Live/Dead is the first official live album released by the San Francisco-based band Grateful Dead. It was recorded over a series of live concerts in early 1969 and released later in the year on November 10. At the time of its release, Robert Christgau wrote that side two of the double album "contains the finest rock improvisation ever recorded." It was the final album with keyboardist Tom Constanten. In 2003, the album was ranked number 244 on Rolling Stone magazine's list of the 500 greatest albums of all time.
The Grateful Dead's second live release was an eponymously titled double LP whose cover bears the striking skull-and-roses visual motif that would become instantly recognizable and an indelibly linked trademark of the band. As opposed to their debut concert recording, Live/Dead (1969), this hour and ten minutes concentrates on newer material, which consisted of shorter self-contained originals and covers. Coming off of the quantum-leap success of the studio country-rock efforts Workingman's Dead (1969) and American Beauty, Grateful Dead offers up a pair of new Jerry Garcia/Robert Hunter compositions – "Bertha" and "Wharf Rat" – both of which garnered a permanent place…
Workingman's Dead is the fifth album by the rock band the Grateful Dead. It was recorded in February 1970 and originally released on June 14, 1970. The album and its studio follow-up, American Beauty, were recorded back-to-back using a similar style, eschewing the psychedelic experimentation of previous albums and focusing on Americana-styled songcraft. In 2003, the album was ranked number 262 on Rolling Stone magazine's list of the 500 greatest albums of all time.
Workingman's Dead is the fourth studio album by the Grateful Dead. It was recorded in February 1970 and originally released on June 14, 1970.
In 2003, the album was ranked number 262 on Rolling Stone magazine's list of the 500 greatest albums of all time.
With 1970's Workingman's Dead, the Grateful Dead went through an overnight metamorphosis, turning abruptly from tripped-out free-form rock toward sublime acoustic folk and Americana. Taking notes on vocal harmonies from friends Crosby, Stills, Nash & Young, the Dead used the softer statements of their fourth studio album as a subtle but moving reflection on the turmoil, heaviness, and hope America's youth was facing as the idealistic '60s ended. American Beauty was recorded just a few months after its predecessor, both expanding and improving on the bluegrass, folk, and psychedelic country explorations of Workingman's Dead with some of the band's most brilliant compositions. The songs here have a noticeably more relaxed and joyous feel. Having dived headfirst into this new sound with the previous album, the bandmembers found the summit of their collaborative powers here, with lyricist Robert Hunter penning some of his most poetic work, Jerry Garcia focusing more on gliding pedal steel than his regular electric lead guitar work, and standout lead vocal performances coming from Bob Weir (on the anthem to hippie love "Sugar Magnolia"), Ron "Pigpen" McKernan (on the husky blues of "Operator"), and Phil Lesh (on the near-perfect opening tune, "Box of Rain").