Grateful Dead

In regard to Thin's comment, about the production numbers for the Cornell box set being underestimated, I think they planned the all music Edition from the beginning. They had that thing online and ready for sale almost immediately after the numbered edition sold out. Complete Dark Ops manouvering on that one.

out here we is stonedimmaculate there _are_ plenty of Dark Stars

"bosses are like diapers: full of shit and all over your ass."

I chose my answer to abuse and arbitrary actions by employers more than 40 years ago. I joined a union. No it isn't a perfect answer, there rarely is one but it sure as hell beats the alternative. Some posters may recall the rather animated discussion maybe 6 to 9 months ago on one of these pages well big boss man ain't got any nicer

but getting laid feels good. sorry, just too easy.

What a nightmarish world you describe!

https://archive.org/post/337245/ MM: I want to talk about "The Other One." When, from the entire "suite," did "The Other One" begin to stand out and become, I don't want to say isolated, but move away from the rest of the whole suite? Lesh: That was when Jerry decided he didn't want to sing the first part any more, uh, "Cryptical Envelopment." Weir: Right, right. Lesh: Jerry decided he didn't want to sing that anymore, so we took the second section - the faster part, with Bob's lyrics and vocal and the big jam and everything - and that was "The Other One." Weir: Interesting story with "The Other One." It was one of the first tunes I ever wrote. Actually, we came up with the "map," basically, for the song in a rehearsal somewhere, just kickin' stuff around. And then I took it 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 done with it, I was wondering what the song was about - and then one night it sort of came to me. Basically, it's a little fantastic episode about my meeting Neal Cassady. I wrote the two verses - that's all there is to it, really, is two verses - and we played the gig that night and came home the next day, and when we came home we learned the news that Neal had died that night. DG: Wow. Weir: As legend has it, he died counting the railroad ties on the tracks - Lesh: From Dallas to Denver. Weir: Something like that. San Miguel de Allende [Mexico], I think, is where he was. Lesh: Okay. Weir: So I guess that was a little visitation, that's - not unlike Neal. Lesh: But if I remember correctly, as soon as you had the words, then we did the song. Weir: Yeah. Lesh: I mean, we did it that night DG: Wow. Lesh: It didn't require any rehearsal. Weir: Right. Lesh: DG: I remember a version from a little bit earlier, maybe late in '67. You had a different set of lyrics - a second verse that went, "The heat down at the jail/They weren't very smart," or something like that... Weir: Yeah, that was after my little - Lesh: Water balloon episode? MM: Uh-oh! DG: Oh, I wanna hear this! Weir: I got him good. I was on the third floor of our place in the Haight-Ashbury, and there was this cop who was illegally searching a car belonging to a friend of ours down on the street - the cops used to harass us every chance they got. They didn't care for the hippies back then. So I had a water balloon, and what was I gonna do with this water balloon, come on. Lesh: Just happened*to have a water balloon, in his hand, ladies and gentlemen. Weir: And so I got him right square on the head - Lesh: A prettier shot you never saw. Weir: - and, uh, he couldn't tell where it was comin' from, but then I had to go and go downstairs and walk across the street and just grin at him - Lesh, MM, DG: Weir: - and sorta rub it in a little bit. DG: Smilin' on a cloudy day! I understand now. MM: It all becomes clear. Weir: At that point he decided to hell with due process of law, this kid's goin' to jail. He didn't have a thing on me . It never got to court, but on the other hand, I did get thrown in jail and beat up a little bit. MM: You just happened to have that water balloon handy, it was kind of just like standard procedure. Weir: He was the guy that was breakin' the law, too, the cop was. MM: That's, that's - I agree. Weir: I guess - what, what does a water balloon amount to, is that assault 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: Right. DG: That was enough in those days, as I recall.

But they won't need to include a do-it-yourself acid kit the music would be all you need.

Slow Dog Noodle - ha! Damn Google voice translator. I gotta stop using that. I should be listening to the tunes in the morning anyway. Funny response though, about the bodies, I got a chuckle out of that. SHRINE 8/23/68 - I've been hearing about The Eleven from this show for years, about how it's way better than the Two From The Vault version we have on the following night. Well, I finally got my hands on a copy, and I'm not hearing it. Yeah, it's a solid version, but I don't hear anything that makes me want to change Two From The Vault from being my all time favorite Eleven. Jerry sounds like he's playing just as tightly both nights, but 8/24 is longer and clearer, and the vocals are better (and don't fade out for any length of time). I'll keep at it. These are the kinds of things I love being wrong about. Like when I said (many years ago), "why do I need DP 36, when I have all of those songs in multi-track form on E72 and Veneta?" Heh, what a jack-ass....

"The Heat Came 'Round & Busted Me For Smiling On A Cloudy Day." I'm in as long as they include a do-it-yourself water balloon.