As Jerry Garcia’s birthday was August 1st, and he unfortunately passed away on August 9th, the days between are affectionately referred to as “Jerry Week”. Paying tribute to the life and times of the legendary Grateful Dead guitarist, we’ll be running featured articles about Garcia all week long.
The early 1970s were a very formative time for The Grateful Dead, collectively and individually. They had just released two of their most meaningful albums, Workingman’s Dead and American Beauty in ’70, but band members also made time to pursue solo endeavors. Bob Weir released Ace in ’72, Mickey Hart put out Rolling Thunder the same year, and “Captain Trips,” Jerry Garcia released his solo debut, Garcia, recorded in late summer of 1971 and released in January of ’72.
As pure of an individual effort as anyone has ever put into their own album, save the help of drummer/bandmate Bill Kreutzmann, Garcia gave Jerry a great opportunity to take a step back from the Dead’s live show, go into the studio, have some fun, play some pedal steel guitar, and focus on “the song” as a finite entity. While the track listing does include a number of Dead staples that had already been in the rotation since ’71 – “Sugaree,” “Bird Song” “Deal,” “Loser” – there is still enough oddity included on Garcia to wet the appetite of any head looking for a little space odyssey (see, “Late For Supper” and “An Odd Little Place”).
Garcia, more or less, is a synthesis of Jerry’s tastes and sensibilities as an ambassador to American roots music. A wonderfully muddy mix of folk, country, blues, jazz, and acid rock, the album certainly speaks to the Garcia that liked to color in between the lines as well as the one who relished and embraced indulging into the strange. Surprisingly, the album was met with mixed criticism:
If Garcia is any indication of what to expect from Round Records, the Grateful Dead’s new spin-off label ought to be rechristened Flat. – Ken Emerson, Rolling Stone Magazine (August 15, 1974)
What is clear is that Garcia has been developing musically along two totally separate and distinct paths. One is the aforementioned countryish, folk-rock style and the other is this far more progressive, experimental reaching for new modes and new ways of expression. Either way, Garcia is a superb musician. – Penny Ross, Words & Music Magazine (May 1972)
Maybe Jerry has been working too much. Or — and this is more likely — maybe we just expected something absolutely extraordinary and feel vaguely disappointed. Garcia devotees will no doubt disagree. To them we say, “Enjoy.” To others we way, “Let’s wait and see which direction Garcia takes next.”
– Ed Kelleher, CIRCUS Magazine (April 1972)
Side one sounds almost too pleasant and catchy, as if Garcia and Robert Hunter — the most consistent songwriters anywhere over the past couple of years — had settled a little too comfortably into the slow, traditiona, blues-tinged country-rock grrove the Dead have been digging recently. The payoff is “Sugaree” and “Deal,” classics no future-rocker could come up with. And then — surprise! — the second side balances (surprisingly unpretentious) musique concrete experimentation against the groove. B+ – Robert Christgau, Christgau’s Record Guide (1981)
Why don’t you be the judge? Here is the album in its entirety and a collection of live performances and alternate cuts some of the Garcia material:
Happy Jerry Week! Check out our ongoing coverage below:
8/1- Celebrate Jerry Garcia’s Birthday With Three Grateful Dead Shows Played On This Date
8/3- Jerry Week: 15 Interviews That Capture The Life Of Jerry Garcia
8/4- Jerry Week: Pickin’ On Garcia’s Love For String Music
8/5- Jerry Week: Listen To 26 Great Artists Cover Jerry Garcia