Bob Dylan and The Grateful Dead emerged in the early '60s with two distinct sounds, two styles, with a common love of music. Mixing blues, folk and country, Dylan and The Greatful Dead made their respective marks on the world at large. That is why "Postcards of the Hanging," a compilation of live Dylan covers by The Grateful Dead, is everlasting.
The opening track, "When I Paint My Masterpiece," is a six-minute work of art. Bob Dylan's smooth, multifaceted lyrics are enhanced by Bob Weir's heavy vocals. The Grateful Dead pours out their own signature sound, which combines blues, Southern Rock and other elements of the 1960s Haight-Ashbury scene. The hard, edgy vocals are backed by melodic guitar riffs and supported by their hammering piano twang.
Sharply contrasting Weir's approach, front-man Jerry Garcia takes lead vocals for "She Belongs to Me." His soft, melodic vocals perfectly match the smooth guitar strumming. The listener can hear a pain and passion in his voice. The honest nature of the track is further enforced with an unexpected but well-placed change in tempo near the end.
The pace of the album stays even throughout. This is especially evident in "It Takes a Lot to Laugh, It Takes a Train to Cry," resonating the familiar 12-bar blues. Somewhat more Dylanesque, the mood is extracted from New York City's relaxed Lower East Side beat scene as opposed to the energetic San Francisco party of the '60s.
One thing of note on this live album, however, is how well the two bi-coastal artists mesh. While both Bob Dylan and The Grateful Dead have gained enormous fame and massive cult-followings, their sounds did not always flow together when performing in concert or on the live album, "Dylan and The Dead."
"Postcards" truly represents the best performance The Grateful Dead -- and Dylan-- have to offer.
Apart from providing lyrics and music, Dylan only makes one vocal appearance on the album, with "Man of Peace." This track embodies the spirit of the album, as well as what The Grateful Dead viewed as the purpose of music making: a spiritual communion uniting people and inciting a fervor for life.
A prelude to such a purpose is "All Along the Watchtower." Forget Jimi, Dave Matthews and even Bob Dylan himself. This is the best version of the song I have ever heard. The dense solos and momentous force behind the playing accurately convey the sense of urgency described within the lyrics. The voice -- one filled with emotion -- proclaims a mistrust of the delusions of adventure and rebellion.
Even with the mellow mood of the album, excitment lurks at the end of every note. The wail of the guitar, soft tap on the piano and clash of cymbals linger and echo in the listener's head. In "It's All Over Now Baby Blue," one hears not just heart, but pathos. As Robert Hunter, Jerry Garcia's writing partner puts it, "The man can get inside some of those lines and turn them inside out, and he makes those songs entirely his. There is no emotion more appealing than the bittersweet when it's truly, truly spoken."
Bob Dylan and The Grateful Dead sucessfully cooperated over the decades. They inspired one another and pushed each other to new depths of writing. Their exploration of the roots of rock-and-roll provided insight into its eventual growth and expansion.
"Postcards of the Hanging," (the title was extracted from one of the songs on the album) is simultaneously vitalizing and relaxing. Since all the songs are pulled from concerts over three decades, the listener gets to experience the everlasting revolution of music that Bob Dylan and The Grateful Dead ignited.
If you buy this album, you will never get the "Memphis Blues Again," but you can listen to them all you want.
CD courtesy of the Dartmouth Bookstore.
