I started the Grateful Dead early April in 2020 and finished them about two and a half months later. If you want to go through the Dead, I recommend you start at their debut (not that it’s particularly impressive but it will help ease into them before their experimental stuff) and go up to Europe ‘72.
Anthem of the Sun (1968): A-
Aoxomoxoa (1969): B+
Live/Dead (1969): A-
Workingman’s Dead (1970): A-
American Beauty (1970): B
Grateful Dead (Skull & Roses) (1971): B+
Europe ‘72 (1972): B+
History of the Grateful Dead, Vol. One (Bear’s Choice) (1973): C+
Wake of the Flood (1973): C+
From the Mars Hotel (1974): B-
Blues for Allah (1975): C-
Terrapin Station (1977): B-
Shakedown Street (1978): C
Go to Heaven (1980): C+
Reckoning (1981): B
Dead Set (1981): C
In the Dark (1987): C+
Dylan & the Dead (1989): C
Built to Last (1990): C
Two from the Vault (1992): B
Dick's Picks Volume 1 (1993): C
Dozin' at the Knick (1996): B-
Dick's Picks Volume 24 (2002): B
Crimson White & Indigo (2010): C+
The Grateful Dead (1967):
McKernan's organ and his rhythm and blues influence are quite prevalent, most notably on "Good Morning Little School Girl," which he sings. The band's potential is hinted at on "Cold Rain and Snow" and "Sitting on Top of the World" but the band only bursts with brilliance on "Viola Lee Blues." B
Anthem of the Sun (1968):
What really drives these songs are the drummers, who keep a steady rhythm on "That's It for the Other One" and "Alligator" as the rest of the band go into outer space on a schizophrenic rage. "Alligator," which Garcia shines on, is remarkably beautiful and the guitar solo is one of the best I've ever heard. A-
Aoxomoxoa (1969):
Mixing the psychedelia of Anthem with acoustic guitars and country influence, the band create an always intriguing, but never challenging sound. Unlike Anthem, most of these songs are straightforward and sometimes I wish they weren't. But after six or so listens, I still don't feel very familiar with these songs, which seems to be the magic of the Dead--and I'm starting to love it. B+
Live/Dead (1969):
"Death Don't Have No Mercy" and "Dark Star" are the perfection of rock improvisation and with each song on the album being over 6 min long, the Dead take each song on a whimsical journey before the closing minute. You can never be sure where a song might go and the remarkable think is, the Dead aren't sure either. A-
Workingman’s Dead (1970):
The album contains Hunter and Garcia's best collaboration yet with the folk ballads "Dire Wolf" and "Uncle John's Band." While employing harmonies on many of the songs, Garcia doesn't diminish the importance of the lyrics in the process. Rather, he always sings with a certain tension, which is on purpose--the Dead don't settle for beautiful. A-
American Beauty (1970):
Of course I say the Dead don't settle for "beautiful" on Workingman's and then they put it in the title of their next album. Anyway, the beauty they shoot for isn't the surface level stuff I had in mind. Here, they strip back the instrumentation, employ sweeter vocals, and let the lyrics shine. However, the lyrics aren't always there, making the lack of instrumental diversity a bit of a problem. B
Grateful Dead (Skull & Roses) (1971):
The Dead put the country of Workingman's Dead and American Beauty to good use here on "Mama Tried" and "Me & My Uncle" but the music is richer and Garcia is excellent throughout the album. The shorter songs don't allow for as much improvisation--perhaps "Playing in the Band" and "Johnny B. Good" wouldn't be so mediocre then--which is a shame because the best moments here are when the Dead go into left field like on "Not Fade Away." Fortunately, recording tech got better in two years and these songs are magnificently captured. B+
Europe ‘72 (1972):
About 40 min could have been scratched, mostly coming at the tail end of this triple LP--"Epilogue" and "Morning Dew" are good but side five and six keep this from an A-. Still, "Cumberland Blues," "China Cat Sunflower," and "Sugar Magnolia" blend the improvisational fire of Live/Dead with the sweetness of Skull & Roses, outdoing their studio counterparts, and "He's Gone" and "Jack Straw" are great new originals. B+
History of the Grateful Dead, Vol. One (Bear’s Choice) (1973):
This album is perplexing--it's supposed to be a McKernan tribute but he only sings three of the songs. The acoustics songs of side one are generally too slow, but "Smokestack Lightin'" on side 2 is one of the best songs I've heard Ron sing. C+
Wake of the Flood (1973):
Given most of these songs have been performed in the live setting for over a year, the album comes as an incredible disappointment--“Stella Blue" and "Eyes of the World" are the only songs executed to the level of their past work. Let's not forget though that these have been done live quite frequently and pray there are good versions of these songs somewhere. C+
From the Mars Hotel (1974):
"US Blues" and "China Doll" are more memorable than anything on Wake of the Flood and Lesh's "Unbroken Chain" is one of the best tunes. However, the Dead continue some of the writing failures of Flood with "Money Money," their worst song yet. While most of the songs are strong, the Dead seem to have bought into the idea they can't make good studio music. I wish they hadn't; I miss when they put kazoos on their songs and experimented so much the producer quit. B-
Blues for Allah (1975):
Side one is decent, often just listenable with "Help on the Way" being the best and most interesting. Side two contains some of the worst music I've heard this year: "The Music Never Stops" and "Blues for Allah" are a disgrace. Last review, I complained they didn't experiment anymore, but this is certainly not what I meant. No one one should be surprised they didn't pull off progressive rock and I can't remember the last time I heard a voice as bad as Donna's. A live album couldn't come sooner. C-
Terrapin Station (1977):
If you thought Garcia's guitar beamed with a big hippie smile before, just wait till you hear the 16 min "Terrapin Station" which also includes a great string arrangement--way to go Buckmaster. Donna and Weir sing the entirety of side one, which only makes "Terrrapin Station" that much more of a relief. But it's not just a relief: it's their best studio song since the songs on American Beauty. B-
Go to Heaven (1980):
Go to Heaven gets unnecessary hate for its stupid cover but even with a better cover, it's not a very impressive or admirable work. C+
Reckoning (1981):
With Dead Set being so pitiful, perhaps by this time, their acoustic sets were all that were worth of seeing. "Dark Hallow" is done beautifully and so is most of this album. B
In the Dark (1987):
As usual Weir doesn't write much of interest and even if Myland's tunes have good backing, I can't listen to his stupid voice. Which leaves Garcia's tunes and they aren't what they used to be. C+
Dylan & the Dead (1989):
Dylan isn't exactly a fluid guitarist and his addition to the Dead's instrumental section only means that the Dead won't be able to do anything fancy. Only "All Along the Watchtower" allows for an extended instrumental break. Very unessential, but not entirely unlistenable. C
Built to Last (1990):
Garcia and the band are definitely in good instrumental shape, built to last indeed. However, Myland's singing makes a third of the album unlistenable. C
Dick's Picks Volume 1 (1993):
Live songs seen before have much better versions elsewhere and new songs are dull. I guess Wake of the Flood sucks more than I thought. C
Dozin' at the Knick (1996):
It's nice to see the Dead did in fact still have it by the end of their career. A number of classics like "Uncle John's Band" and "Dupree's Diamond Blues" are done justice. B-
Dick's Picks Volume 24 (2002):
There's a chance these aren't even strong takes and I just like it so much because the famous Wall of Sound captures every instrument perfectly. But I'm pretty sure they played well. B
