Published on Nov 17, 1999
1976 represented a major turning point for The Grateful Dead.
Having “retired” in 1974, they played a whopping four dates in 1975
– some of which were invitation only – that brought great
excitement to the Deadheads. Were Jerry Garcia and crew ready to
return to form – and to the concert stage?
The answers started to come in a show that was later
immortalized on
One From The Vault, a CD of one of the 1975 shows in San
Francisco. Throughout the show, the Dead played new material that
would eventually become their 1976 studio album
Blues For Allah. (The show at the Great American Music Hall,
by the way, represented one of the very few times that “Blues For
Allah” itself would ever be played live.)
In one sense,
Blues For Allah represented some of the most exciting music
that the Dead ever recorded, merging the worlds of jazz and rock
together seamlessly. In another sense, the disc had examples of
what can happen when a musical idea is carried too far.
The highlight of this disc for me will always be the three-song
suite (really listed as two tracks), “Help On The Way / Slipknot!”
and “Franklin’s Tower”. There is something about this song that
never fails to put a smile on my face and can always raise my
spirits when they’ve sunk low. Granted, I would take a live version
of this song suite over the studio effort at times, but there are
points in it, especially during “Help On The Way,” that have never
sounded cleaner.
The jazz influences continue with the instrumental “King
Solomon’s Marbles,” another song you can divide into two parts. The
7/4 rhythm used for a good portion of the song (it might be used
throughout the track, but I had a hard time keeping the beat for an
extended period of time) provides a friendly challenge to the
listener, almost as if the band was saying, “Try and keep up with
us!” Musically, it’s a great game of tag that’s wonderful fun.
One other track which I occasionally find myself drawn to is
“Crazy Fingers,” another track that has reached higher levels for
me thanks to the numerous live versions I’ve heard over the years.
Garcia’s gentle combination of vocals and his guitar lines
transcends the mere pop sound of the song and brings the listener
to a whole new level – even without the help of any substances, if
you get my drift.
So far, it might seem that
Blues For Allah is an album that can do no wrong. Hold on
there, sprout. While the Dead have always been a band to push the
musical envelope, when you hear the 12-minute epic “Blues For
Allah,” you might wonder if they didn’t push the envelope over the
side of a cliff. The first part of the track (which is the actual
“Blues For Allah”) builds up on an Egyptian rhythm pattern, using
only vocals, drums and the occasional guitar lick. At times, it
made me feel like I was listening to a Greek chorus from ancient
theater – not one of the world’s most pleasant experiences. By the
time the band gets “Sand Castles & Glass Camels” working, the
long, strange trip just becomes strange – too strange, in fact. The
more structured closing movement “Unusual Occurrences In The
Desert” doesn’t help matters or tie things together.
There is one track on
Blues For Allah that I’ll concede is a matter of personal
preference – and that is “The Music Never Stopped”. Frankly, the
first time I ever heard it was on
One From The Vault, and Donna Jean Godchaux’s vocals totally
ruined it for me. The studio version is a little more controlled,
but it’s still – at least for me – not one of the Dead’s finer
moments. (Side note: I heard this song performed live long after
Godchaux and her husband Keith left the band in 1979 – and it did
sound a little better without their presence. I believe that Brent
Mydland took over half the vocal chores – I swear, that guy could
have sang the phone book and made it sound funky.)
So what’s the final ruling on
Blues For Allah? It’s still very much a disc that’s worth
checking out, especially if you want to get past the songs that
classic rock stations play to death. But you should be aware that
this album is not your typical musical trip – and maybe that’s what
the Dead wanted to accomplish. Maybe they wanted to shake things up
a bit – I just wonder if they shook one too many times.