Blues for Allah is the eighth studio album (twelfth overall) by the Grateful Dead. It was recorded February 27 May 7, 1975, and released September 1, 1975. It was the band's third album on their own Grateful Dead Records label and their third studio album in a row. Blues for Allah was the group's highest-charting album until 1987's In the Dark, reaching 12 during a thirteen-week stay on the Billboard Album Chart. Recording Blues for Allah was recorded after the Dead began a band hiatus in October 1974. Conscious of needing a new album release for their independent label, the band initiated the project in January 1975. In contrast to the commercial studios employed for their previous studio albums, the band used the studio that rhythm guitarist Bob Weir had built at his new home in Mill Valley, California. Rather than their usual approach of recording studio versions of songs that had matured on stage, the tracks were developed in the studio setting. According to manager Rock Scully, this was in part an attempt by lead guitarist Jerry Garcia to ensure more involvement in the writing process from other band members. In creating material from scratch, the band were able to progress beyond the previous genres in which they had played. Garcia explained "We're working on creating styles, rather than just being eclectic or synthesizing other styles. Thus, it's a little bit more difficult, and considerably more experimental." The main riff of "Franklin's Tower" was partly inspired by the chorus of Lou Reed's 1973 hit "Walk on the Wild Side." A discernable Middle Eastern theme emerged, supported by Robert Hunter's lyrics. Non-Western time signatures on some of the material added to the concept, as well as experiments with instrumentation, such as flute on the Bach-inspired "Sage & Spirit" (named for Scully's daughters). Garcia said he was "creating scales that generated their own harmony in ways that weren't symmetrical in regular, classical major-minor relationships." Bassist Phil Lesh recalled "Jerry brought in a strange, almost atonal melodic entity that would evolve into the title song and sequence for the album, and I had sketched out a little Latin-flavored, seven-beat instrumental number inspired by Shelley's poem 'Ozymandias' called 'King Solomon's Marbles'. Besides 'Crazy Fingers,' his marvelous essay in smoky ambiguity, Jerry also contributed a triptych of already written tunes ("Help on the Way", "Slipknot", and "Franklin's Tower") that would become, in live performance,