The Grateful Dead – One From The Vault  (2CD)


The Grateful Dead ‎– One From The Vault  (2CD)


The Grateful Dead ‎– One From The Vault  (2CD)

Label: Grateful Dead Records ‎/ Line Music GmbH ‎– GDCD 9.01095 L
Format: 2 × CD, Album
Country: Germany
Released: 1991

Tracklist CD1:
1-1     Introduction
1-2     Help On The Way
1-3     Franklin’s Tower
1-4     The Music Never Stopped
1-5     It Must Have Been The Roses
1-6     Eyes Of The World / Drums
1-7     King Solomon’s Marbles
1-8     Around & Around

Tracklist CD2:
2-1     Sugaree
2-2     Big River
2-3     Crazy Fingers / Drums
2-4     The Other One
2-5     Sage And Spirit
2-6     Goin’ Down The Road Feeling Bad
2-7     U.S. Blues
2-8     Blues For Allah

Producer – Dan Healy

This album was originally recorded on August 13, 1975 at The Great American Music Hall in San Francisco, CA.
This version comes in two single jewel cases inside a transparent slipcase

Two CD’s without the slipcase. White jewel boxes have pricesticker markings. See photo’s, they are of the original items.



nr. 1  This represented a highlight of the Dead’s Seventies career when it first appeared as the “MAKE BELIEVE BALLROOM” bootleg back in 1976 and it still sounds fresh and inspired some 15 years on. The occasion for this live concert was to unveil the forthcoming BLUES FOR ALLAH album, an uptempo, almost funky affair which marked the return of the band’s penchant for experimentation. The fluidity of the DARK STAR-era DeaD had returned, albeit in a more accessible guise, and the fine instrumental interplay on HELP ON THE WAY early in the set quickly indicated that the album was going to be something of a landmark in the Dead’s career. It’s incredible to reflect that this was the same group that turned in the lame STEAL YOUR FACE double live set; and those who felt cheated on that occasion will be vastly recompensed this time around. The sound on these two discs is terrific, and with producer Dan Healy promising more to come, this series looks far more collector friendly than Zappa’s recent moves to release the original bootlegs as they stand, that is without attempting to enhance the sound at all. RECORD COLLECTOR, nr. 145, Sep. 1991

nr. 2  In the hurly-burly of the leisure industry the DeaD are unique in personifying both business acumen and unorthodox business practise. Musically too they are unique and long ago recognised the historic nature of what they do and began squirrelling away every live performance. Symbolically, this album captures their return to the stage after the com- pletion of BLUES FOR ALLAH in 1975. The album’s centre is that tune and the shock waves reach out to Chuck Berry, Johnny Cash and some early DeaD. Along the road it captures the flow of the BLUES FOR ALLAH suite majestically with enough hiccups to keep them human and enough high points to keep it mesmirising * * * KEN HUNT, Q, Sep. 1991

nr. 3  When the DeaD finished recording BLUES FOR ALLAH at Bob Weir’s Ace Studios in 1975, they were at their all-time creative high. Legend has it that the DeaD were never comfortable inside studios, preferring the spontaneity of live performance. The trio of albums WAKE/MARS and ALLAH indicated otherwise. Off bootlegged, Dan Healy’s pristine sound mix now gets official airing and pretty exquisite it is, too. The HELP/SLIPKNOT bridge has long caused Dead duffers to froth and moan before collapsing into heaps and here you can see why. The transitional rhythms of the band members don’t belong in any normal rock book, having more in common with John Coltrane than the Rolling Stones. Apart from the Allah-be-praised stuff, ONE FROM THE VAULT contains renditions of SUGAREE, BIG RIVER ,and US BLUES that may yet satisfy those who can’t abide STEAL YOUR FACE and compare favouribly with the mega-Dead of the late 80’s and 90’s. Healy promises more vault artefacts coming soon. Hurry man, hurry. rating: 9 MAX BELL, VOX, Aug. 1991

nr. 4  Home-made tapes of this show have circulated among Deadheads for years. Its release performs a service not just for the die hard friends, but for anyone with an interest in the group, because it is a remarkable show from start to finish. The performance indulged the group’s jazzy, free form impulses even further. HELP/FRANKLIN’S TOWER and THE MUSIC NEVER STOPPED cohere into a twenty-minute song cycle. KING SOLOMON MARBLES, a tumbling, polythythmic instrumental crackles with energy. Inventive percussion duets are appended to EYES OF THE WORLD, as well as to the pretty, elliptical CRAZY FINGERS. The crowning touch is BLUES FOR ALLAH, which runs 21:01 and explores inner space with a meditative intensity barely hinted at on the studio version. * * * * PARKE PUTERBAUGH, ROLLING STONE nr. 614, Oct. 1991

nr. 5  In the introduction one can already hear that this is going to be a special night. All very inspired versions and worth every second of it. Sound wizards Dan Healy and Don Pearson deserve both an Oscar for sound quality! ERIK SCHOTHANS

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