GRATEFUL DEAD 2nd LP anthem of the sun ORIGINAL W7 MIX white label promo PSYCH

	£		39
	$		52

ORIGINAL 1968 ACID ROCK CLASSIC COLLECTIBLE ULTRA RARE WHITE LABEL PROMOTIONAL ALBUM
THE GRATEFUL DEAD - ANTHEM OF THE SUN
USA -  (W7) WARNER BROTHERS - 1749 WHITE LABEL PROMO
SUPER RARE, ADVANCE RELEASE WHITE LABEL PROMOTIONAL TOP COLLECTIBLE 1968 first printing on the old 7 ARTS Warner Brothers label... 
SLEEVE IS IN EXCELLENT- CONDITION (SPLIT SEAM) AND THE RECORD IS IN EXCELLENT CONDITION. 
 
 
On the Grateful Dead's Anthem of the Sun ...the studio with its production work meshes into live performance, the carefully crafted flows smoothly together and 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.

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-rural 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 guitar 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. So much else is right about 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 was over a year since the first Dead album in '67. It was worth the wait.
          

Side one
    "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" (Weir) – 2:04

Side two
    "Alligator"  – 15:17
    "Caution (Do Not Stop on Tracks)"  – 5:32

Here is a review from progfan97402:
Just like their following album, Aoxomoxoa, Anthem of the Sun was remixed in the early '70s. When collecting albums, to get the original mix, you simply look for the first label pressing, the green "W7" label, that's plain and simple as that.

With the remix of Anthem, much of it was simply to improve the sound quality, as much of the music is still much the same. I have the remixed version on cassette and the original (green "W7" label) on LP. This is probably the most radical of the Dead albums. Phil Lesh was open to his love of avant garde classical (John Cage, Stockhausen, etc.) and it frequently shows here. Much of this was various live recordings that were 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 with the opening of Wally Heider). 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 I am just rather amazed of the intense passages found throughout. Garcia doesn't even use that trademark lead so common in Dead concerts, but instead that heavily fuzzed lead common to acid rock of the time. They really get off on the deep end, making me think of Krautrock (I am convinced many of the Krautrockers had picked up on this album as much as they did Pink Floyd). "Alligator" shows a heavy percussion experiment, since Mickey Hart just joined the band so he obviously shows his tricks here. "Caution (Do Not Step on Tracks)" has this percussion and spoken dialog. Did Can get this idea for "Pinch" off Ege Bamyasi from this piece? I'm willing to think so. But then "Caution" ends with strange use of guitar feedback and strange electronic effects. This album really has an "everything but the kitchen sink" approach. It was a rather costly experiment that nearly bankrupted this band (no wonder the band turned to a more simplistic country/folk sound with Workingman's Dead and American Beauty). I doubt Anthem of the Sun will convince detractors of the Dead, but for those who want to hear the Dead at their most experimental, go for it.

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