BOB WEIR CEAN MIX 1973 OG GRATEFUL DEAD "ANTHEM OF THE SUN" PSYCH SF SOUND LP

$

40

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FINAL COLLECTION COPY MINT

• 1973 ORIGINAL DEAD HEADS RE-MIX LP
  ..|/\|...............................................|/\|..
• GRATEFUL DEAD
  
• "ANTHEM OF THE SUN"
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• USA - WARNER BROTHERS - 1749 - STEREO
  

1. This limited edition LP 1973 re-recording is more what the Grateful Dead were aiming at when the album was recorded in 1968 ...some 5 years later after first released (in 1968) = the re-mix LP was only a one time pressing run - now it's very hard to find, more-so than the '68 original issue. Jerry Garcia and the DEAD members were so disappointed with the origina 1968 pressing, stating: "Our first master tapes LP preserved some of the quality when you had a good enough playback system to really hear; but everything after that, the mastering - all of the things we didn't know about, shouldn't have gone go on the original disc. So it was disappointing to us when the disc came out and it sounded different than what we thought it was going to sound like and we couldn't understand that all the stuff that - y'know all the stuff that we had put together, so carefully, didn't really get across." 
2. It appears the early UK pressings may have escaped the texture-stripping phase production (or whatever it was), but later UK pressings with the Kinney number on the cover sound similar to the US disappointing pressings. SO, to revert back to the original intended mixes, the album was remixed in 1971 by members Phil Lesh, Bob Weir, Jerry Garcia -- and it's a totally different release, with different instruments in different channels, and sometimes different source material used. Superior!
   
3. 
   Phil Lesh was open to his love of avant garde classical (John Cage, Stockhausen, etc.) and it frequently shows within. Much of the album showcases live recordings spliced in a Los Angeles studios (the reason the earliest Dead albums, as well as Jefferson Airplane, were recorded in L.A. was the apparent lack of decent recording studios in San Francisco prior to 1969 before the opening of Wally Heider). 
4. 
   The band never felt too comfortable in the studio preferring a live environment. "That's It for the Other One" might starts off mellow, with Jerry Garcia's unmistakable voice, but the listener will find intense passages throughout. Garcia doesn't even use his trademark lead guitar sound so common in Dead concerts, but gets it on with heavily fuzzed leads common to acid rock techniques more of the time. They really send-off on the deep end here, "Alligator" shows a heavy percussion experiment, since Mickey Hart just joined the band and obviously shows his tricks here. "Caution (Do Not Step on Tracks)" has more trippy percussion and spoken dialog, ending with strange use of guitar feedback and weird electronic effects. 
5. 
   
6. This album really has an "everything but the kitchen sink" approach. It was a rather costly experiment that nearly bankrupted the band, but for sure, for those who want to hear the Dead at their most tripped-out, here's your baby.
7. ...Side one
8.  
   "That's It for the Other One" – 7:46:
   "Cryptical Envelopment"
   "Quadlibet for Tenderfeet"
   "The Faster We Go, The Rounder We Get"
   "We Leave the Castle"
   "New Potato Caboose" – 8:18
   "Born Cross-Eyed" (Bobby Weir) – 2:04
   
   Side two
   
   "Alligator" – 15:17
   "Caution (Do Not Stop on Tracks)" – 5:32
   
9. 
   
10. CONDITION:
11. The cover: rated: M- thing is, the re-mixed cover wasn't produced to last over subsequent year, so most of the limited issues show heavy signs of mis-handling and rub wear, yet here is the exception hoped for totally clean = see exact images to bid on. 
12. There are no delete marks, no split seams, no bends, and no writing
13. The vinyl: Rated: M- sharp clean, all glossy, expect to listen to smooth audio all the way... both Warner Brothers original '73 palm tree labels are clean