David Dodd (ddodd) Mon 8 Sep 03 09:40
That's It For The Other One (including Cyptical Envelopment) w: Garcia, Weir m: Garcia, Weir, Kreutzmann AGDL: http://arts.ucsc.edu/gdead/agdl/other1.html LASF: http://www.whitegum.com/songfile/CRYPTICL.HTM LASF: http://www.whitegum.com/songfile/OTHERONE.HTM
Alex Allan (alexallan) Mon 8 Sep 03 20:05
Cryptical Envelopment Lyrics: Jerry Garcia Music: Jerry Garcia Copyright Ice Nine Publishing; used by permission. The other day they waited The sky was dark and faded Solemnly they stated He has to die You know he has to die And all the children learning From books that they were burning Every leaf was turning To watch him die You know he has to die The summer sun looked down on him His mother could but frown on him And all the others sound on him But it doesn't seem to matter And when the day had ended With rainbow colours blended His mind remained unbended He had to die You know he had to die You know he had to die The Other One (aka The Faster We Go, The Rounder We Get) Lyrics: Bob Weir Music: Bob Weir/Bill Kreutzmann Copyright Ice Nine Publishing; used by permission. Spanish lady come to me, she lays on me this rose It rainbow spirals round and round, it trembles and explodes It left a smoking crater of my mind I like to blow away But the heat came round and busted me for smiling on a cloudy day Chorus Coming, coming, coming around Coming around, coming around, in a circle Coming, coming, coming around Coming around, coming around, in a circle Escaping through the lily fields, I came across an empty space It trembled and exploded, left a bus stop in its place The bus came by and I got on, that's when it all began There was Cowboy Neal at the wheel of the bus to never ever land [chorus]
from DR. PAUL SMITH (tnf) Sun 4 Dec 05 17:14
Dr. Paul Smith writes: You know, for that matter, while I've got you on the line, I wondered why in the Annotated Dead Lyrics book when it talks about "the faster we go the rounder we get" there isn't any reference to the "Lorentz transformations": http://hyperphysics.phy-astr.gsu.edu/hbase/relativ/tdil.html (changes of shape of objects when they reach speeds near that of light). Does Billy Idol have a song about that too? <grin> (see <deadsongs.vue.91> for the Billy Idol reference)
Gary Burnett (jera) Sun 4 Dec 05 17:39
We need to get Dr. Smith to join the WELL, or to become part of the annual Grateful Dead caucus at the Popular Culture conference in Albuquerque. Or, better yet, both!
Robin Russell (rrussell8) Mon 8 Mar 10 11:47
It is worth noting this Cowboy Neal at the wheel reference from Phil Lesh: "There was one more out-of-town tryout for us, the Beaver Hall Test in Portland. The Test itself has receded into the mists of antiquity, except for the vague memory of playing in an upstairs warehouse with concrete pillars everywhere and bare lath and wiring on the walls. What mattered about the Portland Acid Test was the journey toward it. It began as our first trip together on Further, Kesey's fabled bus. Bobby and I had day-tripped on the bus to see the Beatles at the Cow Palace earlier that year, but for the majority of the band it was a first. Leaving Palo Alto as early as possible, by midafternoon or so, we were halfway up the Central Valley bound for Shasta and points north, and then: Catastrophe! The bus breaks down! Never let it be said that the show did not go on! What to do? We rent a U-Haul truck; we strip the bus and cram all of us -- the band, the Pranksters -- and everything else into the truck. I jump into the shotgun seat up front, and we cruise off into the darkening storm of the worst blizzard in years: over the Siskiyou Mountains in the dead of night. Neal pressing ever onward, the rhythm of the falling snow sweeping through the headlights, sliding in and out of synch with the music piped into the cockpit by means of our patented two-way distort-o-phonic communication system, set up so that those in the back could also hear Neal's multiple personalities conversing with one another. If ever the magic of the open road was distilled into a single experience, it was, for me, that night sitting next to Neal, hurtling into the dazzling play of light and shade on the whirling snow with his voice turning every sentence into a poem, all sensory input synched up (or sometimes not, and that's good too) with the rhythm of the wipers and whatever music happened to randomly penetrate our awareness. Upon our return from Portland, all the scuttlebutt was ablaze with the plans for the "Big One"; the Trips Festival, to take place in San Francisco's Longshoreman's Hall." Searching for the Sound - Phil Lesh - Pages 72-73
Scott MacFarlane (s-macfarlane) Tue 9 Mar 10 21:37
<distort-o-phonic communication system, set up so that those in the back could also hear Neal's multiple personalities conversing with one another.> George Walker was telling me about this last night on the way to the Furthur show in Portland. He was saying how he was one of the few who tapped into Neal's rappaid attention to the nonstop verbal flow. According to George, Neal was piloting Furthur through a state where the stop lights were aligned horizontally instead of vertically. Problem was that Neal was color blind and couldn't tell if the brightened light they were approaching was red or green. Neal said something to the effect that "We got a colorful situation here...anyone with eyes for the red or the green?" "It's all green, Neal," George told him, and Furthur sailed on through.
Robin Russell (rrussell8) Wed 10 Mar 10 05:57
As strong an argument for States' rights as I have ever seen.
David Gans (tnf) Wed 10 Mar 10 13:12
Crispard J. Baconowitz (xian) Sun 28 Mar 10 14:50
red and green lights stoplights are designed to be clearly distinct to people with red-green colorbind (I think the red looks very dark and the green light), if I recall correctly, but there's no reason that should get in the way of a good story
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