The Grateful Dead – Anthem Of The Sun (LP)
Label: Warner Bros. – Seven Arts Records – 8122-79781-8
Format: Vinyl, LP, Album, Reissue, Stereo, 180g
Country: UK & Europe
Label Code: LC 02982
Barcode (Sticker, text): 0 81227 97818 1
Artwork [Cover Art] – Bill Walker
That’s It For The Other One
A1.I Cryptical Envelopment
A1.II Quadlibet For Tender Feet
A1.III The Faster We Go, The Rounder We Get
A1.IV We Leave The Castle
A2 New Potato Caboose
A3 Born Cross-Eyed
B2 Caution (Do Not Stop On Tracks)
Record Company – Warner Music Group
Marketed By – Rhino Entertainment Company
Manufactured By – Rhino Entertainment Company
Copyright © – Grateful Dead Productions, Inc.
Published By – Ice Nine Publishing
Pressed By – Optimal Media Production – BA13276
Bass, Trumpet, Harpsichord, Guiro, Kazoo, Piano, Timpani – Phil Lesh
Drums, Bells, Gong, Chimes, Crotales, Piano [Prepared], Finger Cymbals – B. Kreutzmann, M. Hart
Lead Guitar, Acoustic Guitar, Kazoo, Vibraslap – Jerry Garcia
Organ, Celesta, Claves – Ron McKernan
Piano [Prepared], Piano, Tape [Electronic Tape] – Tom Constaten
Rhythm Guitar, Twelve-String Guitar, Acoustic Guitar, Kazoo – Bob Weir
(Producer Dave Hassinger)
Sept.’67 – RCA Studio A, Hollywood
Oct.’67 – American Studios, No. Hollywood
Dec.’67 – Century Sound, New York
– Olmstead Studios, New York
(Producer Dave Hassinger)
11/10-11/67 Shrine Exposition, L.A.
Jan. 20,’68 – Eureka
Jan. 26,27,’68 – Eagles Auditorium, Seattle
Feb. 2,3,’68 – Crystal Ballroom, Portland
Feb. 14,’68 – Carousel Ballroom, S.F.
Feb. 22,23,24,’68 – Kings Beach, Lake Tahoe
March 15,16,(17),’68 – Carousel Ballroom, S.F.
March 29,30,31,’68 – Carousel Ballroom, S.F.
Manufactured in E.U
Like most Rhino reissues – Rhino pressed both an EU version and a US version.
This is the EU pressing. Lps cut from the original analog masters.
Packages replicated to the finest detail. Manufactured with more care than ever.
Vinyl and cover in very fine condition, Frontcover has a light vow, see photo’s. PVC inner sleeve. No barcode-sticker.
See photo’s. They are of the actual object.
+++++++++++ This time all the material was written by the group and they devised a new recording strategy: mixing the live and studio versions. It took six months and four different studios. Producer Dave Hassinger parted with the group because he found it impossible to work with them. So it was down to Jerry and Phil, together with Dan Healy, to assemble an album from live tapes and studio material. The whole lot was mixed down on a 8-track machine which gives a slightly crowded and cluttered effect… all 8 tracks being used continually with loads of stuff going on all the time. The album typified the long instrumentally orientated pieces the DeaD had been playing at the Acid Tests. Two sides of non-stop music made it difficult for airplay. The first album with two drummers and T.C. ALLIGATOR/CAUTION is a Pigpen vehicle with raucous feedback jamming. ALLIGATOR was a Hunter song although not credited as such, and came from the Trips Festival. THE OTHER ONE is dedicated to OWSLEY and sung by both Garcia and Weir. Weir sings also on NEW POTATOO CABOOSE and BORN CROSS EYED is his first major attempt as songwriter. A later Phil Lesh remix of the album brings out the ideas more clearly, but the album remains a much better indication of how the band sounded at the moment, with long, innovative numbers replacing the shorter epics of yore.+++++++++++
nr. 1 As flawed as it was ambitious, ANTHEM was a fascinating collection of sounds and feelings, cutten from excessively produced over-laden studio sessions to raw live performances. A record clearly ahead of its time. GOLDMINE, July 1987
nr. 2 It’s jumbled, it’s confused, it’s hard to get into, but I love this album just the same. A grand psychedelic experiment, ANTHEM is the DeaD at their strangest; it’s the band testing its wings after having been dissatisfies with their first record. As a result, it’s overly ambitious-a tad on the abstract side-but contains some great jams. Also, the little electronic section midway trough side one still gives me thrills. Not for the unadventurous. **** BLAIR JACKSON, THE MUSIC NEVER STOPPED, PLEXUS, UK
nr. 3 The DeaD’s long modal jams may be the stuff of mesmerism in concert (though even there it’s questionable), but they’re simply self- indulgent and boring on disc. rating ** DAVE MARSH, R.S. RECORD GUIDE
nr. 4 The DeaD set about trying to intruduce some of the excitement and fluidity of their live-act onto vinyl. This they did by taping a number of their shows, which they then mixed together, often one on top of another, adding layer upon layer to form a side-long waterfall of sound and fury. An exception of the overall lyrical abstruseness of the lp is the Weir and Kreutzman penned second section, which serves as Grateful Dead’s memorial to their old friends and Acid-Test comrade Neal Cassidy. The second side has Pigpen singing lead on two songs, bot h of which intercut between assorted live versions joined by extended jams and highlighted by Garcia’s overdubbed and ultra-sharp lead guitar . JAMIE JENSEN, BUILT TO LAST, 1990
nr. 5 As if the band wants to make up for their pretty anonymous debut album, this is an album with character. Starting with an inspired and weird OTHER ONE, mixing live- and studio recordings, all the unadventurous will get off the bus. And although it’s a “difficult” song, it swings like hell. The keyboard-work on ALLIGATOR is remarkable. ANTHEM is the first real evidence of a group who is willing to take chances and to experiment. The power and drive of the drums on the live segment of ALLIGATOR is extra-ordinairy. Dynamite!! * * * ERIK SCHOTHANS, July 1992
nr. 6 I think this is the DeaD album that I play the most, and is perhaps my favourite of them all. The whole of side one is bloody brilliant…it starts with a 3-part medley THAT’S IT FOR THE OTHER ONE – an attractive easy-paced song CRYPTICAL ENVELOPMENT that ends with an astounding change of rhythm and a drum solo. and then THE FASTER WE GO..which is pure Grateful DeaD magic. …Garcia and Lesh soloing away, crossing over and playing off each other, Weir and Pigpen adding layer upon layer of sound, and the two drummers lashing out landslide rhythms that explode on the top of your head. It all glides perfectly into NEW POTATOE CABOOSE and BORN CROSS EYED and the whole side is just one unbelievable thing after another. Superb stuff. Side two features ALLIGATOR, the mainstay of DeaD concerts in their early days, and close with CAUTION which is the only thing that sounds contrived, with an assortment of Pigpen’s growling vocals and lots of electronics. Certainly one of the best rock albums ever to come out of San Francisco. ANDY CHILDS, ZIG ZAG, vol. 3, no. 11, sept. 1973
nr. 7 ANTHEM OF THE SIJN (1968)
Had the Dead released the Shrine Auditorium show back in ’68, things might have been quite different. Instead, they chose to concoct a more ambitious blend of live/studio recordings. “We wanted to make a record. We didn’t just want to record songs,” recalled Garcia. To which end the group utilised four studios, taped 18 concerts, and fired Hassinger along the way.
The result has met with a mixed press over the years, but there’s no getting away from the fact that “Anthem” remains an acid-rock milestone, a flawed and occasionally muddy stew of pretty folk melodies, weird electronics and stirring live improvisations. The album was remixed by Phil Lesh and reissued in 1971, giving an added clarity, but he’s since said he prefers the original.
The £150-rated “Dark Star” single (that’s if you have the U.S. 1968 picture sleeve original), later reissued and sold mail-order by the similarly-titled, mid-70s West Coast fanzine, also dates from this time.
from Record Collector