The Grateful Dead / Workingman's Dead (1970)

The summer of 1970 was the summer of the Grateful Dead. Talk about a busy group -- a mammoth American tour with New Riders of the Purple Sage, nightly concerts lasting until dawn, two studio albums, writing new material, a change of format.... you can tell I'm impressed. Although released several months before American Beauty, the slab Workingman’s Dead is definitely in the same vein, stylistically, but the records aren’t interchangeable. Workingman’s Dead is darker than the successor, in both content and production. The albums also had different producers. But together, they are the fraternal twins of the Dead’s americana period. As with American Beauty, the two characteristics that stand out most are the lyrical contributions of Robert Hunter and the band’s rich vocal harmonies, the latter influenced by a friendship with Crosby, Stills, and Nash. Both are introduced on the side one opener, “Uncle John’s Band,” which is an archetypal acoustic singalong affair, marked by a lighter touch from all involved and some uncanny vocal harmonies. Garcia’s work throughout the record is considerably more diverse than it was later that year. He picks 5-string banjo for the careening “Cumberland Blues” and his gritty licks on the Stratocaster take center stage for “Easy Wind” and “New Speedway Boogie.” The country ballad “Dire Wolf” is propelled by Garcia's masterful work on the pedal steel, and along with Bob Weir, his acoustic guitar is everywhere. Pigpen does the tough album’s toughest number, “Easy Wind,” before everything is drawn to a close with the unforgettable “Casey Jones.” Damn! What a good record. As with other CD re-releases in the Dead's back catalog, it comes with bonus tracks that make entertaining filler, but are what I consider to be nonessential material that should have been placed on a second disc. Am I the only person who wants to preserve original continuity? When I hear that telltale sniff at the beginning of Casey, I want the record to end. It's the whole point, after all. But I don't let that bother me, and I listen anyway.