How ‘Workingman’s Dead’ And ‘American Beauty’ Marked A Turning Point For The Grateful Dead 50 Years Ago

The Grateful Useless, 1970 (clockwise): Bob Weir, Phil Lesh, Invoice Kreutzmann, Ron “Pigpen” McKernan, … [+] Mickey Hart and Jerry Garcia in the course of the Music File Images – The 1970s – by Chris Walter on the Music File Images 1970’s in Varied Cities, United Kingdom. (P

WireImage

Initially launched on June 14, 1970, Workingman’s Useless, the Grateful Useless’s fourth studio album, signaled a significant stylistic shift for the San Francisco jam band. The Useless’s first three albums—The Grateful Useless, Anthem of the Solar and Aoxomoxoa—consisted of late ’60s jazzy, free-form psychedelia aligned with the Summer time of Love. However Workingman’s Useless kicked off the 1970s for the band in uncharacteristic style during which they explored nation roots rock that sounded extra Bakersfield than Haight-Ashbury. “That was a turning level,” Phil Lesh, the band’s bassist, as soon as mentioned of Workingman’s Useless. “It was type of thrilling to focus, to make such a left flip.”
Workingman’s Useless and its follow-up, American Magnificence, launched in November of that very same yr, additional elevated the band’s profile. Each went on to develop into the most well-liked and beloved information within the Useless’s catalog. To mark the current 50th anniversary of Workingman’s Useless, Rhino Information final week reissued the unique album with two bonus discs of a beforehand unreleased 1971 present on the Capitol Theater in Port Chester, New York.
In response to David Browne, a senior author for Rolling Stone and the creator of the 2015 e-book So Many Roads: The Life and Instances of the Grateful Useless, the transition to Americana music for the band – Lesh, singer/guitarist Jerry Garcia, singer/guitarist Bob Weir, drummer Invoice Kreutzmann, percussionist Mickey Hart and keyboardist Ron ‘Pigpen’ McKernan – beginning with Workingman’s Useless needed to do with each musical and monetary causes

“They’d simply come off of Aoxomoxoa, which was a really expensive report,” Browne says. “It took them months to make it. They had been deeply within the gap financially to Warner Bros., to shut to $200,000. They needed to make one other report and had been beneath contract, so that they determined they don’t seem to be going to spend months laboring over the report with overdubs and manufacturing: ‘we’re simply going to work out these songs, simply go in and knock them out quick and as low cost as potential and never get ourselves in a gap as a lot as we had been.’”

The kind of songs that the Useless got here up with had been easier and hearkened again to their early influences earlier than the band’s formation, resembling jug bands and bluegrass teams. “It was a beautiful convergence of various wants that needed to be met musical and monetary,” says Browne. “They recorded it in roughly two weeks. They rehearsed the songs first and went in to the studio to complete it up. They had been prepped and prepared. It was a simple state of affairs for them in comparison with what got here earlier than and even after.”
Moreover the sound of strummed acoustic guitars and vocal harmonies within the air in the beginning of the brand new decade formed the sound of Workingman’s Useless. “Within the context of the instances” Browne explains, “rock was starting to unplug in these late ‘60s days. You had The Band, you had Dylan with Nashville Skyline and John Wesley Harding, you had Crosby, Stills & Nash –all these individuals out of the blue shifting to early Americana, a radical shift from amplification.”
Recorded at Pacific Excessive Recording Studio in San Francisco in about 10 days, Workingman’s Useless yielded such songs because the wistful “Excessive Time”; the Nashville-sounding“Dire Wolf”; the jug band really feel of “Cumberland Blues”; and the reflective and mournful “Black Peter” — songs that turned a part of the band’s set lists through the years. As quoted in Browne’s e-book, Garcia instructed Rolling Stone on the time about making Workingman’s Useless contained in the studio away from the chaos of outdoor: “Having the ability to try this was extraordinarily constructive within the midst of all this opposed stuff that was occurring. It was undoubtedly an higher…it was the primary report that we made collectively as a gaggle, all of us. All people contributed superbly, and it got here off actually properly.”

Two songs from Workingman’s Useless, the fragile and homespun “Uncle John’s Band” and the chugging “Casey Jones” have develop into synonymous with the band. Like many of the songs on the report, each of these tracks had been written by Garcia and lyricist Robert Hunter. “Once I interviewed Robert Hunter earlier than he died [in 2019], he noticed [“Uncle John’s Band”] as type of an announcement,” says Browne. “‘John’ is Garcia’s center identify, and it is partly a nod to that. What Hunter noticed was the type of assertion and goal of the band at that time: they had been this group, ‘them towards the world.’ Between the lyrics and the harmonies, which had been very uncommon on the time, they by no means sang like that earlier than.
“I feel the fantastic thing about that track was that it’s about them nevertheless it’s not peace-gratingly corny as so many songs like that could possibly be. The simplicity of these chords, even the little acoustic guitar leads that Garcia performs, it is one thing you think about individuals enjoying at a bar within the nook. “The track was a single and it did okay. It obtained to a sure level on the charts however no additional as a result of it had the phrase ‘goddamn.’ They needed to edit it out, they did not have a alternative however to do this.”

The bouncy and accessible “Casey Jones” additionally obtained airplay on FM radio, distinguishing itself for the well-known refrain that opens the track: “Driving that practice, excessive on cocaine/Casey Jones you higher watch your velocity.” The track was Browne’s early introduction to the group’s music throughout his youth within the 1970s: “I obtained a Panasonic clock radio in my bed room and it had a FM dial. One of many first songs I heard that day was “Casey Jones.” I keep in mind listening to that track and being struck by how nice it was musically and the way stunning it was lyrically to listen to the phrase ‘cocaine’ on the radio. A month or two later, I purchased Workingman’s Useless. It was a misleading report in a means – I used to be already into Crosby, Stills & Nash by then – and also you placed on the primary track and it is “Uncle John’s Band.” You type of assume: ‘Oh, it is in that vein—the identical harmonies and the acoustic guitars.’ So it was somewhat deceptive in a means. It wasn’t till later that I discovered it was not a typical Grateful Useless report.”

Just some months later, the Useless launched American Magnificence, one other report of country-influenced rock. A best hits album in itself, American Magnificence featured extra songs that turned benchmarks for the band: the down-home “Sugar Magnolia”; the poignant “Field of Rain”; the candy and beautiful “Ripple”; the nation shuffle of “Pal of the Satan”; and the final word street track “Truckin.’”

What units American Magnificence other than its predecessor, in accordance with Browne, was that the report was extra produced and overdubbed with extra company (together with mandolinist David Grisman and New Riders of the Purple Sage guitarist David Nelson) and instrumentation. It was additionally made throughout tough circumstances for a number of the band members.
“It is type of a extra private report in a means,” says Browne. ““Field of Rain” is without doubt one of the most stunning and shifting songs they ever did, definitely one of many stunning and shifting songs that Phil Lesh has ever sang. The album opens with that track written partly by Hunter to channel Phil’s despair over his father who was dying at the moment. “There is a feeling of hard-won victories: Garcia’s mom was dying whereas that report was being made. There have been some heavy conditions that the band was coping with throughout American Magnificence in addition to coping with the [drug] bust in New Orleans, which “Truckin’” is about to some extent. It is a stupendous report that additionally has a way of burden and making an attempt to pry your means by means of that with music.”

In an interview previous to American Magnificence’s launch, Garcia mentioned of the report:  “It has a number of the first issues I’ve written, and that we’ve carried out as a band, that for my part are genuinely stunning…We had been within the studio, creating this factor, pullin’ collectively, and since we managed to get off beneath these circumstances the music has a sure high quality.”
The songs on each Workingman’s Useless and American Magnificence represented the Garcia-Hunter songwriting partnership at its peak; the identical may be mentioned of the band’s chemistry on the time. “It was a mirrored image of a artistic roll that Hunter and Garcia was on, [and] Bob Weir’s rising position and confidence—he wrote “Sugar Magnolia.” Issues had been simply clicking. They had been working lots that yr as a result of they had been in debt,” Browne says. “They’d a brand new street supervisor in Sam Cutler who mainly mentioned, ‘You bought to go on the street and play,’ which that they had achieved however to not the extent. They had been continuously on the street as a result of they needed to make a dwelling. And so they had been a well-oiled musical machine.”
Evaluations for each Workingman’s Useless and American Magnificence on the time had been favorable upon their preliminary launch. Rolling Stone’s Andy Zwerling summed it up on the very starting of his evaluation of Workingman’s Useless again in 1970: “Workingman’s Useless is a wonderful album. It’s a warming album. And most significantly, the Useless have lastly produced an entire studio album. The songs get up fairly properly proper on their very own deserves, that are appreciable.” Of American Magnificence, Zwerling opined: “American Magnificence is a joyous extension of the final album…Everybody within the band sings, and sings properly alone and collectively. An entire contentment shines by means of the vocal work on this album. A full contentment. The instrumentation is wealthy with sound that strikes by means of, beneath, and into the listener.” 
The 2 information had been commercially profitable upon their preliminary launch—Workingman’s Useless has since attained platinum gross sales whereas American Magnificence went double platinum. Curiously, the Useless by no means actually capitalized on these successes with their subsequent efforts till they made a business comeback with their 1987 left-of-field hit single “Contact of Gray.”
“They adopted up these two information with two reside albums [Europe ‘72 and Skull and Roses],” says Browne, “and so they did not put out one other studio album till three years later, which is Wake of the Flood. In a means, you’ll be able to say they actually tousled their momentum. If that they had achieved in 1971 one other studio album with all of the songs on Europe ’72—”Tennessee Jed,” “Ramble On Rose” and “One Extra Saturday Night time”—that may’ve saved that business practice rolling. However they had been the Useless, and so they had their very own idiosyncratic path to comply with. So the business momentum of these two information fell off somewhat bit. I feel they appeared completely pleased with that.”
Whereas the band’s music continued to evolve since their launch, Workingman’s Useless and American Magnificence stay each anomalies and enduring classics from the Grateful Useless’s catalog 50 years later. Future Useless compilations and reside exhibits would all the time characteristic a number of the songs from these albums, a testomony to their greatness and recognition.
“Inside 5 months they put out two of their traditional albums with songs that they are enjoying to this present day,” Browne marvels. “This can be a band that hated going into the studio, by no means had been pleased with their information. Everybody round them maintains to this present day that their information had been by no means nearly as good as their concert events, I disagree, however that is simply me. It was uncommon for any main act to place out two traditional information inside months of one another. Nobody actually did that, perhaps say the Beatles with Rubber Soul and Revolver. However that was exceedingly uncommon—and particularly for these guys since recording was torturous for them.”

Leave a Reply

Your email address will not be published. Required fields are marked *