bordered on acid jazz composition. Wild stuff. Deep cuts." To celebrate the release of the album, the band played a small concert at the Great American Music Hall, featuring the album in its entirety. The performance was recorded on 16-track and released in 1991 as One from the Vault. This was the first complete show ever released by the Grateful Dead and the first of an ongoing stream of releases from the band's vault. Two singles were released from the album, "The Music Never Stopped" and "Franklin's Tower", both backed with "Help on the Way". "The Music Never Stopped" is shorter than the album version, with a differently-recorded ending. "Franklin's Tower" is an edited version and "Help on the Way" fades out before the segue to "Slipknot!" (though fading later on the second single). Blues for Allah was the final studio album on the Grateful Dead's original independent label. Grateful Dead Records' distribution partner United Artists Records had greater involvement in the rights and publication for this album than previously (e.g. releasing the album in foreign markets on the United Artists (UA) label). This was an attempt to combat counterfeiting and because UA was helping fund the completion of The Grateful Dead Movie in return for further distribution rights and the completion of a soundtrack album. Blues for Allah was in and out of print after the band's move to Arista Records. It was re-pressed in 1979 by UA's Liberty imprint. The album was first released on CD in 1987, after which it has remained in print. It was remastered and expanded for the Beyond Description box set, in October 2004. This version was released separately in 2006, by Rhino Records. Critical reception Reviews for Blues for Allah have ranged widely. Reviewing in 1975 for Rolling Stone, Billy Altman wrote that the LP's first side "works beautifully" for the most part, but side two is "total washout". In a retrospective review for AllMusic, Lindsay Planer felt the album "capture[d] the Dead at their most natural and inspired." However, he also felt the title suite was "incongruous when compared to the remainder of this thoroughly solid effort." Gramophone magazine's reviewer said the band has "discarded their blues approach and opted for semi-country and jazz-rock. But there seems to be no real direction on Blues for Allah." Village Voice critic Robert Christgau, who had been a strong supporter of the band's music,