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Bob had a beautiful guitar instrumental, 'Sage and Spirit', and one of his stompin-est self-congratulatory rockers, 'Music Never Stopped', to round out the album." Besides 'Crazy Fingers,' his marvelous essay in smoky ambiguity, Jerry also contributed a triptych of already written tunes ("Help on the Way", "Slipknot", and "Franklin's Tower") that would become, in live performance, one of our finest exploratory vehicles. Garcia said he was "creating scales that generated their own harmony in ways that weren't symmetrical in regular, classical major-minor relationships." Bassist Phil Lesh recalled "Jerry brought in a strange, almost atonal melodic entity that would evolve into the title song and sequence for the album, and I had sketched out a little Latin-flavored, seven-beat instrumental number inspired by Shelley's poem ' Ozymandias' called ' King Solomon's Marbles'. Non-Western time signatures on some of the material added to the concept, as well as experiments with instrumentation, such as flute on the Bach-inspired "Sage & Spirit" (named for Scully's daughters).
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Thus, it's a little bit more difficult, and considerably more experimental." Music and lyrics ĭuring the writing and recording of the album, a discernable Middle Eastern theme emerged, supported by Robert Hunter's lyrics. Garcia explained "We're working on creating styles, rather than just being eclectic or synthesizing other styles. In creating material from scratch, the band were able to progress beyond the previous genres in which they had played. According to manager Rock Scully, this was in part an attempt by lead guitarist Jerry Garcia to ensure more involvement in the writing process from other band members. Rather than their usual approach of recording studio versions of songs that had matured on stage, the tracks were developed in the studio setting. In contrast to the commercial studios employed for their previous studio albums, the band used the studio that rhythm guitarist Bob Weir had built at his new home in Mill Valley, California. Conscious of needing a new album release for their independent label, the band initiated the project in January 1975. The album initially received mixed reviews, but has retrospectively been praised for its melding of new styles and increased emphasis on jamming and improvisation in comparison with the band's other studio efforts.īlues for Allah was recorded after the Dead began a band hiatus in October 1974. Two singles were released to promote the album-"The Music Never Stopped" and "Franklin's Tower"-with the former cracking the Billboard Hot 100. Upon release, Blues for Allah became the band's highest-charting album up to that point, peaking at number 12 in the US during a thirteen-week chart run and becoming their third straight top 20 album. Recorded at rhythm guitarist and vocalist Bob Weir's home studio, the music on Blues for Allah further showcases the jazz fusion influence shown on the band's previous two records while also having a more experimental sound influenced by Middle Eastern scales and musical styles, which is also reflected in the album's lyrical content. The album was recorded between February and May of 1975 during an extended hiatus from touring. It was released on September 1, 1975, and was the band's third album released through their own Grateful Dead Records label. Blues for Allah is the eighth studio album (twelfth album overall) by the Grateful Dead.