The Grateful Dead - Anthem Of The Sun (1968) US Pressing - LP/FLAC In 24bit/96kHz
The Grateful Dead - Anthem Of The Sun
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz & 16bit/44kHz | 800mb & 200mb
Mastered At Criteria Recording Studios
Label: Warner Bros. Records/WS 1749| Released: 1968 | This Issue: 1978 | Genre: Psychedelic-Rock
That’s It For The Other One
A1.I Cryptical Envelopement
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
-
B1 Alligator
B2 Caution (Do Not Stop On Tracks)
Companies, etc.
Record Company – Warner Bros. Records
Published By – Ice Nine Publishing Company, Inc.
Recorded At – RCA Studios, Hollywood
Recorded At – American Studios, No. Hollywood
Recorded At – Century Sound Studios
Recorded At – Olmstead Studios
Recorded At – Shrine Exposition, L.A.
Mastered At – Columbus Recorders, San Francisco
Mixed At – Columbus Recorders, San Francisco
Mastered At – Apostolic Studios
Mixed At – Apostolic Studios
Mastered At – Criteria Recording Studios
Mixed At – Criteria Recording Studios
Credits
Art Direction – Ed Thrasher
Artwork [Cover] – Bill Walker (8)
Bass, Trumpet, Harpsichord, Guiro, Kazoo, Piano, Timpani – Phil Lesh
Drums, Bells [Orchestra], Gong, Chimes, Crotales, Piano [Prepared], Finger Cymbals – Bill Kreutzmann, Mickey Hart
Engineer [Asst.] – Bob Mathews*
Engineer [Executive] – Dan Healy
Lead Guitar, Acoustic Guitar, Kazoo, Vibraslap – Jerry Garcia
Organ, Claves [Celesta] – Ron McKernan*
Photography By [Liner Photo] – Thomas Weir
Piano, Piano [Prepared], Tape [Electronic] – Tom Constaten*
Producer [Studios And Live] – Dave Hassinger
Rhythm Guitar, Twelve-String Guitar, Acoustic Guitar, Kazoo – Bob Weir
Written-By, Arranged By, Producer – The Grateful Dead
Notes
late 70’s tan WB pressing with shield logo.
Studios:
Sept. ’67 – RCA Studio A, Hollywood
Oct. 67 – American Studios, No. Hollywood
Dec. ’67 – Century Sound, New York / Olmstead Studios, New York
Live:
11/10-11/67 Shrine Exposition, L.A.
Stereo Mix Mastering:
Columbus Recorders, San Francisco
Criteria Studio, Miami
Apostolic Studios, New York
Barcode and Other Identifiers
Matrix / Runout (Side A, label): WS 1749
Matrix / Runout (Side B, label): WS 1749
Matrix / Runout (Side A, runout etched): WS-1-1749-LW2 stamped 2
Matrix / Runout (Side B, runout etched): WS-2-1749 LW-1 *
Rights Society: BMI
Other: Tan label with Orange/blue/silver WB shield. (1978 or later)
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz & 16bit/44kHz | 800mb & 200mb
Mastered At Criteria Recording Studios
Label: Warner Bros. Records/WS 1749| Released: 1968 | This Issue: 1978 | Genre: Psychedelic-Rock
That’s It For The Other One
A1.I Cryptical Envelopement
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
-
B1 Alligator
B2 Caution (Do Not Stop On Tracks)
Companies, etc.
Record Company – Warner Bros. Records
Published By – Ice Nine Publishing Company, Inc.
Recorded At – RCA Studios, Hollywood
Recorded At – American Studios, No. Hollywood
Recorded At – Century Sound Studios
Recorded At – Olmstead Studios
Recorded At – Shrine Exposition, L.A.
Mastered At – Columbus Recorders, San Francisco
Mixed At – Columbus Recorders, San Francisco
Mastered At – Apostolic Studios
Mixed At – Apostolic Studios
Mastered At – Criteria Recording Studios
Mixed At – Criteria Recording Studios
Credits
Art Direction – Ed Thrasher
Artwork [Cover] – Bill Walker (8)
Bass, Trumpet, Harpsichord, Guiro, Kazoo, Piano, Timpani – Phil Lesh
Drums, Bells [Orchestra], Gong, Chimes, Crotales, Piano [Prepared], Finger Cymbals – Bill Kreutzmann, Mickey Hart
Engineer [Asst.] – Bob Mathews*
Engineer [Executive] – Dan Healy
Lead Guitar, Acoustic Guitar, Kazoo, Vibraslap – Jerry Garcia
Organ, Claves [Celesta] – Ron McKernan*
Photography By [Liner Photo] – Thomas Weir
Piano, Piano [Prepared], Tape [Electronic] – Tom Constaten*
Producer [Studios And Live] – Dave Hassinger
Rhythm Guitar, Twelve-String Guitar, Acoustic Guitar, Kazoo – Bob Weir
Written-By, Arranged By, Producer – The Grateful Dead
Notes
late 70’s tan WB pressing with shield logo.
Studios:
Sept. ’67 – RCA Studio A, Hollywood
Oct. 67 – American Studios, No. Hollywood
Dec. ’67 – Century Sound, New York / Olmstead Studios, New York
Live:
11/10-11/67 Shrine Exposition, L.A.
Stereo Mix Mastering:
Columbus Recorders, San Francisco
Criteria Studio, Miami
Apostolic Studios, New York
Barcode and Other Identifiers
Matrix / Runout (Side A, label): WS 1749
Matrix / Runout (Side B, label): WS 1749
Matrix / Runout (Side A, runout etched): WS-1-1749-LW2 stamped 2
Matrix / Runout (Side B, runout etched): WS-2-1749 LW-1 *
Rights Society: BMI
Other: Tan label with Orange/blue/silver WB shield. (1978 or later)
The Grateful Dead - Anthem Of The Sun (1968) US Pressing - LP/FLAC In 24bit/96kHz
The Grateful Dead - Anthem Of The Sun (1968) US Pressing - LP/FLAC In 24bit/96kHz
The Grateful Dead - Anthem Of The Sun (1968) US Pressing - LP/FLAC In 24bit/96kHz
This Rip: 2017
Cleaning: RCM Moth MkII Pro Vinyl
Direct Drive Turntable: Technics SL-1200MK2 Quartz
Cartridge: SHURE M97xE With JICO SAS Stylus
Amplifier: Marantz 2252
ADC: E-MU 0404
DeClick with iZotope RX5: Only Manual (Click per click)
Vinyl Condition: NM-
This LP: From my personal collection
LP Rip & Full Scan LP Cover: Fran Solo
Password: WITHOUT PASSWORD
On the Grateful Dead’s Anthem of the Sun the studio with its production work dissolves into live performance, the carefully crafted is thrown together with the casually tossed off, and the results are spliced together. The end product is one of the finest albums to come out of San Francisco, a personal statement of the rock aesthetic on a level with the Jefferson Airplane’s After Bathing at Baxters. To be sure, the album has its weak points, but as a total work it is remarkably successful, especially when compared to the first Dead album.
The first side of Anthem of the Sun is a masterpiece of rock, “That’s It for the Other One” and “New Potatoes Caboose” being particularly noteworthy. The main theme of “Other One” is an eminently memorable quasi-county melody that starts right off with the tasteful guitar of Garcia that dominates the record; a second movement starts the confusion between live and studio (nice stereo production work here), fading into a restatement of the main theme; then there is some beautiful musique concrete leading into “Caboose.” Already there is evident carefully arranged vocal work, a departure from the Dead’s previous release. The end of “Caboose” is a driving solo by Garcia that builds into structured frenzy thanks to Lesh’s bass, the drums of Hart and Kreutzmann, and especially Garcia’s masterful playing. Garcia is that rarity among rock guitarists, a thoughtful phraser who logically constructs his solos in a manner not unlike a capable jazz musician. Together Lesh, Weir and Garcia (along with McKernan’s fat globs of organ) produce a complex, tight sound that stands with the best hard rock around.
Kazoos open “Alligator,” which is that kind of song, hardly dead serious. But it includes another fine Gacia solo; Lesh shows here as elsewhere that he is a fine bass player, while Hart and Kreutzmann work together to form one of the most powerful (and inventive) percussion units in rock. With “Caution (Do Not Stop on Tracks)” we are confronted with the album’s most curious track, which ranges from a white-imitation blues riff vamp-until-ready to 60-cycle hum and microphone feedback. The vocal sounds like Danny Kalb (poor in other words), but this in fact is the main consistent problem with the album: the vocals. Often the voices are muddy and on blues none of the Dead sound particularly persuasive; but this is a minor quibble when so much else is right on this album. The mixture of electronic and serious music achieved by Edgar Varese on “Deserts” stands as one of the most impressive achievements in this area; on their own terms the Dead have achieved a comparable blend of electronic and electric music. For this reason alone Anthem of the Sun is an extraordinary event. It’s been over a year since the first Dead album. It was worth waiting.By Jim Miller
September 28, 1968, rollingstones.com
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