2015 Steamboat Town Challenge Kickoff Party
Kickoff the 2015 biking season May 1st at McKnights Irish Pub & Loft!
Save money with one time only, season pass pricing below. This will only be available on May 1st during the party.
- Adult Season Pass $125
- Youth Season Pass $45
Also, register to win great prizes, like ticket to:
- Avengers: Age of Ultron @ Wildhorse Stadium Cinema
- Old Crow Medicine Show @ Red Rocks 6/3
- Michael Franti & Spearhead @ Red Rocks 8/9
- Reggae On The Rocks @ Red Rocks 8/22
- 2015 Town Challenge Season Pass
- June 10th – Marabou XC (Marabou Ranch)
- June 24th – Emerald Envy XC (Emerald Mountain)
- July 8th – Churn & Burn XC (Mt. Werner)
- July 22nd – Geronimo Glory (Emerald Mountain)
- August 12th – Storm Peak Hill Climb (Mt. Werner)
- August 19th – You Don’t Know Jack XC (Emerald Mountain)
- September 2nd – Sunshine Loop (Mt. Werner)
The Steamboat Town Challenge is a six race mountain bike series held every summer. Both hill-climb and cross-country events are included and single race or season passes are available. Races are every other Wednesday.
– See more at: http://alwaysmountaintime.com/kfmu/event/2015-steamboat-town-challenge-kickoff-party/#sthash.ifELvwUT.dpuf
Steve Miller Band Red Rocks Wednesday July 22nd, 2015
with special guest Don Felder
Steve Miller‘s career has encompassed two distinct stages: one of the top San Francisco blues-rockers during the late ’60s and early ’70s, and one of the top-selling pop/rock acts of the mid- to late ’70s and early ’80s with hits like “The Joker,” “Fly Like an Eagle,” “Rock’n Me,” and “Abracadabra.” Miller was turned on to music by his father, who worked as a pathologist but knew stars like Charles Mingus and Les Paul, whom he brought home as guests; Paul taught the young Miller some guitar chords and let him sit in on a session. Miller formed a blues band, the Marksmen Combo, at age 12 with friend Boz Scaggs; the two teamed up again at the University of Wisconsin in a group called the Ardells, later the Fabulous Night Trains. Miller moved to Chicago in 1964 to get involved in the local blues scene, teaming with Barry Goldberg for two years.
He then moved to San Francisco and formed the first incarnation of the Steve Miller Blues Band, featuring guitarist James “Curly” Cooke, bassist Lonnie Turner, and drummer Tim Davis. The band built a local following through a series of free concerts and backed Chuck Berry in 1967 at a Fillmore date later released as a live album. Scaggs moved to San Francisco later that year and replaced Cooke in time to play the Monterey Pop Festival; it was the first of many personnel changes. Capitol signed the group as the Steve Miller Band following the festival.
The band flew to London to record Children of the Future, which was praised by critics and received some airplay on FM radio. It established Miller‘s early style as a blues-rocker influenced but not overpowered by psychedelia. The follow-up, Sailor, has been hailed as perhaps Miller‘s best early effort; it reached number 24 on the Billboard album charts and consolidated Miller‘s fan base. A series of high-quality albums with similar chart placements followed; while Miller remained a popular artist, pop radio failed to pick up on any of his material at this time, even though tracks like “Space Cowboy” and “Brave New World” had become FM rock staples. Released in 1971, Rock Love broke Miller‘s streak with a weak band lineup and poor material, and Miller followed it with the spotty Recall the Beginning: A Journey from Eden. Things began to look even worse for Miller when he broke his neck in a car accident and subsequently developed hepatitis, which put him out of commission for most of 1972 and early 1973.
Miller spent his recuperation time reinventing himself as a blues-influenced pop/rocker, writing compact, melodic, catchy songs. This approach was introduced on his 1973 LP, The Joker, and was an instant success, with the album going platinum and the title track hitting number one on the pop charts. Now an established star, Miller elected to take three years off. He purchased a farm and built his own recording studio, at which he crafted the wildly successful albums Fly Like an Eagle and Book of Dreams at approximately the same time. Fly Like an Eagle was released in 1976 and eclipsed its predecessor in terms of quality and sales (over four million copies) in spite of the long downtime in between. It also gave Miller his second number one hit with “Rock’n Me,” plus several other singles. Book of Dreams was almost as successful, selling over three million copies and producing several hits as well. All of the hits from Miller‘s first three pop-oriented albums were collected on Greatest Hits 1974-1978, which to date has sold over six million copies and remains a popular catalog item.
Miller again took some time off, not returning again until late 1981 with the disappointing Circle of Love. Just six months later, Miller rebounded with Abracadabra; the title track gave him his third number one single. The remaining albums released in the ’80s — Italian X Rays,1984; Living in the 20th Century, 1986; and Born 2B Blue, 1988 — weren’t consistent enough to be critically or commercially successful. The early ’90s saw Miller return to form with Wide River (the title track becoming a Top 40 chart entry) and the release of a retrospective box set compiled by the artist himself. Miller continued to headline shows into the 2000s, sharing the bill with classic rock acts such as 2008 tourmate Joe Cocker. He also announced the impending release of a new studio album of R&B covers. In 2010, the band released Bingo!, the first release on Miller’s own Space Cowboy Records.
MARK KNOPFLER RED ROCKS SEPTEMBER 23RD, 2015
The most celebrated British guitar hero to emerge in the 1970s and ’80s, Mark Knopfler rose to fame as the leader of Dire Straits, and his songwriting and incisive guitar work played a decisive role in making them an international success story. At a time when punk and new wave were making technique for its own sake seem irrelevant, and metal was taking the guitar solo in noisier and unpredictable directions, Knopfler‘s clean but dexterous picking proved there was still room for traditionalism and chops in mainstream rock & roll. But even without considering Dire Straits, Knopfler has accumulated an impressive résumé as a producer, sideman, songwriter, and film composer, working alongside some of the best and best-known figures in the music business.
Mark Freuder Knopfler was born in Glasgow, Scotland on August 12, 1949. His father, a Hungarian émigré, worked as an architect, while his mother, of English heritage, was a schoolteacher. The Knopfler family moved to England when Mark was seven years of age, settling in Newcastle-Upon-Tyne, and he developed a passion for music while spending time with his uncle; as he told journalist Dan Forte, “I heard my Uncle Kingsley playing boogie-woogie on the piano when I was about eight or nine, and I thought that those three chords were the most magnificent things in the world — still do.” A few years later, Knopfler began learning to play guitar, first on an inexpensive Hofner model before moving up to a Fender electric his father bought for him. At 16, Knopfler and some pals cut a demo single that was never released, and he performed in a vocal group that was successful enough to merit an appearance on local television.
In 1967, Knopfler enrolled at Harlow Technical College, where he studied journalism, and a year later he landed a job at the Yorkshire Evening Post, where he wrote news stories and music criticism. After two years at the Post, Knopfler opted to return to school, studying English at Leeds University. While at Leeds, he became friends with a fellow guitarist named Steve Phillips, and they began playing out under the name the Duolian String Pickers; while working with Phillips, Knopfler began developing the finger-picking style that would become his trademark.
After graduating from Leeds in 1973, Knopfler moved to London, and joined a pub rock band called Brewer’s Droop, featuring drummer Pick Withers. Knopfler‘s tenure with the band was short-lived, and he took a position as a lecturer at Essex’s Loughton College. Knopfler became friends with a handful of local musicians, and they formed a new band called the Café Racers. Mark‘s brother, David Knopfler, who was also a guitarist and songwriter, introduced Mark to a fellow musician, John Illsley, who played guitar but was also a solid bassist. When the Café Racers found themselves in need of a bass player one night, Mark asked Illsley to sit in, and before long, Mark, David, and John were sharing an apartment and working on songs, with Mark on lead guitar, David on rhythm, and John on bass. Mark invited Pick Withers to play drums with the new combo, and while they played their first few gigs as the Café Racers, before long they adopted a new name coined by Withers — Dire Straits.
After cutting a demo tape, Dire Straits found a champion in BBC disk jockey Charlie Gillett, who began playing their demo on his show, attracting the attention of manager Ed Bicknell and Polygram A&R man John Stainze. Bicknell took Dire Straits under his wing and Stainze signed the group to Polygram’s progressive and hard rock subsidiary Vertigo Records; Warner Bros picked up the band for the United States. Dire Straits‘ self-titled debut album was released in the fall of 1978, and the song “Sultans of Swing” became a surprise hit single in both America and the U.K., with the album following it into the charts, as the group’s clean, expert playing, and Knopfler‘s deft lead guitars, Dylan-esque vocals, and evocative songs won the band airplay on pop and classic rock playlists. It was the first of a long string of successes for Dire Straits, and while the lineup would shift frequently over the group’s lifespan — Mark Knopfler and John Illsley would prove to be the group’s only constants — between 1978 and 1995 the group was a top concert draw and a frequent presence on radio and record charts; their landmark 1985 album Brothers in Arms sold over nine million copies in the United States alone, and was the top selling CD of the ’80s in the U.K.
It wasn’t long after Dire Straits made their commercial breakthrough that Knopfler began expanding his creative boundaries. In 1979, he was invited to play lead guitar on Bob Dylan‘s album Slow Train Coming, and in 1983, he produced Dylan‘s Infidels, as well as leading the backing band. In addition to producing much of Dire Straits‘ catalog, Knopfler was behind the controls for albums by Aztec Camera, Randy Newman, and Willy DeVille. Knopfler lent his talents as a session guitarist to an impressive and diverse range of artists, including Van Morrison, Phil Lynott, Steely Dan, Kate & Anna McGarrigle, Cliff Richard, and Scott Walker. He also penned the song “Private Dancer” for Tina Turner‘s triumphant comeback album of the same name, and found his songs being covered by the Shadows, whose legendary guitarist Hank Marvin was one of Knopfler‘s first inspirations. In 1983, Knopfler added “film composer” to his résumé when he wrote the score for the Scottish comedy Local Hero; Knopfler‘s music was cited in many of the film’s rave reviews, and he would later score the films Cal, The Princess Bride, Last Exit to Brooklyn, and Wag the Dog, among others. And when Weird Al Yankovic asked Knopfler‘s permission to record a parody of Dire Straits‘ “Money for Nothing” for the soundtrack to his film UHF, Knopfler agreed under one condition — that he be allowed to re-create his guitar parts for Yankovic‘s version. Weird Al happily acceded to Knopfler‘s request.
After Knopfler made guest appearances on several albums by another of his heroes, Nashville icon Chet Atkins, the two cut a collaborative project in 1990, called Neck & Neck, which was the first non-soundtrack album Knopfler released under his own name. Knopfler also showed off his love of country sounds with his side project, the Notting Hillbillies, which featured Brendan Croker, Guy Fletcher, and Mark‘s old Duolian String Pickers partner Steve Phillips. In the fall of 1992, Dire Straits played their last concert, a show in Spain on the tour in support of On Every Street, and in 1995, Knopfler quietly announced that he’d retired the band, feeling they’d become too big. 1996’s Golden Heart became Knopfler‘s official solo debut, followed in 2000 by Sailing to Philadelphia, which included guest appearances by Van Morrison, James Taylor, Gillian Welch, and Glenn Tilbrook and Chris Difford of Squeeze. The newly prolific Knopfler shortly returned to the studio and released The Ragpicker’s Dream in the fall of 2002; a world tour was planned, but after Knopfler was involved in a motorcycle accident that left him with a broken shoulder and collarbone, the dates were canceled. However, he was soon feeling well enough to go back to recording, and issued Shangri-La in 2004, a set recorded at the Malibu compound where the Band recorded and rehearsed in the ’70s. As Knopfler‘s taste for rootsy, country-influenced sounds became a growing presence in his solo work, he began working on material with singer Emmylou Harris, and their collaborative album, 2006’s All the Roadrunning, was recorded during sessions spread over seven years. Knopfler and Harris toured together in support of the set, and a live album, Real Live Roadrunning, came out later the same year. Knopfler continued to record at a steady pace, releasing Kill to Get Crimson in 2007 and Get Lucky in 2009, while still finding room to contribute to albums by Sonny Landreth, Bill Wyman, Diane Schuur, Bap Kennedy, and America. 2012 found Knopfler releasing Privateer, the first double-disc studio set of his career.
Afrolicious, the live/electronic collective based in the San Francisco Bay Area, started out not as a band but as a club night at the famed Elbo Room in The Mission District in 2007. The format of Afrolicious party was very open and included the DJs spinning the latest soulful dance music including Afro-House, broken beat, modern funk and disco alongside classics and re-edits and remixes of their favorite Afrobeat, Salsa alongside live percussionists and guest MCs and musicians.
Eventually morphing into a live band led by the production and arrangement skills of Pleasuremaker, many dancers, DJs and producers began to take notice of their unique sound. Since the release of their first two EPs which were produced by Rob Garza of Thievery Corporation, the reputation of the band and founding DJs Pleasuremaker and Señor Oz have grown and they have performed everywhere from Red Rocks, Burning Man, Cielo and the Greek Theatre in Berkeley.
Like a banjo player and a DJ rocking a club show in a barn, Magic Giant is a band on a mission to move bodies and souls. The group kicked off 2015 with a performance on KEXP hosted by John Richards (credited for discovering The Lumineers’ Ho Hey). They have since been featured on Spotify’s New Music Tuesday, Billboard for Artist on the Verge, and NPR’s Songs We Love, which proclaimed, This L.A. indie-folk band has a summer festival anthem on its hands. Described by some as rave-folk, Magic Giant has been turning clubs into dance parties on their maiden US headline tour, concluding with a full house at the legendary Troubadour in Los Angeles. Magic Giant continues to build a reputation for its anthemic sing-alongs, blending organic instruments with big drums and electronic beats. The band is composed of Austin Bis on lead vocals; Zambricki Li on banjo, mandolin, and fiddle; and Brian Zaghi on upright bass and acoustic guitar.
Based in Boulder, CO, this 4-piece rock band will rip your shirts off with their shredding guitar solos and unravel your sense of space and time. Founded in 1985, after escaping a kidnapping by a large Sasquatch, the young rock stars decided to travel through time and come light up the 21st century. While you may wake up with crimped hair, a sore neck, and no recollection of the last 12 hours, The Goonies never… ever…. say Hangover.
Jakubi is a Melbourne-based band composed of two brothers, two cousins and one friend whose love for producing music brought them together and whose pure talent propelled them forward. Jakubi’s unique flavor stems from an irresistible combination of jangly guitars, hip-hop beats and sailing synth rhythms. Flawlessly melding the sounds of a talk box one minute and reggae-inspired guitar the next; the band’s infectious experimental songs are guaranteed to get everyone dancing. 2014 saw the band touring two continents and three countries including Australia, the US and Canada. Since the release of their first single in 2013, the band’s music has been streamed on SoundCloud almost 5 million times and has amassed over 4 million views across YouTube. Starting 2015 off with a bang, the band has released its debut EP, Holiday, to critical acclaim, gaining further attention from industry insiders and fans alike.
THE WHO DENVER
The Who Hits 50!
The Regional Transportation District (RTD) is the public bus and light rail system for the Denver Metropolitan area. RTD has more than 170 bus routes and more than 35 miles of light rail lines.
An RTD bus stop is located adjacent to the grounds of Pepsi Center at 9th Street and Auraria Parkway. For an updated RTD bus route schedule, call 303.299.6000 or 800.366.7433.
The C Line from the Littleton/Mineral Light Rail Station and E Line from the Lincoln Light Rail Station provide light rail service to the historic Union Station in LoDo with a stop at Pepsi Center/Elitch Gardens. D Line from Littleton/Mineral Light Rail Station, F Line from Lincoln Light Rail Station and H Line from the Nine Mile Light Rail Station provide light rail service to 16th/California in Downtown Denver.
The MallRide provides FREE shuttle service on the 16th Street Mall. The Mall extends approximately two miles and accesses both northbound and southbound light rail service at Union Station and the 16th Street Mall.
C and E Line Schedules
(Please note that light rail service to and from Union Station will increase during major sporting events, concerts and other special events.)
C LINE – Littleton/Mineral to Union Station
5:00 a.m. – 11:30 p.m.
Monday through Friday, except holidays
Train stops approximately every 15 minutes
C and E LINES – I-25/Broadway to Union Station
6:00 a.m. – 11:30 p.m.
Trains stop approximately every 15 minutes
E LINE – Lincoln to Union Station
5:00 a.m. – 11:30 p.m.
Monday through Friday
Trains stop approximately every 30 minutes
6:00 a.m. – 11:30 p.m.
Saturday, Sunday and holidays
Train stops approximately every 15 minutes
For more information on RTD and its services, including additional early morning and late night trains, log on to RTD-Denver.com.
If you are traveling south on I-25, take exit 212B toward downtown. Turn left onto Speer Boulevard. At the second stop light, turn right onto Chopper Circle.
If you are traveling north on I-25, take exit 210B for Auraria Parkway. Merge onto Auraria Parkway. Turn left onto 11th Street to enter the grounds of Pepsi Center.
From downtown Denver, take Speer Boulevard to Auraria Parkway. Go west on Auraria Parkway and turn right on 11th Street to enter the grounds of Pepsi Center.
Pepsi Center Toyota Parking Lot:
Pepsi Center has 4,930 parking spaces located on its grounds. Elitch Gardens provides an additional 2,000 spaces and the Auraria Campus, located across Auraria Parkway, also provides parking.
Camry lot (VIP)
The Camry (VIP) parking lots are located on the southwest side of Pepsi Center. During Colorado Avalanche home games, access is restricted and available only to vehicles displaying a VIP parking pass.
Prius lot provides parking to permit holders and the general public.
Tacoma Lot provides parking to the general public.
Tundra Lot provides parking to permit holders and the general public.
Rav4 lot (Premiere Parking)
The Rav4 lot is available to the general public and offers Pepsi Center’s closest parking spaces.
Valet Parking (Highlander Lot)
Valet Parking is available to the general public and offers the most convenient way to arrive and leave Pepsi Center. Valet drop-off and pick-up is located on the circle drive outside of the East Atrium.
Parking for Guests with Special Needs
Pepsi Center has more than 99 parking spaces for guests with special needs. The designated spaces are located in Lots Camry, Rav4 and Tundra.
For more information on Pepsi Center parking and rates, call 303.405.1299. For additional maps, as well as information on hotels & restaurants, please visit Denver.org.
|Lot||Avalanche Game||Nuggets Game||Mammoth Game||Concerts & Other Events|
|Camry North||Permit and $15||Permit and $15||Permit and $10||$10-$20|
|Camry South||Permit and $15||Permit and $15||Permit and $10||$10-$20|
You think you know someone, and then you realize that there’s more than meets the eye.
Grammy Award winning artist Warren Haynes has been recognized as a cornerstone of the American music landscape and revered as one of the finest guitar players in the world. Throughout his prolific career as part of three of the greatest live groups in rock history – Allman Brothers Band, Gov’t Mule and the Dead – his virtuosic artistry has led to thousands of unforgettable performances and millions of album and track sales. Despite all of the ground that Haynes has covered on his musical journey, the impressive thing is that he still has many miles to explore. On his newest solo album Ashes and Dust, he puts forth one of his most gorgeous, musically rich and personal albums to date. It is endlessly exciting to see one of the most brilliant minds in modern music shine an entirely new light on the depths of his creativity.
Ashes and Dust, only the third studio album Haynes has ever released under his own name, is a masterful work of art and a particularly important statement for Haynes. The songs are immediately and clearly different from his usual style – encompassing beautiful acoustic arrangements, a rootsy/Americana soundscape and honeyed vocals that cut straight through to the soul. Although many of these songs are brand new, some of the tunes that make up this album have been dear to Warren for years. In some cases he has been carrying them around for 20 or 30 years, waiting for the right time to record them.
“I’ve been writing songs all my life from a more folky, singer-songwriter, even Celtic direction,” he says. “For a while, I’ve been compiling songs that didn’t necessarily fit in with Gov’t Mule or the Allman Brothers or even my last solo album. So this record was really a chance to bring a lot of that music to fruition. It’s really given me the opportunity to take a lot of songs I love, that didn’t have a home, and build a home for them.”
Given his life-long commitment to experimentation and eclecticism, though, it should come as no surprise that the album reveals yet another new side of his musical personality. Knowing that he wanted to pursue a more folk-based approach on this project, he brought in the New Jersey-based Americana band Railroad Earth as collaborators.
“I have a cool chemistry with those guys—they add their own personality to the songs, but they’re really great at interpreting, as well,” says Haynes. “We’ve known each other casually for several years, and then at Del-Fest a few years ago, we winged a few songs together and it went really well. A little later, when I was opening the Capitol Theatre in Port Chester, NY, they joined me for part of the set. We did that with a little more rehearsal, more preparation, and it was a great experience. At that point, I started thinking that maybe I should make my next record with these guys.”
Even with a clear sense of his goals for the album, Haynes and Railroad Earth still needed to explore various avenues and possibilities. They recorded more than 30 songs, often trying entirely different arrangements for each take or even recording late at night and not listening to playbacks until they reconvened the next day.
Fans of jam-band powerhouse Gov’t Mule or the most recent soul-charged incarnation of the Warren Haynes Band—or listeners who know Haynes through his 25-year affiliation with the Allman Brothers Band or his work with various extensions of the Grateful Dead family—may be surprised to hear him working in a more song-based context. Several of the tracks on Ashes and Dust, like “Company Man” and “Coal Tattoo,” are links to the folk tradition of narrative writing.
“I love story songs,” Haynes says. “I was very influenced by the whole concept of writing songs that tell a story. When I first got bitten by the singer-songwriter bug, when I was 14, it was due to those people who transported you to another place and another time with their songs”
Which is not to say that Ashes and Dust leaves his instrumental adventures behind; several songs such as “Blue Maiden’s Tale” and “Stranded in Self-Pity” open out into more extended musical journeys. “In the studio, you’re always looking for the balance between structure and focus and improvisation, opening up the music to chance” says Haynes. “But too much of either can keep the music from being as rewarding or as effective as it can be. Luckily my audience loves things to be stretched out. They love to hear the performance aspect. It was nice to take a few dirt roads, musically speaking, and go to some places none of us were expecting.”
Haynes shares that this album also brought out some new dimensions for him as a guitarist. “My playing here is quite different from what I’ve done in recent projects. It’s showcasing a side of my musicality that’s unlike, in some cases, anything I’ve ever done,” he says, noting that he played a hollow-body D’Angelico instrument (“kind of a jazz guitar”) for many of the sessions. “I like to adapt to my surroundings—to the music itself and to the musicians, trying to choose a musical voice that fits into the overall picture a certain way. I played a lot more slide guitar than I’ve played in a long time and a lot of acoustic guitar, things that were more directed to weaving themselves into the fabric of this music.”
One of the songs, “Spots of Time” (the lyrics of which include the phrase that gives the album its title), may be familiar to ardent Haynes-watchers. The song was written by Haynes and Phil Lesh from the Grateful Dead, and the Allman Brothers have been playing it on stage in recent years. He had hoped that the song would be included if the Allmans made another studio album, but after the legendary band retired in 2014, he decided to record it himself—but not before inviting Allman Brothers Band bassist Oteil Burbridge and percussionist Marc Quinones to join him in the studio.
On “Gold Dust Woman,” Grace Potter adds her unique vocal timbre. Sparking a fast friendship and instant chemistry several years ago, Haynes and Potter have performed this song together many times on stage and this endeavor seemed like the perfect opportunity to document it in the studio. That chemistry, along with Railroad Earth’s unique instrumental interpretation, plays out here in fine form on the sole duet on the album.
The presence of these world-class musicians and artists, along with that of Grammy-winning singer-songwriter Shawn Colvin and famed harmonica player Mickey Raphael (who each make an appearance here on “Wanderlust”) is yet another reason why Ashes and Dust stands as such a personal, ambitious document of Warren Haynes’ history. With songs that reach back to his initial fascination with music and others that go right up to the present day, it’s a look behind his first-rate playing and into his enduring creative spirit.
“These songs were each very important to me when they were written, especially since some of them go so far back,” he says. “They’re all visual memories and experiences of certain time periods that I tried to capture in song. They really represent a collection of memories in my life.”
935 E. Colfax Ave.
Denver, CO 80218
The Ogden Theatre is served by several bus routes (12, 15, 15L). Use the map above or visit www.rtd-denver.com for directions from your location.
Parking for the Ogden Theatre is all street parking. Please be aware of any residential permitted parking. Pay lots are available throughout the neighborhood.
Giant Panda Guerilla Dub Squad (GPGDS) formed in 2001 in Rochester, New York. A mysteriously fertile area for developing the U.S. reggae scene, the city has ties going back to 1981. In these formative years, GPGDS began to explore their songs with an experimental approach that is stylistically akin to the Grateful Dead, while keeping their roots firmly planted in reggae rhythms and lyrical content. Around 2005 tapers began to notice and soon after one of the band’s first Colorado shows received homepage placement on the popular taper website Archive.org. Almost overnight they became a mainstay on the jam band festival circuit. GPGDS is known for folding the aesthetics of the jam band scene into the structures of reggae. In the live setting, the band performs extended jams. On their current album, they have synthesized their approach by weaving traditional folk instrumentation into a foundation of reggae, with arrangements that let the reggae breathe in a non-traditional way.