Being a Cassady tribute may have given it extra meaning for the band but Garcia also said in his 1988 Golden Road interview that the Other One always felt fresh because "it's wide open and it's got a great drive to it.it's one of those things that you can still take anywhere.
The lyrics for the Other One were very well-crafted - Weir originally had a whole different set of lyrics, but over the course of Oct '67-Feb '68 gradually altered them to the timeless verses we know. But the setlists were getting pretty crowded with new Garcia songs!) (And it's a little surprising that so many of the Workingman's Dead/American Beauty 'classics' from 1970 also got dropped for varying amounts of time in the next few years. Yes, the early '60s songs got winnowed out pretty quickly, with just a few exceptions. Maybe the fact that it was a tribute to "Cowboy Neal" also gave it particular meaning that the other early stuff didn't have in the same way.
It wasn't precise or contrived like some of the other Anthem/Aoxo material, it was a flexible jamming vehicle, and despite the fact that it didn't have Hunter (or Barlow) lyrics, the band didn't get embarrassed by the words. So the Other One was the only pre-Americana-phase original tune that the Dead never got sick of, frustrated with, or embarrassed by. Cryptical was soon dropped, DS was mostly dropped between the hiatus and the late '80s, and CCS had previously been dropped for a year or so (and would be again later). Of course, it might have been easier to list the songs that *weren't* abandoned! Seems interesting that the only four original songs pre-dating the Workingman's Dead material that were still being played regularly after 1970 were Cryptical Envelopment, the Other One, Dark Star, and China Cat Sunflower. Really it’s awful wordy.” (Steve Marcus interview, October 1986) Record…has a certain bigness to it, a kind of funky grandeur that we haven’tīeen able to capture really in a concert yet. Is we did bring it back, but it didn’t work, it wasn’t successful. They’re not easy, so trying to sing that songĪnd actually play it at the same time is almost impossible. There are two little melodicīridges in the chorus of the song that have words and everything, and they’re Thing is it has these intense little bridges. Problematic… It doesn’t have any room to breathe, for one thing, and the other Inexperienced songwriters when we wrote the song, so the song has some Groove part of ‘Cosmic Charlie’ is OK, it works, but Hunter and I were Way through – and it sounded pretty neat. We brought it back once when Keith & Donna were in theīand, and we actually worked it out with harmony – three-part harmony all the Garcia, 1986: “We’ve already brought it back once. Stuff…” (Conversations with the Dead, p.49) I didn’t realize that you had to think about that Much happening there for me to be able to come up with a comfortable version of Turned out to be unwise… Songs like ‘Cosmic Charlie,’ there’s technically too Performable… Those were the first songs me and Hunter did together, and weĭidn’t have the craft of songwriting down. Something about what was flawed about the construction. Those bridges, and the fact that it didn’t stick as a piece of material tells But we still had a hell of a time getting through Being able to pull off the changes andĭo the vocals – last time we worked it out was with Donna, and it was ‘Cosmic Charlie’ has some reallyĬomplex chord voicings in the bridges. Of what’s cumbersome about performing them. Were part of what’s musically clever about the songs, but part Garcia, 1981: “‘Cosmic Charlie’ was really a recording song,Īnd even when we did perform it, it always had its weaknesses. Like chaos, but it was in reality hard rehearsal.” (Golden Road, Fall 1988) But we used to rehearse a lot to get that effect. That’s what made those things sound like, ‘Whoa, what the hell is going on?’ It So one part of the band was playing a big thing that revolved in 33 beats, orĦ6 beats, and the other part of the band would be tying into that 11 figure. These revolving patterns against each other where we would play 11 against 33 – Went into the E-minor, then it started to get weird. It’s tough to play gracefully throughĮxcept for the most obvious shit, which is what I did on ‘The Eleven.’ When we Is, because you’re trapped harmonically in this very fast-moving little chord Like ‘La Bamba,’ it really is… ‘La Bamba’ is a trap too, just like ‘The Eleven’ Great groove…but you’re really stuck in that chord pattern – we used to go intoĮ-minor out of that A-D-E, which is like ‘La Bamba.’ ‘The Eleven’ is Garcia, 1988: “‘The Eleven’ was successful because it had a
0 kommentar(er)
