Lyrics: Garcia, Weir
Music: Grateful Dead
The first track on Anthem Of The Sun is a suite called "That's It For The Other One", with four sub-elements:
"Finally, Jerry and Healy fuse Anthem Of The Sun into one long continuous work. It's a miracle of ingenuity, but I suddenly realise that unless we break it into tracks, we aren't going to get paid more than two cents for publishing rights for the whole record. And so, after they have achieved the near impossible by putting together these thousands of scraps of tape into a coherent seamless whole, I have to tell Healy and the rest of the group that we have to take the thing apart - band it. For the purposes of publishing (and airplay) there's got to be moments of silence between "Cryptical Envelopment" and the electronic weirdness that comes next on the album. There have to be bands to differentiate between cut one, cut two and so on. Thus, a lot of the song titles are arbitrarily stuck on, and if you were to ask Phil, "What does this title mean?" he might even have trouble identifying the song. In a frenzied last-minute brainstorming session, we divy up the number of minutes into songs, artificially cutting it up into tracks. In one mad swoop we come up with "Quadlibet For Tender Feet" (that would be Phil) and "The Faster We Go The Rounder We Get" (Jerry)"The original album didn't give writing credits to individual tracks, just saying "All songs written by the Grateful Dead." The first appearance of individual credits was on the live album The Grateful Dead (Skull & Roses), which included a track titled The Other One. This fades in at the end of "Cryptical Envelopment" and comprises a drum solo followed by the "Spanish lady comes to me ..." song. It is credited to Weir and Kreutzmann, as are all subsequent recordings of "The Other One." I used to wonder if the crediting to Kreutzmann was right: there are a lot of interviews with Bob Weir which seem to indicate he wrote the words and music to "The Other One", and I thought that that the credit to Kreutzmann might have arisen because the first recording on "Skull & Roses" was preceded by a lengthy drum solo. But in Bill Kreutzmann's book "Deal" (p71) he describes how "Weir and I ... came up with an idea that would eventually form the basis of 'The Other One'"