'Slipknot!' contains chord changes, progressions, and time signatures which become musical riddles for the band to solve - which they do in the form of 'Franklin's Tower.' Another highly evolved piece is the rarely performed 'King Solomon's Marbles,' an instrumental that spotlights, among other things, Keith Godchaux's tastefully unrestrained Fender Rhodes finger work displaying more than just a tinge of Herbie Hancock inspiration. album as to anything the Grateful Dead had been associated with. The opening combo of 'Help on the Way,' 'Slipknot!,' and 'Franklin's Tower' is a multifaceted suite, owing as much to Miles Davis circa the E.S.P.
Obviously, the time off had done the band worlds of good, as Blues for Allah - more than any past or future studio album - captures the Dead at their most natural and inspired. When the LP hit shelves in September of 1975, the Dead were still not back on the road - although they had played a few gigs throughout San Francisco. The disc was likewise the third to be issued on their own Grateful Dead Records label.
The Grateful Dead went into a state of latent activity in the fall of 1974 that lasted until the spring of the following year when the band reconvened at guitarist/vocalist Bob Weir's Ace Studios to record Blues for Allah.
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