Coming together on the Front Range in the ’70s, they nodded toward tradition, wearing suits and crafting a sound that dipped into the old-time well of mountain music, all while expanding on the traditional form. With a progressive flair, the members of Hot Rize were architects of new acoustic music, laying the groundwork for what would emerge in Colorado over the following decades. Daniels has also performed and recorded with David Bromberg, a pioneer of the acoustic-meets-rock sound that evolved into what is now commonly referred to as jamgrass.
Cover or album talking heads road to nowhere series#
In the early ’80s, he began hosting all-star after-hours jams at the Sheridan Opera House in Telluride, giving birth to what became the well-appreciated Nightgrass series at the Telluride festival. His early-’70s group, Magic Music, is often described as Colorado's original jam band, with Daniels singing and picking on multiple instruments, including banjo, mandolin and guitar. Their impact is especially relevant this month, as the Telluride Bluegrass Festival celebrated its fiftieth anniversary with a lineup that included Robert Plant and Alison Krauss in addition to its long-running stable of favorites.ĭive into the state's jamgrass roots with these ten bands, organized chronologically:ĭenver resident and bandleader Chris Daniels, of Chris Daniels & the Kings, has long had a foot in jam and acoustic music, going back to the heady days when the Telluride Bluegrass Festival was in its infancy. The following acts, which are all tied to the Centennial State, indelibly carved their names on the flourishing tree of the genre and continue to inspire emerging generations of pickers, grinners and sonic adventurers. Since the early days, when the free-flowing spirit of rock first intertwined with the traditional tones of the hills, a wide variety of artists have worked the bluegrass- and improvisation-rooted genre into unforeseen shapes.
And Zen Buddhism.After originating in such places as the Telluride Bluegrass Festival, jamgrass music has blazed a storied path through Colorado and beyond. He longs not to be part of this world and its unquenchable desires, but realizes he is also human and part of the collective insanity.īilocational shamanism. He can envision a different path, or a non-path, a movement off the road: "There's a city in my mind, come along and take that ride." He is one of them and not at the same time. The narrator is part and apart of the travelers's journey on the road to nowhere. The other voice takes the role of the traveler on the road. The narrator takes the skeptical, outsider approach of one who has the wisdom to see the folly of pursuit. One at the beginning and end, the voice of the narrator, and another in the middle, the voice of those on the road to nowhere, those who believe that "We're on the road to paradise."
There are two voices in this song, almost doppelgangers. Misery loves company, and all of us on the road to nowhere invite others to join us, and we assimilate them into our pointless, miserable journey that ends in death and nothingness.
The plebes/proles endure a Sisyphean slog through life, straining towards some goal on the horizon that never materializes. I realize the video is not the song, but the video makes it obvious. The real "road to nowhere" is the domination and destruction of the planet by our species. But it's growing day by day and it's all rightīut they'll make a fool of you and it's all right
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