（DSD_SACD）Grateful Dead - Blues For Allah 1975/2019 （SACD/ISO）

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封面:

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简介:
70sDEAD最好的录音室专辑。这张做的非常之迷幻，演奏的复杂随性，声音的略带诡异。看到专辑名还以为回归他们60年代直接基于blues根源的曲风，没想到比Wake of the Flood还jazzy
酸民谣虽说早就有人玩了，但是还是Dead玩得最抓人。自从他们70年之后开始转民谣之后，大量原声吉他的使用已经成为了录音的常态，连续做了三张比较纯的民谣之后，他们这张专辑又回到了70年之前那种迷幻的气质上，个人觉得是他们转民谣之后旋律最优秀的。各种其他乐器的加花也为这张专辑带来了几分神秘，这种诡异的悦耳感正是Dead最擅长的领域。

简介：
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.
机翻随便看看：
《感恩之死》在1974年秋天进入潜伏活动状态，一直持续到次年春天，乐队在吉他手/歌手鲍勃·威尔的王牌工作室重新聚会，为真主录制蓝调。光盘同样是第三个发布在自己的感恩死亡记录标签。1975年9月LP上架时，死者们还没有回到路上——尽管他们在旧金山各地演出过几场。显然，休假对乐队世界有好处，因为《真主的蓝调》比任何过去或未来的录音室专辑都更自然、最受启发地捕捉死者。"在路上的帮助"和"斯利普克诺特！"和"富兰克林的塔"的开场组合是一个多层面的套房，这要归功于迈尔斯·戴维斯（Miles Davis）在E.S.P.专辑中与任何感恩之死有关的东西。"Slipknot！" 包含和弦变化、进展和时间签名，这些变化、进展和时间签名成为乐队需要解决的音乐谜语——它们以富兰克林塔的形式进行。这些更具侵略性的作品对比了微妙的音乐和抒情的海库上 - 疯狂的手指- 包含一些抒情作家罗伯特亨特最好的和最美丽的安排为乐队的口头图像。威尔的吉他独奏在 - 圣人   精神 ] 是基于他的热身手指练习之一。毫无疑问，这是威尔最美好的时刻之一。轻盈的原声旋律与同样美丽的排列。虽然在蓝军的冠军套件有明确的优点，柔和的吟唱般的人声和蜿蜒的旋律似乎不协调相比，这个彻底坚实的努力的其余部分。
曲目:
Help On The Way/Slipknot!
Franklin's Tower
King Solomon's Marbles
The Music Never Stopped
Crazy Fingers
Sage & Spirit
Blues For Allah

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