The DEAD are back on tour

[Origins: Early '60s – 1969
The roots of the New Riders can be traced back to the early 60s folk/bohemian/beatnik scene in San Francisco, where future Grateful Dead guitarist Jerry Garcia, then considered to be one of the finest banjo players of the folk revival, often played gigs with like-minded guitarist David Nelson. The young John Dawson, also known as "Marmaduke", from a well-to-do family centered in Millbrook, New York, also played some concerts with Garcia, Nelson, and their compatriots while visiting relatives on summer vacation. Enamored with the sounds of Bakersfield-style country music, Dawson would turn his older friends on to the work of Merle Haggard and Buck Owens while providing a vital link between the East Coast, Timothy Leary-dominated psychedelic scene and the West.

Dawson went on to college, Nelson moved on to Los Angeles with future Grateful Dead/New Riders lyricist Robert Hunter and tape archivist Willy Legate, and Garcia formed the Grateful Dead, then known as the Warlocks, with an acquaintance, blues singer Ron "Pigpen" McKernan.

By the time Nelson returned to the Bay Area in 1966, the Merry Pranksters-led Acid Tests were in full swing, with the Dead serving as house band. Though the group briefly considered replacing Bob Weir with the more experienced Nelson, this never materialized. Throughout 1967 and 1968, Nelson worked as a journeyman musician in the San Francisco area, playing anything from electric psychedelic rock (he was briefly lead guitarist of Big Brother and the Holding Company after Janis Joplin and Sam Andrew departed) to contemporary bluegrass with groups such as the Mescaline Rompers.

After attending a junior college in the Los Angeles area, Dawson returned to the Bay Area, where he decided to find his fortunes as a solo folksinger. Attending some of the Acid Tests and visiting the Dead at their commune in 1967, Dawson decided that it was his life's mission to combine the psychedelia of the San Francisco rock scene with his beloved electric country music. An early 1969 mescaline experience confirmed this, and the erstwhile perpetual student-cum-folkie began to compose songs on a regular basis. Some, such as "Glendale Train", were traditional country pastiches, while a number of others ("Last Lonely Eagle" and "Dirty Business") found him working in the milieu of a countrified Dead. Others, including the shuffle "Henry", were a combination of the two — traditional music combined with then-contemporary lyrics (the exploits of a marijuana smuggler, drug-related themes being a common motif in the New Riders' repertoire).

Dawson's vision was timely, as 1969 marked the emergence of country rock via the Dillard & Clark Band, the Clarence White-era Byrds, The Band, Gram Parsons' Flying Burrito Brothers, and Bob Dylan. Around this time, Garcia was similarly inspired to take up the pedal steel guitar, and Dawson and Garcia began playing coffeehouse concerts together while the Grateful Dead was off the road. The Dawson and Garcia repertoire included Bakersfield country standards, traditional bluegrass, Dawson originals, a few Dylan covers ("Lay Lady Lay", "You Ain't Goin' Nowhere", "Mighty Quinn"), and Joni Mitchell's song "Big Yellow Taxi". By the summer of 1969 it was decided that a full band would be formed to satisfy Garcia's desires in this creative outlet. David Nelson was immediately recruited from Big Brother to play electric lead guitar.

In addition to Nelson, Dawson (on acoustic guitar), and Garcia (continuing to play pedal steel), the original line-up of the band that came to be known as the New Riders of the Purple Sage (a nod to the Zane Grey classic and an obscure western swing combo from the 40s) consisted of Robert Hunter on electric bass and Grateful Dead drummer Mickey Hart. Hunter was soon replaced by Dead soundman and old crony Bob Matthews, who in turn did not last very long. Finally, Phil Lesh of the Grateful Dead was named bassist. Not only was this line-up economical — for only two extra plane tickets, the cash-strapped Dead had an opening act — but Dawson's songs, combined with Garcia's self-taught pedal steel style and the eccentric rhythm section of Lesh and Hart (neither had much experience in country or folk music) gave the New Riders a singularly unique sound that stood out from the pack of emerging country-rock bands.

HS..

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