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.
Before he was “Jerry Garcia” of
the Grateful Dead, he was a guy named Jerry Garcia with a passion for folk
music and a natural talent on the guitar and banjo. As the Grateful Dead
exploded, Garcia continued moonlighting with his other interests. Here he teams
up with longtime friend and equally capable 8-string slinging partner David
Grisman to treat a batch of old American favorites on their respective acoustic
instruments. The atmosphere is that of a laid back jam between friends, both
players clearly enjoying their time together. Listen to Garcia’s aged vocal on
“Dreadful Wind and Rain,” adding an appropriately spooky air to the song’s
story. Instrumental work by both Garcia and Grisman is of a very high quality,
as you’d expect from either or both of them, and their patience and playing
styles complement one another nicely. Garcia’s 5-string frailing on “Sweet
Sunny South” or Grisman’s work with the banjolin (a mandolin with a banjo head
– a positively obnoxious instrument) on “Stealin’” are both standout
performances. Detailed liner notes assist listeners in interpreting the history
of each song. It’s a disc that I return to time and time again, worn out and
renewed after staying on the shelf for a while. If you enjoy Shady Grove, I encourage you to enter
the rabbit hole that is Grisman’s Acoustic Disc label of “100% Handmade Music,”
where you’ll find plenty more of this fare to choose from.
