Anthem of the Sun

Infobox Album | Name = Anthem of the Sun
Type = Album
Artist = Grateful Dead


Released = July 18, 1968
Recorded = September, 1967-March 31, 1968 (original LP)
Genre = Psychedelic rock
Length = 38:57 (original LP); 79:38 (CD reissue)
Label = Warner Bros. Records
Producer = Grateful Dead
David Hassinger
Reviews =
*Allmusic Rating|4.5|5 [http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:7zaqoa9abij9 link]
*"Rolling Stone" (positive) [http://www.rollingstone.com/artists/thegratefuldead/albums/album/272749/review/6212720/anthem_of_the_sun link]
Last album = "The Grateful Dead"
(1967)
This album = "Anthem of the Sun"
(1968)
Next album = "Aoxomoxoa"
(1969)

"Anthem of the Sun" is the second studio album by the Grateful Dead, released in 1968. It is the first album to feature second drummer Mickey Hart, who joined the band in September 1967. RS500|287

Making of the album

The band had entered the American Studios in North Hollywood with the same producer, David Hassinger, as their eponymous debut album, in November 1967."Garcia: An American Life" by Blair Jackson, Penguin Books, 1999, pg. 144.] However, the Dead were determined to make a more complicated recorded work than their debut release, as well as attempt to translate their live sound into the studio.

The band and Hassinger then changed locations to New York City in December of that year, where they found themselves going through two other studios, Century Sound and Olmstead Studios (both "highly regarded eight-track studios"). Eventually, Hassinger grew frustrated with the group's slow recording pace and quit the project entirely while the band was at Century Sound, with only a third of the album completed so far. It has been reported that he left after Guitarist Bob Weir requested to create the illusion of "thick air" in the studio."Grateful Dead: The Illustrated Trip" . Jake Woodward, et al. Dorling Kindersley Limited, 2003, pg. 83.] "Phil Lesh: Searching for the Sound" by Phil Lesh, Little, Brown and Company, 2005, pg. 125.] Hassinger commented that "Nobody could sing [the new tracks recorded in NYC] , and at that point they were experimenting too much in my opinion. They didn't know what the hell they were looking for." Garcia noted that "we want [ed] to learn how the studio work [ed] . We [didn't] want somebody else doing it. It's our music, we want [ed] to do it."

The band then recruited their soundman, Dan Healy, to assist them in the studio for the rest of the album and they headed back to San Francisco's Coast Recorders studio. In between the Los Angeles and New York sessions, the band began playing live dates. Lesh commented that this was in part because the songs were not "road tested." Healy, Garcia, and Lesh then took these concert tapes (encompassing two Los Angeles shows from November 1967, a tour of the Pacific Northwest in January/early-February 1968, and a California tour from mid-February to mid-March 1968) and began interlacing them with existing studio tracks. Garcia called this "mix [ing] it for the hallucinations."

Adding to the psychedelic madness on the album was Tom Constanten, a friend of bassist Phil Lesh who joined the band in the studio to provide piano and prepared piano (influenced by John Cage) tracks; Constanten would formally join the band in November 1968. His contributions to the band's sound were always much more evident in the studio than in their live shows, and "Anthem of the Sun" was no exception. Constanten made it so that the piano pieces seemed like three gamelan orchestras were playing all at once. He even went so far as to use a gyroscope set spinning on the piano soundboard. All in all, the album turned out as psychedelic as intended. The band used a large assortment of instruments in the studio to augment the live tracks that were the base of each song, including kazoos, crotales, a harpsichord, timpani, guiro, and a trumpet. Garcia commented that parts of the album were "far out, even too far out ... We weren't making a record in the normal sense; we were making a collage." In order to get more publishing royalty points on the album, the opening track "That's It For The Other One" was artificially divided into four other "songs" by the band. Robert Hunter, a longtime friend and then-future songwriting collaborator of Jerry Garcia, made his first lyrical contributions to the band, providing Lesh and Pigpen with the words to "Alligator".

Joe Smith, president of Warner Bros. at the time, was noted as calling "Anthem of the Sun" as "the most unreasonable project with which we have ever involved ourselves."

Early pressings of the album include the phrase "The faster we go, the rounder we get" inscribed on the vinyl in the matrix around the label area.

A remixed version of "Anthem of the Sun" was issued in 1972 (with the same product number, #WS-1749), and can be identified by the letters RE after the master numbers.

Although the chaos of the final product makes it difficult to tell where many of the live excerpts used in the creation of Anthem Of The Sun actually ended up, significant fragments of "Alligator" (e.g. the post-vocals "jam section") known to hail from a show at San Francisco's Carousel Ballroom on 2/14/68. Also the "Alligator" vocal reprise is taken from 11/10/67 at the Shine Exposition Center. Similarly, the skeletal framework of "Caution (Do Not Stop On Tracks)" dates from the Los Angeles Shrine Auditorium show on 11/10/67 and at the Carousel Ballroom on March 31st 1968. Extended excerpts from two shows at Kings Beach Bowl in Lake Tahoe, CA on 2/23-24/68 that provided music for the album (most notably the car horn heard at the end of "Caution (Do Not Stop On Tracks)") were later released on the live archival recording "Dick's Picks Volume 22." A further show from this period whose contents such as the verses in "The Other One" portion of "That's It For The Other One" as well as the first half of the instrumental jam "New Potato Caboose" (after the vocals) were used on Anthem Of The Sun, hailing from 3/16/68, was released as the Grateful Dead Download Series Volume 6.

Anthem to Beauty

The making of "Anthem of the Sun", "Aoxomoxoa", "Workingman's Dead", and "American Beauty" are described by former members and associates of the Grateful Dead in the 1997 "Classic Albums" documentary "Anthem to Beauty".

Track listing

ide one

#"That's It for the Other One" – 7:46:
#*"Cryptical Envelopment" (Garcia)
#*"Quodlibet for Tenderfeet" (Garcia, Kreutzmann, Lesh, McKernan, Weir)
#*"The Faster We Go, The Rounder We Get" (Kreutzmann, Weir)
#*"We Leave the Castle" (Constanten)
#"New Potato Caboose" (Lesh, Petersen) – 8:18
#"Born Cross-Eyed" (Weir) – 2:04

ide two

#"Alligator" (Lesh, McKernan, Hunter) – 15:17
#"Caution (Do Not Stop on Tracks)" (Garcia, Kreutzmann, Lesh, McKernan, Weir) – 5:32

2003 reissue

#"That's It for the Other One" – 7:46:
#*"Cryptical Envelopment (Garcia)
#*"Quodlibet for Tenderfeet" (Garcia, Kreutzmann, Lesh, McKernan, Weir)
#*"The Faster We Go, The Rounder We Get" (Kreutzmann, Weir)
#*"We Leave the Castle" (Constanten)
#"New Potato Caboose" (Lesh, Petersen) – 8:18
#"Born Cross-Eyed" (Weir) – 2:04
#"Alligator" (Lesh, McKernan, Hunter) – 15:17
#"Caution (Do Not Stop on Tracks)" (Garcia, Kreutzmann, Lesh, McKernan, Weir) – 5:32
#"Alligator" (live) (Lesh, McKernan, Hunter) – 18:43
#"Caution (Do Not Stop on Tracks)" (live) (Garcia, Kreutzmann, Lesh, McKernan, Weir) -
#"Feedback" (live) (Grateful Dead) – 4:01
#"Born Cross-Eyed" (single version) (Weir) – 2:55 [Unlisted Bonus Track]

Musical personnel

*Jerry Garcia - lead guitar, acoustic guitar, kazoo, vibraslap, vocals
*Bob Weir - rhythm guitar, 12-string guitar, acoustic guitar, kazoo, vocals
*Ron "Pigpen" McKernan - organ, celesta, claves, vocals
*Phil Lesh - bass, trumpet, harpsichord, guiro, kazoo, piano, timpani, vocals
*Bill Kreutzmann - drums, orchestra bells, gong, chimes, crotales, prepared piano, finger cymbals
*Mickey Hart - drums, orchestra bells, gong, chimes, crotales, prepared piano, finger cymbals

with

*Tom Constanten - prepared piano, piano, electronic tape

Production personnel

*Grateful Dead - producers, arrangers
*David Hassinger - co-producer
*Dan Healy - executive engineer
*Bob Matthews - assistant engineer

Recording locations

tudio tracks

*RCA Victor Studio A, Hollywood, CA, September 1967
*American Recording Company, Studio City, CA, October, 1967
*Century Sound Studio, New York, NY, December, 1967
*Olmstead Sound Studios, New York, NY, December, 1967

Live tracks

*Shrine Exposition Center, Los Angeles, California, November 10 - 11, 1967
*Eureka Municipal Auditorium, Eureka, California, January 20, 1968
*Eagles Auditorium, Seattle, Washington, January 26 - 27, 1968
*Crystal Ballroom, Portland, Oregon, February 2 - 3, 1968
*Carousel Ballroom, San Francisco, California, February 14, March 15 - 17, March 29 - 31, 1968
*Kings Beach Bowl, Lake Tahoe, California, February 22 - 24, 1968It is believed that the majority of the live music on the finished record is from the February 14th Carousel Ballroom date. Bonus tracks 6-8 on the 2003 reissue were recorded live at Shrine Exposition Center on August 23, 1968.

Reissue production credits

*James Austin and David Lemieux - reissue producers
*Peter McQuaid - executive producer, Grateful Dead Productions
*Michael Wesley Johnson - associate producer, research coordination
*Eileen Law - archival research, Grateful Dead Archives
*Cassidy Law - project coordination, Grateful Dead Archives
*Jeffrey Norman - additional mixing on bonus tracks
*Joe Castwirt - mastering, production consultant

Charts

Album - Billboard

ee also

*Grateful Dead
*Grateful Dead discography
*Born Cross-Eyed

References