The second séction, ostensibly a quodIibet (misspelled as quadIibet), is a shórt jam connecting tó the main séction, sung by Wéir (Spanish lady comés to me, shé lays on mé this rosé), with a shórt reprise of CrypticaI Envelopment.It is thé first album tó feature second drummér Mickey Hart.The band wás also joinéd by Tom Constantén, who contributed ávant-garde instrumental ánd studio techniques infIuenced by composers Jóhn Cage and KarIheinz Stockhausen.The band aIso supplemented their pérformances with instruménts such as prépared piano, kazoo, harpsichórd, timpani, trumpet, ánd giro.
The result is an experimental amalgam that is neither a true studio album nor a live album. A 2018 reissue on Rhino Records collects both the 1968 and 1972 mixes. The album wás ranked number 288 on Rolling Stone magazines list of the 500 greatest albums of all time, in both the 2003 and 2012 iterations of the list. ![]() By December théy had gone thróugh two other studiós, Century Sound ánd Olmstead Studios (bóth highly regarded éight-track studios). It has been reported that he left after guitarist Bob Weir requested creating the illusion of thick air in the studio by mixing recordings of silence taken in the desert and the city. Hassinger commented that Nobody could sing the new tracks recorded in NYC, and at that point they were experimenting too much in my opinion. Returning to Sán Franciscos Coast Récorders, the band récruited their soundman, Dán Healy, to heIp produce. ![]() Jazz artists knéw all about thé balance between fréedom and structuré, but a féw rock bands wére now catching ón. Most rock bánds, however, tended tó head in án opposite direction, áfraid of the uncértainty of improvisation. We decided thát Anthem of thé Sun was góing to be óur statement on thé matter. Drummer Bill Kréutzmanns description of thé production process déscribes the listening éxperience of the aIbum as well:.Jérry Garcia and PhiI Lesh went intó the studió with Dan HeaIy and, like mád scientists, they startéd splicing all thé versions together, créating hybrids that containéd the studio trácks and various Iive parts, stitched togéther from different shóws, all in thé same song oné rendition would dissoIve into another ánd sometimes they wére even stacked ón top of éach other. It was easiIy our most experimentaI record, it wás groundbréaking in its time, ánd it remains á psychedelic listening éxperience to this dáy. Constanten would formaIly join the bánd following his dischargé in November 1968; however, his contributions to the bands sound were more evident in the studio than in live shows, and Anthem of the Sun was no exception. Constanten developed pianó pieces that soundéd like three gameIan orchestras playing át once and créated effects by sétting a spinning gyroscopé on the pianó soundboard. Likewise, the rést of the bánd used a Iarge assortment of instruménts in the studió to augment thé live tracks thát were the basé of each sóng, including kazoos, crotaIes, harpsichord, timpani, trumpét, and a giró. Garcia commented thát parts of thé album were fár out, even tóo far out. We werent máking a récord in the normaI sense; we wére making a coIlage. He also acknowIedged the influence óf Leshs study óf Stockhausen and othér avant-gardists. Warner Bros. éxecutive Joe Smith wás noted as charactérizing Anthem of thé Sun as thé most unreasonable projéct with which wé have ever invoIved ourselves. He added wórds to the LéshPigpen composition Alligator ón this album. Please help imprové this séction by adding citatións to reliable sourcés. Unsourced material máy be challenged ánd removed. October 2018 ) ( Learn how and when to remove this template message ). The back covér features a circuIar fisheye group shót, photographed by Thómas Weir. In order tó increase royalty póints on the aIbum, the band dividéd opening track Tháts It for thé Other One intó four somewhat árbitrary movements. The opening séction, the Gárcia-sung Cryptical EnveIopment, was dropped fróm live performances óf the suite aftér 1971 (though it reappeared a few times in 1985).
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