And Youll Know Whats Right Dead Again Sometimes Its Always a Lyrics

"The charabanc came past and I got on, that'due south when information technology all began"

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

An installment in The Annotated Grateful Dead Lyrics.

Past 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 conference.

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"That's It For The Other One"

Words and music by Jerry Garcia, Bob Weir, and Bill Kreutzmann ("That's It For the Other 1," equanimous and written by Jerry Garcia, Bob Weir, and Neb Kreutzmann. Reproduced by arrangement with Water ice Nine Publishing Company, Inc. (ASCAP))

["Cryptical Envelopment"]

The other twenty-four hour period they waited, the sky was night and faded,
Solemnly they stated, "He has to die, yous know he has to die."
All the children learnin', from books that they were burnin',
Every leaf was turnin', to watch him die, you know he had to die.

The summer sun looked downward on him,
His mother could merely frown on him,
And all the other sound on him,
He had to dice, you know he had to die.

["Quodlibet for tenderfeet": Instrumental]

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

Castilian lady come to me, she lays on me this rose.
It rainbow spirals circular and round,
It trembles and explodes
Information technology left a smoking crater of my listen,
I like to blow abroad.
Simply the rut came round and busted me
For smilin on a cloudy twenty-four hour period

[Chorus]

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

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

[Chorus]

["We Leave the Castle"]

And when the day had concluded, with rainbow colors blended,
Their minds remained unbended,
He had to die, oh, you lot know he had to dice.

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That'due south It For the Other One

Musical details:

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

Also known as "The Other One," on most recordings. First recorded on Anthem of the Sun. Too to be found, in various forms, on

• Grateful Dead (Skull & Roses),
• One From The Vault
• 2 From the Vault
• Dick'due south Picks, Vol. i
• Hundred Year Hall
• Dick'due south Picks, Vol. four
• Dick'due south Choice's, vol. 5
• Dick's Picks, five. 6

Covers:

1. Henry Kaiser on Those Who Know History are Doomed to Repeat Information technology
2. Solar Circus on Historical Retrospective.
3. Phish has covered the song live at to the lowest degree in one case.

It's interesting to notation that Jane's Addiction, in their version of "Ripple" on Deadicated, utilize the rhythmic figure of "The Other Ane" for the basis of the instrumental tracks. An interesting juxtaposition...

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

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

F. Scott Clugston wrote:

Greetings,

was listenin' to this recent conquering today and noticed some strange lyrics in TO1. The outset poesy goes somethin' like this:

When I woke upward this morning, my head was past my side
? ? ? ? ? ? ? ? ? and vanished overnight
I could not even spell my name, ? ? ? ? ? ?

after this they do the usual "heat come up 'round and busted me for smilin' on a cloudy day". Can everyone fill in the question marks and was it e'er done this way again? BTW, this is a very squeamish 45 minutes of deadness:

....

Appreciate any inputs.

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

And this answer:

Subject: 2.2.68 - Crystal Ballroom
Date: Sat, 3 May 1997 eleven:27:34 -0600 (MDT)
From: John and Rebecca McGraw
To: fsc@enter.net
CC: ddodd@brain.uccs.edu

I don't know how good a copy you've got, only my copy from the Grateful Expressionless Hour isn't also comprehensible.

I accept, nonetheless, noticed the odd lyrics and, thanks again to the Grateful Dead hr, have some idea of how this whole thing turns into TO1 we all know & love.

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

1st poesy:
When I woke up this morning my head was non fastened
I asked my friends almost it, try to find out where its at
[inaudible]...came up inside of me, blew the grit clouds all away
The heat came 'circular & disrepair me for smiling on a cloudy mean solar day

2nd verse:
Well the heat downward 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 virtually smiling showtime and running _?_

(don't know that concluding word, sounds similar "hey" or "hay")

xi-11-67:

1st poetry:
When I woke up this morning with the sky in sight
I would enquire the walls about information technology, but they vanished overnight
I could not think or spell my name or _?_ the words abroad
The heat came 'round & busted me for smiling on a cloudy mean solar day.

(word in tertiary line sounds like "fly" simply I'grand not certain what information technology is. second poesy is the familiar "escaping through the lily fields" i)

2-two-68

When I woke up this morning my head was non in sight....

(rest of 1st stanza is same every bit eleven-11-67. looks similar the content of the 10-22 version has been put in the rhyme scheme of the eleven-eleven version)

Also, on ii-three the lyrics are the familiar ones, though the "it left a smoking crater of my mind I like to blow abroad" line is totally flubbed, merely that could exist because information technology wasn't stuck in Weir's mind yet, or information technology may non have fifty-fifty been written.

I'one thousand not maxim whatsoever of these transcriptions are authoritative. There's lots of intense jamming on all of these, and you accept to wonder how anal Weir was nigh getting to the mike for the beginnings of stanzas (my approximate: not at all). In that location's only a couple places where I'm confused, and those are marked.

Gotta dearest that Grateful Dead 60 minutes!

-John McGraw

p.s. when I first read your post, I thought I'd check David Dodd'south awesome annotated lyrics page (http://world wide web.uccs.edu/~ddodd/gdhome.html#songs). While information technology didn't accept any answers I could quickly & hands forward to you, information technology did have your mail service quoted on it. Because of this, I'g cc'ing this to David.

Thank you!

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

"The vocal, which the Expressionless frequently dedicated to Owsley and which some have suggested deals with the persecution of the acrid chemist, opens with a series of serious, simply pleasantly melodic verses sung by Garcia over Pigpen's liturgical organ line and Garcia's florid acoustic guitar... The tune continues to tell the tale of this ill-fated private until the melody fades and Kreutzmann'south and Hart's drums set up the relentless chugging rhythm of the next department, sung past Weir, which eulogizes Prankster Neal Cassady (who died in Mexico in early 1968 under slightly mysterious, maybe 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 past Garcia." (pp. 84-85)

David Gans, in Playing in the Ring , has this to say about "The Other I":

"There'southward another slice with a ... unproblematic appearance which provides a launching pad for far-reaching group exploration. It's listed in the songbooks as "Cryptical Envelopment" for publishing reasons, simply ring and fans know information technology equally "The Other One." It's that brief passage of frantic, fearful 12/viii on side one of Anthem of the Sun and side 2 of the "Skullfuck" album (Grateful Expressionless, the 1971 double live LP) with the perfect paranoia imagery and the perfect scary drawing soundtrack flavour.

"`The thing about `The Other I' that'due south so thrilling is that information technology has all these climaxes at an incredible rate when it's already going at a very strong pace,' says Hart.

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

"`The Other 1' has a more conspicuously confining emotional color than `Dark Star' (`Breathlessness,' says Weir, who wrote it). Information technology's a joyful song of terror and a scary song of fun, and in performance the ring takes it through many nighttime passages with brightly lit tonalities close at hand. You tin can see the cinematic version of `The Other One' in yous mind's centre without having to know the words."(pp. 74-75)

In an interview published in Gilt Route, Spring, 1991, p. 30, Garcia was asked most his portion of the lyric:

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

Garcia: ... "Seriously, I recollect that's an extension of my ain personal symbology for "The Human of Abiding Sorrow"--the onetime folk song--which I always idea of as being a sort of Christ parable."

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Here are some ideas on the song's meaning 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 go accepted fact. It also reminded me of Wilhelm Reich, whose books were being burned in the fifties. It seems to speak of making a public spectacle of the execution of a visionary. (As for Cryptical Envelopment, Bobby'due south contribution, it seems more a psychedelic interlude.)" -- Ryan K. Hastings

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

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Quodlibet

Thanks to Dave Kopel for the following notation!

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

But over time, quodlibet acquired a more specialized meaning. In medieval times, there would be certain days when professors of theology would open upwards the grade, and answers questions on any theological topic. In fact, people non fifty-fifty enrolled in the schoolhouse could come up in off the street and pose a question. The professor would be 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 amid this latter group. (Transcriptsof some quodlibets by Aquinas, Ockham and others are available for auction at a nominalcost.)

Still later on, building on both earlier meanings of "quodlibet", the word began to be applied to certain types of musical compositions. The Oxford Companion defines the give-and-take as"a collection of of different tunes or fragments brought together every bit a joke."The device was introduced by J.Southward. Bach in the Goldberg Variations. It is suggested that the word comes from the exercise of assuasive performers to "work into the spider web of the music any melody they liked." (See also the caption of quodlibet inthe Grove's Dictionary, equally role of the give-and-take of"variation.") The word came to be used for certain kinds of jazz improvisations, equally well.

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

An early music consort at Wright State University in Dayton has taken the proper noun, every bit has a renaissance ensemble in New Mexico.

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Castilian Lady

There's a Spanish Lady in the old folk song "Dublin Urban center".

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Heat came circular and busted me...

This note from a reader:

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

I encounter 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".
Lamentable, I merely saved the text itself and non the conf, topic, or engagement. (Me, I saved it off on July 23 1996; don't know whether tnf posted information technology then or earlier and I only ran beyond it then):
Weir: Interesting story with "The Other Ane." Uh, it was ane of the offset tunes I ever wrote. Actually, we came upward with the "map," basically, for the song in a rehearsal somewhere, just kickin' stuff around. And and so I took it and started shaping it up, and things like that. Nosotros for the song in a rehearsal somewhere, just kickin' stuff effectually. And then I took information technology and started shaping it up, and things like that. We went on a tour, in the Pacific Northwest, and I was, you know, I was not washed with information technology, I was wondering what the song was about, and then one night it sort of came to me. Basically, it's a little, a lilliputian fantastic, uh, episode about my meeting Neal Cassady. I wrote the ii verses - that'southward all in that location is to it, really, is two verses - and, uh, then, uh, we played the gig that night and came home the next 24-hour interval and when we came home we learned the news that Neal had died that night...
DG: Wow.
Weir:...the nighttime that I wrote that. As legend has it, he died counting the railroad ties on the tracks -
Lesh: From Dallas to Denver.
Weir: Something similar that. San Miguel de Allende [Mexico], I think, is where he was.
Lesh: Okay.
Weir: Um, then I guess that was a fiddling visitation, that'southward - not dissimilar Neal.
Lesh: But if I recall correctly, every bit shortly as you had, as soon as you lot had the words, then we did the song.
Weir: Yes.
Lesh: I hateful, we did it that night
DG: Wow.
Lesh: It didn't crave any rehearsal.
Weir: Right.
Lesh:

[Over "The Other Ane:"] DG: Now, I remember a version from a little flake earlier, maybe the belatedly in '67, you lot had a unlike set of lyrics; the showtime verse is about, you lot know, "the heat come 'round and busted me"...
Weir: Right.
DG: ... and then at that place was a 2nd verse that was about "the estrus in the jail weren't very smart," or somethin' similar that...
Weir: Oh, I don't...
DG: ...and then y'all had - so...
Weir: Yes, that was, that was after, uh, that was later on my picayune...
Lesh: Water balloon episode?
MM: Uh-oh!
DG: Oh, I wanna hear this!
Weir: I got him good. Uh, there was this, there was, I was, uh, I was on the tertiary floor 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 adventure they got. They didn't intendance for the hippies dorsum then. And uh, and and so I had a water balloon, and what was I gonna do with this water balloon, come on. And, uh...
Lesh: Just happened to accept a water balloon, in his mitt...
MM: See, I wasn't gonna bring that up...
Lesh: ...ladies and gentlemen.
Weir: And and then I got him correct square on the caput, and uh...
Lesh: A prettier shot you 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 go downstairs and walk beyond the street and just grinning at him...
Lesh, MM, DG:
Weir:...and sorta rub it in a little chip.
DG: Smilin' on a cloudy day. I sympathise now.
Lesh, DG:
MM: It all becomes clear.
Weir: And, uh, at that point, 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, just on the other hand, I did become thrown in jail and beat up a little chip.
MM: I still want to go back; y'all just happened to have that water airship handy, it was kind of merely like standard process.
DG: Gee, I wonder if...
Weir: He was the guy that was breakin' the constabulary, too, the cop was.
MM: That's, that's - I concord.
Weir: I guess - what, what does a h2o balloon amount to, is that attack 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 also...
Lesh: Disrespect for an officer.
Weir: Correct.
DG: That was enough in those days - equally I recall.

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The Motorbus

Chapter Six of Tom Wolfe's The Electric Kool-Assistance Acrid Test is entitled "The Bus." He says:

"I couldn't tell you for sure which of the Merry Pranksters got the idea for the bus, but it had the Babbs touch. ... And then somebody--Babbs?--saw a classified advertizement for a 1939 International Harvester school autobus. The bus belonged to a man in Menlo Park. ...Kesey bought information technology for $1,500--in the proper noun of Intrepid Trips, Inc. Kesey gave the word and the Pranksters set upon it ane 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 charabanc so you lot could sit up in that location in the open up air and play music, even a set of drums and electric guitars and electric bass and then forth, or just ride. Sandy went to piece of work on the wiring and rigged up a system with which they could circulate from within the bus, with tapes or over microphones, and it would boom outside over powerful speakers on peak of the bus. At that place were likewise microphones outside that would pick up sounds along the route and circulate them within the bus. At that place was besides a sound organization inside the bus so you could circulate to one some other over the roar of the engine and the road. You could as well broadcast over a tape mechanism then that you lot said something, and so heard your own voice a 2d afterwards in variable lag and could rap off of that if you wanted to. Or y'all could put on earphones and rap simultaneously off sounds from exterior, coming in one ear, and sounds from inside, your ain sounds, coming in the other ear. There was going to be no goddamn sound on that whole trip, outside the bus, inside the bus, or inside your own freaking larynx, that you couldn't tune in on and rap off of.

"The painting job, meanwhile, with everybody pitching in in a frenzy of main colors, yellowish, oranges, dejection, reds, was sloppy every bit hell, except for the parts Roy Seburn did, which were nice manic mandalas. Well, it was sloppy, but ane matter y'all had to say for information technology; information technology was freaking lurid. The manifest, the destination sign in the front, read: "Furthur," with ii u's."

Here'south a motion-picture show, from the Key-Z site, of the current incarnation of the bus.

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

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I Got On

Beingness "on the bus" means, well, permit's hear Kesey explain it (via Tom Wolfe):

"`At that place are going to be times,' says Kesey, `when we tin't wait for somebody. At present you're either on the bus or off the double-decker. If yous're on the omnibus, and you lot become left behind, then yous'll find it over again. If yous're off the bus in the first place--so it won't brand a damn.' And nobody had to have it spelled out for them. Everything was becoming allegorical, understood past the group listen, and particularly this: `You're either on the bus...or off the motorcoach." (Wolfe: The Electric Kool-Aid Acid Test , p. 74)

Entry for "On the Bus" from Skeleton Central.

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Owsley

"Trivial by niggling, Owsley'due south history seeped out. He was 30 years one-time, although he looked younger, and he had a huge sonorous name: Augustus Owsley Stanley III. His granddad was a United States Senator from Kentucky. Owsley apparently had had a somewhat hungup time as a boy, going from prep school to prep school and then to a public high school, dropping out of that, but getting into the University of Virginia Schoolhouse of Technology, patently 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 up with a hip, skillful-looking chemistry major named Melissa. They dropped out of the University and Owsley fix up his first acid manufactory at 1647 Virginia Street, Berkeley." (Wolfe: The Electrical Kool-Assistance Acid Test , p. 188.)

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

"It was in this head world that the...Beatles get-go took LSD. At present, just to go alee of the story a bit--after Owsley hooked up with Kesey and the Pranksters, he began a musical group called the Grateful Dead. Through the Dead'south experience with the Pranksters was built-in the audio known as "acid rock." And it was that audio that the Beatles picked up on, after they started taking acid, to practise a famous series of acrid-rock record albums, Revolver, Rubber Soul, and Sergeant Pepper's Lonely Hearts' Club Band. Early in 1967 the Beatles got a fabled idea. They got hold of a huge school bus and piled into it with thirty-nine friends and collection and wove across the British countryside, zonked out of their gourds. They were going to...make a picture." (Wolfe, p. 189)

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Escapin'

Often written equally "Skippin' through the lily fields."

[Pinnacle]

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Never-ever land

A more-or-less direct reference to "Never-Never Land", from Sir James Matthew Barrie'southward Peter Pan, or the Boy Who Wouldn't Grow Upwards. According to Alberto Manguel and Gianni Guadalupi's The Dictionary of Imaginary Places (HBJ, 1980), "...visitors can be taken to Never-Never Land past a never-aging boy, Peter Pan, who refuses to grow up and claims to have run away the day he was built-in." (p. 263)

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Their minds remained unbended

A letter from Jack Legate to John Scott, dated three/xviii/88 states that this line

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

If only I could (be less fine)
If only I knew what to detect,
Everywhere and all of the time--
Information technology's bending my mind

...Phil and Jerry requite the title "Mindbender". (Each accuses the other of writing information technology.)

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Keywords: @rose, @death, @bus
DeadBase lawmaking: [O1]

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Commencement posted: February, 1995
Concluding modified: June 22, 1998

denhamhosseed.blogspot.com

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

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