George “Smoke” Dawson continues to be, by most accounts, and his very own, a mostly itinerant (and frequently impoverished) fiddle and bagpipe participant who passed backwards and forwards between NY and the Western Coast for many years, even though he worked sometimes being a business fisherman, a wrestler, an aerial professional photographer, and a lot of various other assorted jobs, it had been music that shaped the fundamental arc of his existence. Given birth to in Brooklyn, NY on June 5, 1935, Dawson started playing the banjo in the middle-’50s, and became a member of a string music group trio, MacGrundy’s Old-Timey Wool Thumpers, like a banjo participant in 1960, an organization that also included potential Holy Modal Rounders member Peter Stampfel on fiddle. With time, Dawson found the fiddle himself and created a wild, natural sound in the device, Appalachian in experience. He lived, beginning in 1960, for a few eight years on the famous Caffe Lena espresso home in Saratoga Springs, NY, doing odd careers around the area when he wasn’t playing music. Sooner or later he took an extended Southern street trip, surviving in NEW YORK and Virginia for a while, where he fulfilled both Doc Watson and Wade Ward. Multi-colored, eccentric, and certainly an integral part of the experimental pop lifestyle from the ’60s, Dawson following transferred to Florida, busking along with his fiddle and bagpipes there until he relocated to California by the end from the 10 years, playing for a while using the collective Golden Toad, that actually opened up for the Pleased Dead. Dawson, generally, continued to be in California until settling in Spokane, Washington in 1992 carrying out a bout with cancers. That is the barest, broadest put together of Dawson’s lifestyle, a guy who had, in the end, been imprisoned and jailed for playing bagpipes in the roads of Sausalito, and curtly purchased out of city. Luckily he documented one album, merely known as Fiddle, in 1971, that was released privately within an model of 750 copies, and continued to become relatively of the cult record in hippie and folk circles. A couple of raw, outrageous pre-bluegrass Appalachian fiddle instrumentals, the record was reissued on Compact disc in 2014 by Tompkins Square Information.