| Rola: | That's It For The Other One |
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| Traducción: | Esto por lo otro | |
| Intérprete: | The Grateful Dead | |
| Compositor: | Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron McKernan, Bob Weir, Tom Constanten | |
| Disco: | Anthem of the Sun | |
| Productor: | Dave Hassinger | |
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Entre 1964 y 1965, el autor de Alguien voló sobre el nido del cucú y activista por la paz, Ken Kesey, que se había sometido voluntario a las pruebas con drogas psicotrópicas llevadas a cabo por el gobierno de Estados Unidos, decidió realizar su propio experimento; formó un grupo activista de las drogas psicodélicas y de la filosofía lúdica de la vida que se llamó los Merry Pranksters (los alegres bromistas), y a bordo del famoso autobús pintado con vivos colores, que tenía por destino en el cartel del autobús la palabra “Further” (más lejos, más allá), realizaron a lo largo del país una especie de actos, mitad experimentos, mitad fiesta, llamados Acid Tests (Pruebas de ácido), en el que tomaron parte varios personajes que comenzaban a configurar la contracultura que empezaría a hacerse famosa en los años siguientes: los Hell’s Angels, Keith Richard y Brian Jones de los Rolling Stones…, y el famoso modelo contracultural Neal Cassady. Todo ello amenizado por la música de un grupo de rock, pionero en el estilo acid rock, conocido por entonces como The Warlocks, pero que para su leyenda serían conocidos mundialmente dos años después como The Grateful Dead, para muchos, el mejor de las bandas de San Francisco. Estas experiencias fueron reflejadas por el novelista Tom Wolfe (otro habitual) en su libro The Electric Kool-Acid Test, editado en nuestro país como La gaseosa de ácido eléctrico, o también Ponche de ácido eléctrico (aunque, al parecer, a Kesey no le gustó demasiado el libro) Neal Cassady era ya, poco antes de su muerte en 1968, una leyenda viva. Su vida representaba cierto romanticismo de forajido del Oeste, junto a una vida desordenada guiada por una filosofía vitalista: drogas, chicas, prostitutas, alcohol, robos de coches para pasar una noche… Una práctica y una visión de la vida que el convirtieron en la Musa del naciente movimiento literario llamada Generación Beat: aquella generación de escritores estadounidenses encabezados por el novelista Jack Kerouac, el poeta Allen Ginsberg y el también novelista William Burroughs (que se convertiría en el padrino del underground neoyorquino, mientras que Ginsberg lo sería del movimiento hippie), que venían a ser, en términos generales, una mezcla de existencialismo, misticismo oriental, vitalismo y socialismo. Así pues, Neal aparecía en muchas de las obras de sus amigos, siendo uno de estos personajes que, sin escribir una sola línea, habían generado por su modo de vida o pensamiento toda una generación literaria: en el libro fundacional del movimiento, la novela On the road (en el camino) de Kerouac, aparece como segundo protagonista bajo el nombre de Dean Moriarty, así como en otras obras del autor al que le gustaba meter a sus amigos con pseudónimos en sus novelas (Ginsberg aparece como Carlo Marx: conociendo las simpatías del gran poeta por el comunismo, esto no puede ser una casualidad); y en el poemario bandera de la Generación Beat, Howl (Aullido), Allen Ginsberg le dedica varias líneas. The Grateful Dead, capitaneados por el gran Jerry García, fueron los auténticos pioneros del sonido de San Francisco (aunque fueran Jefferson Airplane los primeros en grabar un disco), comenzando hacia 1965 con el nombre de The Warlocks. Su estilo comenzó como una mezcla de temas tradicionales de blues y country con acid rock, evolucionando a un estilo de rock duro para, a finales de los 60, acabar practicando el country rock. Ellos amenizaron, y participaron, aquellas fiestas de Kesey, coincidiendo en el autobús con el mismísimo Neal Cassady. Y así, en 1968 quisieron honrar la memoria de aquel loco, gracias al cual, en parte, ellos estaban sobre los escenarios alucinando a un público que, parafraseando a nuestro mejor alcalde, si no estaba ya colocado ellos lo colocaban con sus riffs y largas melodías cósmicas; su disco Anthem of The Sun (Himno del Sol), se abría con esta especie de homenaje-epitafio, dividido en varias suites, a la memoria del “vaquero Neal”, “That’s it for the other one”, o “The other one”: tomado de: http://albokari2.wordpress.com/2011/04/03/thats-it-for-the-other-one-el-tributo-de-grateful-dead-a-neal-cassady/ |
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| Duración: | 07:40 |
| Año: | 1968 |
| Formato: | L.P. |
| A la venta: | 18/07/1968 |
| Disquera: | Warner Bros. |
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Bob Weir - guitarras de acompañamiento y de 12 cuerdas y voz Ron "Pigpen" McKernan - órgano y voz Phil Lesh - bajo, trompeta y voz Bill Kreutzmann - batería y percusión Mickey Hart - batería y percusión Tom Constanten - piano |
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Original
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Traducción
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["Cryptical Envelopment"] The other day they waited, the sky was dark and faded, Solemnly they stated, "He has to die, you 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 down on him, His mother could but frown on him, And all the other sound on him, But it doesn’t seem to matter. ["Quodlibet for tenderfeet": Instrumental] ["The Faster We Go The Rounder We Get: aka part 2] 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 smilin’ on a cloudy day 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 circle. Escapin’ 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 a bus to never-ever land ["We Leave the Castle"] And when the day had ended, with rainbow colors blended, Their minds remained unbended, He had to die, oh, you know he had to die. |
[Envoltura Críptica] El otro día esperaron, el cielo estaba oscuro y descolorido, solemnemente sentenciaron,“Ha de morir, sabes que ha de morir”. Todos los niños aprendiendo, de libros que estaban quemando, todas las hojas se volvían para verle morir, sabes que tenía que morir. El sol veraniego le miró, su madre sólo podía desaprobarle, y todos los demás resonaban en él, pero no parece importar. [Quodlibet para pies delicados (instr.)] [Cuanto más rápido vamos, más vueltas damos] La dama española viene a mí, deja sobre mí esta rosa. Su arco-iris espiral gira y gira, se estremece y explota, dejó mi mente en un cráter humeante, me gusta ser arrancado. Pero la tira vino por ahí y me arrestó por sonreír en un día nublado. Dando, dando, dando vueltas en círculos… Escapando por los campos de lirios vine a través de un espacio vacío que tembló y explotó Dejé una parada de autobús en su lugar. El autobús pasó y me subí a él fue entonces cuando empezó todo. Ahí estaba el vaquero Neal en la rueda de un autobús rumbo a la Tierra de Nunca Jamás… [Abandonamos el castillo] Y cuando el día llegó a su fin, con los colores del arco-iris mezclados, sus mentes permanecieron desplegadas, tenía que morir, oh, sabes que tenía que morir. |
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LADO A 1. "That's It for the Other One" * I. "Cryptical Envelopment" * II. "Quadlibet for Tenderfeet" * III. "The Faster We Go, The Rounder We Get" * IV. "We Leave the Castle" 2. "New Potato Caboose" 3. "Born Cross-Eyed" |
LADO B 1. "Alligator" 2. "Caution (Do Not Stop on Tracks)" |
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Anthem of the Sun is the second studio album by the Grateful Dead, released in 1968. It is the first album to feature second drummer Mickey Hart, who joined the band in September 1967. The band had entered the American Studios in North Hollywood with the same producer, David Hassinger, as their eponymous debut album, in November 1967. However, the Dead were determined to make a more complicated recorded work than their debut release, as well as attempt to translate their live sound into the studio. The band and Hassinger then changed locations to New York City in December of that year, where they found themselves going through two other studios, Century Sound and Olmstead Studios (both "highly regarded eight-track studios"). Eventually, Hassinger grew frustrated with the group's slow recording pace and quit the project entirely while the band was at Century Sound, with only a third of the album completed so far. It has been reported that he left after Guitarist Bob Weir requested to create the illusion of "thick air" in the studio. Hassinger commented that "Nobody could sing [the new tracks recorded in NYC], and at that point they were experimenting too much in my opinion. They didn't know what the hell they were looking for." Garcia noted that "we want[ed] to learn how the studio work[ed]. We [didn't] want somebody else doing it. It's our music, we want[ed] to do it." The band then recruited their soundman, Dan Healy, to assist them in the studio for the rest of the album and they headed back to San Francisco's Coast Recorders studio. In between the Los Angeles and New York sessions, the band began playing live dates. Lesh commented that this was in part because the songs were not "road tested." Healy, Garcia, and Lesh then took these concert tapes (encompassing two Los Angeles shows from November 1967, a tour of the Pacific Northwest in January/early-February 1968, and a California tour from mid-February to mid-March 1968) and began interlacing them with existing studio tracks. Garcia called this "mix[ing] it for the hallucinations." Adding to the psychedelic madness on the album was Tom Constanten, a friend of bassist Phil Lesh who joined the band in the studio to provide piano and prepared piano (influenced by John Cage) tracks; Constanten would formally join the band in November 1968. His contributions to the band's sound were always much more evident in the studio than in their live shows, and Anthem of the Sun was no exception. Constanten made it so that the piano pieces seemed like three gamelan orchestras were playing all at once. He even went so far as to use a gyroscope set spinning on the piano soundboard. All in all, the album turned out as psychedelic as intended. The band used a large assortment of instruments in the studio to augment the live tracks that were the base of each song, including kazoos, crotales, a harpsichord, timpani, guiro, and a trumpet. Garcia commented that parts of the album were "far out, even too far out … We weren't making a record in the normal sense; we were making a collage." In order to get more publishing royalty points on the album, the opening track "That's It For The Other One" was artificially divided into four other "songs" by the band. Robert Hunter, a longtime friend and then-future songwriting collaborator of Jerry Garcia, made his first lyrical contributions to the band, providing Lesh and Pigpen with the words to "Alligator". Joe Smith, president of Warner Bros. At the time, was noted as calling Anthem of the Sun as "the most unreasonable project with which we have ever involved ourselves." Early pressings of the album include the phrase "The faster we go, the rounder we get" inscribed on the vinyl in the matrix around the label area. A remixed version of Anthem of the Sun was issued in 1972 (with the same product number, #WS-1749), and can be identified by the letters RE after the master numbers. Although the chaos of the final product makes it difficult to tell where many of the live excerpts used in the creation of Anthem Of The Sun actually ended up, significant fragments of "Alligator" (e.g. the post-vocals "jam section") known to hail from a show at San Francisco's Carousel Ballroom on 2/14/68. Also the "Alligator" vocal reprise is taken from 11/10/67 at the Shine Exposition Center. Similarly, the skeletal framework of "Caution (Do Not Stop On Tracks)" dates from the Los Angeles Shrine Auditorium show on 11/10/67 and at the Carousel Ballroom on March 31st 1968. Extended excerpts from two shows at Kings Beach Bowl in Lake Tahoe, CA on 2/23-24/68 that provided music for the album (most notably the car horn heard at the end of "Caution (Do Not Stop On Tracks)") were later released on the live archival recording Dick's Picks Volume 22. A further show from this period further reveals portions used for the album such as the verse(s) section of "The Other One" portion of "That's It For The Other One" as well as the first half of the "New Potato Caboose" jam (after the vocals) were used on Anthem Of The Sun, hailing from 3/17/68, was released as the Grateful Dead Download Series Volume 6. |
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The Grateful Dead: San Francisco
The Grateful Dead were an American rock band formed in 1965 in the San Francisco Bay Area. The band was known for its unique and eclectic style, which fused elements of rock, folk, bluegrass, blues, reggae, country, improvisational jazz, psychedelia, and space roc]—and for live performances of long musical improvisation. "Their music," writes Lenny Kaye, "touches on ground that most other groups don't even know exists." These various influences were distilled into a diverse and psychedelic whole that made the Grateful Dead "the pioneering Godfathers of the jam band world." They were ranked 55th in the issue The Greatest Artists of all Time by Rolling Stone magazine. The fans of the Grateful Dead, some of whom followed the band from concert to concert for years, are known as "Deadheads" and are known for their dedication to the band's music. Many referred to the band simply as "the Dead." Phil Lesh and Jerry Garcia were brought together by Gert Chiarito in 1964 to perform on The Midnight Special, her Saturday night radio program on KPFA, Berkeley. The Grateful Dead began their career as the Warlocks, a group formed in early 1965 from the remnants of a Palo Alto jug band called Mother McCree's Uptown Jug Champions. The band's first show was at Magoo's Pizza in suburban Menlo Park, California on May 5, 1965. They were still known as the Warlocks although the Velvet Underground were also using that name on the east coast. The show was not recorded and not even the set list has been preserved. The band changed its name after finding out that another band of the same name had signed a recording contract (not The Velvet Underground who by then had also changed their name). The first show under the new name Grateful Dead was in San Jose, California on December 4, 1965, at one of Ken Kesey's Acid Tests. Earlier demo tapes have survived, but the first of over 2,000 concerts known to have been recorded by the band's fans was a show at the Fillmore Auditorium in San Francisco on January 8, 1966. Later on that month, the Grateful Dead played at the Trips Festival, an early psychedelic rock show. The charter members of the Grateful Dead were: banjo and guitar player Jerry Garcia, guitarist Bob Weir, bluesman organist Ron "Pigpen" McKernan, the classically trained bassist Phil Lesh and drummer Bill Kreutzmann (who then used the stage name Bill Sommers.) Lesh was the last member to join the Warlocks before they became the Grateful Dead: he replaced Dana Morgan Jr. who had played bass for a few gigs. With the exception of McKernan, the core of the band stayed together for 30 years, until Garcia's death in 1995. The name "Grateful Dead" was chosen from a dictionary. According to Phil Lesh, in his biography, "...[Jerry Garcia] picked up an old Britannica World Language Dictionary...[and]...In that silvery elf-voice he said to me, 'Hey, man, how about the Grateful Dead?'" The definition there was "the soul of a dead person, or his angel, showing gratitude to someone who, as an act of charity, arranged their burial." According to Alan Trist, director of the Grateful Dead's music publisher company Ice Nine, Garcia found the name in the Funk & Wagnalls Folklore Dictionary, when his finger landed on that phrase while playing a game of "dictionary". In the Garcia biography, Captain Trips, author Sandy Troy states that the band was smoking the psychedelic DMT at the time. The term "grateful dead" appears in folktales of a variety of cultures. In the summer of '69, Phil Lesh told another version of the story to Carol Maw, a young Texan visiting with the band in Marin County who also ended up going on the road with them to the Fillmore East and Woodstock. In this version, Phil said, "Jerry found the name spontaneously when he picked up a dictionary and the pages fell open. The words 'grateful' and 'dead' appeared straight opposite each other across the crack between the pages in unrelated text." Other supporting personnel who signed on early included Rock Scully, who heard of the band from Kesey and signed on as manager after meeting them at the Big Beat Acid Test; Stewart Brand, "with his side show of taped music and slides of Indian life, a multimedia presentation" at the Big Beat and then, expanded, at the Trips Festival; and Owsley Stanley, the "Acid King" whose LSD supplied the tests and who, in early 1966, became the band's financial backer, renting them a house on the fringes of Watts and buying them sound equipment. "We were living solely off of Owsley's good graces at that time.... [His] trip was he wanted to design equipment for us, and we were going to have to be in sort of a lab situation for him to do it," said Garcia. One of the group's earliest major performances in 1967 was the Mantra-Rock Dance—a musical event held on January 29, 1967 at the Avalon Ballroom by the San Francisco Hare Krishna temple. The Grateful Dead performed at the event along with the Hare Krishna founder Bhaktivedanta Swami, poet Allen Ginsberg, bands Moby Grape and Big Brother and the Holding Company with Janis Joplin, donating proceeds to the Krishna temple. The band's first LP, The Grateful Dead, was released on Warner Brothers in 1967. Classically trained trumpeter Phil Lesh played bass guitar. Bob Weir, the youngest original member of the group, played rhythm guitar. Ron "Pigpen" McKernan played keyboards and harmonica until shortly before his death in 1973 at the age of 27. Garcia, Weir and McKernan shared the lead vocal duties more or less equally; Lesh only sang a few leads but his tenor was a key part of the band's three-part vocal harmonies. Bill Kreutzmann played drums, and in September 1967 was joined by a second drummer, New York native Mickey Hart, who also played a wide variety of other percussion instruments. The year 1970 included tour dates in New Orleans, Louisiana, where the band performed at The Warehouse for two nights. On January 31, 1970, the local police raided their hotel on Bourbon Street in the French Quarter, and arrested and charged a total of 19 people with possession of various drugs. The second night's concert was performed as scheduled after bail was posted. Eventually the charges were dismissed, with the exception of those against sound engineer Owsley Stanley, who was already facing charges in California for manufacturing LSD. This event was later memorialized in the lyrics of the song "Truckin'", a single from American Beauty which reached number 64 on the charts. |
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