Doors

Live In New York

CD Track List

Track List 1 Track List 2 Track List 3 Track List 4 Track List 5 Track List 6 Track List 7

Live In New York - Disc 4 of 6 (1970)
1. (start Of Show 3) (sunday Evening, January 18, 1970 - Third Sh
2. Ow)
3. Roadhouse Blues (sunday Evening, January 18, 1970 - Third Show
4. )
5. Ship Of Fools (sunday Evening, January 18, 1970 - Third Show)
6. Break On Through (to The Other Side) (sunday Evening, January
7. 18, 1970 - Third Show)
8. (tuning, Breather) (sunday Evening, January 18, 1970 - Third S
9. How)
10. Universal Mind (sunday Evening, January 18, 1970 - Third Show)
11. Alabama Song (whisky Bar) (false Start) (sunday Evening, Janua
12. Ry 18, 1970 - Third Show)
13. Alabama Song (whisky Bar) (sunday Evening, January 18, 1970 -
14. Third Show)
15. Back Door Man (sunday Evening, January 18, 1970 - Third Show)
16. Five To One (sunday Evening, January 18, 1970 - Third Show)
17. (tuning, Breather) (sunday Evening, January 18, 1970 - Third
18. Show)
19. Moonlight Drive (sunday Evening, January 18, 1970 - Third Sho
20. W)
21. Who Do You Love (sunday Evening, January 18, 1970 - Third Sho
22. W)
23. (calling Out For Songs) (sunday Evening, January 18, 1970 - T
24. Hird Show)
25. Money (sunday Evening, January 18, 1970 - Third Show)
26. (tuning, Breather) (sunday Evening, January 18, 1970 - Third
27. Show)
28. Light My Fire (sunday Evening, January 18, 1970 - Third Show)
29. (more, More More) (sunday Evening, January 18, 1970 - Third S
30. How)
31. When The Music's Over (sunday Evening, January 18, 1970 - Thi
32. Rd Show)
33. (good Night, End Of Show) (sunday Evening, January 18, 1970 -
34. Third Show)

Live In New York - Disc 4 of 6 © 2009 Bright Midnight Archives/R hino Originally Released November 17, 2009 Originally Record ed January 17 & 18, AMG EXPERT REVIEW: This six-disc com pendium contains the complete run -- four sets over two nights -- by the Doors' at the Felt Forum in New York City January 17 and 18, Although previously unavailable in its entirety, music from these programs has shown up prominently throughout several l ive packages -- namely Absolutely Live (1970), and Alive She Crie d (1983). Additionally, over an hour was excerpted to create the "Live in New York" CD within The Doors Box Set (1997). Most any u nissued live material from the original quartet of John Densmore (drums), Robbie Krieger (guitar), Ray Manzarek (keyboards/vocals) and Jim Morrison (vocals/percussion) could be considered cause f or celebration. However, the experience of hearing the band's ebb and flow as they organically develop the performance in real-tim e -- as opposed to hearing a package of material that has been ch erry-picked after the fact -- is one of several advantages that t he Live in New York (2009) anthology has over its predecessors. A nother is the stunning fidelity throughout, thanks to the work of Doors' original producer/engineer Bruce Botnick and the exhausti ve processes of restoring the eight-track, open-reel master tapes . With so much territory to cover -- over seven hours in all -- t here are, inevitably, a few audio dropouts. In those rare instanc es, very good quality substitutions from other sources (of the ex act same material) almost seamlessly fill in any moments that mig ht be missing due to reel changes and the like. Always a question mark in terms of performance quality, Morrison is on pretty good behavior and in exceptional voice. Immediate evidence can be fou nd on the soulful reading of "Blue Sunday" from the first show. H owever, by the final outing, his husky and raspy vocals make it c lear that he is rapidly losing his range. Morrison has also clean ed up his stage prattle in the wake of the infamous occurrence wh ere it was alleged that on March 1, 1969 in Miami, FL Morrison ex posed himself during the show. A warrant was subsequently issued for his arrest on one felony count of lewd and lascivious behavio r and three misdemeanor counts of indecent exposure, open profani ty, and drunkenness. Certainly far from scared straight, he seems to have gotten the message, and was actually awaiting trial at t he time of these recordings. He even jokingly refers to it during the spoken "Only When the Moon Comes Out" interlude on the 18th. On paper, there is little variance between each of the four set lists. However, the energy and vibe vacillate significantly from version to version and show to show. The core inclusions of "Road house Blues," "Ship of Fools," "Alabama Song," "Light My Fire," a nd a combo pairing "Back Door Man" with "Five to One" were played every time. While "Alabama Song (Whisky Bar)," "Break on Through (To the Other Side)," and "Who Do You Love" were done a bit less frequently. On the other hand, there are rarities aplenty as "Bl ue Sunday," "Love Hides," "Little Red Rooster," "Crawling King Sn ake," a half-hearted "Wild Child," "The End," "Celebration of the Lizard," "Close to You" (sung by Manzarek) -- plus the four-song encore on the 18th that includes "Rock Me Baby," "Going to N.Y. Blues," "Maggie M'Gill," and "Gloria" were only unleashed once. D uring that same finale, former Lovin' Spoonful co-founder John Se bastian (harmonica) is invited on-stage. According to Bruce Botni ck's "technical note" found in the accompanying liner notes bookl et: "When John came onstage to join The Doors for the Sunday seco nd show encore, he was handed a microphone that was only going th rough The Doors' sound system, and not plugged into the Fedco Aud io Labs mobile truck. As a consequence, John's harmonica didn't g et recorded. So, earlier in 2009, we arranged for John to join Ra y Manzarek and myself at Skywalker Sound in San Rafael. John repl ayed his parts as closely as possible against the PA leakage from the audience tracks on the original recorded 8-track masters." P urists will be able to use a code on the Rhino Web site (www.rhin o.com) to download the untampered versions. by Amazon.com Product Description 2009 six CD box set that contains all of the Doors' performances in their entirety recorded in at the Fe lt Forum in New York. All four shows were mixed and mastered by t he band's long-time engineer, Bruce Botnick, who recorded a numbe r of shows from their tour. While most of the music in the c ollection has never been released, a few songs appeared on the 19 70 release, Absolutely Live and in the 1997 box set. Elektra. Half.com Album Notes Recording information: New York, NY (01/1 7/1970/01/18/1970); Skywalker Sound (01/17/1970/01/18/1970); The Felt Forum, New York, NY (01/17/1970/01/18/1970). Industry Rev iews 4 stars out of 5 -- For the first time since reinventing hi mself in 1965, Morrison concentrates on his job with absolute cla rity... -- RELATED INFO ------------------------------------ ------------------------------------------------------------ fro m Pitchfork.com Album Review: 7 out of 10 stars by Chris Dahl en, November 20, 2009 So I'm 13, and I'm slouching through Ha rvard Square on my way to get Pink Floyd boots at the used record store. I'm just starting to grow my hair long-- which never real ly worked out-- and I'm wearing a grey t-shirt sporting the hundr ed-yard-stare of Jim Morrison of the Doors. From across the stree t, a guy three times my age shouts: "Fuck! Yeah! The Doors!" And for that moment, we are brothers. The Kids in the Hall's Bruce McCulloch argued that Doors fans are born, not made. But he duck s the question of why we're not making them anymore. Today, one o f the first standard-bearers of rock is less hip than Journey. Le t's review the case against the band: First we have Morrison hims elf, who's been blown into a caricature by his super-sexual perso na, his wifty poetry, and his early death in a Paris bathtub. The music sounds like a weird cross between shit-kicking blues-rock and brain-spraining acid-jams, and it's easier to get your avant- garage fix from the Velvet Underground, your rock shaman verse fr om Patti Smith (or not at all), or your psychedelic extravagance from countless Nuggets bands. As dead 1960s rockers go, Jimi's le gacy has left Janis and Jim in the dust. It may be a strange way to put it, but the problem with the Doors is that they were not e fficient. Let's say that's where you are with this band. So he re's how this set might change your mind. Rhino has reissued a ll four sets from their gig at the Felt Forum in January, ri ght before the release of Morrison Hotel-- and still in the shado w of Morrison's drunken, obnoxious, and allegedly obscene perform ance in Miami, which threatened him with jail time. Many tracks f rom these shows have been released before, but on this box you ca n listen to them bootleg-style, with all the repeated songs, tuni ng breaks, and banter with the audience. The Live in New York set sounds like an unedited performance, but in fact, the tapes h ad been so worked-over for other live albums that the team had to meticulously reconstruct it from 8-track and 2-track source tape s, using fan tapes as reference. Guest John Sebastian's harmonica wasn't even captured in the original mix; producer Bruce Botnick brought him back to the studio this year to replay the solos, ba sed on what they got from tape bleed. Why go to the trouble? Beca use this is the truth. It's what the Doors sounded like, without the heavy hand of an Oliver Stone looking for the juicy parts-- a nd without the impatience of the iPod generation trying to trim i t down. As you listen to the set, Morrison doesn't come off as a self-absorbed mystic: He's far more like the troubled kid in s chool who couldn't sit still and didn't fear anything. He demands and rewards attention. He's petulant with the audience, even bar king at them or pleading to "give the singer some" when they won' t stop talking. The vibe from the crowd may explain why the fo urth show starts rough: After scolding the crowd, Morrison sounds disengaged or mocking as he wanders through the first few songs. But then he suddenly rewards the audience with a rare performanc e of his rock suite/poetry slam, "Celebration of the Lizard". The piece isn't exactly a lost classic-- it's not his most powerful verse, and musically it doesn't gel like "The End"-- but the best thing about this recording is how into it Morrison gets, from th e quiet couplets to the screams. It's easy to see how people fell in love with the poet no matter the poetry, although some of his verse is still dangerous: The "Horse Latitudes" poem that he int erjects in "Moonlight Drive" boasts his strongest imagery, and th e contrast between that and the seaside groove is still striking. The rest of the band is here to support the star, and it neve r lets him down: The Doors were a loose, groovy, and ferocious co mbo, here playing a setlist that sticks to rock and blues and ski ps all the winsome and folky stuff that cluttered up Waiting for the Sun and The Soft Parade. Organist Ray Manzarek played the hoo ks that turned songs like "Hello, I Love You" into pop hits, but here he's focused on driving the rhythm section. Even his legenda ry solo on "Light My Fire" changes in concert from a melodic impr ovisation to a jam that climaxes in frustration, as you can hear him stabbing the keys with all ten fingers and wishing he had ano ther ten besides. On the other hand, guitarist Robby Krieger is f erocious right from the riff of "Roadhouse Blues", and he makes t heir cover of Bo Diddley's "Who Do You Love" one of the best reco rdings the Doors ever made. History hates this band for its ex cess, but so what? The Doors thrived on excess. When Morrison gea rs up the crowd with his groin and his ego and roars, "gonna have a re-al, good time," no excess, no overdose, no scream is big en ough for the good time he's got in mind. And that's the way to re member him. -- RELATED INFO -------------------------------- ---------------------------------------------------------------- from RollingStone.com Doors' Final New York Concerts Emerge as Six-Disc Collection 8/27/09, 10:03 am EST The Doors' final four concerts with Jim Morrison in the Big Apple will be released in their entirety November 10th in a six-disc collection called Live in New York. Nearly a third of the set's 90 tracks were prev iously unreleased, including performances of "Break on Through," "Soul Kitchen" and "When The Music's Over." The four shows were r ecorded on January 17th and 18th,, with both days featuring early and late gigs at New York's Felt Forum (the adjunct venue n ext to Madison Square Garden now called the WaMu Theatre). Aft er playing Madison Square Garden in 1969, the Doors opted for the Felt Forum to showcase their then-new album Morrison Hotel. "It was more intimate, and you could feel the audience more," drummer John Densmore said in a statement. "There was more interaction, and the acoustics were much better, because it was designed for m usic." Keyboardist Ray Manzarek added that the concerts were reminiscent of the Doors' small-club days in Los Angeles. "We use d to do four sets a night at the London Fog, and we only had a sm all block of songs written up to that time. So we would do other people's material. And in New York, it was like the same thing," Manzarek said. "We've got four shows to play here, two sets tonig ht, two sets tomorrow night. Let's play whatever we want! Let's j ust go!" In addition to the Live in New York collection, Rhino will also rerelease all of the Jim Morrison-era Doors albums on 180-gram vinyl on September 15th. -- RELATED INFO --------- ----------------------------------------------------------------- ---------------------- from CollectorsMusicReviews.com The Do ors - Live In New York (Bright Midnight R2 521457) November 23, 2009, gsparaco @ 2:29 pm The Doors' four Felt Forum shows in N ew York in were among the most requested and anticipated sh ows collectors wanted to see released when Bright Midnight began. After almost a decade of waiting Live In New York was finally r eleased this November. The sound and editing on these discs is t remendous, perhaps some of the best work yet to be released by th is label. The notes accompanying this set claim: "A long, l ong time ago, when nobody thought that we would ever need the 8-t rack tapes again, many bits and pieces were removed from these sh ows and were scattered through many Doors albums. Large chunks we re used in Absolutely Live, An American Prayer, and Alive, She Cr ied. Goings-on between Jim and the audience, as well as parts of songs from the 8-track masters, have disappeared forever, though some do exist on the live 2-track tapes. Through the generous hel p of a few of our Doors collectors, we were able to obtain person al copies of audience recordings that helped us sort out the road map, show us what bits went where, and determine exactly what wa s missing. "In putting this project together, The Doors and I agreed that it was very important to have complete shows. The pla n was to insert the audience and the live 2-track recordings wher e chunks were missing from our masters, in order to have a faithf ul reproduction of the concert. So, you might be rocking to 'Five To One' or 'Light My Fire,' and all of a sudden the sound might change into the live 2-track or an audience recording, and then b ack again. We tried to keep this at a minimum, but felt that goin g about it in this fashion would, in the end, be a more satisfyin g experience. Beyond the audience recordings that have been circ ulating through the Doors-o-sphere, this is the first time that w e have all four concerts complete." The sound quality and edit ing done on these shows is so good that they are not noticeable a t all. Bright Midnight have more than atoned for their messing u p of the Matrix shows earlier in the year with this release. The previous Doors show in New York was a year before on Januar y 24th, 1969 at Madison Square Garden, being one of the first roc k bands to play the venue. These four are at the relatively inti mate, 5,000 capacity Felt Forum. Occuring three weeks before the release of Morrison Hotel, they preview several new songs like "Roadhouse Blues," "Peace Frog," "Ship Of Fools," and "Maggie M'G ill." The band's tactic at this time, after the cool reception o f The Soft Parade, was a return to the roots by playing the blues . This was reflected not only in the style of the new album, but also by their inclusion of covers such as Bo Diddley's "Who Do Y ou Love," Howlin' Wolf's "Little Red Rooster," and John Lee Hooke r's "Crawling King Snake." The Doors are not represented well in the current underground market. There have been two silver Do ors boots released in the past three years. But the Forum shows are among the earliest Doors tapes to be booted in the late eight ies and early nineties. Build Me A Woman - The Live Experience ( Great Dane Records GDR CD 8908) in 1989, Live In New York (A rmando Curcio Editore DIR 46) in 1990 and New York - Live (S tentor Sten 91.001) in 1991 were a mixture of the two January 17t h shows. Other songs can be found on various bootleg compilati ons such as Break On Through (Live & Alive LA CD 110) released in 1993 and Celebration Of The Lizard (Sarabandas (Allegra) CD 9019 ) a few yers after. A few are dedicated to one of the particular shows such as New York Blues (Document Records DR 033) in 1988 a nd disc one of Do You Wanna Have Fun Tonight (Oh Boy OH BOY 2-912 7) in 1991 feature the late show on January 17th and Freedom Man - The Doors in (Banzai BZBX 036/037/038) with the January 18 th early show. Needless to say this really puts to rest any pr evious release of these shows, both official and unofficial. The six discs are housed in cardboard pockets and it also comes with a hard cover small booklet with a long and detailed summary of t he New York shows, the after show party thrown by Jack Holtzman a nd the work done on the current release. In what would turn out to be the Doors' final New York shows with Jim Morrison, the New York audience receives them enthusiastically. Mike Jahn, wr iting in The New York Times, points out that: "The Doors, the Lo s Angeles rock group, fought off repeated assaults by young membe rs of their audience...Onstage assaults, where teen-age girls mus t be pried off the bodies of the performers, are tributes usually reserved for the best-known rock idols. Saturday (January 17th) , at least two dozen teen-age girls and quite a few boys had to b e dragged away from The Doors' singer, Jim Morrison, by stagehand s. The other three Doors - Robbie Krieger, guitar; John Densmore , drums; and Ray Manzarek, organ - played on unperturbed." Jahn goes on to say that: "The Doors played their familiar songs quit e well, much better than in last year's concert in the Garden." He also claims that they "confined themselves to their older mate rial" which isn't true since many songs from the new album are pl ayed. ** Felt Forum, New York, NY - January 17th, (fi rst show) ** Disc 1 (74:21): Start Of Show, Roadhouse Blues, Ship Of Fools, Break On Through (To The Other Side), Tuning, Peac e Frog, Blue Sunday, Alabama Song (Whisky Bar), Back Door Man, Lo ve Hides, Five To One, Tuning/Breather, Who Do You Love, Little R ed Rooster, Money, Tuning, Light My Fire, More More More, Soul Ki tchen, End Of Show The first Felt Forum show is the shortest a nd most "standard" of the four. In addition to having several tr acks represented on the above unofficial releases, the tape for t his show also circulated under the Westbury Music Festival (Octop us) hoax. "Peace Frog," "Blue Sunday" and "Money" were also feat ured on The Doors: Box Set Disc 2: Live In New York released in 1 997. They whisk through the set with very little time to slow down and take a breath. Morrison says nothing to the audience ou tside of singing the songs and there is very little onstage impro visation in the numbers. The audience also sound very subdued as well and don't really seem to get into the show until they play "Back Door Man." That four of the first five songs were unfamili ar at the time probably had something to do with that. Perform ance does hit a peak with "Five To One" and the string of cover t unes played before "Light My Fire" which naturally is played at a ll four shows. Since it is such an improvisational song it tends to differ between performances. At just over eight minutes this is the shortest of the four. There is two minutes of audience c heering before the band come back out for the only encore "Soul K itchen." Overall it is a good first show but they will get bette r. ** Felt Forum, New York, NY - January 17th, (second s how) ** Disc 2 (72:48): Start Show 2, Jim "How Ya Doing?", Ro adhouse Blues, Break On Through (To The Other Side), Ship Of Fool s, Crawling King Snake, Alabama Song (Whisky Bar), Back Door Man, Five To One, Pretty Neat Pretty Good, Build Me A Woman, tuning/ breather, Who Do You Love, tuning/ breather, Wild Child / tuning, When The Music's Over Disc 3 (43:26): Tuning/Breather, Light My Fire, Hey Mr. Light Man!, Soul Kitchen, Jim's Fish Joke, The End, End Of Show The second January 17th show is much longer a nd looser than the first. It circulated on a very good to almost excellent audience recording that is incomplete, missing from th e show (between "Build Me A Woman" and "The End") is "Who Do You Love," "Wild Child (Attempt)," "When The Music's Over," "Light My Fire," "Soul Kitchen," and the little joke Jim tells. Four song s, "Roadhouse Blues," "Ship of Fools," "Crawling King Snake" and "The End" were used on The Doors: Box Set Disc 2: Live In New Yor k but now thankfully we have the entire performance in excellent sound quality. The tape starts as the appear on stage. Morris on greets the audience, saying "how you doing?" There is a short tuning and delay which prompts him to joke, "everything is fucke d up as usual" before they start in with an aggressive version of "Roadhouse Blues" and a performance of "Break On Through" which Manzarek dominates on organ. "Peace Frog" and "Blue Sunday" are dropped in favor of a cover of John Lee Hooker's "Crawling King S nake," a tune they would record later in the year for L.A. Woman. Another interesting cover in the first half of the show is Bo Diddley's "Who Do You Love?" They stretch the song out to nine minutes long and Krieger throws in the melody of "Willie And The Hand Jive" by Johnny Otis in the middle. "Wild Child" from The S oft Parade is given an attempt but is abandoned for "When The Mus ic's Over." For fifteen minutes they improvise in the middle and it's during this song people rush the stage prompting Morrison t o make the famous remark "well that's New York for you. The only people to rush the stage are guys." "Light My Fire" is a bit longer in the second performance, lasting nine minutes with a for ceful solo by Krieger in the middle. Afterwards Morrison asks fo r the lights to remain as they are before they play the first enc ore "Soul Kitchen." Morrison tells a lame joke afterwards ("did you ever hear the one about the blind man who passed the fish sto re? You know what he said? Hi girls.") "The End" is given its only performance in out of the four shows. Morrison shouting out "bring out your dead!" is a prelude before the band start th e tune. Since there is no time to end they take their time playi ng the song, stretching it out to nineteen minutes including the "ride the snake" interlude. The last track on the disc is the pr omoter thanking everyone for coming and wishing them a good night . This is one of the best shows they performed in the Felt Forum . ** Felt Forum, New York, NY - January 18th, (first show) ** Disc 4 (79:29): Start Show 3, Roadhouse Blues, Ship Of Fools, Break On Through (To The Other Side), Tuning/Breather, Universal Mind, Alabama Song (Whisky Bar) - False Start, Alabama Song (Whisky Bar), Back Door Man, Five To One, Tuning/Breather, Moonlight Drive, Who Do You Love, Calling Out For Songs, Money, T uning/Breather, Light My Fire, More More More, When The Music's O ver, Good Night - End Show The two January 18th shows follow t he same pattern. The early show is shorter and less adventurous than the evening show which is longer and much more loose. "Road house Blues" and "Ship Of Fools" start off the show and sound str aight with no variations. But Manzarek then plays an interesting variation on the introduction to "Break On Through" which livens up the show a little. There is a forty second tune up before th e only Felt Forum performance of the excellent "Universal Mind." Manzarek begins "Alabama Song (Whisky Bar)" but has to call a halt when there is a loud, piercing whistle going thorough the PA. "If it ain't one things it's another" Morrison quips while t he roadies work on the organ. "Alabama Song (Whisky Bar)" resume s and is played as part of a medley that includes also "Back Door Man" and "Five To One." A tight performance of "Moonlight D rive" follows which has a recitation of "Horse Latitudes" in the middle. "Who Do You Love" is only six minutes long but like the late show the previous evening contains the "Willie And The Hand Jive" reference. There is a delay before the last song since the buzz from Manzarek's organ comes back. "Thank you for being so patient. It usually takes us about an hour to get warmed up" Mor rison says before they play the "radio song" "Light My Fire." A wild twelve minute long version of "When The Music's Over" closes the early show. ** Felt Forum, New York, NY - January 18th, 1970 (second show) ** Disc 5 (60:35): Start Show 4, Roadhous e Blues, Peace Frog, Alabama Song (Whisky Bar), Back Door Man, Fi ve To One, We Have A Special Treat, Celebration Of The Lizard, Al right Let's Boogie, Build Me A Woman, When The Music's Over, More More More Disc 6 (70:18): Soul Kitchen, for fear of getting too patriotic, Petition The Lord With Prayer, Light My Fire, Only When The Moon Comes Out, Close To You, The Encore Begins, Rock M e, What To Do Next?, Going To N.Y. Blues, Tuning/Breather, Maggie M'Gill, Tuning/Breather, Gloria/End Of Show At over two hours , the fourth and final Felt Forum show is the longest. The Doors : Box Set Disc 2: Live In New York contains two songs from this s how, the seventeen minute "The Celebration of the Lizard" and the "Poontang Blues/Build Me a Woman/Sunday Trucker" medley. Morr ison speaks the the audience before the first song, saying that " I know what you do in the bathrooms" before they start a strange version of "Roadhouse Blues." Morrison experiments with a differ ent vocal melody leaving the rest of the band befuddled. Instead of playing "Break On Through" they follow with "Peace Frog" inst ead which, instead of segueing into "Blue Sunday" is linked to "A labama Song (Whiskey Bar)." A lascivious "Back Door Man" follows and runs straight into "Five To One." Afterwards Morrison tel ls they audience they "have a special treat." They are going to play "a tour-de-force we've only played a few times in front of s trangers" and tell audience to relax and "think about your eventu al end." There is a delay so Morrison continues, reminding them that they are recording "and if you want to be represented in ete rnity with some uncouth language then I hope you stand up on the top of your seat and shout it too clearly or else we're not gonna get it on tape." What follows is a sixteen minute, disjointed " Celebration Of The Lizard." "Pootang Blues" is a short impro visatory boogie played as an introduction to "Build Me A Woman." They continue after a twelve minute "When The Music's Over" with "Soul Kitchen" which has the prayer "as I lay me down to sleep" in the middle. Morrison jokes around afterwards, telling them th at, "for fear of getting too patriotic, we're going to attempt a rendition of the national anthem" before reciting the beginning o f "The Soft Parade" as an introduction to a eleven minute, advent urous version of "Light My Fire." "Close To You" with Manzarek c loses the show. Before the encores Morrison introdcues John Se bastian of The Lovin' Spoonful's John Sebastian who plays harmoni ca on "Rock Me." Drummer Dallas Taylor, who'd played on Crosby, Stills & Nash's debut, joined for Taylor for "Going To N.Y. Blues " and "Maggie M'Gill." They try to figure what to play to end th e night and it takes Krieger to start playing "Gloria" for the re st of them to follow and they give a long, thirteen minute versio n of the piece. The Bright Midnight label received much critic ism over the years for not delivering on their promise of four to six releases a year. And they really took a hit with the Matrix shows by using high generation tapes but claiming they were from the master. Live In New York is so good it will alleviate any s uch concerns and more than makes up for their misjudgements. The timeliness, the packaging and the soudn quality of the tapes pus hes this close to being the definitive live statement of The Door s available in any form and is an essential title for the collect ion. -- RELATED INFO ------------------------------------- ----------------------------------------------------------- from RecordCollectorMag.com It Never Felt This Good For 'Em Again Reviewed by Jason Draper Were The Doors washed up in? Rel eased in July of that year, Absolutey Live's sleeve was adorned w ith prime '68-era Morrison: the Lizard King in full leathers; hot , sexy, very much alive. The reality? Morrison Hotel had been released in February, the LA Woman "comeback" was almost a year a way: Jim was paunched, baggy-clothed and in and out of Jesus bear d territory, barely concerned with fighting his alcoholism. With Morrison Hotel, The Doors had retreated back to blues basics and were recording their '69-70 live shows; "Jimbo" might not have be en around much longer. Not only that, following Morrison's charge for lewd and lascivious behaviour in Miami the previous year, th ey needed as much live material as they could hoard: the promoter s were running away in droves, or adding obscenity clauses into c ontracts. Amazing, then, that the four-show, two-day residency staged 17-18 January at NYC's Felt Forum, a 4,000-seater venue w hich brought the band closer to the audience than they had been i n a while, sees the four Doors as on top of their game as they co uld have been. Of all the Bright Midnight releases from this peri od, Live In New York offers flow and progresson (from almost tent ative dinner club-like performance -- technically perfect, but sl ightly too clean -- to raucous, crowd-incensing whipping frenzies ), evidence of a band settling into a groove, realising why they need to be on stage. Come the end, it's a riot; in between, this is the no bullshittingest The Doors had been in a while, then-unr eleased Morrison Hotel (including a blistering opening Roadhouse Blues every night) material riding as confident as your well-worn Alabama Songs. For the first time since reinventing himself in 1 965, Morrison concentrates on his job with absolute clarity: the epics are teased out with less of the stage theatrics, the myths get busted. They were just a fucking band, and this release shows why they need to be respected as one.
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Rock

NEW

$34.98

GrooveNet

USA

DOORS

Live In New York (ogv)
Hard To Find

NEW

$34.98

GrooveNet

USA

Doors

Live In New York Felt Forum
2 Record Set On 180 Gram Vinyl

$34.99

Alternativem

USA

DOORS

Live In New York
Vinyl Lp (domestic). 2 Lp. Brand New, Factory Sealed, Ships Within 24 Hours! 2010 Release. [di...

NEW

$35.96

SilverDisc

USA

DOORS

Live In New York (lp)
Elektra

NEW

$41.44

GrooveNet

USA

DOORS

Live In New York (180gm Lp)
8122798187 Special Order

MINT/MINT

$40.89

Netdiscs

Doors

Live In New York (2)
2010 - Garefold Sleeve - 180 Gram Eu, Rhino

M/ NEW

$43.41

Asbury Park

Italy

DOORS

Live In New York
Brand New, In-stock Vinyl Record. Ships Fast And Secure. Add To Cart With Confidence! Usa, Wea/el...

NEW

$45.40

NORTHATLANTI

USA

DOORS

Live In New York (2lp Live At Felt Forum 1970! 180 Gram Vinyl Pressing)
Rhino R1 523104

$46.00

Vintage

USA

DOORS

Live In New York (ogv)
Brand New, In-stock Vinyl Record. Ships Fast And Secure. Add To Cart With Confidence! Usa, Rhino,...

NEW

$46.29

NORTHATLANTI

USA

DOORS

Live In New York (180gm Lp)

$49.08

Action

Doors

Live In New York: January 17,1970 (first Show)
Sealed - Brand New 180 Gram Limited Edition 2lp Vinyl With Gatefold Cover. Made In Eu. -, -

NEW

$53.02

Just For The

New Zea

Doors

Live In New York
1. Start Of Show // 2. Roadhouse Blues // 3. Ship Of Fools // 4. Break On Through (to The Other S...

NEW

$54.20

HHV HANDELS

Germany

Doors

Live In New York January 17, 1970 (first Show)
Sealed Out Of Print 2009 2lp 180gm Gatefold Mastered Direct To Disk By Bruce Botnick The Lates...

$55.00

Audiophileus

USA

Doors

Live In New York
Label: Elektra, Published: 2013 1 Day. (100%) Elektra, 8122798187, 16/03/2010 Special Order

NEW

$60.52

musicberlin

Germany

doors

Live In New York (ogv)
81227981877 new Copy/ Barcode: 81227981877 Releasedate: 03/16/2010 Style:rock Title: Live In N... Special Order

$73.52

CDExpress

Netherl

doors

Live In New York
8122798187 lp Condition: New/rock Special Order

$87.73

CDExpress

Netherl

12"

Artist

Title

Format

Condition

Seller

Location

doors

Live In New York
G63994 lp/ New Copy/ Holland Barcode: 0081227981877 Title: Live In New York Special Order

12"

$55.43

CDExpress

Netherl

2LP

Artist

Title

Format

Condition

Seller

Location

Doors

Live In New York
2 X 180 G Uk, Elektr, 79818, 2010

2LP

M/M

$42.64

palace recor

France

Doors

Live In New York - 17 January 1970 - First Show (180gr.)
Doors, The - Live In New York - 17 January 1970 - First Show (180gr.),lp X 2,condition Media: New...

2LP

NEW (SEALED)/NEW (SEALED)

$44.76

Collectors-H

Germany

DOORS

Live In New York
2010 Uk Rhino 180gram Virgin Vinyl 2lp Housed In Sealed Pasted Card Gatefold Picture Sleeve Uk, ...

2LP

SS/SS

$45.43

Positive Noi

DOORS

Live In New York
Holland, Elektra, 8122798187, 2010 Special Order

2LP

NEW

$51.75

CD Euroxpres

USA

Doors

Live In New York
Usually Shipped After 2 Business Days. Number Of Media (discs, Tapes, Records…): 2. Usa, Rhino / ... Special Order

2LP

NEW/NEU! (SEALED)

$58.13

Total Recall

Germany

DOORS

Live In New York
Nld, Elektra, 8122798187, 2010

2LP

NEW / NEW

$72.29

CD-Maxi-Sing

Netherl

LP+CDR

Artist

Title

Format

Condition

Seller

Location

Doors

Live In New York January 17, 1970
Lp + Cdr Copy: Sealed 2009 2lp 180gm Gatefold Mastered Direct To Disk By Bruce Botnick The Latest... Special Order

LP+CDR

NEW

$93.95

cdBBQ

USA

6CD

Artist

Title

Format

Condition

Seller

Location

DOORS

Live In New York
4 Shows, Recorded January 17 & 18 1970 Holland, Rhino, 8122798380, 2009 Special Order

6CD

NEW

$119.50

CD Euroxpres

USA

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