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. [In 2004, Rhino released a remastered, expanded edition of Blues for Allah as part of the exhaustive 12-disc box Beyond Description (1973-1989); in 2006, this expanded CD was released separately. The expanded disc contained six bonus tracks, and all but one are rather dull instrumental studio outtakes recorded at the tail end of February 1975: the band jams "Groove #1" and "Groove #2," the Jerry Garcia-credited "Distorto," "A to E Flat Jam," and "Proto 18 Proper." The final bonus track is a studio outtake of Robert Hunter and Bob Weir's "Hollywood Cantata."] – Lindsay Planer