
Jerry Garcia plays a Takamine acoustic at Lincoln Center in Manhattan in 1984, where he performed with bassist and frequent collaborator John Kahn.
The Grateful Dead leader’s guitar playing traveled a long and complex road that begins in the dusty fields of American music. Here’s your guide, from the Black Mountain Boys to Workingman’s Dead to Dawg.
Twenty-eight years after his death, Jerry Garcia may be more famous than ever. There are reputed to be over 5,000 Grateful Dead cover bands in the U.S. alone. Guitarists in towns small and large mine his electric guitar solos for existential wisdom, and his bright, chiming tone and laid-back lyricism continues to enthrall successive generations. What is less talked about is his acoustic guitar playing, which is, after all, where it all began.
One cannot fully understand the man without knowing how powerful and enduring the acoustic guitar remained in his life. Picture the West Coast in 1962; this is before everything went electric. What’s in the air is the Folk Revival. A generation of young urban kids had discovered American folk music, old-time, bluegrass, ragtime, and Delta blues, whether it was Woody Guthrie, Clarence Ashley, Bill Monroe, or Reverend Gary Davis. Plenty of future rock ’n’ rollers, including Jorma Kaukonen, John Sebastian, and Mike Bloomfield, absorbed this music, but none climbed as deep into its corners as Garcia.
Our recorded evidence goes as far back as 1961, when Jerry played banjo and guitar with the Black Mountain Boys, the Hart Valley Drifters, and other Bay Area outfits that included contemporaries like Eric Thompson on guitar, future Grateful Dead lyricist Robert Hunter on bass, and multi-instrumentalist Sandy Rothman. What strikes the listener is how burning these early recordings are. Jerry, barely out of his teens, mostly on banjo, has gone straight into the hardcore stuff. This music, coming from the likes of the Stanley Brothers, Bill Monroe, and the Osborne Brothers, is not for the faint of heart. It’s virtuosic, wild, and, in its purest form, downright scary. Death and violence run amok in many of their lyrics. As Jerry’s longtime ally, mandolinist David Grisman, put it, “Back then, all of it was pretty hardcore compared to the ‘pop grass’ of today.”
Jerry followed Bill Monroe around for close to a year and is reputed to have approached the father of bluegrass to audition for his band. He studied numerous lesser-known figures, too: Dock Boggs, flat-picker Tom Paley from the New Lost City Ramblers, Mississippi John Hurt. In the mid-’60s, he set aside the banjo to focus on guitar, because as he put it, “I’d worn the banjo out.”
“In the mid-’60s, he set aside the banjo to focus on guitar, because as he put it, ‘I’d worn the banjo out.’”
Garcia’s voracious appetite for American musical history drove him to dive into a subject and completely exhaust it, absorbing new influences like proteins. A set in those days might include bluegrass staples like “Rosa Lee McFall” and “John Hardy,” but also folk tunes that Peter, Paul and Mary or Joan Baez might cover: “All My Trials,” “Rake and Rambling Boy,” “Gilgarra Mountain.” There were also classics from the old-time repertoire, such as “Shady Grove” (a Doc Watson favorite) and “Man of Constant Sorrow,” along with Mississippi John Hurt’s “Louis Collins” or Lead Belly’s “Good Night Irene.”
The locus for this outpouring of West Coast roots-music activity was the South Bay, Palo Alto, and Menlo Park—community gathering spots where the culture turned from beatnik to hippie. The precursor of the Grateful Dead was the Palo Alto-based, all-acoustic Mother McCree’s Uptown Jug Champions. Jug bands had roots in early African American history, but at that time the main influence among the young, white players in the genre was the Jim Kweskin Jug Band.
Hot dawgs: Garcia and his acoustic-mandolin-playing cohort, David Grisman, clearly enjoyed hanging out together on the 1993 day in Mill Valley, California, when this shot was taken.
Photo by Susana Millman
When most musicians play traditional American tunes, especially bluegrass, they hew to a set of timeworn principles and licks from which they extrapolate. Jerry didn’t do that so much, though he knew plenty of those licks. He made the music his own. He accompanied himself as a singer on acoustic guitar as much as he did on electric, with a simple, strong picking hand. In solos, he ranged freely around the neck, not content to stay close to first position, like bluegrassers Jimmy Martin or Carter Stanley might. You never feel that he’s relying on much besides his ear. We hear the ever-present pull-offs, the chromatic approach tones, the hints at Tin Pan Alley harmony, and even the note-bending—all the stuff you find in his electric work.
“Calling himself ‘lazy,’ he suggested that playing acoustic could be a battle, and that this guitar generally made life easier.”
Consider “The Other One,” which often became a springboard for the Grateful Dead’s long electric jams. In more fiery renditions of this staple, Jerry plays long lines of eighth notes—a relentless stream that builds the energy much like a bluegrass solo, where the right hand never stops and rarely slows. In “Deal,” you hear the pre-war Tin Pan Alley sound, with echoes of early jazz. In “Cold Rain and Snow,” “Wharf Rat,” and “Loser,” you hear the modal drones of early country gospel, and the way Garcia solos evoke the primeval fiddle lines and moaning vocals of the nascent 20th century, back when death, murder, destitution, and lost love made up a lot of the lyrical subject matter. It’s a perfect mating. His flatpicking is at the heart of “Me and My Uncle,” “Cumberland Blues,” and “Brown-Eyed Women.” You hear some of early Merle Haggard and the Bakersfield sound, too.
In the mid-’60s, Garcia set aside the banjo to focus on guitar, because as he put it, “I’d worn the banjo out.”
Photo by Jerald Melrose
And what of the gear that Jerry used through four decades of creating his signature approach to acoustic American roots music (which includes rock ’n’ roll)? Let’s start in 1980, when the Grateful Dead did an acoustic and electric tour of 25 shows with three sets per gig—the first set unplugged.
Jerry had grown tired of dealing with the sound of a miked acoustic. It was too unpredictable, too woofy. The sound of the guitar, he said, comes at you from a number of directions. To simply put a mic near the soundhole captures only a portion of the sound waves. When the first guitars with built-in pickups were made, and could be plugged straight into the soundboard, he went for it, bought a Takamine EF360S, and never looked back. Compared to, say, a Martin, these guitars are rather snappy in tone, emphasizing highs and mid highs. Jerry sometimes opted to further emphasize the brightness by picking close to the bridge. He told interviewer Jas Obrecht that he also favored the Takamine for how easy it played, compared to some of his earlier dreadnoughts. Calling himself “lazy,” he suggested that playing acoustic could be a battle, and that this guitar generally made life easier.
Way back in the early ’60s, Garcia played a big-bodied Guild F-50, and then a Martin D-21. As the decade progressed, he chose an Epiphone Texan, and a Martin 000-18S and 00-45. During the rail-riding 1970 Festival Express tour—captured in the excellent 2003-released film Festival Express—he was spotted playing a Martin D-18 and a D-28, and in 1978 he was using a Guild D-25. Jerry reportedly revisited his Martins in later years, but most often he performed and recorded with the Takamine or an Alvarez Yairi GY-1, aka the Jerry Garcia Model. The GY-1 was designed with Garcia’s input by Kazuo Yairi in the early ’90s. It boasts solid rosewood back and sides, an ebony fretboard, gold tuners, custom fretboard and headstock inlays, and Alvarez System 500 electronics. Today, vintage GY-1s sell for between $850 and $1,500, depending on their condition.
“He had the three T’s: tone, time and taste. And, most importantly, he had his own unique voice, immediately recognizable and distinctive.”—David Grisman
Jerry’s acoustic playing is at the heart of early Dead albums, such as Workingman’s Dead and American Beauty. When you hear “Ripple,” “Friend of the Devil,” “Dire Wolf,” “Uncle John’s Band,” and later, “Standing on the Moon” or “Mississippi Half-Step Uptown Toodeloo,” you’re hearing an incredible evolution of American song, in part thanks to his stellar fretwork.
The Alvarez Yairi GY-1 became known as the Jerry Garcia Model. It was designed with Garcia’s input by Kazuo Yairi in the early ’90s. It boasts a solid rosewood back and sides, an ebony fretboard, gold tuners, custom fretboard and headstock inlays, and Alvarez System 500 electronics.
Photo courtesy of Dark Matter Music Company/Reverb.com
I was at a couple of the Grateful Dead’s shows at San Francisco’s Warfield in 1980, during their acoustic and electric tour, and the experience was a revelation. It showed how strong the songs were, without the hue and cry of electricity. Sure, the Dead were a dance band, and a decidedly psychedelic band, but their acoustic playing revealed depths of intimacy that were a lovely counterpoint to all that. Some of Jerry’s most mournful material, Garcia’s “To Lay Me Down” and American Beauty’s “Brokedown Palace,” is even more heartbreaking when he’s in this setting. You feel the band’s subtle chemistry in a new way.
But as an acoustic player, Jerry is most clearly represented in his side projects, such as Old & In the Way, a first-class bluegrass outfit (with Jerry back on banjo) that stretched past traditional repertoire into songs by the Rolling Stones as well as mandolinist Dave Grisman’s and guitarist Peter Rowan’s “newgrass” originals. The Jerry Garcia Acoustic Band of the late ’80s harkened back to the Black Mountain Boys. The fiddle player in the band, Kenny Kosek, says the group started when some of Jerry’s old friends gathered by his hospital bed when he was recovering from his diabetic coma in 1987. They encouraged him to use the band as an opportunity to heal and renew.
During his early years in bluegrass and old timey music, Garcia’s first recording instrument was the banjo, which he played in groups like the Black Mountain Boys.
Photo by Jerald Melrose
A charming piece of history is also found in the album The Pizza Tapes, an informal 1993 jam—released seven years later—with Grisman and bluegrass-guitar icon Tony Rice that was recorded in Grisman’s home and released after a bootleg began to circulate. It’s useful to contrast Garcia’s solos with Rice’s. Save for Doc Watson, Rice was possibly the greatest bluegrass guitarist to walk the planet, with enough technique to steamroll you right off the stage. But Jerry doesn’t flinch. He just wanders up and down the neck being Jerry—a little behind the beat, playing melodies … always melodies. He’s not out to compete with Rice, and, indeed, his collaborative approach was one of the Grateful Dead’s pillars. But it’s clear Garcia is no visitor to these stylistic realms as they play songs by John Hurt, Lefty Frizzell, Dylan, and even the Gershwins. He lives there.
The final act of Jerry as an acoustic guitarist was captured on the four Garcia/Grisman recordings of the ’90s. Talking to Grisman, who coined the term “Dawg Music” to describe the mix of bluegrass, folk, and jazz which he and Garcia loved, one can infer that this trove of material, recorded over many sessions at his house, came about partly because the Dead had become such a monolith. Stardom had its burdens, and Jerry didn’t care much for the pressure of being an object of worship. This music was a refuge, and Grisman describes the undertaking as “providential.” It’s moving to hear Garcia reach back to his roots with accumulated wisdom and gravitas … before he leaves us. His playing is deeply relaxed, his voice authoritative, resonant. He is an emotional interpreter, getting right to the soul of the tunes. These lesser-known recordings are some of the true gems in Jerry’s protean career, and luckily there are deluxe editions with a lot of music at Grisman’s acousticdisc.com.
The musicians who played acoustic music with Garcia all note the wide reach of his repertoire. Kenny Kosek describes feeling fully supported by Jerry, who infused that support with a sense of openness and playfulness. Grisman adds, “He had the three T’s: tone, time and taste. And, most importantly, he had his own unique voice, immediately recognizable and distinctive, reflecting his heavy addiction to listening to great music of all types.”
Joel Harrison wishes to thank David Grisman, Eric Thompson, Steve Kimock, and Jack Devine for assistance with this article.
YouTube It
Hear the Grateful Dead tackle an acoustic rendition of the 1920s song “Deep Elem Blues,” alluding to Dallas’ historic African American neighborhood. Yes, Jerry solos!
Get Some Jerry in Your Ears
If you’re not already familiar with Jerry Garcia’s acoustic playing, here are a few recommended recordings:
- “Uncle John’s Band,” Workingman’s Dead, The Grateful Dead (1970)
- “Jack-A-Roe,” Reckoning, The Grateful Dead(1981)
- “Whiskey in the Jar,” Shady Grove, David Grisman and Jerry Garcia (1996)
- “Louis Collins,” The Pizza Tapes, Jerry Garcia, David Grisman, and Tony Rice (2000)
- Before the Dead, four-CD/five-LP compilation of Jerry Garcia’s pre-Dead bands (2018)
- Grateful Dead-Style Solo Tricks ›
- Fender Announces the Jerry Garcia Alligator Stratocaster ›
- Electric Etudes: Jerry Garcia ›
- 5 Grateful Dead Riffs for Beginners - Premier Guitar ›
Updates feature PRS DMO and McCarty III pickups, EQ mini-toggles, Phase III tuners, and expanded color options.
PRS Guitars announced the continuation of its 40th anniversary celebration with two new models and several specification updates across their Maryland, USA-made electric instruments. New models include the Standard 24 Satin and Swamp Ash Special, while the new specs in multiple lines include PRS DMO and McCarty III pickups, EQ mini-toggles, Phase III tuners and expanded color options.
2025 marks the 40th Anniversary of PRS Guitars. After announcing SE Series updates in October and officially kicking off their 40th Anniversary celebration this past November with the introduction of the 40th Anniversary Private Stock Dragon and Custom 24 limited-edition instruments, this month's launches are the next in a schedule of many product announcements to be made throughout the year.
“Our mission hasn’t changed since day one in my first Garrett workshop - we want to build the best tools for musicians to do their jobs,” said Paul Reed Smith, founder & managing general partner of PRS Guitars. “But, as the saying goes, ‘windshields are larger than rearview mirrors for a reason.’ We do not want to spend our anniversary only looking back. We want to keep advancing our craft and adding value to our instruments by focusing on details we believe matter to musicians.”
New Models: Standard 24 Satin and Swamp Ash Special
When a young Paul Reed Smith was raising money to start his business, he traveled the East Coast with two guitars: a PRS and a PRS Custom. The PRS was an all-mahogany guitar that would later come to be called the PRS Standard. For 2025, the company is introducing a version of that pre-factory instrument in its Core line. Featuring a “sinky” satin nitro finish and the new PRS DMO pickups, the PRS Standard 24 Satin is a powerful, roadworthy workhorse. Its full, warm, organic tone is maximized not only by the finish, but thanks to the Phase III locking tuners with brass shafts, proprietary bone nut, and design of the PRS patented tremolo.
The Swamp Ash Special bolt-on model is also making a comeback for 2025 but with an updated electronics layout. Its swamp ash body is equipped with a versatile hum/“single”/hum pickup configuration. Two 58/15 LT pickups flank a PRS Narrowfield in the middle position, which adds a single-coil bite – without the hum. Paired with a volume, tone, 5-way blade switch, and dual mini-toggle coil-tap switches (for the first time on this model), the Swamp Ash Special has a total of twelve sound combinations. Overall, the PRS Swamp Ash Special features tight low-end, bright but mellow high-end, and a welcome twangy tone that can reach “hot country,” blues and jazz territory.
New Pickups
Most notably, PRS is introducing two new pickup models in its Core lineup: PRS DMO and McCarty III treble and bass pickups. Through hands-on research into beloved vintage pickup models to advancements in signal analyzation and “tuning” technology, these pickups incorporate every detail of pickup knowledge PRS has gained in recent years of R&D.
PRS DMO (Dynamic, Musical, Open) pickups are more modern-sounding and have a “wide open” sound with vocal character, meaning they deliver clear, pleasant-sounding tones across a wide range of frequencies (bass to treble) in each pickup. While McCarty III pickups are vintage-inspired humbuckers that bring a vocal clarity to their full, warm tone. PRS DMO’s will be found on the Custom 24, while McCarty III’s will be found on McCarty, Hollowbody, Special and Studio models.
EQ Switch Feature
On select models, PRS has also updated the spec on their dual mini-toggle switches from coil-taps to EQ switches. EQ mini-toggles act as tuned high-pass filters when engaged (in the up position), removing shelved low-end and allowing the high frequencies through for more clarity and musical highs. This spec will be found on the Custom 24-08, Modern Eagle V and S2 Custom 24-08.
“These EQ switches were developed with and first featured on the Private Stock John McLaughlin model in 2023. Both John and I felt that they offered a different, but just as versatile, sound that played a significant role in the musicality of that guitar. I am happy that we are now extending this feature into more models,” said Paul Reed Smith.
Phase III Tuner Expanded Offering
The entire S2 Series and select Bolt-On models are also being updated with Phase III tuners. Designed from scratch in 2012 to be wholly different from Phase II’s, Phase III tuners were originally introduced on PRS’s Core line. Notable features of these tried-and-true tuning machines include a handsome open-back design, highly usable gear ratio, unplated brass shafts, overall lightweight construction, and PRS’s proprietary wing button.
PRS has also introduced new colors across their lineup, including Aurora Borealis and Black Gold on select Core models, Egyptian Gold and Platinum Metallic on the Myles Kennedy signature Bolt-On, five new colors on the NF 53, including Matcha Green and Jasper Smokeburst, and three new satin colors on the Fiore, including Lilac Satin, Hibiscus Satin and Amaryllis Satin.
All of these specification details are aimed to make better guitars for musicians. Beyond these foundational updates, PRS Guitars is planning a year full of new product and limited-edition introductions. Stay tuned for those updates over the coming months.
For more information, please visit prsguitars.com.
Vola Guitars collaborates with guitarists Pierre Danel and Quentin Godet to announce the all new J3 series to their line of signature guitars.
With both Pierre Danel and Quentin Godet rising to the forefront of the heavy music scene, they have caught fire with distinct approaches and undying tenacity. Furthermore, their involvement with Vola Guitars has led to brand growth as a direct result of their endeavors. Equipped with Bare Knuckle pickups, 27” scale length, Gotoh hardware, and crafted with precision. "These two unmistakable designs are meant to be extensions of their handlers, catalysts for creative expression."
Features include:
• Country of Origin: Handmade in Japan
• Scale Length: 27" Extended Scale length
• Construction: Bolt-on neck with new contour heel
• Body: Alder
• Fingerboard: Roasted Maple
• Neck: Roasted Maple neck with 3x3 Vola headstock
• Nut: 48mm * 3.4T Graphtech nut
• Frets: 24 Medium Jumbo Stainless Frets
• Inlay: Custom Luminlay Kadinja with Luminlay side dots
• Radius: 16" Radius
• Pickups: Bare Knuckle™ Bootcamp Brute Force HSS
• Electronics: 1 Volume (Push/pull : Add neck Pickup switch) 1 tone 5 way switch 1 mini switch (On-On-On: series/parallel/ coil tap)
• Bridge: Gotoh NS510TS-FE7 tremolo
• Tuners: Gotoh SG381-07 MG-T locking tuners
• Strings: Daddario XTE1059 10-59
• Case: Vola Custom Series Gig Bag (included)
The Vola Oz and Vasti J3 Series are the culmination of Vola’s dedication to designing top quality instruments for demanding players, without sacrificing the beauty that invites a closer look. Street price $1,749 USD. Vola Guitars now sells direct! For more information on this model and more, visit www.volaguitars.comAdding to the line of vintage fuzzboxes, Ananashead unleashes a new stompbox, the Spirit Fuzz, their take on the '60s plug-in fuzz.
The Spirit Fuzz is a mix of the two first California versions of the plug-in fuzz used by Randy California from Spirit, Big Brother & The Holding Company or ZZ TOP among others, also maybe was used in the "Spirit in the Sky" song.
A handmade pedal-shaped version with less hiss and more low-end with modern fatures like filtered and protected 9V DC input and true bypass. Only two controls for Volume and Attack that goes from clean to buzzy fuzz with some fuzzy overdrive in-between, also it cleans well with the guitar's volume.
The pedal offers the following features:
- Two knobs to control Volume and Attack
- Shielded inputs/outputs to avoid RF
- Filtered and protected 9VDC input
- Daisy-chain friendly
- Popless True Bypass switching
- Low current draw, 1mA
Each of the Hornet 15 Li amplifiers is designed to leverage Mooer's digital modeling technology to provide 9 preamp tones based on world-renowned amplifiers.
This modeling amplifier comes in two colors (White, Black), each of which is paired with its own carefully curated selection of preamp models.
The modulation dial can be adjusted to choose between chorus, phaser, and vibrato effects, whereas the delay dial facilitates analog, tape echo, and digital delay. Also, the reverb unit includes room, hall, and church emulations, making sure that there is an atmosphere and effect chain that works for any practice scenario.
A unique feature of this amplifier is how it can be used in two modes: “Live” and “Preset” mode. When using Live mode, guitarists will be able to browse the device's built-in preamp tones, which they can then enhance if they wish to throw the effect units. In contrast, the "Preset" mode allows users to save these effects and dynamic parameter changes into each preset, enabling them to customize them without overwriting the originals.
As any good amplifier should, the Hornet 15 Li is complete with industry-standard features, such as three-band EQ adjustment dials, volume and gain dials, a 1/4" guitar input, and both an auxiliary input and headphone output. However, MOOER has gone above and beyond to pack the amplifier with several special features; for example, this modeling amp boasts separate tap-tempo buttons for both the modulation and delay units, in addition to a dedicated tuner button and function, allowing guitarists to use the device's screen to ensure their guitar tuning is precise. What's more, the Hornet 15 Li also supports Bluetooth input, meaning that any guitarist can stream their favorite songs and backing tracks directly to the amplifier, making practice sessions and rehearsals easier than ever.
Arguably, the most impressive feature of the Hornet 15 Li is the fact that, in addition to being powered by a mains supply, it can also operate on battery. The device is built with an integrated 4000mA.h lithium battery, empowering guitarists to practice guitar on the go for hours–even when there’s no power source nearby. Combining this with how the amp weighs just 2.9kg and comes with a built-in handle, it’s clear that MOOER had portability and convenience in mind when designing this product.
Features:
- Available in 2 colors (White, Black), each with its own selection of classic preamps
- 9 high-quality preamp models, each captured through MOOER’s MNRS technology (controllable through the 9-way tone rotary switch)
- Modulation effects unit (chorus, phaser, vibrato) and dial
- Delay effects unit (analog, tape echo, digital) and dial
- Reverb effects unit (room, hall, church) and dial
- Three dials for three-band EQ adjustment (treble, mid, bass)
- Gain and master volume dials
- Live/Preset mode toggle switch
- Tap tempo buttons and features for modulation and delay effects
- 15 watts of rated power, ideal for practicing
- Digital screen for displaying functional and tuning information
- Built-in digital tuner
- ¼” guitar input
- 3.5mm auxiliary input
- 3.5mm headphone output
- Bluetooth support for high-quality audio input playback, perfect for backing tracks
- Convenient handle for easy transportation
- Rechargeable 4000mA.h lithium battery for portable play
- Power switch for easy on/off control
The Hornet 15 Li is available from distributors and retailers worldwide now.