Monday, January 15, 2018

The Doors - Unauthorised - The Lizard King Vol.2 (1993) Bootleg

(U.S 1965–1973)
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This is the second release in The Lizard King series of bootlegs released by Banana, and features a mixture of concert venues from 1967 & 68.  Background information for the Matrix Club recordings can be found in my previous post for The Lizard King Vol.1 bootleg. Details for the remaining venues are as follows:

The Konserthuset, Stockholm, Sept 20, 1968
Sveriges Radio personality 'Lennart Wretlind' recorded an interview with Jim Morrison at the Hotel Appolonia on September 19th with the other members of The Doors present.
The scheduled start times for the next days concert are 7:00pm & 9:30pm  After failing to perform in Amsterdam a few days prior, Jim Morrison is determined to put on a good show.
Setlists include rare performances of 'Mack The Knife', 'Love Street' and 'You're Lost Little Girl'. 
Also Performing: Terry Reid, Savoy Brown. However, Jefferson Airplane who are touring with them do not perform with The Doors on this night, for unknown reasons. [extract from mildequator.com]

Both of these performances go exceptionally well. The first show includes a live rendition of 'Love Street' and the second an infrequent take of the Brecht/Weill composition "Prologue: (Ballad Of) Mack The Knife" the introductory overture from Threepenny Opera. The entire late show is outstanding-a fine representation of the Doors live performances at the time. Both the early and late show are recorded in their entirely for broadcast on Stockholm's Radiohuset radio station, from which the original tape are taken from.

On September 20, 1968 The Doors played two concerts the Konserthuset in Stockholm, Sweden and gave permission for both to be broadcast on radio station Radiohuset. The resulting recordings give a prime example of the band at the height of their collective powers and are the source for many bootlegs. On vinyl the shows have been released as The Beautiful Die Young… (MIW Records 19) featuring parts of both early and late shows, The Complete Stockholm ’68 Tapes (DOORS 68) and deluxe 3 lp set containing both the early and late shows, Little Games (Shotgun Records 13010) that is a mix of both early and late shows, The Stockholm Tapes (unknown label) another 3 lp set packaged in a box with a deluxe cover. On CD there have been releases as Live In Stockholm (The Swinging Pig TSP CD-004-2) that featured both early and late shows on a 2CD set, Live In Stockholm ’68 Vol. 1 and Vol. 2 (Black Panther CD 30/31) that were copies of the Swinging Pig title, The Lizard King (Vulture Records 002) a mix of both early and late shows on a single disc, Red Walls Blue Doors (WPOCM CD 1288D012-2) featuring only the late show, The Stockholm Tapes (DR 010) featuring only the late show, Sneaking Out The Backdoor (The Last Bootleg Records LBR SP 001/7) features both early and late shows, and Apocalypse Now (Kiss The Stone KTS 267), an excellent title featuring the late show.

For this new release Banana showcases the late show  from September 20, 1968 from the master tape. What does this mean you ask? A huge improvement in sound over the older titles. It is the same recording as other bootlegs but is much clearer and has a brighter sound, the distortion on Jim’s vocals is still there but does not bleed in the recording like the old Swinging Pig titles and simply sounds wonderful. Since The Doors started releasing live titles under their Bright Midnight label, fans have been clambering for this show, since we will likely never see that, this title more than makes up for it. 

A real highlight of this recording is the bands rendition of “Your Lost Little Girl”, rarely played on stage the melancholy playing of Robby Krieger is wonderful and Morrison turns in a beautiful vocal for the song, no screaming and yelling on this song. “Love Me Two Times” from the Strange Days record was a true Krieger song, the lyrics much more about simple love and curiously would prove to be The Doors most radio friendly songs. A true centerpiece of most all Doors shows is “When The Music’s Over”, dense with mysterious lyrics and some of the most powerful music the band would ever explore it features Morrison at his most dramatic. All three musicians solo at one time or another, they blend the instruments as an accent to the lyrics. John Densmore goes from keeping simple time to answering Morrison in a point blank response accentuating message. The lyrics are expansive, moving from psychedelia to powder struggles to a commentary of the abuse of resources, all leading to a demand of “We Want The World and We Want It NOW “, Morrison keeping the audience on edge before finally letting out a huge yell in true dramatic fashion. The song again garners a huge ovation with the audience clapping and shouting their approval, one can only agree.

Curiously the band play an early version of “Wild Child”, a song that would not find its way onto a Doors record for close to a year until the release of 1969’s The Soft Parade. It started appearing in the bands set early the prior month of August 2nd at the band’s chaotic performance at the Singer Bowl in Flushing Meadows, New York. This version is much subdued to that version largely due to the circumstances, but we are treated to a superb rendition of the song and is nice to be able fully enjoy. 

The set concludes appropriately as Morrison asks for the lights to be lowered and only use the blue lights, there is a small language barrier with the operators and the band chants “turn out the lights” before Jim lets out a quieting “sshh” and Krieger hits the opening chords of “The End”. The song has much evolved from its early incarnations of a song of loves departed; now it is an apocalyptic masterpiece of theatre set to music. The song clocks in at close to 15 minutes in length and features a variety of lyric poems by Jim that culminates with the Oedipal section, perhaps it most moving yet frightening piece that polarized listeners as far back as the groups pre record deal days at the Whisky A Go Go. Live versions of this song are always an event, this is certainly one, if not my most favorite version (the Singer Bowl is awesome too). The end of the set and of a most successful European tour as the band leaves the stage amid respectful applause. [extract from collectorsmusicreviews.com]


The Jonathan Winters Show
Original Broadcast: December 27, 1967
Television Station: CBS-TV, Los Angeles
Songs: Moonlight Drive, Light My FIre
Host: Jonathan Winters

Although The Doors all loved Jonathan Winters and his comedy, they never really considered appearing on his show. But when they were asked, they jumped at the opportunity to appear on the show of a comedian they all admired. They were asked to perform “Light My Fire” and another song of their choice. As their other song, they chose “Moonlight Drive”. Both songs were to use a prerecorded musical soundtrack but have a live vocal from Jim. 

They performed “Moonlight Drive” first on a multi-level stage complete with a smoke machine and planetary stock footage overlayed onto the performance. The performance of  “Light My Fire” was odd to say the least. The band was set up amongst a series of poles with spaghetti wire strung between them, and throughout the performance the producers added a wavy effect to the video, plus showed a red police siren as Jim sang. To top it off, at the end of the song, Jim leaps into a section of the wires and pulls a portion of the set down on top of him. [extract from Ray Manzarek's Website]


The Smothers Brothers Comedy Hour
RECORDING DATE: 12/06/1968
LOCATION: CBS Television City (Stage 33) - NY
COLOR: Yes
LENGTH: 7:12
SONG: Wild Child, Touch Me
HOST: The Smothers Brothers

The Doors rehearse the Smother Brothers Comedy Hour television performance on the 5th of December, and record on the 6th. Filmed in color, the band performs 'Wild Child' and 'Touch Me' featuring Curtis Amy and the Smothers Brothers Orchestra. Robby is sporting a black eye during the filming, and Tom O'Neal is on site photographing the rehearsals and recording session. Broadcast on December 15th, George Carlin and The Committee are also guests on this episode. CBS cancelled this show on June 8th, 1969. 

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Ripped from CD to MP3 (320kps), this bootleg recording is excellent quality and covers some of the best concerts played by the Doors over a three year period.  Full album artwork (the usual fireman red covers) are included along with covers for alternative bootleg releases.
 Known as the 'Lizard King' because of the leather pants that he wore during his concert performances, this Vol.2 bootleg release highlights why Jim Morrison and the Doors were considered to be one of the biggest acts of the late 60's and 70's.
Note: This bootleg was also released under the title of 'The Doors - Unauthorised Touch Me' (1993) by Grapefruit (GRA-050-B). A bit of double dipping going on here folks and could almost be described as being like 'Fruit Salad' !
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Track Listing
01 - Moolight Drive (The Matrix Club, San Francisco, March 7, 1967, Set 2)
02 - Break On Through To The Other Side (The Matrix Club, San Francisco, March 7, 1967, Set 3)
03 - The Crystal Ship (The Matrix Club, San Francisco, March 7, 1967, Set 2)
04 - Twentienth century Fox (The Matrix Club, San Francisco, March 7, 1967, Set 2)
05 - Unhappy Girl (The Matrix Club, San Francisco, March 7, 1967, Set 2)
06 - Love Street (Konserthuset, Stockholm, Sept 20, 1968, Early Show)
07 - Love Me Two Times (Konserthuset, Stockholm, Sept 20, 1968, Early Show)
08 - The Unknown Soldier (Konserthuset, Stockholm, Sept 20, 1968, Early Show)
09 - You're Lost Little Girl (Konserthuset, Stockholm, Sept 20, 1968, Late Show)
10 - Wild Child (Konserthuset, Stockholm, Sept 20, 1968, Late Show)
11 - Wake Up (Konserthuset, Stockholm, Sept 20, 1968, Late Show)
12 - Five To One (Seattle Center Coliseum, June 5, 1970)
13 - The End (PNE Coliseum, Vancouver, June 6, 1970)
14 - Touch Me (Smothers Brothers Comedy Hour, Dec 4, 1968)
15 - Moonlight Drive (Jonathan Winters Show, Dec 27, 1967)
16 - Light My Fire (Jonathan Winters Show, Dec 27, 1967)
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