Customer Reviews

One From the Vault

5 star:		(32)
4 star:		(5)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

Simply put, when someone I know who is not familiar with the Grateful Dead asks to borrow one of my Dead CDs, I give him this one first. The first three tracks of Help into Slipknot into Franklin's is quite possibly the best the Dead can sound. Full of energy, Jerry's insane guitar licks on Franklin's got even my Dad (a very non-Deadhead) busting loose. And it's not just about these three songs. As other reviewers have said, the rest of the album is just as tight and as good-sounding as the opening tracks. Sometimes you can listen to a live Dead recording and be turned off by boring jams, off-tune singing, and some very loose jamming...this live set has NONE of that and shows the Dead at their peak. I actually lost my copy of this CD and plan to go out to a store and buy it tonight.I highly recommend this album to anyone who is even slightly interested in the Grateful Dead.

This live recording (8/13/75) ushered the Dead back after a hiatus from live playing/touring. In fact, the specific purpose of this 1975 concert was to premiere the release of their 1975 studio album, Blues for Allah to a small audience of record executive-types and other selected folks. I snagged this live disc when it was first released in 1991, after listening to slowly disintegrating "booted" tapes of the concert. At the time, the change in media and the improvement in sound quality were both very welcome. Speaking of which, for those of you that are audiophiles, there is a very detailed discussion of the analog to digital transfer process in the CD liner notes. For those of you that don't care about the Ampex MM-1100, Sony PCM-1630 Digital Audio Processor, this, that, and the other - trust me, the sound quality is excellent.

I guess the best way to describe this 2 CD set is to briefly chit-chat about the Blues for Allah studio album itself, and then the actual live performance.

The Studio Album

The music that the Dead recorded for the Blues for Allah album was at times lighthearted and bouncy (The Music Never Stopped; Franklins Tower); quiet and pastoral (Sage and Spirit; Crazy Fingers); experimental in an almost European avant-garde way (the completely "out there" epic 20+ minute title track); and jazzy with intricate ensemble playing (the rest of the album). Although this may sound like a dry and studied "chop-fest", the complexity and jazziness are handled very well and do not go over the top. Actually, I wouldn't care even if it did - the band is comprised of excellent musicians and I for one love to hear Jerry and Phil strut their stuff.

The 2 CD Live Set (8/13/75)

Overall, this is a great live set, although it does not sound as dynamic as other shows. The energy levels are up there, the playing is excellent, and there are some inspired jams, but the audience has been all but mixed out. In addition to the Blues for Allah material, there are a few concert favorites (Around and Around, Big River, Goin' Down the Road), pretty good jams including the 14'32" Eyes of the World>Drums and the amazing 18'41" Crazy Fingers>Drums>The Other One, along with OK versions of It must have been the Roses, Sugaree, and U.S. Blues.

All in all, I have to say that is yet another fine live set by the Dead and is certainly worth adding to the collection. Recommended.

One of the finest examples of the Dead from the Godchaux era. Lots of energy from the band and the audience. Strong song selection, including two rarities - the only thrice played full version ofBlues for Allah (3/23/75, 6/17/75, and this one), as well as a killer version of King Solomon's Marbles/Stronger than Dirt, which was only played live 5 times.

This show was for many years a highly prized bootleg, but since the release of this album, access to that show has all but disappeared, rightfully so. I have an excellent sbd of that show, and this album sounds better yet, so do yourself a favor and buy it.

DON'T GET IT?
DON'T UNDERSTAND WHATS SO COOL ABOUT THE DEAD?

Maybe you just haven't been looking at the right places. This is where you should start.

I always liked The Dead but can't say I ever really "felt it" untill I purchased this one. Once that introduction track gets going "Good evening, we welcome you, on behalf of the group...." the ball is rolling. Each member chimes in when qued untill Mr. Jerry Garcia brings it all together, "Would you welcome please, the Grateful Dead." It just sounds so god damned proffesional. HELP>SLIP>FRANKLIN were introduced to me via this one. Instantly I realized that I had just been converted from casual fan to DEAD HEAD status. If you don't fall in love with this stuff right away it will surely grow on you. Disc two opens in stellar fashion with SUGAREE and BIG RIVER (J.CASH) all above mentioned tracks remain my all time faves (excluding all PIGPEN stuff*) But there isn't a weak moment on these two discs. Jerry's guitar is on fire creating beauty untouched by anyone else. The band is at there absolute most solid.
There is a vibe here that I've never found on any other Dead recording, or anywhere else.

If you ask me they should issue this album to Junior High school kids, with a bong and a tie dye shirt.

This was the Dead's comeback show after a six month hiatus. It was a private concert for radio execs to promote the the bands new album "Blues for Allah." A bootleg of this show was widely circulated for many years and was considered by a few to be among the Dead's finest shows. With the release of "From the Vault" you can now own a crispy multi-track copy of the show on disc. Listening to these discs on a hi-fi with headphones is a real thrill: the separation of each instrument and voice is very impressive. The Help>Slipknop>Frankin opener is quite good. As is this version of Eyes of the World. I don't care for the performances of some of these songs (Suguree comes to mind). The band seems a bit stiff at certain points. But over all this this is a nice set to listen to, especially in such a sharp format.

Back in the day, I first heard and recorded this show from a bootleg LP set titled "Make Believe Ballroom." It was a stellar recording, boxed like the George Harrison "All Things Must Pass" collection, and may have come from the King Biscuit Flower Hour as there were some tracks missing. However, it could also have been altered in order to more properly fit the LP format (rather limiting).

For anyone who has already undergone a process of Dead initiation, you'll understand those who recall an "imprint" that a particular show or recording made. Well, sitting in a dim dorm room, this did IT for me. Yeah, I'd been listening to their music for a few years, but this recording confirmed the "fact" that there was an inimitable magic to be had with certain special recordings. There is nothing like a Dead show, and yet there is nothing like this show. Seriously.

For the uninitiated, but curious, this is a great way to start your Dead-quest. Dick Latvala knew EXACTLY what he was doing when he released this (as did the King Biscuit Flower Hour dude). Hands down, this is one of the tightest, most intense and varied Grateful Dead shows out there. It's one for the ages and should reveal to any skeptics why they deserve a genre of their own in the pantheon of rock and roll. The Dead were unique, and this recording will demonstrate just exactly why.

Careful, it may leave a permanent impression!

The title of my review comes from Dan Healy and the liner notes to "One From The Vault." It was the predecessor to "Dick's Picks" and the numerous archive releases that came in later years.

"One From The Vault" is notable for several reasons. Keith & Donna Godchaux first appeared on the mammoth "Europe 72," and their first studio album (Wake Of The Flood) was met with enthusiastic reviews as the result of the band breaking new ground with songs like "Weather Report Suite." The second, "Mars Hotel," was not welcomed as kindly by critics, even though it included Dead staples like "Scarlet Begonias," "Ship Of Fools," "U.S. Blues," and "China Doll."

On the third album, the band really stretched and took some risks. It was unusual for a band who had grown more comfortable with the live stage than the recording studio to invest the kind of effort they did into "Blues For Allah." The album generated what became one of the strongest pieces in their live shows for years to come, the "Help On The Way / Slipknot! / Franklin's Tower" trilogy. Equally satisfying was "Crazy Fingers," with its reggae overtones and "lazy hazy summer day" vocal from Jerry. "Blues For Allah" sounds like weirdness from the Brian Wilson sessions for "Smile"...trippy instrumentation and druid-like harmony vocals...not exactly "China Cat / Rider" stuff. The band took more than a few risks, and it was the last time they would release a studio album of this nature.

The 8/13/75 show at San Francisco's Great American Music Hall was used to showcase the "Blues For Allah" album. The entire album's performed, although not in its original sequence...in between "Allah's" tracks you'll find several Dead concert faves. Mickey Hart had returned to the band, from his self-imposed 1971-1974 exile. All of the band members were performing at the top of their game.

The next album, "Terrapin Station," was crafted under the auspices of Keith Olsen, perhaps best known for ushering in the Buckingham-Nicks era of Fleetwood Mac. After "Blues For Allah," Arista Records wanted a hit.

So enjoy the Dead, in their element, at the edge of their weirdness and brilliance. "One For The Vault" may not meet everyone's expectations of the band, but that's what the band was all about, right?

"Good evening, we welcome you on behalf of the group" Bill Graham muses as each member brings to life his instrument on cue until Graham finishes by declaring "Will you welcome please the Grateful Dead!" Paradise waits indeed.

The band kicks off with a sublime Help/Slip/Frank, everyone's in top form, very tight. Jerry does things with the guitar that should be illegal. Phil does what Phil does best; Bob once again plays the most underrated rhythm guitar in the business, as Billy keeps time with the utmost precision. Clearly one of the best Help/Slip/Franks every performed by the band. Just marvel at the progression between Slipknot and Franklin's Tower when Jerry's guitar rings in that first note.

Next on the bill is an energetic The Music Never Stopped, one of Bob's best songs. As is consistent with the entire album, wonderful sound and great vocals. Really bright; bound to make you dance.

Maybe It Was The Roses makes an appearance with Jerry pouring out his soul while singing "If I tell another what your own lips told to me/let me lay `neith the roses let my eyes no longer see."

Next, the Eyes of the World finds the band once again in top form with Phil Lesh taking control with his melodic bass playing. Jerry's jazzy guitar licks are utterly amazing, but not to be outdone is the rest of the band, which plays wonderfully together on this track. The song closes with Billy doing a find rendition of drums.

Drums close with a venture into a rarely played King Solomon's Marbles/Stronger than Dirt medley. Once again very tight playing in a great instrumental piece of music. Keith lays down some nice piano lines.

A rather lazy version of Chuck Berry's Around and Around follows, which picks up midway through the song. Bob screams "I had to take a chance/rose out of my seat now /Lord I had to dance!" Indeed the crowd obliged.

Set two brings in a lovely Sugaree with Jerry sounding as fine as I've ever heard him vocally. Emotion just pouring out of him and his guitar like his life depended on it.

Johnny Cash's Big River appears next with a rendition that would surely make Cash himself smile with delight. One of the best versions of this song that I have ever heard, full of energy would be an understatement. Garcia rips through the song with extraordinary gusto. Seriously brilliant guitar work, the guy is amazing; most innovative guitarist ever, period. No one else on earth can make a guitar sound like that.

Cash's delight transforms into another rarely hear classic, Crazy Fingers. Why this song was not played live more often baffles me, such a beautiful melody, kind of surreal. Around six and a half minutes into the song it takes off into a beautiful jam highlighted by a ridiculous interplay between Lesh and Garcia that ultimately fades into another fine version of drums.

The familiar beginning of The Other One emerges out of drums with the pulsing bass line of Lesh accompanied by Jerry's bright guitar. Truly a classic, The Other One was played throughout the Dead's career and was a highlight of many a show. This version is relatively short, but great none-the-less, kind of an afterthought here. Did I mention best guitarist ever, period?

Next, Bob lays out the lovely opening lines to Sage and Spirit, reminiscent of Weather Report Suite, another rare gem that should have been played more often. Really a beautiful tune, nice work Bob.

Sage and Spirit meanders into Going Down the Road Feeling Bad, another classic Dead song. Again, Jerry coaxes sounds out of his guitar which are hard to fathom. Rolling Stone listed Curt Cobain (among others) ahead of Jerry Garcia as one the greatest guitarist ever. Blasphemy I say! The night is coming to an end, the band is as tight as ever. Phil's bass thunders, Bob noodles, Billy rocks and rolls, Keith hammers and Donna wails. Bliss.

Bliss continues with a stellar version of US Blues. "Give me five, still alive!" the audience must delightfully agree. Great version of a great song.

The show closes with the long (clocking in at over 21 minutes) and very strange Blues for Allah. Crickets chirp, band members chant, sparse music, strange closing song to such a wonderful set. But, that's the beauty of the Grateful Dead. Not an essential song by any means, but interesting none-the-less.

In summary, if you like the Dead you probably already know about this exceptional show, if not then you are in for a treat. You might not like this record the first time you hear it if it's your first exposure to the Grateful Dead. I hated it the first time I heard it as I was completely unfamiliar with the Grateful Dead. However, with a little patience you will be rewarded not only with this fine recording, but hopefully rewarded with a lifetime of the magic that is the Grateful Dead. With 35 Dick's Picks and counting along with numerous Vault releases, even if you never got to see a live Dead show you can still experience what cannot be explained. Thanks for reading.

I remember clear as a bell, like the one in Franklin's tower, a buddy lending me a bootleg, before the official release, and making me promise to listen to it. As a staunch non dead fan, I knew I'd listen to 5 minutes turn it off and return to listening to another band. Wrong! I listened, turned on, and never looked back....and many shows later!

This was a land mark show and one of the most bootlegged. It was one of the great Wall of Sound shows and a must for any diverse collection.

~8/13/75~ Billed as the Dead's 'Comeback Show' after a year long hiatus from live concerts, 1 From The Vault beautifully documents the band at one of the many peaks of creativity they scaled during the 1970's.

This concert ranks among tape traders as one of the most widely traded Grateful Dead concerts of the band's entire 30 year run. Argueably one of their very best live performances.

Jerry Garcia leads the band and audience through a sonic landscape too beautiful to be truly seen and felt with anything but the heart.