Grateful Dead - Blues for Allah - 45rpm 180g 2LP


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Grateful Dead - Blues for Allah - 45rpm 180g 2LP

Product no.: MFSL2-483

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Grateful Dead - Blues for Allah - 45rpm 180g 2LP
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Mobile Fidelity - MFSL 2-483 - 180 Gram Virgin Vinyl   

AAA 100% Analogue -  4,000 Numbered Limited Edition - 

Half Speed Mastered by Kreig Wunderlich from the Original Mastertape

AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head.

The Grateful Dead- Blues For Allah is the Album by the legendary classic rock/jam band Grateful Dead.

The Music Never Stopped: Grateful Dead's Blues for Allah Marks a Return to the Band's Collaborative Roots: Soul-Nourishing 1975 Album Includes "Help on the Way/Slipknot!"
Mastered from the Original Master Tapes, Limited to 4,000 Numbered Copies: Mobile Fidelity 180g 45RPM 2LP Vinyl Set Features Sublime Dynamics, Clarity, Detail, and Presence  
"If you get confused, listen to the music play," counsels Grateful Dead leader Jerry Garcia on Blues for Allah. Surely, better advice has never been given. The band's only release during a self-imposed hiatus that lasted nearly 20 months, and the effort that witnessed the welcome return of percussionist Mickey Hart, the 1975 album marks the rebirth of a signature naturalism, spiritualism, and energy that had begun to fray because of ceaseless touring and financial pressures. And as experienced on this audiophile-caliber reissue, such inspired élan and elevated performance facets – embraced literally and figuratively on Bob Weir's hallmark "The Music Never Stopped" anthem – achieve transcendent heights.

Mastered from the original master tapes, pressed at RTI, and strictly limited to 4,000 numbered copies, Mobile Fidelity's 180g 45RPM vinyl 2LP set possesses seemingly limitless dynamics, reference-grade presence, expansive soundstages, and a wealth of previously obscured information. Strongly informed by jazz themes and organic progressions, the album's arrangements unfold as a series of interlocking puzzle pieces that, together, comprise an adventurous landscape informed by compound structures, angelic harmonies, chiming tones, and brilliant colors. Every member's vocals resound with tube-like clarity and remain entirely free of artificial ceilings or unintended blurring.

The peerless transparency is reinforced by the chirping crickets on the title track, reggae-flecked crispness of "Crazy Fingers," and spinning-plate-on-a-stick rhythmic voodoo cast throughout by drummer Bill Kreutzmann. Recorded at Weir's intimate Ace Studios, Blues for Allah depicts the Grateful Dead returning to its collaborative roots: Entering the sessions with no preconceived ideas and letting inspiration move them brightly, resulting in improvised-meets-rehearsed compositions replete with varying time signatures, Middle Eastern motifs, and elegant scales. More than any other Grateful Dead studio record, Blues for Allah combines the ensemble's trademark exuberance with exacting precision and instrumental luster.

Aside from Phillip Garris' iconic, award-winning cover art dubbed "The Fidder," nothing illustrates the album's cosmic magic to the hair-raising extent of the album-closing "Blues for Allah" suite. A requiem, dirge, call to harmony, and plea for peace, the atonal closing track remains a subtle albeit universal statement about the importance of unity and the destruction that comes with war, division, and conflict. Delivered via Robert Hunter's poetic lyrics and the band's mesmerizing playing, the messages and prayerfulness resonate with as much – if not more – depth today than they did decades ago. Try not to lose yourself in the repeated refrains, Garcia's guitar arpeggios, or the invitation to twirl led by Keith Godchaux's graceful piano.

Of course, much of Blues for Allah is itself a dance goosed by a flurry of beautiful fusion devices and quicksilver melodies. Witness the taut "Crazy Fingers" – a series of haiku – or the knotty medley "Help on the Way/Slipknot!/Franklin's Tower," an exercise in controlled flow, urgent purpose, and, finally, liberating relief that remained a live staple from the moment it was introduced onstage. Not to be outdone, the wordless and acoustic-based "Sage & Spirit" feels the way its name sounds while the acid-jazz twists of "King Solomon's Marbles" swing via Phil Lesh's power-line-thick bass notes.

A soul-nourishing salve, Blues for Allah enchants with equal parts mysticism and reality, imagination and common sense. Rolling Stone scribe David Fricke insightfully deemed it a way to "shake away the darkness" and head "back to the light." Let it shine on brighter than ever via Mobile Fidelity's deluxe analog reissue.

Bass, Vocals – Phil Lesh
Drums, Percussion – Bill Kreutzmann
Engineer – Dan Healy
Guitar, Vocals – Bob Weir, Jerry Garcia
Keyboards, Vocals – Keith Godchaux
Mixed By – Dan Healy, The Grateful Dead
Vocals – Donna Godchaux

Help on the Way/Slipknot!
Franklin's Tower
King Solomon's Marbles (Part I: Stronger Than Dirt, Part II: Milkin' the Turkey)
The Music Never Stopped
Crazy Fingers
Sage & Spirit
Blues for Allah (Sand Castles & Glass Camels, Unusual Occurrences in the Desert)

Grateful Dead - Blues for Allah - 45rpm 180g 2LP

 
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GAIN 2 Ultra Analog™ is a proprietary cutting system built and designed by legendary design genius Tim De Paravicini, with consultation from one of MFSL’s founding fathers – Stan Ricker, an audio engineer responsible for many of MFSL’s most heralded past releases.

The GAIN 2 Ultra Analog™ system is comprised of a Studer™ tape machine with customized reproduction electronics* and handcrafted cutting amps that drive an Ortofon cutting head on a restored Neumann VMS-70 lathe. (*It is worth noting that independent studies have confirmed that the GAIN 2 Ultra Analog™ system can unveil sonic information all the way up to 122kHz!)

First and foremost, we only utilize first generation original master recordings as source material for our releases. We then play back master tapes at half speed enabling the GAIN 2 Ultra Analog™ system to fully extract the master’s sonic information. Our lacquers are then plated in a specialized process that protects transients in the musical signal. (Due to this process, there may be occasional pops or ticks inherent in initial play back, but as the disc is played more, a high quality stylus will actually polish the grooves and improve the sound). We further ensure optimum sound quality by strictly limiting the number of pressings printed for each release. These limited editions, in addition to being collectors’ items, ensure that the quality of the last pressing matches the quality of the first.

As you can imagine, all these efforts involve a tremendous amount of time, technology, cost and effort. The introduction of GAIN 2 Ultra Analog™ maintains Mobile Fidelity Sound Lab’s position as the world’s leading audiophile record label, where a passion for music with extraordinary sound quality matters most.
 
https://store.acousticsounds.com/images/FormatIcons/180gram.jpg RTI 180 HQ Vinyl
Record Technology is a world class record pressing plant located in Camarillo, California. We have been operating since 1974, pressing for most audiophile record labels and for many quality minded independent and major record labels from around the world.

 

 

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