Wednesday, January 31, 2018

Don Grusin - Raven (1990)

(U.S  1975 - Present)
The younger brother of producer/composer Dave Grusin, Don Grusin is an excellent keyboardist who has had his own solo career. He originally avoided music (not wanting to be in his brother's shadow), becoming an economics professor and not becoming a full-time musician until 1975. At that time, he put together a band to tour Japan with Quincy Jones, freelanced in Los Angeles, and headed the group Friendship which recorded for Elektra in 1978. Grusin recorded a few albums for JVC in the early '80s; and in 1988, with Sticks and Stones (a collaboration with brother Dave), Don Grusin began recording regularly for the record company GRP, playing music that (although influenced by pop) is also somewhat adventurous within the crossover genre.

Don Grusin
During the '80s, Grusin performed with and/or produced albums for a wide array of artists including saxophonist Watts (on the 1985 Grammy-winning Musician), Brazilian singer/songwriter Milton Nascimento, pianist David Benoit, and Patti Austin, Sergio Mendes, Oscar Castro-Neves, Zoot Sims, Dori Caymmi, Sadao Watanabe, Frank Quintero, Brenda Russell, Gerald Albright, Nelson Rangell, Jim Hall, Gilberto Gil, Flora Purim, Airto, Larry Carlton, Lee Ritenour, Leon Ware, and many others. On his own, Grusin has recorded for several labels, most notably GRP, releasing such albums as 1990's Raven (featured here), 1991's Zephyr, 1992's No Borders, 1993's Native Land, and 1994's Banana Fish.

Grusin received a Grammy nomination for his 2004 live album The Hang, and played keyboards on Paul Winter's 2008 Grammy-winning album Crestone. Grusin continues to perform, record and produce music internationally and also teaches a multidisciplinary course at the ATLAS Institue at the University of Colorado. He released the solo album Piano in Venice on JVC in 2008.
Album Review
As he proved in his production of David Benoit's 1989 smash Urban Daydreams, Don Grusin is a master at texturing various synth textures with the acoustic piano. On his solo debut 'Raven', Grusin once again does a remarkable job of this, mixing up his styles along the way to include bits and pieces of funk, Brazilian and mainstream jazz, along with healthy doses of the obligatory pop jazz formulas. Though the ballads here, such as "Oracle," are likable, Grusin the player is most at home on funky and frisky numbers like the stealthy "Catwalk," which features some tasty acoustic improvisations layered sparingly amidst a contagious synth groove. The best cut is another funkfest, "Graffiti Bird," which features the very punchy solo chops of saxman Eric Marienthal. The horns of Gary Herbig, Gary Grant, and Jerry Hey brass up this cut, as well as the softer line of "Light in the Window," while Sal Marquez's trumpet (which added so much to The Fabulous Baker Boys) adds a mainstream touch to songs like the title cut. The Brazilian vocalizing by Djavan makes "Two Lives" a memorable experience as well. And let's not forget kudos for the solid back beat by bassist Flim Johnson and skinmaster Tommy Brechtlein. GRP was the smooth jazz mecca for many years, but once in a while the label released a project like this which added a lot of twists to the tried and true.

My favourite tracks are "Flight Of The Raven" and "Catwalk" and everything in between - this is a great album! I like Don's style of playing. He is a bit more percussive a player than his older brother Dave, but is still very melodic. Don also uses a battery of acoustic and electronics keys. This is a great introduction to Don Gusin as a stand alone artist.

In 1976, Grusin/Rosen Productions was formed by composer, arranger, producer, keyboardist Dave Grusin, and entrepreneur, musician, producer, recording engineer, Larry Rosen. The purpose of the Company was to produce recording artists for major record labels, and discover, sign, and produce new artists for Grusin/Rosen Productions, and release the resulting albums through major record distribution systems.

The partners began their long list of successes with albums for artists Jon Lucien, Patti Austin, Lee Ritenour, Noel Pointer, and Earl Klugh. In 1978, the Grusin/Rosen team signed a multi-year label deal with Arista Records president Clive Davis. Under the logo Arista/GRP, Grusin and Rosen discovered signed, produced, recorded, and launched the careers of Angela Bofill, Dave Valentin, Tom Browne, Bernard Wright, Jay Hoggard, Scott Jarrett, and produced and recorded the first totally non-classical digitally recorded album, Dave Grusin's "Mountain Dance."

Grusin and Rosen gained immediate success with music fans bringing sales of Tom Browne's hit "Funkin' for Jamaica" to over 1 million units, and Angela Bofill's sales to over 500,000 units, while playing a pioneering roll in the music industry by leading the way to the digital storage of audio products.

Don Grusin
In 1982, the duo launched GRP Records, known as the "Digital Master Company," as an independent label adopting an "all digital" recording philosophy being the first in America to record and release all titles on compact disc. GRP went on to become Billboard magazine's #1 contemporary jazz label worldwide for five consecutive years and its artists were nominated for over 80 Grammy Awards. GRP's artist roster included Chick Corea, Lee Ritenour, Diane Schuur, Patti Austin, Dr. John, Dave Grusin, Spyra Gyra, The Rippingtons, David Benoit, Tom Scott, Gary Burton, B.B. King, Ramsey Lewis, Sergio Salvatore, Dave Valentin, Arturo Sandoval, Diana Krall, Michael Brecker, Randy Brecker, Yellowjackets, Don Grusin, Kevin Eubanks, GRP All-Star Big Band, and many more.

In 1990, Grusin and Rosen sold GRP Records to the Universal Music Group. From 1990 to 1995 Grusin continued to record for the label and Rosen continued as president and CEO of GRP Records.[extract from the Larry Rosen's Website]

This post consists of MP3 (320kps) ripped from my CD copy and includes full album artwork for both CD / Vinyl. I'm a big fan of Jazz Rock / Fusion (ie. Mahivishna Orchestra, Al Di Meola, Jan Hammer, Weather Report, Lee Ritenour to list a few) and this album fits in nicely with these artists.
If you enjoy this album, then take a look at a release by his brother and others called GRP Live in Session, also posted on my blog

Track Listing
01. Flight Of The Raven (4:34)
02. Two Lives (4:30)
03. Hip Hop Be Bop ( 5:41)
04. Oracle (6:01)
05. Outback Oasis (5:27)
06. Light In The Window (4:32)
07. Zuma Noon (5:32)
08. Um Beijo (A Kiss) (5:10)
09. Graffiti-Bird (4:23)
10. Highline (4:14) *
11. Catwalk (5:28)

* CD release only

Don Grusin (vocals, piano, synthesizer) 
Djavan, Jim Gilstrap, Kate Markowitz, Marilyn Scott (vocals) 
Ricardo Silveira (guitar)
Gary Herbig (flute, saxophone) 
Gary Grant (alto flute, trumpet, flugelhorn) 
Eric Marienthal (soprano saxophone, alto saxophone) 
Jerry Hey (trumpet, flugelhorn) 
Sal Marquez (trumpet) 
Tom Brechtlein (drums)

Don Grusin Link (106Mb) New Link 22/12/2022

Friday, January 26, 2018

W.O.C.K On Vinyl: Barry Crocker - Bazza McKenzie's Party Songs (1972)

On Australia Day we come together as a nation to celebrate what's great about Australia and being Australian. It's the day to reflect on what we have achieved and what we can be proud of in our great nation. It's the day for us to re-commit to making Australia an even better place for the future. Australia Day, 26 January, is the anniversary of the arrival of the First Fleet of 11 convict ships from Great Britain, and the raising of the Union Jack at Sydney Cove by its commander Captain Arthur Phillip, in 1788.

With respect to Australia's Music Industry, we can be very proud of the contributions that our Aussie Musos have made in entertaining people from every nation with music and song, with many of our artists achieving world wide acclaim. Therefore, I would like to celebrate Australia Day by posting this Party Classic by one of our country's well known and respected T.V / Radio celebrities from the 70 / 80's. I hope you enjoy it and have a great Australia Day !

Nothing can be more Aussie than grabbing a meat pie and a nice cold frothy and singing along to the cheeky and in some cases, very politically incorrect ditties sung by Bazza McKenzie (alias Barry Crocker). The character Bazza McKenzie was the brain child of Barry Humphries, back in the early 70's and resulted in the release of a Comic Strip and several rather riskee satirical movies entitled 'The Adventures of Barry McKenzie' (which basically focused on taking the piss out of the Poms).

Barry Humphries summarizes 'Bazza's' musical master piece in the album liner notes:

Barry McKenzie has a really beautiful singing voice! I first suspected this around 1965 when he warbled a ditty called The Old Pacific Sea in the 'Private Eye' comic strip, and he absolutely bewitched them with his native woodnotes wild — and with that raunchy no-holds-barred lyric about the simple joys of chundering whenever the spirit, or the beer, moved him. It was a notable first; a comic strip character with a really good voice. Mandrake might gesture hypnotically, Popeye consume his spinach, Snoopy could actually talk, but none of them could hold a tune.

Comic Strip
When it came to transposing Bazza to the silver screen we had long ago cast Barry Crocker in the star part; he looked like Bazza, given a script crammed with timeless archaisms he could talk like Bazza, he could even be persuaded to act like Bazza. The problem which vexed us sorely was: could he SING as well as Nick Garland's drawing? Now, if Mr. Crocker has not convinced you of his musical prowess up till now, either accept the judgement of one of the 200,000 connoisseurs who have purchased his albums over the past few years or hearken to this one.
If anyone wished to demonstrate that Bazza McKenzie doesn't need to be classy to have Class, then Mr. Crocker's nimble larynx has made the point, NO WORRIES.

There are still  a few pedantic old duffers in Australia who can't imagine Bazza opening the Opera House. Stiff cheese to them. He's lived in London long enough to top the bill in our newest Palace of Varieties, and he enshrines our happiest of knacks for social and cultural mobility. With less charm, he could step adroitly into the shoes of Archbishop, Prime Minister, General Manager of the A.B.C., or even those of the Commonwealth Film Censor.
His solitary vice (if you'll pardon the expression) is that he infuriates dull people, which is probably the only reason he isn't in the Public Service. He answers Samuel Butler's description of himself: 'as innocent as a new-laid egg', and yet Bazza seems capable of anything.

He is Joan Sutherland in a Bond's singlet, Candide  with  an  Akubra,  Childe Roland in Young and Jackson's Galahad in   Gomorrah, Gulliver in the Realm of Lillibet, Hamlet in Hammersmith, Alice in Chunderland. Right now, on this record, he's having a few quiet tubes with his mates in  Earl's Court and singing an artless ballad or two with some of the thirstiest choruses ever written. Melodies grave and gay, they'll set your thongs a'flapping and the sheilahs down the far end of the room are welcome to join in too, NO  RISK.
Barry Humphries (Tangier, Nov. 1972)

This post consists of FLACs ripped from my 'beer / meat pie' stained vinyl copy and includes full album artwork plus label scans. 
I really like the live pub atmosphere that the producer has created on this record and the intermittent sounds of Fosters cans being opened in the background and the yahooing by the thirsty crowd adds to the flavour of this record. 
Favourite tracks are "Washed Down The Gutter" and "One-Eyed Trouser Snake"
Sink one while they're still cold !
A1 Pub With No Beer
A2 Earl's Court Blues
A3 There's A Bridle Hanging On The Wall
A4 Where Have They Gone
A5 Washed Down The Gutter
A6 Swaggie Jock
B1 Bazza's Rock
B2 Bazza's Love Song
B3 One-Eyed Trouser Snake
B4 Old Shep
B5 Chunder In The Old Pacific

Wednesday, January 24, 2018

The Who - Odds & Sods (1974)

(U.K 1964–1982, 1989, 1996 – present)
The original ODDS & SODS album was released by Track Records (2406 116) in October 1974, and as a CD in the early 1980s (Polydor 517 946-2). It was later remixed and remastered by Polydor on CD (539 791-2) in 1998. 

The original ODDS & SODS album was compiled by John Entwistle and in what was seen as an innovative move at the time, the titles of the songs were written in Braille on the rear sleeve. Sadly, my Track Record print does not have these interesting feature. A poster and lyric sheet were included in the package, together with extensive liner notes by Pete Townshend which took the form of a track-by-track explanation (see below), and a longer form of which was published in New Musical Express, issue dated September 21, 1974. 

ODDS & SODS was The Who’s attempt at clearing the decks. Over the years they’d recorded many songs that were never released, though some of them  notably ‘Naked Eye’ and ‘Pure And Easy’ had been played live and were well known to fans. The original album included 11 tracks, some remixed or remastered versions of which appeared as bonus tracks on other CD upgrades.

The remixed and remastered CD consisted of a single disc but expanded by 12 bonus tracks. The intent was to make a number of compilations redundant while keeping with the original spirit of collecting together various Who curios. With the large number of bonus tracks possible on the CD format, the original sequence was changed to attempt to follow the chronological order of recording. The original recordings were produced by The Who, Pete Townshend, Kit Lambert, Jack Baverstock and Chris Parmenter (see individual tracks for details). The reissue was produced by Jon Astley with remixes by Andy Macpherson at Revolution Studios. ODDS & SODS reached #10 in the UK and #8 in the US. Original sleeve concept by Roger Daltrey. Design and photography by Graham Hughes.
While Roger Daltrey was groping round the Tommy film set playing (rather masterfully) the part of the deaf dumb and blind kid himself, while Keith Moon was dressed in a dirty raincoat drinking Guinness with a raw egg and flashing at passers by, while I was ensconced in its studio, John Entwistle, with a little help from his friends, was rooting about in the mountain of unmarked tape boxes at Track Records. He came up with this remarkable collection of unreleased oddities, impulsively labelled "ODDS & SODS" by Roger. I'm going to tell you all why they were never released in the first place.

John Entwistle
Postcard is a John Entwistle song about touring on the road. He describes in luscious detail the joys and delights of such romantic venues as Australia, America and Germany. Listen out for the field sound effects actually recorded in the countries we toured. Postcard was originally recorded in my house for a maxi single. They were EPs that only cost as much as a single. Ours unfortunately never got released!  I engineered this one with one hand on the controls and the other on the guitar. That's why I only play one chord throughout the whole song.

Produced by The Who at Petes own Eel Pie Sound sometime during the spring of 1970.

Now I'm A Farmer is from the same bale of hay, recorded at home for the EP. It's a song, all about the good life out in the fields growing those fantastic ornamental gourds that you can use to...... to...... to make gorgeous fruit bowl arrangements. See if you catch the immensely subtle reference to the "Air" in this song. This track is from the period when The Who went slightly mad, we put out several records called "DOGS", and at least one about finding 'ones' inner self. Gourds mate, that's the secret of life...... GOURDS.

Produced by Pete Townshend at Eel Pie Studios during spring 1970.

Put The Money Down is one of the tracks recorded by the illustrious Glyn Johns for us. Terrific sound, beautifully recorded. Wonder what group he used ?

Produced by The Who, associate producer Glyn Johns, at Olympic Studios, on 6 June 6 972. This track remained uncompleted until 1974 when Roger finally finished the vocal so it could be included on the original ODDS & SODS.

Little Billy.  Now if I might take a little liberty here, this is a masterpiece. Written and recorded for the American Cancer Society in exchange for world wide success and fame it ended up not saving lives, but mouldering unheard in some executive's office for six years. "Its too long" he said. I really hate him because he jilted me, the swine. But, as you can hear. Little Billy is doing fine, just fine.

Original recording produced by Kit Lambert at IBC Studios, London, on 11 February 1968, and mixed at Gold Star Studios, Hollywood, 26 February. LITTLE BILLY is a stern, anti-smoking song 

Too Much of Anything. A song about temperance in all things. The insidious horror of excess. This track was a song recorded in the "Who's Next" sessions by Glyn Johns for the LIFE HOUSE film which never happened. We felt this summed up just what too much of anything could do to a person.

Produced by The Who, associate producer Glyn Johns, at Olympic Studios, during May 1971. 

Glow Girl. I'm really glad, and amazed that John found this one and put it on. It's a Rock and Roll airplane crash song with a real Pop art plane crash and a happy reincarnation ending. I wrote another song with a similar title called "Glittering Girl". Both ended up on the cutting room floor. This track reveals a lot about the way I write. I rarely leave any good idea unused, Real themes crop up in Tommy, and so do the last lines of this. Only of course Tommy was a dear little boy.

Original recording produced by Kit Lambert at De Lane Lea Studios, January 1968 and completed on 11 February. Within GLOW GIRL lie the seeds of TOMMY: it closes with the opening lines from IT’S A BOY, albeit referring to a girl… Its a girl, Mrs Walker…

Pure And Easy. This you might know from my solo album. This is the group's version. Not all of the group's versions of my songs are as faithful to the original demo as this one, but as usual the '00' make their mark. Another track from the abortive LIFE HOUSE story. It's strange really that this never appeared on WHO's NEXT, because in the context of stuff like SONG IS OVER, GETTING IN TUNE and BABA O'RILEY it explains more about the general concept behind the LIFE HOUSE idea than any amount of rap. Not released because we wanted a single album out at the time.

Produced by The Who, and associate producer Glyn Johns, at Olympic Studios, in May 1971.

The Who live in France 1974
 Faith In Something Bigger.  God I don't know where to hide. Well I mean, the whole thing about HIM is that HE is everywhere isn't HE? Anyway, the whole idea is preposterous, something, something bigger than US?  US!  THE WHO! A quick listen to this fads will bring us quickly down to size I can assure you.

Original recording produced by Kit Lambert at CBS Studios, London, on 4 January 1968, and completed 14 January.

Pete & Roger 1974
I'm The Face. Quite simple, our first record release. Words by Pete Meaden mod miracle man with Desert Boots blue beating and randy female pop writer on every page of his address book. Superb jazz guitar solo from somebody I don't recognise, fast piano from some pilled up lunatic who probably made more in session fees that day than we did from the ensuing years work. Best of all on this for me is Jack the Barber's hand clapping and John's amazing 'ZOOPS' on the bass.

Original recording produced at Philips’ Studio, London, in June 1964 and produced by Jack Baverstock and Chris Parmeinter. The Whos first single, released on 3 July 1964 when they were known as The High Numbers. The lyrics were written by their then publicist Meaden and set to the melody of Slim Harpos GOT LOVE IF YOU WANT IT. It failed to make the charts and Fontana did not take up the option on a second single by The High Numbers. I’M THE FACE was part of the original ODDS & SODS in 1974 and was reissued as a single on Polydor's Back Door label in 1980. The original single on the Fontana label, however, has since become a valuable collectors item, with mint condition copies selling for vast sums of money.

 Naked Eye. Another track from the EP. This number was written around a riff that we often played on stage at the end of our act around the time we were touring early TOMMY. It came to be one of our best stage numbers, this was never released because we always hoped we would get a good live version one day.

This is the version recorded at Eel Pie Studio and produced by Pete in spring 1970.

Long Live Rock. Well there are dozens of these self conscious hymns to the last fifteen years appearing now and here's another one. This was featured briefly in the film for which Keith made his acting debut, 'That'll Be The Day'. Billy Fury sang it. This is most definitely the definitive version. I had an idea once for a new album about the history of The Who called ROCK IS DEAD - LONG LIVE ROCK. That idea later blossomed into QUADROPHENIA.

Produced by The Who, associate producer Glyn Johns, at Olympic Studios, on June 5, 1972. It was released as a single on 1 April 1979, reaching #48, and as a US single in June 1979. 

All of these tracks have been part of bigger ideas, or at least grand dreams that didn't see the light of the day.  [Taken from album insert sleeve. Notes by Pete Townsend, with additional info in italics]

This post consists of FLACS ripped from my TRACK vinyl which I purchased from Reading Records back in the late 70's.  It is still in its shrink wrap and in A grade condition. One of my favourite Who albums, this compilation is a must for all music collectors.
Full album artwork for both vinyl and CD is included, along with label scans.
Track Listing 
01 Postcard                     3:27
02 Now I'm A Farmer            4:08
03 Put The Money Down            4:00
04 Little Billy                    2:15
05 Too Much Of Anything            4:26
06 Glow Girl                    2:10
07 Pure And Easy            5:23
08 Faith In Something Bigger    3:03
09 I'm The Face                 2:32
10 Naked Eye                    5:10
11 Long Live Rock            3:54

The Who:
Pete Townshend (guitars, vocal)

Roger Daltrey (vocal)
John Entwistle (bass, vocal)
Keith Moon (drums, vocal)  

Odds & Sods FLAC Link (258Mb)
New Link 02/01/2024

Wednesday, January 17, 2018

The Doors - Unauthorised - The Lizard King Vol.4 (1993) Bootleg

(U.S 1965–1973)
The fact that this is one of the very few recorded shows the Doors haven’t released commercially tells you all you need to know really. Recorded by the Doors Road Manager Vince Treanor, the actual performance was an ill tempered affair with Morrison drunk and off target for most of the show. The 15,000 venue was just a third full with the crowd hostility seemingly throwing Morrison off track. Sound problems dogged the concert with long breaks between songs doing nothing to help the crowd tensions.

This post consists of 68 minutes of solid show that compares well with the many other live Doors performances available. There is some sound bleed-through or tape hiss in the quieter portions but there are not many of those and unless you are using headphones they should not be of concern. Overall this is a decent quality recording with very strong organ including the bass range and there are some notable lead guitar parts. Apart from the location (Seattle Centre Coliseum), list of tracks, source (KRAB-FM) and date (5th June 1970) there is no background information or booklet. The audience is active but not intrusive and expletives are minimal.

The Doors on stage at Seattle, 1970
Seattle Concert, 5th June 1970
Seattle, June 5th 1970 wasn't a very good night for the Doors. In fact it was a pretty bad show, disastrous even when compared to some of the outstanding concerts they had produced earlier on that year. Yet this doesn't stop bootleggers and publishers of semi legal albums from revisiting the concert - read: from making easy money on it - time and time again. Not surprisingly of course.
The legend and popularity of the Doors lives on, and with each new generation of fans comes the need for more than what Elektra and Rhino have been and are giving us.

The Doors on stage at Seattle, 1970
Sadly, the tracks 'Light My Fire' and encore 'The End', abruptly terminated before completion by the venue management cutting off power, haven't surfaced yet - I should add that they are assumed to have never been recorded by at the time road manager, Vince Treanor; but you never know...

Perhaps the biggest bonus with this release is the inclusion of the song that makes the concert an interesting one despite its flaws: 'Someday Soon'. A rare one in the Doors catalogue, never tried for in the studio, performed in concert a handful of times only. 

This is the Doors history, people! And more so than any other taped concert, Seattle 1970 reveals a hard working quartet of men - of humans, having an off day. [Extract from]

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.
Sources: Seattle Center Coliseum, Seattle, WA on 5th June 1970.
Known as the 'Lizard King' because of the leather pants that he wore during his concert performances, this Vol.3 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: One track missing on this release from the official set list is "Five To One", however it appears on Vol.2 of "The Lizard King" series instead. Unsure why Banana chose to do this, as there was plenty of room on the CD to accommodate both of these tracks.
01 Back Door Man / Love Hides 7:10  (Seattle, 5th June 1970)
02 Roadhouse Blues 5:30  (Seattle, 5th June 1970)
03 When The Music's Over  19:52  (Seattle, 5th June 1970)
04 People Get Ready 0:43  (Seattle, 5th June 1970)
05 Medley: Train I Ride (Part 1)  3:41  (Seattle, 5th June 1970)
06 Baby Please Don't Go 3:34  (Seattle, 5th June 1970)
07 Train I Ride (Part 2)  13:49  (Seattle, 5th June 1970)
08 Bullfrog Blues  3:12  (Seattle, 5th June 1970)
09 Break On Through  5:17  (Seattle, 5th June 1970)
10 Someday Soon / Hitler (Poem)  6:13  (Seattle, 5th June 1970)
The Doors Vol 4 Link (160Mb)  New Link 03/01/2024

Tuesday, January 16, 2018

The Doors - Unauthorised - The Lizard King Vol.3 (1993) Bootleg

(U.S 1965–1973)
This CD is part of the famous 'Vancouver concert' featuring the Doors playing alongside the great Albert King. This release is available with varying covers, in this case with a big red stamp across Jim's picture saying Unauthorised, and they call the series 'The Unauthorised Recordings'.
Further more, these Unauthorised Recordings are also available from another company called Joker Productions - with the same track listing but different photos (The Doors - Live Vol.3, Joker Productions JOK-004-C). If you have the Joker release then you don't need this one.
Live In Vancouver
On 6 June 1970, The Doors played the Vancouver PNE Arena in Vancouver, BC, and as two onstage microphones captured the performance on a reel-to-reel tape recorder, the band churned out a mostly blues-soaked set, during which they were joined by guitar legend Albert King on four songs.

The show, which featured 17-minute versions of both Light My Life and The End, has been released as a two-CD package called, appropriately enough, The Doors Live In Vancouver, 1970. For guitar fans and blues aficionados, the appearance of King on the songs Little Red Rooster, Who Do You Love (listen below), Rock Me and Money is reason enough to purchase the set. And they'd get little argument from keyboardist Ray Manzarek, who remembers the night as "one of the better gigs."

Recalling the performance during an interview with the Vancouver Sun, Manzarek said, "It was exciting. Albert King was going to be playing the blues with Robby Krieger, while Jim Morrison sings." Going into greater detail, the keyboardist remembered, "A large audience, lights shining in my eyes, can't see the audience... The Doors are excited because Albert King is coming onstage, so we played great. Then Albert comes on, and we played even better. We played dark and deep and funky. Morrison was just transfixed by Albert King's manual dexterity and adroitness on the guitar, so he was in blues-boy heaven.

Jim Morrison & Albert King At Vancouver 1970
"We were all blues boys. We had all gone to the south side of Chicago, which appeared magically in Vancouver, Canada. And we're playing the blues. We're a blues band on the south side of Chicago playing with Albert King. Great night, absolutely great, had a fine time."

When asked if the band rehearsed with Albert King, Manzarek laughed and said, "Hell no! Are you kidding. What are we playing? The no problem." [Extract from]

Albert King opened for The Doors in Vancouver on June 6, 1970. The Doors asked him to jam with them on four blues standards, and they were only months away from starting the recording of “L.A. Woman” in the fall of that year. From the versions of the songs The Doors played “Live in Vancouver” it seems they already had the blues on their minds.

There was some experimenting going on in Vancouver. The Doors seemed to be pushing the limits of rock or at least stretching the limits between rock and the blues. At first it sounds like the Vancouver show is more sedate (not sedated) than the Felt Forum shows a few months prior.  Upon a closer listening you can see The Doors were going for more of a bluesy feeling than a hard rock sound, and this explains why Morrison, in introducing Albert King, gives a quick tutorial to the audience about the two main indigenous forms of American music — blues and country — coming together in rock ‘n’ roll. He‘s tipping the audience off as to what they’re doing.

Albert King & Jim Morrison Backstage
The instrumentals in most of the songs highlight the bluesy feeling, as in “Five to One” and “Light My Fire.” While they didn’t change the song substantially, during the instrumental of “Light My Fire” Morrison comes in using “St. James Infirmary” as a starting point and slips in some bucolic, blues-tinged imagery from “Porgy and Bess” to highlight the bluesier aspects of The Doors’ usual repertoire: “the fish were jumping, and the cotton is high.” What band today of the same caliber as The Doors would or could risk such onstage experimentation?

That’s not to say The Doors didn’t delve into their psychedelic roots, as they played “When The Music’s Over” and an interesting rendition of “The End.”  Early in their career The Doors were interested in dissonance for their experimental journeys, but in Vancouver they show that assonance had taken over their experimental interest. “The End” in Vancouver is a mature rendering of that song; it isn’t as frantic as earlier versions, The Doors let it play out like a noir film, with Morrison stacking the familiar images upon each other until the dramatic crashing climax, creating a movie for the mind of the audience.

Albert King played four songs with the band onstage, “Little Red Rooster,” “Money,” “Rock Me,” and “Who Do You Love.” King’s solos on these songs, like the rest of the CD, don’t display a lot of unnecessary pyrotechnics but are solid playing all the way through.

The Doors on stage at the Pacific National Exhibition Coliseum, Vancouver

I’ve been to a lot of rock concerts and listened to a lot of live albums, but none of those seem to have the context or coherence that The Doors were able to imbue into their best shows, and this is one of their best.

These Bright Midnight releases are great for fans like me who didn’t have the connections to get bootlegs but still longed to hear the shows they’ve long heard about. The Bright Midnight releases are like raiding The Doors’ archives without having to worry about the quality; the sound is crisp and clear. The liner notes give you some background, right from The Doors’ own pens that’s more reliable than second generation legend. This bootleg release of “The Doors Live in Vancouver” will make a nice addition to your collection. [Extract from The Doors Examiner. Originally published in 'The Doors Examined' by Jim Cherry. 2013]
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.
Sources: Pacific National Exhibition Coliseum, Vancouver, Canada, June 6th, 1970. Not the complete show.
Known as the 'Lizard King' because of the leather pants that he wore during his concert performances, this Vol.3 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.
Track Listing
01. Roadhouse Blues  5:57 (Vancouver, 6th Jun 1970)
02. Back Door Man  2:31  (Vancouver, 6th Jun 1970)
03. Five To One  6:10  (Vancouver, 6th Jun 1970)
04. Money (That's What I Want)  2:59  (Vancouver, 6th Jun 1970)
05. Rock Me Baby  6:41  (Vancouver 6th Jun 1970)
06. Little Red Rooster 6:32  (Vancouver, 6th Jun 1970)
07. Who Do You Love?  8:09  (Vancouver, 6th Jun 1970)
08. (Medley)  17:52  (Vancouver, 6th Jun 1970)
    Light My Fire
    St. James Infirmary
09. The End  16:39  (Vancouver, 6th Jun 1970)
The Doors Vol 3 Link  (169Mb)  New Link 03/01/2024

Monday, January 15, 2018

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

(U.S 1965–1973)
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]

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]

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
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. 

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' !
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)
The Doors Vol 2 Link (139Mb)  New Link 03/01/2024

Sunday, January 14, 2018

The Doors - Unauthorised "The Lizard King" Vol.1 (1993) Bootleg

(U.S 1965–1973)
The Doors are primarily an instrumental trio with a lead singer, but Jim Morrison is not so much a singer per se, as he is a shouter, as horn section, sometimes a lead instrument. He doesn't sing in the dictionary sense of the word; rather, he punctuates with his voice. Tying all of the elements together—the organ, the drums, the vocals— is the fluid thread or Robby Krieger's guitar, slow, spare, thoughtful, unifying. Krieger's thought processes for guitar, interestingly enough, did not come from blues but from flamenco, a fact that makes his guitar playing totally individualistic in the rock field.
Jim once told a reporter: "We're the Doors because, when you go into a strange town, you check into a hotel. Then, after you've played your gig, you go back to your room, down an endless corridor lined with doors, until you get to your own. But, when you open the door, you find there are lots or people inside. And you wonder, Am I in the wrong room? Or is this some kind of a party?"

Yes, the Doors are mystical (hailing from Los Angeles, to preserve their sanity, perhaps they have to be). But they can talk common sense, too. Here is Robby: "Most groups today aren't groups. Here, we use everyone's ideas. In a true group, all of the members create the arrangements among themselves. This group is so serious. It's the most serious group that ever was, that ever will be." And Ray: "All of us have the freedom to explore and to improvise within a framework. Jim is an improviser with words. . . . We've all shattered ourselves a long time ago. That was what early rock was about: an attempt to shatter two thousand years of culture. Now, we're working on what happens after you've shattered it."

Perhaps this statement by Jim best marries the mythological and the matter-of-fact: "You could say it's an accident that I was ideally suited for the work I am doing. It's the feeling of a bow string being pulled back for twenty-two years and suddenly being let go. . . . I've always been attracted to ideas that were about revolt against authority.
When you make your peace with authority, you become an authority. I like ideas about the breaking away or overthrowing or established order. I am interested in anything about revolt, disorder, chaos, especially activity which seems to have no meaning. It seems to me to be the road toward freedom — external revolt is a way to bring about internal freedom. Rather than starting inside, I start outside — reach the mental through the physical. But the main thing is that we are the Doors. We are 
from the West. The world we suggest should be or a new, wild West, a sensuous, evil world, strange and haunting. The path or the sun, you know".  [extract from The Doors: The Complete Illustrated Lyrics, by Danny Sugerman. 1991. p22-23]
The Matrix Club
Only a few tables of curious spectators showed up at the club each night, so the musicians pretty much played for themselves. In between two weekend engagements at the Avalon Ballroom, a little-known rock group from Los Angeles called the Doors played Tuesday through Friday at a 100-seat Marina district club called the Matrix. Even the musicians might have forgotten all about the gig if the club manager hadn't decided to tape the shows.

The Doors were making their second trip to the thriving San Francisco ballroom scene in March 1967. It was an unseasonably chilly end of winter before the Summer of Love and just three months after the little-noted release of the band's now-historic debut album.

"We were on the lip of great success and we didn't know it," drummer John Densmore says. "Neither did the audience, which was very cool."

"Light My Fire" wouldn't break the group on radio for another three months, so the Doors were playing that weekend second-billed to Country Joe and the Fish at the Avalon, and almost no one showed up at their midweek Matrix engagement.

Matrix co-owner Peter Abrams had only recently installed a tape recorder in the sound booth, but it would be his custom over the next five years to record every show at the club. The Doors' tapes have been passed around in the underground world of bootleg recordings for years, including a set of "horrible, horrible sounding" Italian CDs that Doors producer Bruce Botnick heard.

Botnick, who has engineered and produced virtually every Doors recording in the band's history, finally dusted off the tape copies in the band's vault, cleaned them up and put together a two-CD set, "Live at the Matrix," complete with a cover by '60s San Francisco poster artist Stanley Mouse. Botnick says he thinks the Matrix tapes contain "one of their best recorded performances."

"They were young, enthusiastic, out to have fun," he says. "They experimented a lot, changed arrangements around and played things they never did before."

"We looked at it as a paid rehearsal," says guitarist Robbie Krieger. "There were five to 10 people in the club. We did it for ourselves." 

The band played a lot of blues at the Matrix, including Allen Toussaint's "Get Out of My Life Woman" and Slim Harpo's "I'm a King Bee" that rarely turned up again in the repertoire. They did an instrumental version of "Summertime," a piece Botnick never heard the band play again. The group introduced new material that would eventually find its way to the second album - "People Are Strange," "Moonlight Drive" - while Morrison expanded and elaborated the ending of the already epic "The End" as recorded on the first album. The shadowy, echoey recording sounds like being in the dingy, rundown nightclub. The tiny room and handful of strangers in the crowd give off a palpable presence on the tape. All 10 people applaud madly. [extract from SFGATE-San Francisco Chronicle]

The Doors At The Hollywood Bowl
The Hollywood Bowl didn't look as famous in the daylight as it did at night, but unfortunately the night light didn't save our performance. We were worried about the acoustics at the outdoor amphitheatre, where there were no wails to bounce the sound off. We had played outdoor conceits successfully before, but you couldn't hear the sound coming back to you and it could be difficult to judge how loudly to play. We didn't want to take any chances, so Vince, our dedicated and obsessed road manager, built additional amplifiers, fifty-two speakers in all, with seven thousand wans of power. For a four-piece band!
I used four mikes to amplify my drums and had eight speakers all for myself. Ray and Robby had about fifteen speakers each and Jim had a few less, but his voice was also fed through the house PA system.

We wanted to reach the back of the Bowl and we didn't want to get caught shorn As it turned out, the people who lived in the homes behind the Bowl had complained about noise the previous month or so, and the Bowl had hired a sound man to walk around the theater during performances and check volume levels on a portable meter. The sound level was not to exceed eighty decibels, or he would pull the plug. Robby was very unhappy. Typical—a guitar player. Power! 1 was actually pleased, because as a drummer I always fought to be heard. Whenever Ray and Robby turned up a knob, I had to use more muscle.

Unfortunately, eighty decibels was not enough to fill eighteen thousand seats with the punch we relied on. Thinking die Bowl would be an important gig, we also had a movie crew of old UCLA film school friends of Ray and Jim's shooting 16 mm color and sync sound. A small crew had been following us around on tour for a documentary we were making. For the Bowl we had a couple additional cameramen. (Although I wasn't into guys, I noticed how strikingly handsome one of the new crewmen was. And he had a weird name: Harrison Ford.) we got a call from Jimmy Miller, the Stones' producer, and he said that he and Mick would like to come to the Bowl. Mick Jagger! We were impressed until they drove up in front of our office to go to dinner with us. Robby said, "John, look at the car they're driving." It was a Cadillac, and not even an old one. Was Mick selling out? I excused them because it was probably a rental, but still I thought, Couldn't they have had more taste? 

Our entourage went to Mu Ling's Chinese restaurant on Sunset Boulevard and unfortunately, since there were too many people in our group, we sat at two separate rabies. Mick sat at the other table. Jimmy Miller talked up a storm, but I wanted to hear the interaction between the two lead singers, and maybe put my two cents in. As we drove to the back of the Bowl, it felt like attending a huge baseball game. I felt a twinge of nervousness looking at the crowd as we walked into the dressing room. I got a piece of paper and we agreed to the first three or four songs. Out of the corner of my eye, I could see Mick watching very attentively.

Jimmy Miller and Jagger snuck around to one of the reserved boxes, and we went out onstage to eighteen thousand roaring people. 1 wanted to show the Stones' lead singer how good we could be. Not tonight. Damn it! I wished we were better. Several close friends were right in the front seats and I couldn't even look at them. Jim wore a cross and smoked a lot of cigarettes, which seemed out of character for him. He wasn't born again and it was the first time I ever saw him smoke. I detected some self-conscious image-building.

The audience lit matches when we played "Light My Fire," a trend that continues at rock concerts today, but as beautiful as it looked from the Bowl stage, there was little spark coming from the musk. It wasn't a bad show; it was just off.
I couldn't put my finger on what went wrong. The lights were very bright for the film crew, and -I could tell they were affecting Jim's performance. The mood of the show wasn't there. We didn't have enough power and Jim's pauses were too long on some songs. Jim's gold crucifix didn't even help. I had noticed Roger Daltrey of the Who sporting a cross on TV, so I asked Jim why he had followed suit.
"I like the symbol visually, plus it will confuse people."
"What went wrong?" I asked Robby, walking back under the shell to the dressing rooms.
"Jim took acid right before going on."
"GOD DAMN IT!" I huried ray drumsticks to the floor. "It's one thing to take it on your own time, but the Hollywood Bowl? That's probably why he took it. Damn."
Later Jagger was very kind when Melodymaker, the English music magazine, asked him how he liked the Doors. He said, "They were nice chaps, but they played a bit too long," [extract from Riders On The Storm by John Densmore, 1991. p169-171)

.This post is the first of four bootleg releases by Banana entitled The Lizard King, which I will be posting each day, so stay tuned. Ripped from CD to MP3 (320kps), these bootleg recordings  are excellent quality and cover 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 MEGA series of concert material highlights why Jim Morrison and the Doors were one of the biggest acts of the late 60's and 70's.
Track Listing
01. Alabama Song (Whisky Bar) 1:35  (Live Hollywood Bowl, LA 5 Jul 1968)
02. Back Door Man  2:10  (Live Hollywood Bowl, LA 5 Jul 1968)
03. Five To One 3:09  (Live Hollywood Bowl, LA 5 Jul 1968)
04. I Can't See Your Face In My Mind  3:15  (Live Matrix Club, San Francisco, 10 Mar 1967)
05. People Are Strange  2:17  (Live Matrix Club, San Francisco, 10 Mar 1967)
06. Money (That's What I Want)  2:38  (Live Matrix Club, San Francisco, 10 Mar 1967)
07. Who Do You Love  4:39  (Live Matrix Club, San Francisco, 10 Mar 1967)
08. Summer's Almost Gone  3:50  (Live Matrix Club, San Francisco, 10 Mar 1967)
09. I'm A King Bee  3:53  (Live Matrix Club, San Francisco, 10 Mar 1967)
10. Gloria  5:46  (Live Matrix Club, San Francisco, 10 Mar 1967)
11. Summertime 8:48  (Live Matrix Club, San Francisco, 10 Mar 1967)
12. Close To You  3:05  (Live Matrix Club, San Francisco, 10 Mar 1967)
13. Rock Me Baby 8:29  (Live Matrix Club, San Francisco, 10 Mar 1967)
14. The Hill Dwellers  2:44 (Live Konserthuset, Stockholm, 20 Sep 1968)
15. Light My Fire 8:52 (Live Matrix Club, San Francisco, 10 Mar 1967)
The Doors Vol.1 Link (149Mb) New Link 03/01/2024