Blues for Allah

| Grateful Dead

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83.3%
  • Reviews Counted:6

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Blues for Allah

Blues for Allah is the eighth studio album by the Grateful Dead. It was recorded February 27 – May 7, 1975, and released September 1, 1975. It was the band's third album on their own Grateful Dead Records label and their third studio album in a row. Though it has not received RIAA certification as of 2019, Blues for Allah was the group's highest-charting album until 1987's In the Dark, reaching No. 12 during a thirteen-week stay on the Billboard Album Chart.-"Wikipedia"

Critic Reviews

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  • Rolling Stone

    Blues for Allah contains quite a few surprises, some pleasant (Mickey Hart’s reappearance; most of side one) and some embarrassing (most of side two), but at least the Grateful Dead have begun to awaken from the artistic coma they’ve been in since 1971. 

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  • All Music

    Blues for Allah -- more than any past or future studio album -- captures the Dead at their most natural and inspired.  

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  • Classic Rock Review

    the music features a crisp and energetic approach which captures the band’s seven members at their most natural while still maintaining an inspired edge which is usually only associated with the Grateful Dead’s live performances. 

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  • Sputnik Music

    they went from Country and Bluegrass, to Reggae and Middle Eastern. Though they would occasionally lay down some Country tracks and every other kind occasionally. I couldn't tell you how the Middle Eastern influence came up, but the reggae influence came from Bob Marley. The album contains a good amount of highlights also. The good feeling Reggae tune "Franklin's Tower. 

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  • The Vinyl District

    Blues for Allah is more experimental than the studio LPs that preceded it. Blues for Allah is, “Groovy cover!” Pity the album in the slip sleeve is about as welcome as a long day in the sweltering Sahara, with nary an oasis in sight. 

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  • Ultimate Classic Rock

    There's a different alchemy within the Grateful Dead, and you hear it all over again on this album, when Hart begins adding splashes of percussion – cowbells, chimes, triangles and a second complete rhythm. He's the straw that stirs the drink.  

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