Listening to this version of The Other One I’m reminded that I’m the parent of a toddler. For those that are unaware young kids like movies. But they binge on the same movie for extended periods of time. My oldest son is really into Toy Story and I’ve come to realize that when Healy messed with Bobby’s vocals on this song in the 80s it ended up sounding like the little green guys from those movies.
In a sense, that idea fits nicely with this April Fools show in that it continues the joke, albeit unintentionally, 25 years later. Clearly gone are the days of the 25-35 minute Other Ones of the early 70s, but there tends to be a degree of concision and energy with a lot of the versions from the late Brent period. Compare this version to my previous Other One entry to see what a difference a decade makes.
Jerry makes his axe squeal. The percussionists drone one, moving the song forward. Bobby slashes and attacks his guitar in angular approaches. Each staccato gash seems to fit though and the crazy continues to charge ahead. Finally everyone gets some breathing room as the band settles into the verse groove, but some MIDI patches enter the mix and things get weird again in a hurry, but these don’t last long and it’s back to the straight ahead jam. A quick dynamic change signals the second verse, and with Healy’s help Weir delivers it sounding like a cross between him and the little green guys in Toy Story. Clearly the verses are the bookends here because soon after Bobby finishes singing it’s off to the next one…
Complete Setlist 4/1/88
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Even though I don’t reply every day, Lunchbox, I really enjoy checking in and seeing what song is featured each day.
Today’s post reminded me of my first three night run of GD shows. I’d seen them before and figured I’d check them out whenever they came back to Chicago or St. Louis but a friend told me I needed to go to Atlanta (Spring of ’91) and explained that you don’t go for one night, you go to all shows at a given venue. He was right and that was when I really got deep into the Dead.
It was a long trip from central IL and I was the novice, going with guys who’d been going to shows since the early 80s. We all had mail order tickets for upper bowl but my friends made an effort to sneak down to the floor the first night. Me and one guy looked like hippies and the ushers checked our tickets and wouldn’t let us down but my good friend was dressed like an 8th grade school teacher and walked leisurely down near the stage without a glance from an usher. The same thing happened the second night. That night me and the other guy bought a giant mushroom in the lot and got off really good during the show.
The last night we were tripping pretty hard and after a half hearted attempt to get close, me and the other guy walked around and eventually settled into seats behind the stage. It was a unique way to see the band. The sound was great back there and the Stir It Up Jam was great even though I didn’t know how rare it was at the time. Coming out of Space it was obviously going to be The Other One, even I knew that at the time since they jammed on it so long. But when Bobby started singing in his garbled “effects” voice I was a little startled and I think I looked around a little to see if everyone else heard what I was hearing–I was tripping pretty hard. My new friend was holding his side with laughter; he got a real kick out of it and I have to admit it was pretty funny.
Later that night we walked across the street from our hotel to Denney’s to get some ice cream (we had dry mouth from smoking so much all night). When the waitress finally brought us our sundaes we realized we weren’t really hungry at all and basically just sat there and watched them melt.
I was all in after that trip.
You will burst out laughing when you hear Weir’s vocal entrance, as Healy runs it through a hilarious modulated delay. Hooray! Unique, as far as I know, and really fun. Garcia’s guitar is a bit soft in the mix, and that is too bad because he is wailing back there. Turn up the whole thing to hear more of him, it’s worth listening through the louder drums and other instruments to get to what he’s doing. There is plenty of good jamming for a long stretch here, but do not miss what happens after 5:00. Assorted, unhinged sounds are unleashed and lead to a neat return to the theme. This version is certainly one for the ages. Again, the wacky effects are plugged in to the verse as Weir growls it, sounding like some kind of hairy alien. Wow. The song tumbles down, leaving the appropriate space for Wharf Rat.
Great story Mike. Thanks for sharing!