Retro Reviews: The Grateful Dead: American Beauty

 

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums.

The Grateful Dead: American Beauty (1970)

****

Producers: Grateful Dead, Steve Barncard

Musicians: Jerry Garcia, Mickey Hart, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan, Bob Weir, David Grisman, David Nelson, Ned Lagin, Dave Torbert, Howard Wales

Songs: Box Of Rain, Friend Of The Devil, Sugar Magnolia, Operator, Candyman, Ripple, Broke down Palace, Till The Morning Comes,  Attics Of My Life, Truckin’

Review By Matthew Anthony Allair

    The Grateful Dead has taken a major step forward this year, and it is likely going to pay off with this album. After the slight psychedelic RNB infusion of their debut, or the psychedelic collage freak out of Anthem of The Sun, or Aoxomoxoa’s blending of the jam with a more focus on songs, meant the band was bound of redirect as they had done earlier in the year with Workingman’s Dead. In reality, the band was always built for the stage as demonstrated by their live album least year, and the epic excursion with “Dark Star”. They already view songs as a vehicle to improvise over, but they needed something more accessible for the public to grasp, which is why the new emphasis on song craft is a pleasure. Perhaps the impact of The Band and “Music From Big Pink” has carried an influence over to more bands than realized.

    The album opens with the country acoustic flavored “Box Of Rain”, Lesh takes the lead, the piano ornaments this with some very full acoustic guitars and electric support, the electric fills sound like an attempt at an electric dobro. Phil’s vocal has a certain vulnerability that works for the context of the song, the harmonies assure you are in familiar territory. Jerry’s “Friend Of The Devil” is another acoustic number that manages to be playful and some nice alternative picking, and Grisman’s mandolin adds extra coloring, there fixation with renegades is interesting. “Sugar Magnolia” is the first Weir number, electric with the more standard sound fans are familiar with, This is also the first track with the two and three part harmony that the public has grown to know. Bob remains the best lead vocalist in the band, but the writer usually takes the lead in the band, some pedal steel ornaments this. It’s difficult to not think that Crosby Stills and Nash isn’t influencing the Dead. Ron’s vocal on “Operator” will probably remind listeners of Johnny Cash or Elvis. The percussion interplay between Hart and Kreutzmann is notable on this track, and a touch of playful harmonica rounds this out. Jerry takes the lead on ‘Candyman”, the vocal and instrumental interplay with the band is good on this one.

    “Ripple” opens the second half; lyricist Robert Hunter has really helped the band’s focus with the types of themes he explores. There’s a sense of community that drives this song, and it’s possible it is about outsiders who feel broken. Various instruments weave around it, and a children’s chorus seems to round it out. Some piano and tack piano is the focus of “Broke down Palace”, Jerry pedal steel is quite nice on this, as he takes the lead again. The more up tempo “Till The Morning Comes” seems to harken back to their past work. A guitar through a Leslie and the rich three part harmony drives “Attics Of My Life”. It’s no surprise with the album closer, “Truckin’” became the perennial single, the track seems to sum of the electric folk and country flavor of the album, Howard Wales’s organ is especially strong on the track. Bob’s lead vocal really anchors the track and the bridge seems to take  knowing nod to the band’s history thus far, “What A Long, Strange trip it’s been.” Indeed.

    Phil’s lead bass work is strong throughout, and his bright tone cuts through. The guitar interplay between Garcia and Weir manages to stay fresh and interesting. Hart and Kreutzmann’s drumming takes a back seat often to serve the material, but they manage to showcase themselves at various points. McKernan’s harmonica work, although a little sparse, is tasteful and interesting. This is another nice step forward after Workingman’s Dead. The 70s might treat this band well, hard to say, we shall see. Recommended.