals slide one or more strings up or down a tone or two, sometimes revoicing the chord into a minor, an inversion, or augmenting or diminishing the chord (that’s technical music talk. If you don’t know what it means, don’t worry. I don’t really understand it either!). Watching a skilled player is fascinating. I stare and stare, but I can’t keep track of everything he’s doing or figure out how he’s doing it. Tonight there are so many pedal steel connoisseurs that I can’t get near enough to watch.
I’m not a big enough NRPS fan to recognize all the songs they played, but even the ones that were new to me were fun to hear. They played their only hit, Panama Red, and Friend of the Devil, which was an NRPS song before it was a Grateful Dead song. In fact, I believe Dave Nelson played guitar on the Grateful Dead studio version. Having the keyboard player play accordion on the song was a nice touch, but I would have enjoyed it a lot more if I hadn’t heard the same damn song four times already over the past two days!
The best part, though, are the sit-ins. David Gans comes out to play a few, of course, but Donna and Wendy make it a show! Their version of Franklin’s Tower, with Donna on lead vocals, is the highlight of the night. She also sang the ancient folksong Peggy-O, a particular favorite of mine. I’ve seen the Dead play it a couple of times, and I’m probably the only one who was glad to hear it. Thanks, Donna!
At one point the band sat out while Buddy Cage played a solo tune. It was a polymodal, middle-eastern-sounding tune he called Raga for Jerry. Technically, I don’t think it was a true raga, but it was pretty nonetheless. I wish I could have watched his hands as he played it.
I didn’t stay up as late Saturday night as I did Friday. I got a flashlight so I could use the port-a-potty safely, then shoved it in my pocket whi
For the first set Sunday, all the kids who’d been hanging around the Kid’s Tent got up and sang a few songs, accompanied by a pickup band. Apparently they’d been rehearsing all weekend. The crowd stomped and cheered. Festivals may only last a few days, but they’re communities.
After that, Stir Fry, accompanied by David Gans did a set of San Francisco-style rock. I’d never heard of them, but there was a small but ardent group of hippies by the stage who knew every word to every song. Everybody’s a hero to someone.
After that I went down to my campsite to start breaking things down for a hasty exit. As a result, I missed Backwoods Experiment. They did an acoustic set I couldn’t hear from the campsite, so I didn’t know to go back to the stage until I heard Boris Garcia tuning up. They do a sort of bluegrass-influenced Dead-style jam band thing, their skills honed by countless campfire jams at Philadelphia folk Fest. I’ve heard them once before, at last year’s Extreme Folk Fest, and I like them a lot. I especially enjoyed their ode to Schwenksville, PA, home of the Philly folk fest.
Last up, for me anyway, was Peter Rowan. Originally, the Peter Rowan/Tony Rice Quartet was booked, but sadly Mr. Rice was too ill to attend. Peter Rowan took the stage accompanied by two pretty and talented girls on mandolin and upright bass. A veteran of Bill Monroe’s Bluegrass Boys, Rowan has some serious bluegrass cred. He has hippy/Deadhead cred as well, having sung with another Jerry Garcia side project, Old and in the Way, and having written the NRPS hit, Panama Red. They play some Bill Monroe songs, some traditional bluegrass songs, songs by friends and associates, and even some originals. There are lots of great 2- and 3-part harmonies, and a little tasteful yodeling. Dave Nelson sits in for a few songs, including, of course, Panama Red.
I'll bet your woman's up in bed
With Panama Red
The New Riders have a two hour set to play to end the festival, and I’m sure Rowan sat in with them for a rousing version of Mexican Air Force, but I’ve got to be up at five the next morning, so I pack my hippy-friendly hybrid car and hit the road, hoping to be home before midnight. Sometimes, being a grownup sucks.