THE GRATEFUL DEAD
This album is possibly the finest yet by a group in the general area of white blues-rock. Those who prefer another sort of rock may disagree with the Grateful Dead's predilection for the blues, but no one could deny after hearing the record that the band is superb.
Jazz fans should find this LP a good introduction to some of the better rock music.
The Dead began, three men strong, as a jug band, and Minglewood and Viola Lee are from the repertoire of the old Gus Cannon Memphis Jug Stompers, best known for their Walk Right In. However, the Dead's versions of these tunes are a far cry from the Cannon sound.
Viola Lee is a 10-minute track with an unusual accelerando middle section. Toward the end McKernan's organ is flying, and the whole band is in such an orbit that the return to the initial tempo for the final vocal choruses is a shock.
Most vocals on the album are by Garcia, with a couple of significant exceptions: McKernan sings and plays harmonica on the chestnut Little Schoolgirl, and rhythm guitarist Weir sings lead on Jesse Fuller's Down the Line.
The rest of the material is in a more modern vein. In Tim Rose's superbly ominous Morning Dew, an excellent vocal is backed by lovely instrumental figures. The arranged nature of the instrumental breaks and leads for this and Cold Rain and Snow, while retaining the spontaneity of the usual blues band, demonstrates a way out of some ruts. Most of the originals on the album are collaborations, with Lesh doing much of the catalytic work; Garcia said that Cream Puff is the only song used by the group that he wrote by himself.
Sometimes the Dead's lyrics are written strictly for simplicity, avoiding "significance."
"The lyrics are nonsensical and banal," one of the group told a Ramparts reporter. The hit tune The Golden Road is noteworthy in this respect. Although performance is always predominant with this group, lyrics like those for Cold Rain and Snow certainly tell a story.
Instrumentally, Garcia's unusually round-sounding guitar lead, the full-toned organ of McKernan, and the very active bass lines of Lesh produce a powerful effect. Weir and Sommers are also excellent musicians, but greater than anything else is the unity of effect these men produce. In many rock bands the listener is tempted to imagine how much better the band would sound if only he could substitute some personal favorite of his. This feeling never occurs regarding this group, nor do people talk much about its stars or its outstanding members; it's just the Grateful Dead.
When the band first was approached about recording, Garcia and the others felt that the Dead was simply not a recording group.
"I don't believe the live sound, the live excitement, can be recorded," Garcia told Newsweek. In spite of these doubts, a superb record has been created. Engineer Dave Hassinger traveled to San Francisco to hear the group live several times before planning the date, and he has captured the sound of the band wonderfully well.
There are all sorts of rock or electric bands. Some emphasize melody, some stress poetic lyrics, some are more like jazz groups with a little singing added. Some are folk-derived, some are 90 per cent Negro blues influenced. Indian music, Nashville c&w, and countless other forms have their effect.
You simply find your way to the bands that derive from what you're used to and go on from there. But along with the recent Beatles albums, the Byrds, the Lovin' Spoonful, Paul Butterfield, and Bob Dylan, I find the Grateful Dead outstanding, and I especially recommend them to jazz fans.
(by Edward Spring, from Down Beat, 21 September 1967)