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Артист: The Grateful Dead Альбом: Blues For Allah, 1975 Жанр: psycho rock Формат файла: EAC Ape_Cue Ссылка: CD 5 clicks Нахождение: eDonkey/Kademlia

Sep 1, 1975
Psycho Rock
Codec: Ape - Mac 3.97 - High Lossless Compression
Encoder: eac095pb4
Covers , Log, Cue

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.

* Help On The Way (Hunter / Garcia)
* Slipknot! (Garcia / K.Godchaux / Kreutzmann / Lesh / Weir)
* Franklin's Tower (Hunter / Garcia)
* King Solomon's Marbles *
Part I: Stronger Than Dirt (Lesh) *
Part II: Milkin' The Turkey (Hart / Kreutzmann / Lesh) *
* The Music Never Stopped (Weir / Barlow)
* Crazy Fingers (Hunter / Garcia)
* Sage and Spirit (Weir)
* Blues For Allah (Hunter / Garcia)
* Sand Castles and Glass Camels (Garcia / K.Godchaux / D.Godchaux / Kreutzmann / Lesh / Weir)
* Unusual Occurrences In The Desert (Hunter / Garcia)

CODE

EAC extraction logfile from 11. March 2006, 10:14 for CD Grateful Dead / Blues for Allah Used drive : HL-DT-STDVDRAM GSA-4163B Adapter: 1 ID: 0 Read mode : Secure with NO C2, accurate stream, disable cache Combined read/write offset correction : 667 Overread into Lead-In and Lead-Out : No Used output format : C:\eac095pb4\Ape\MAC.exe (Monkey's Audio Lossless Encoder) High Lossless Compression Other options : Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Installed external ASPI interface Range status and errors Selected range Filename G:\The Grateful Dead - Blues For Allah\CDImage.wav Peak level 100.0 % Range quality 100.0 % CRC F988EC19 Copy OK No errors occured End of status report

gracias, amigo