01	Help on the Way/Slipknot!						07:21
	02	Franklin's Tower						04:32
	03	King Solomon's Marbles						05:16
	04	The Music Never Stopped						04:34
	05	Crazy Fingers						06:42
	06	Sage & Spirit						03:07
	07	Blues for Allah						12:32

Blues for Allah
Date of Release Sep 1, 1975
Styles Country-Rock, Album Rock, Jam Bands

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 multi-faceted 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

1. Help on the Way/Slipknot! (Garcia/Hunter) - 7:18
2. Franklin's Tower (Garcia/Hunter/Kreutzmann) - 4:32
3. King Solomon's Marbles, Pts. 1 & 2 (Garcia/Hunter) - 5:20
4. The Music Never Stopped (Barlow/Weir) - 4:35
5. Crazy Fingers (Garcia/Hunter) - 6:41
6. Sage & Spirit (Weir) - 3:07
7. Blues for Allah/Sand Castles & Glass... (Garcia/Hunter) - 12:35

Mickey Hart - Percussion, Drums
Jerry Garcia - Guitar, Vocals
The Grateful Dead - Producer
Bob Weir - Guitar, Vocals
Robert Hunter - Lyre, Lyricist
Joe Gastwirt - Remastering
Donna Jean Godchaux - Vocals
Keith Godchaux - Keyboards, Vocals
Dan Healy - Engineer, Mixing
Bill Kreutzmann - Percussion, Drums
Phil Lesh - Bass, Vocals
Steven Schuster - Flute, Reeds
Philip Garris - Illustrations, Cover Painting
Robert Taylor - Assistant Engineer

CD Grateful Dead GDCD-40012
CS Grateful Dead GDC-40014
1975 LP Grateful Dead 494
1995 CD Arista 14001
1995 CS Arista 14001



Help on the Way/Slipknot!
Composed By Jerry Garcia/Robert Hunter

AMG REVIEW: This coupling opens up the Grateful Dead's eighth studio album Blues For Allah (1975). In conjunction with "Franklin's Tower" - the third title in the triumvirate - "Help On The Way/Slipknot" comprises one of the band's most adventurous and intricate works. Undoubtedly one of the primary factors in the Dead's mid '70s musical revival was their nearly two year mini-retirement from touring. Although tracks such as Phil Lesh's (bass/vocals) "Unbroken Chain" and Bob Weir's (guitar/vocals) "Weather Report Suite" could definitely be considered as having advanced arrangements, a majority of the tracks on Blues For Allah were exceedingly more involved on practically every level. The band's resuscitated approach to performing as well as their increasing sensitivity as improvisers evolved into a fusion-inspired interaction. This became key in providing the springboard that would take the musicians to the proverbial next level. The combo begins with the darkly optimistic "Help On The Way". After the final verse, the Dead venture into the aptly-titled instrumental &"Slipknot!" providing an expansive sonic canvas from which the ensemble weave their seemingly itinerant contributions. Ultimately the slinky instrumental undulates through several searing guitar solos from Garcia, redeveloping into the sprightly "Franklin's Tower". While the medley would ultimately become a staple in the Grateful Dead's live repertoire, the band withdrew it from performance for over five years during the late '70s and early '80s. In the fall of '85 it again took a hiatus until a final revival four years later. In addition to the studio version, there are several not-to-be-missed archival concert recordings that feature "Help On The Way/Slipknot" including a seminal 1975 reading on One From The Vault, as well as an equally full-tilt late '80s version on Without A Net (1990). Additionally , volume 3 (from a 1977 concert ) and 17 (from 1991 concert) in the Dick's Picks series offer some further interesting contrasts. - Lindsay Planer


Crazy Fingers
Composed By Jerry Garcia/Robert Hunter

AMG REVIEW: This lilting ballad was first released on Blues For Allah (1975) and features a memorable blend of breezy reggae rhythms married to a minimalist haiku courtesy of Robert Hunter (lyrics). The song reflects the change of musical style as well as temperament evident throughout the rest of the project. The band exhibit a restrained jazzy groove supporting Jerry Garcia's chiming guitar runs and Keith Godchaux's equally brilliant electric piano interplay - which is both criminally underrated and rarely as prominently showcased as it is on "Crazy Fingers". Although brief by Grateful Dead standards, the instrumental interludes allow Garcia to unravel a pair of slightly extended lead guitar solos that gently wind and dance within the central melody. The backing vocal support from Bob Weir (guitar/vocals) and Donna Jean Godchaux (vocals) is nothing short of sublime as they effortlessly weave their harmonies beneath Garcia's affective lead. While it quickly became a favourite of Deadheads, the intricacies involved in properly executing "Crazy Fingers" meant that it was not heavily rotated with the band's live set lists - although it did become more prominent during the '90s. One such version can be located on Dick's Picks Vol. 17 which captures the Dead September 25, 1991 at the Boston Garden. Not to be missed is the seminal performance from August 13, 1975 which is included on the double-disc One From The Vaults (1991) archival release. - Lindsay Planer


Sage & Spirit
Composed By Jerry Garcia/Robert Hunter/Bob Weir

AMG REVIEW: This short instrumental by Bob Weir is somewhat of an anomaly in the Grateful Dead's catalogue. After being issued on the musically diverse Blues For Allah (1975), "Sage & Spirit" was only performed live on two occasions - the earliest of which can be heard on the two-disc One From The Vault (1991) archival release. According to Weir, the relaxed and highly melodic tune grew out of some fingering exercises he used. The same technique is also credited to having inspired the hauntingly tranquil "Part One" of the "Weather Report Suite" from Wake Of The Flood (1973) as well as "Heaven Help The Fool". Hints of &"Lost Sailor" can also be discerned weaving in and out of the bridge. The album version also includes contributions from Bay Area musician Steven Schuster (flute) who provides a poetic reed counterpoint to Weir's organic acoustic lines. This is one of the few Dead tunes not to include percussion, enhancing the sonic presence of Phil Lesh (bass) and Keith Godchaux (piano) . Criminally, the only post '75 performance was on Halloween 1980 at Radio City Music Hall. Enthusiasts should not encounter too much difficulty finding copies of this widely traded show - which features one acoustic and two electric sets and was broadcast live throughout North America via closed circuit as a pay-per-view event. - Lindsay Planer