Feel the Blues with all that Jazz
English (United Kingdom)Polish (Poland)
Home Rock, Metal Greatful Dead Grateful Dead – Blues For Allah (1975)

Grateful Dead – Blues For Allah (1975)

User Rating: / 0

Grateful Dead – Blues For Allah (1975)

Image could not be displayed. Check browser for compatibility.

01. Help on the Way/Slipknot!(Garcia, Hunter) - 7:21
02. Franklin's Tower (Garcia, Hunter, Kreutzmann) – 4:28
03. King Solomon's Marbles (Hart, Kreutzmann, Lesh) - 5:13
04. The Music Never Stopped (Barlow, Weir) – 4:30
05. Crazy Fingers (Garcia, Hunter) – 6:36
06. Sage & Spirit (Weir) – 3:03
07. Blues For Allah/Sandcastles And Glass Camels/Unusual Occurrences In The Desert (Grateful Dead) - 12:30

- Jerry Garcia - guitar, vocals
- Bob Weir - guitar, vocals
- Keith Godchaux - keyboards, vocals
- Donna Jean Godchaux - vocals
- Phil Lesh - bass, vocals
- Bill Kreutzmann - drums, percussion
- Mickey Hart - percussion
- Steven Schuster - reeds, flute


The Grateful Dead went into a state of latent activity in the fall of 1974 that lasted until the spring of the following year when the band reconvened at guitarist/vocalist Bob Weir's Ace Studios to record Blues for Allah. The disc was likewise the third to be issued on their own Grateful Dead Records label. When the LP hit shelves in September of 1975, the Dead were still not back on the road -- although they had played a few gigs throughout San Francisco. Obviously, the time off had done the band worlds of good, as Blues for Allah -- more than any past or future studio album -- captures the Dead at their most natural and inspired. The opening combo of "Help on the Way," "Slipknot!," and "Franklin's Tower" is a multifaceted suite, owing as much to Miles Davis circa the E.S.P. album as to anything the Grateful Dead had been associated with. "Slipknot!" contains chord changes, progressions, and time signatures which become musical riddles for the band to solve -- which they do in the form of "Franklin's Tower." Another highly evolved piece is the rarely performed "King Solomon's Marbles," an instrumental that spotlights, among other things, Keith Godchaux's tastefully unrestrained Fender Rhodes finger work displaying more than just a tinge of Herbie Hancock inspiration. These more aggressive works contrast the delicate musical and lyrical haiku on "Crazy Fingers" containing some of lyricist Robert Hunter's finest and most beautifully arranged verbal images for the band. Weir's guitar solo in "Sage & Spirit" is based on one of his warm-up fingering exercises. Without a doubt, this is one of Weir's finest moments. The light acoustic melody is tinged with an equally beautiful arrangement. While there is definite merit in Blues for Allah's title suite, the subdued chant-like vocals and meandering melody seems incongruous when compared to the remainder of this thoroughly solid effort. ---Lindsay Planer, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire uloz.to gett



Last Updated (Tuesday, 03 April 2018 20:13)


Before downloading any file you are required to read and accept the
Terms and Conditions.

If you are an artist or agent, and would like your music removed from this site,
please e-mail us on
and we will remove them as soon as possible.

What music genre would you like to find here the most?
Now onsite:
  • 299 guests
Content View Hits : 215952070