At this early stage in its all too brief career, this song appears as a shortened version of the "Roxy and Elsewhere" performance. The tune starts off as always, and continues on the usual path through the "Nuclear Force" section. At this point, the tune then jumps to the "go to the shelter" buildup, we get the Ruth percussion lick, and then the tune concludes with the closing verses as they are found on "Roxy and Elsewhere", i.e. with the Horrible Eye line included. Without the middle portion of the song, whether it be the Roxy, the Spring tours, or the YCDTOSA Volume II version, this song seems ridiculously short. I still find it a treat, but its not as filling as it would be by the end of the following year. [Jon Naurin adds: "- a noteworthy version is the drums/percussion duet (or trio?) one, which was played at least twice."]
1974 Feb-Mar & May
This tour's version sounds like a mutant hybrid of the "Roxy and Elsewhere" and YCDTOSA Volume II releases. Things start off as always, with Brock going to the movies, describing the movie, and Narrator Frank alerting us to the presence of a large poodle dog. After the "Nuclear Force" line, we get the "Harry Thing" section- as on YCDTOSA Volume II- but without the improvised breakfast lyrics found on that latter performance. Instead, we get the extended "Harry Thing" funk jam, in which Brock essentially wails and screams while the band grooves along behind him. This leads into the "run for shelter" bit, the short percussion display by Ruth, and then, as on the Roxy release, we get the full blown ending. This means Little Miss Muffet reappears, followed by the Horrible Eye (yes, the Horrible Eye), and finally the concluding lyrics as found on both releases. I personally prefer the YCDTOSA version, as I have never been fond of that Horrible Eye, and I really enjoy Brock's spiel about opening up the bartender in his room. This version includes the Horrible Eye, and excludes the bartender rap, and thus for me, it is inferior to the latter version. I do enjoy it much better than the Roxy release, though, as the overproduction on that tune has always annoyed me. Thus, I would say that this is a worthy version of an unfortunately short-lived song.
Essentially performed as on YCDTOSA Volume II. Brock's vocals after "the monster is approaching the airport" section are improvised, however. He was free to say what he wanted, while the band grooved along as they do at Helsinki. Only performed a handful of times, this was probably a song Frank never got comfortable with. On every subsequent tour since its premiere, its arrangement changed quite drastically, and then, when it finally seemed to gel with this tour, it disappears.
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