Grateful Dead You Know Ill Love Will Not Fade Away

"The double-decker came by and I got on, that'south when it all began"

The Annotated
"That's It For The Other One"

An installment in The Annotated Grateful Expressionless Lyrics.

By David Dodd
Research Associate, Music Department
University of California, Santa Cruz.

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Copyright notice

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Some interpretations: contributions from the WELL Deadlit briefing.

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"That's It For The Other One"

Words and music by Jerry Garcia, Bob Weir, and Bill Kreutzmann ("That'southward It For the Other I," composed and written past Jerry Garcia, Bob Weir, and Pecker Kreutzmann. Reproduced past organization with Ice Nine Publishing Company, Inc. (ASCAP))

["Cryptical Envelopment"]

The other 24-hour interval they waited, the heaven was night and faded,
Solemnly they stated, "He has to dice, you know he has to dice."
All the children learnin', from books that they were burnin',
Every foliage was turnin', to scout him dice, you know he had to dice.

The summertime lord's day looked down on him,
His female parent could merely frown on him,
And all the other sound on him,
He had to die, y'all know he had to die.

["Quodlibet for tenderfeet": Instrumental]

["The Faster We Go The Rounder Nosotros Get: aka function 2]

Castilian lady come to me, she lays on me this rose.
It rainbow spirals circular and round,
It trembles and explodes
It left a smoking crater of my mind,
I like to accident away.
Simply the oestrus came circular and busted me
For smilin on a cloudy day

[Chorus]

Comin', comin', comin' around, comin' around, comin' around in a circle
Comin', comin', comin' effectually, comin' around, in a circle,
Comin', comin', comin' around, comin' effectually, in a circle.

Escapin' through the lily fields
I came across an empty space
It trembled and exploded
Left a motorbus stop in its place
The bus came past and I got on
That's when it all began
There was cowboy Neal
At the wheel
Of a bus to never-always country

[Chorus]

["We Exit the Castle"]

And when the mean solar day had ended, with rainbow colors blended,
Their minds remained unbended,
He had to die, oh, y'all know he had to die.

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That'south It For the Other One

Musical details:

• Primal: Start part: Three sharps (quasi-A); 2d office: Eastward
• Time signature: Kickoff function: iv/4; Second part: 12/8
• Chords used: Offset part: Due east, A(no 3rd), A, G, Em, D, C(no tertiary), B(no 3rd), Am, G#, F#seven, B7; Second part: E, D, C, A, Yard, B
• Songbook availability:
  • Anthology (both parts)
  • Hundred Year Hall (role 2 only)

Also known as "The Other I," on most recordings. Offset recorded on Anthem of the Sun. Also to be institute, in various forms, on

• Grateful Dead (Skull & Roses),
• 1 From The Vault
• 2 From the Vault
• Dick's Picks, Vol. 1
• Hundred Year Hall
• Dick's Picks, Vol. four
• Dick'due south Pick's, vol. 5
• Dick'due south Picks, v. half-dozen

Covers:

1. Henry Kaiser on Those Who Know History are Doomed to Echo It
2. Solar Circus on Historical Retrospective.
3. Phish has covered the song live at least once.

Information technology's interesting to note that Jane's Habit, in their version of "Ripple" on Deadicated, use the rhythmic figure of "The Other One" for the basis of the instrumental tracks. An interesting juxtaposition...

This note from rec. music.gdead on the possibility of variant lyrics:

Subject: 2.2.68 - Crystal Ballroom
Date: Thu, 01 May 1997 15:56:14 -0700

F. Scott Clugston wrote:

Greetings,

was listenin' to this contempo acquisition today and noticed some strange lyrics in TO1. The first verse goes somethin' similar this:

When I woke upwardly this forenoon, my head was by my side
? ? ? ? ? ? ? ? ? and vanished overnight
I could not fifty-fifty spell my name, ? ? ? ? ? ?

after this they do the usual "estrus come 'round and disrepair me for smilin' on a cloudy day". Can anybody fill in the question marks and was information technology ever done this way again? BTW, this is a very nice 45 minutes of deadness:

....

Appreciate whatever inputs.

Scott
fsc@enter.net tapelist - http://www.enter.internet/~fsc

And this reply:

Field of study: 2.2.68 - Crystal Ballroom
Engagement: Sat, iii May 1997 xi:27:34 -0600 (MDT)
From: John and Rebecca McGraw
To: fsc@enter.cyberspace
CC: ddodd@brain.uccs.edu

I don't know how skilful a re-create yous've got, but my copy from the Grateful Dead Hr isn't also comprehensible.

I accept, withal, noticed the odd lyrics and, thanks again to the Grateful Dead hour, have some thought of how this whole matter turns into TO1 we all know & love.

10-22-67: Deadbase doesn't even have a setlist for this, & they say the 1st Other1 is next month on 11-11. Gans played it & pointed out the lyric differences.

1st verse:
When I woke up this morn my head was not fastened
I asked my friends about it, try to observe out where its at
[inaudible]...came up inside of me, blew the dust clouds all away
The heat came 'round & busted me for smiling on a cloudy day

2nd poetry:
Well the heat down in jail they weren't very smart
They taught me how to read & write,they taught me the precious arts
When I was breaking out of jail I learned that right away
That they didn't need me telling them almost smiling start and running _?_

(don't know that final word, sounds like "hey" or "hay")

xi-eleven-67:

1st verse:
When I woke upward this forenoon with the sky in sight
I would ask the walls about it, but they vanished overnight
I could not retrieve or spell my name or _?_ the words away
The heat came 'round & busted me for smiling on a cloudy day.

(word in tertiary line sounds like "wing" but I'm non certain what it is. 2nd verse is the familiar "escaping through the lily fields" ane)

2-2-68

When I woke upwards this morn my head was not in sight....

(remainder of 1st stanza is same as 11-eleven-67. looks like the content of the x-22 version has been put in the rhyme scheme of the eleven-eleven version)

As well, on 2-3 the lyrics are the familiar ones, though the "it left a smoking crater of my mind I like to blow away" line is totally flubbed, but that could be because it wasn't stuck in Weir'south listen yet, or it may not take fifty-fifty been written.

I'1000 non saying any of these transcriptions are authoritative. There'due south lots of intense jamming on all of these, and you have to wonder how anal Weir was virtually getting to the mike for the beginnings of stanzas (my judge: not at all). There'south merely a couple places where I'm confused, and those are marked.

Gotta dearest that Grateful Dead hour!

-John McGraw

p.s. when I first read your mail service, I thought I'd check David Dodd's crawly annotated lyrics page (http://www.uccs.edu/~ddodd/gdhome.html#songs). While it didn't have any answers I could quickly & easily forward to you, information technology did take your postal service quoted on information technology. Because of this, I'yard cc'ing this to David.

Thanks!

Blair Jackson, in Grateful Dead: the Music Never Stopped has this to say well-nigh The Other One:

"The song, which the Dead oft dedicated to Owsley and which some have suggested deals with the persecution of the acid chemist, opens with a series of serious, just pleasantly melodic verses sung by Garcia over Pigpen'southward liturgical organ line and Garcia's florid audio-visual guitar... The tune continues to tell the tale of this ill-fated individual until the melody fades and Kreutzmann's and Hart's drums ready upwardly the relentless chugging rhythm of the side by side section, sung by Weir, which eulogizes Prankster Neal Cassady (who died in Mexico in early 1968 under slightly mysterious, perchance drug- related circumstances), and attempts to verbalize, to a caste, psychedelic euphoria. Abruptly, that song closes and the music returns to the original theme sung by Garcia." (pp. 84-85)

David Gans, in Playing in the Band , has this to say virtually "The Other One":

"There's another piece with a ... simple appearance which provides a launching pad for far-reaching group exploration. Information technology's listed in the songbooks equally "Cryptical Envelopment" for publishing reasons, but band and fans know it as "The Other One." It's that brief passage of frantic, fearful 12/8 on side ane of Anthem of the Sun and side two of the "Skullfuck" anthology (Grateful Dead, the 1971 double live LP) with the perfect paranoia imagery and the perfect scary cartoon soundtrack flavor.

"`The thing well-nigh `The Other One' that's so thrilling is that it has all these climaxes at an incredible rate when it's already going at a very strong step,' says Hart.

"Never has such black music packed such joie de vivre! The visual images are of lovely things turning unsafe (`Spanish lady come to me, she lays on me this rose/Information technology rainbow spiral round and round and trembles and explodes') and of everyday scenes turning fabulously opportune: `The bus come up by and I got on/That's when it all began...'
As with `Dark Star' the `song' portion of `The Other One' is straightforward, though characteristically clever, and the sketch of a lyric and the `head' of the vocal are merely jumping-off points.

"`The Other One' has a more clearly circumscribed emotional color than `Dark Star' (`Breathlessness,' says Weir, who wrote it). It'south a joyful song of terror and a scary song of fun, and in operation the ring takes it through many dark passages with brightly lit tonalities shut at paw. You can come across the cinematic version of `The Other 1' in you mind's heart without having to know the words."(pp. 74-75)

In an interview published in Aureate Road, Leap, 1991, p. 30, Garcia was asked about his portion of the lyric:

"Golden Road: Who or what inspired your section of "That'southward It For the Other Ane"--"The other day they waited," etc.?

Garcia: ... "Seriously, I call up that's an extension of my own personal symbology for "The Man of Constant Sorrow"--the old folk song--which I ever idea of every bit existence a sort of Christ parable."

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Here are some ideas on the song's significant contributed via the WELL's Deadlit conference:

• "That's it for the other one always made me think of the greats who were burned for assertive "controversial" beliefs that have since become accepted fact. It too reminded me of Wilhelm Reich, whose books were existence burned in the fifties. Information technology seems to speak of making a public spectacle of the execution of a visionary. (Equally for Cryptical Envelopment, Bobby's contribution, it seems more a psychedelic interlude.)" -- Ryan 1000. Hastings

• "Funny, to me it's always been symbolic of a "dying" ritual, (the need of the ego to die in social club for the true spirit to be born within). In other words, the "expiry" was a metamorphosis & therefore was something to exist desired...interesting how we tin have such different takes on these things. Just I guess this is a subject for some other topic..."--David Gans

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Quodlibet

Thanks to Dave Kopel for the following annotation!

The word is a combination of the Latin "quod" (meaning "what") andlibet ("it pleases"). For use of quodlibet in its most literal sense, see, for case, the Latin translation of the Volume of Leviticus.

But over fourth dimension, quodlibet acquired a more than specialized pregnant. In medieval times, there would be certain days when professors of theology would open up upwards the course, and answers questions on any theological topic. In fact, people not fifty-fifty enrolled in the school could come in off the street and pose a question. The professor would exist required to answer any and all questions. The quodlibet was, thus, the opportunity for posing important, sometimes difficult questions to the masters of theology. Some theologians shunned quodlibets, while others loved them . St. Thomas Aquinas was among this latter grouping. (Transcriptsof some quodlibets by Aquinas, Ockham and others are available for sale at a nominalcost.)

Still later, building on both before meanings of "quodlibet", the word began to be applied to certain types of musical compositions. The Oxford Companion defines the word as"a drove of of dissimilar tunes or fragments brought together equally a joke."The device was introduced by J.South. Bach in the Goldberg Variations. Information technology is suggested that the discussion comes from the practice of allowing performers to "work into the web of the music any tune they liked." (See also the explanation of quodlibet inthe Grove'south Lexicon, equally part of the discussion of"variation.") The discussion came to be used for certain kinds of jazz improvisations, as well.

Thus, Kurt Weill'southward opus number ix, composed in 1923, is titled Quodlibet.

An early on music consort at Wright Land Academy in Dayton has taken the proper name, as has a renaissance ensemble in New Mexico.

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Spanish Lady

In that location's a Castilian Lady in the old folk vocal "Dublin City".

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Estrus came round and busted me...

This note from a reader:

Appointment: Monday, 29 Dec 1997 13:09:51 -0800
From: Steve Biederman
To: ddodd@well.com
Subject: Annotated Lyrics Submission: "Smilin' on a Cloudy Day"

I see you haven't added this stuff that tnf (David Gans, for anyone who is unclear on Truth N Fun...) did with Bob and Phil, where he reveals getting disrepair for "smiling on a cloudy day".
Distressing, I only saved the text itself and not the conf, topic, or date. (Me, I saved it off on July 23 1996; don't know whether tnf posted information technology then or earlier and I only ran across it then):
Weir: Interesting story with "The Other 1." Uh, it was i of the first tunes I ever wrote. Actually, we came up with the "map," basically, for the song in a rehearsal somewhere, just kickin' stuff around. And then I took it and started shaping it upward, and things similar that. We for the song in a rehearsal somewhere, just kickin' stuff around. And and so I took information technology and started shaping it up, and things like that. We went on a bout, in the Pacific Northwest, and I was, you know, I was non done with information technology, I was wondering what the song was about, then i night it sort of came to me. Basically, information technology'due south a picayune, a lilliputian fantastic, uh, episode about my meeting Neal Cassady. I wrote the two verses - that's all in that location is to information technology, actually, is ii verses - and, uh, and so, uh, we played the gig that night and came domicile the adjacent twenty-four hours and when we came habitation we learned the news that Neal had died that night...
DG: Wow.
Weir:...the night that I wrote that. As legend has it, he died counting the railroad ties on the tracks -
Lesh: From Dallas to Denver.
Weir: Something like that. San Miguel de Allende [Mexico], I think, is where he was.
Lesh: Okay.
Weir: Um, so I guess that was a lilliputian visitation, that's - non unlike Neal.
Lesh: But if I retrieve correctly, as soon equally yous had, as soon as you had the words, then we did the song.
Weir: Yeah.
Lesh: I mean, we did it that night
DG: Wow.
Lesh: It didn't require any rehearsal.
Weir: Right.
Lesh:

[Over "The Other One:"] DG: Now, I call up a version from a picayune bit earlier, mayhap the tardily in '67, you had a different ready of lyrics; the first verse is about, you know, "the heat come up 'round and busted me"...
Weir: Right.
DG: ... then there was a second verse that was most "the heat in the jail weren't very smart," or somethin' similar that...
Weir: Oh, I don't...
DG: ...then you had - so...
Weir: Yeah, that was, that was afterward, uh, that was after my little...
Lesh: Water airship episode?
MM: Uh-oh!
DG: Oh, I wanna hear this!
Weir: I got him good. Uh, in that location was this, at that place was, I was, uh, I was on the 3rd flooring of, uh, our identify in the Haight-Ashbury. Um, and there was this cop who was illegally searching a car belonging to a friend of ours, um, down on the street - the cops used to harass us, uh, every chance they got. They didn't care for the hippies dorsum so. And uh, and so I had a h2o balloon, and what was I gonna do with this h2o balloon, come up on. And, uh...
Lesh: Just happened to have a h2o balloon, in his hand...
MM: See, I wasn't gonna bring that upward...
Lesh: ...ladies and gentlemen.
Weir: And so I got him right square on the caput, and uh...
Lesh: A prettier shot you lot never saw.
Weir: ...and, uh, and he didn't, he couldn't tell where it was comin' from, but then I had to go and get downstairs and walk across the street and just grinning at him...
Lesh, MM, DG:
Weir:...and sorta rub information technology in a trivial fleck.
DG: Smilin' on a cloudy day. I understand now.
Lesh, DG:
MM: Information technology all becomes articulate.
Weir: And, uh, at that indicate, he decided to hell with due process of law, this kid'due south goin' to jail. He didn't have a matter on me, they, they . It never got to court, only on the other hand, I did get thrown in jail and vanquish upward a little bit.
MM: I still want to become back; you just happened to have that water balloon handy, information technology was kind of merely like standard procedure.
DG: Gee, I wonder if...
Weir: He was the guy that was breakin' the police force, as well, the cop was.
MM: That's, that's - I agree.
Weir: I guess - what, what does a h2o balloon amount to, is that assail with a, uh...
DG: Friendly weapon.
MM: With a moist weapon.
Lesh, DG:
MM: That goes under the water laws.
DG:
MM: And if it was tap water, that besides...
Lesh: Disrespect for an officeholder.
Weir: Right.
DG: That was enough in those days - as I recall.

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The Motorcoach

Chapter Six of Tom Wolfe'southward The Electrical Kool-Aid Acid Test is entitled "The Bus." He says:

"I couldn't tell you lot for sure which of the Merry Pranksters got the idea for the omnibus, but it had the Babbs touch. ... Then somebody--Babbs?--saw a classified ad for a 1939 International Harvester school bus. The bus belonged to a man in Menlo Park. ...Kesey bought information technology for $one,500--in the name of Intrepid Trips, Inc. Kesey gave the give-and-take and the Pranksters set upon it one afternoon. They started painting information technology and wiring it for sound and cut a hole in the roof and fixing up the top of the double-decker so y'all could sit upward there in the open air and play music, even a prepare of drums and electric guitars and electric bass and so along, or simply ride. Sandy went to work on the wiring and rigged up a system with which they could broadcast from inside the coach, with tapes or over microphones, and it would blast outside over powerful speakers on elevation of the autobus. There were likewise microphones outside that would pick upward sounds along the road and broadcast them inside the motorbus. There was besides a sound system within the motorbus and then you could broadcast to one another over the roar of the engine and the road. You could also broadcast over a tape mechanism so that you lot said something, then heard your own phonation a 2nd afterwards in variable lag and could rap off of that if you wanted to. Or you could put on earphones and rap simultaneously off sounds from outside, coming in 1 ear, and sounds from within, your ain sounds, coming in the other ear. There was going to exist no goddamn sound on that whole trip, outside the bus, inside the motorbus, or within your own freaking larynx, that yous couldn't tune in on and rap off of.

"The painting job, meanwhile, with everybody pitching in in a frenzy of primary colors, xanthous, oranges, blues, reds, was sloppy as hell, except for the parts Roy Seburn did, which were nice manic mandalas. Well, it was sloppy, but one thing you had to say for it; it was freaking lurid. The manifest, the destination sign in the front, read: "Furthur," with 2 u's."

Here's a picture, from the Central-Z site, of the electric current incarnation of the bus.

Other buses in rock music lyrics include the Who'south "Magic Bus" and the Beatles' "Magical Mystery Bout."

[Summit]

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I Got On

Being "on the jitney" ways, well, let's hear Kesey explicate it (via Tom Wolfe):

"`There are going to be times,' says Kesey, `when nosotros can't wait for somebody. Now you're either on the double-decker or off the motorbus. If yous're on the bus, and y'all go left behind, then you lot'll find information technology over again. If you're off the jitney in the first place--then information technology won't make a damn.' And nobody had to accept it spelled out for them. Everything was becoming allegorical, understood by the group mind, and peculiarly this: `You're either on the coach...or off the motorcoach." (Wolfe: The Electric Kool-Assist Acid Test , p. 74)

Entry for "On the Omnibus" from Skeleton Fundamental.

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Owsley

"Little past little, Owsley's history seeped out. He was 30 years erstwhile, although he looked younger, and he had a huge sonorous name: Augustus Owsley Stanley Three. His gramps was a The states Senator from Kentucky. Owsley apparently had had a somewhat hungup fourth dimension every bit a boy, going from prep school to prep school and then to a public loftier schoolhouse, dropping out of that, just getting into the University of Virginia Schoolhouse of Engineering, apparently because of his flair for sciences, so dropping out of that. He finally wound up enrolling in the University of California, in Berkeley, where he hooked upwards with a hip, good-looking chemistry major named Melissa. They dropped out of the University and Owsley set up his first acid manufacturing plant at 1647 Virginia Street, Berkeley." (Wolfe: The Electric Kool-Aid Acrid Test , p. 188.)

Wolfe goes on to tell of the quality of Owsley's LSD, renowned globe-wide, and of its influence on The Beatles:

"Information technology was in this head globe that the...Beatles first took LSD. Now, simply to go ahead of the story a bit--after Owsley hooked up with Kesey and the Pranksters, he began a musical group chosen the Grateful Dead. Through the Dead's experience with the Pranksters was born the sound known as "acid rock." And information technology was that sound that the Beatles picked up on, after they started taking acrid, to practise a famous series of acid-rock record albums, Revolver, Rubber Soul, and Sergeant Pepper'southward Lone Hearts' Club Band. Early on in 1967 the Beatles got a fabulous idea. They got hold of a huge school coach and piled into it with thirty-nine friends and drove and wove across the British countryside, zonked out of their gourds. They were going to...make a flick." (Wolfe, p. 189)

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Escapin'

Often written every bit "Skippin' through the lily fields."

[Elevation]

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Never-ever state

A more-or-less straight reference to "Never-Never Land", from Sir James Matthew Barrie'due south Peter Pan, or the Male child Who Wouldn't Abound Upwards. According to Alberto Manguel and Gianni Guadalupi'due south The Lexicon of Imaginary Places (HBJ, 1980), "...visitors tin be taken to Never-Never Land by a never-aging boy, Peter Pan, who refuses to grow upwardly and claims to have run abroad the twenty-four hours he was born." (p. 263)

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Their minds remained unbended

A letter of the alphabet from Jack Legate to John Scott, dated 3/18/88 states that this line

"...more than or less alludes back to:
MINDBENDER (performed in early 1966; on the 11/3/65 Emergency Crew demo):

If merely I could (exist less fine)
If only I knew what to discover,
Everywhere and all of the fourth dimension--
It's angle my listen

...Phil and Jerry requite the championship "Mindbender". (Each accuses the other of writing it.)

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Keywords: @rose, @expiry, @bus
DeadBase code: [O1]

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Beginning posted: Feb, 1995
Last modified: June 22, 1998

richardsonflarapt.blogspot.com

Source: http://artsites.ucsc.edu/GDead/AGDL/other1.html

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