Live In New York (Disc 1) (1st)
Tracks: 20, total time: 74:23, year: 1970, genre: Rock
Live In New York – Disc 1 of 6
© 2009 Bright Midnight Archives/Rhino
Originally Released November 17, 2009
Originally Recorded January 17 & 18, 1970
AMG EXPERT REVIEW: This six-disc compendium contains the complete run — four sets over two nights –by the Doors’ at the Felt Forum in New York City January 17 and18, 1970. Although previously unavailable in its entirety, musicfrom these programs has shown up prominently throughout several live packages — namely Absolutely Live (1970), and Alive She Cried (1983). Additionally, over an hour was excerpted to create the”Live in New York” CD within The Doors Box Set (1997). Most any unissued 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 for celebration. However, the experience of hearing the band’s ebband flow as they organically develop the performance in real-time — as opposed to hearing a package of material that has been cherry-picked after the fact — is one of several advantages that the Live in New York (2009) anthology has over its predecessors. Another is the stunning fidelity throughout, thanks to the work ofDoors’ original producer/engineer Bruce Botnick and the exhaustive processes of restoring the eight-track, open-reel master tapes. With so much territory to cover — over seven hours in all — there are, inevitably, a few audio dropouts. In those rare instances, very good quality substitutions from other sources (of the exact same material) almost seamlessly fill in any moments that might be missing due to reel changes and the like. Always a questionmark in terms of performance quality, Morrison is on pretty goodbehavior and in exceptional voice. Immediate evidence can be found on the soulful reading of “Blue Sunday” from the first show. However, by the final outing, his husky and raspy vocals make it clear that he is rapidly losing his range. Morrison has also cleaned up his stage prattle in the wake of the infamous occurrence where it was alleged that on March 1, 1969 in Miami, FL Morrison exposed himself during the show. A warrant was subsequently issuedfor his arrest on one felony count of lewd and lascivious behavior and three misdemeanor counts of indecent exposure, open profanity, and drunkenness. Certainly far from scared straight, he seemsto have gotten the message, and was actually awaiting trial at the time of these recordings. He even jokingly refers to it duringthe spoken “Only When the Moon Comes Out” interlude on the 18th.On paper, there is little variance between each of the four setlists. However, the energy and vibe vacillate significantly fromversion to version and show to show. The core inclusions of “Roadhouse Blues,” “Ship of Fools,” “Alabama Song,” “Light My Fire,” and a combo pairing “Back Door Man” with “Five to One” were playedevery time. While “Alabama Song (Whisky Bar),” “Break on Through(To the Other Side),” and “Who Do You Love” were done a bit lessfrequently. On the other hand, there are rarities aplenty as “Blue Sunday,” “Love Hides,” “Little Red Rooster,” “Crawling King Snake,” a half-hearted “Wild Child,” “The End,” “Celebration of theLizard,” “Close to You” (sung by Manzarek) — plus the four-songencore on the 18th that includes “Rock Me Baby,” “Going to N.Y.Blues,” “Maggie M’Gill,” and “Gloria” were only unleashed once. During that same finale, former Lovin’ Spoonful co-founder John Sebastian (harmonica) is invited on-stage. According to Bruce Botnick’s “technical note” found in the accompanying liner notes booklet: “When John came onstage to join The Doors for the Sunday second show encore, he was handed a microphone that was only going through The Doors’ sound system, and not plugged into the Fedco Audio Labs mobile truck. As a consequence, John’s harmonica didn’t get recorded. So, earlier in 2009, we arranged for John to join Ray Manzarek and myself at Skywalker Sound in San Rafael. John replayed his parts as closely as possible against the PA leakage fromthe audience tracks on the original recorded 8-track masters.” Purists will be able to use a code on the Rhino Web site (www.rhino.com) to download the untampered versions. by
Amazon.comProduct Description
2009 six CD box set that contains all of theDoors’ performances in their entirety recorded in 1970 at the Felt Forum in New York. All four shows were mixed and mastered by the band’s long-time engineer, Bruce Botnick, who recorded a number of shows from their 1970 tour. While most of the music in the collection has never been released, a few songs appeared on the 1970 release, Absolutely Live and in the 1997 box set. Elektra.
Half.com Album Notes
Recording information: New York, NY (01/17/1970/01/18/1970); Skywalker Sound (01/17/1970/01/18/1970); TheFelt Forum, New York, NY (01/17/1970/01/18/1970).
Industry Reviews
4 stars out of 5 — For the first time since reinventing himself in 1965, Morrison concentrates on his job with absolute clarity…
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from Pitchfork.com
Album Review: 7 out of 10 stars
by Chris Dahlen, November 20, 2009
So I’m 13, and I’m slouching through Harvard Square on my way to get Pink Floyd boots at the used recordstore. I’m just starting to grow my hair long– which never really worked out– and I’m wearing a grey t-shirt sporting the hundred-yard-stare of Jim Morrison of the Doors. From across the street, a guy three times my age shouts: “Fuck! Yeah! The Doors!” Andfor that moment, we are brothers.
The Kids in the Hall’s BruceMcCulloch argued that Doors fans are born, not made. But he ducks the question of why we’re not making them anymore. Today, one of the first standard-bearers of rock is less hip than Journey. Let’s review the case against the band: First we have Morrison himself, who’s been blown into a caricature by his super-sexual persona, his wifty poetry, and his early death in a Paris bathtub. Themusic sounds like a weird cross between shit-kicking blues-rockand brain-spraining acid-jams, and it’s easier to get your avant-garage fix from the Velvet Underground, your rock shaman verse from Patti Smith (or not at all), or your psychedelic extravagancefrom countless Nuggets bands. As dead 1960s rockers go, Jimi’s legacy has left Janis and Jim in the dust. It may be a strange wayto put it, but the problem with the Doors is that they were not efficient.
Let’s say that’s where you are with this band. So here’s how this set might change your mind.
Rhino has reissued all four sets from their gig at the Felt Forum in January 1970, right before the release of Morrison Hotel– and still in the shadow of Morrison’s drunken, obnoxious, and allegedly obscene performance in Miami, which threatened him with jail time. Many tracks from these shows have been released before, but on this box you can listen to them bootleg-style, with all the repeated songs, tuning breaks, and banter with the audience.
The Live in New Yorkset sounds like an unedited performance, but in fact, the tapes had been so worked-over for other live albums that the team had tometiculously reconstruct it from 8-track and 2-track source tapes, using fan tapes as reference. Guest John Sebastian’s harmonicawasn’t even captured in the original mix; producer Bruce Botnickbrought him back to the studio this year to replay the solos, based on what they got from tape bleed. Why go to the trouble? Because this is the truth. It’s what the Doors sounded like, withoutthe heavy hand of an Oliver Stone looking for the juicy parts– and without the impatience of the iPod generation trying to trim it down.
As you listen to the set, Morrison doesn’t come off asa self-absorbed mystic: He’s far more like the troubled kid in school who couldn’t sit still and didn’t fear anything. He demandsand rewards attention. He’s petulant with the audience, even barking at them or pleading to “give the singer some” when they won’t stop talking.
The vibe from the crowd may explain why the fourth show starts rough: After scolding the crowd, Morrison soundsdisengaged or mocking as he wanders through the first few songs.But then he suddenly rewards the audience with a rare performance of his rock suite/poetry slam, “Celebration of the Lizard”. Thepiece isn’t exactly a lost classic– it’s not his most powerfulverse, and musically it doesn’t gel like “The End”– but the bestthing about this recording is how into it Morrison gets, from the quiet couplets to the screams. It’s easy to see how people fellin love with the poet no matter the poetry, although some of hisverse is still dangerous: The “Horse Latitudes” poem that he interjects in “Moonlight Drive” boasts his strongest imagery, and the contrast between that and the seaside groove is still striking.
The rest of the band is here to support the star, and it never lets him down: The Doors were a loose, groovy, and ferocious combo, here playing a setlist that sticks to rock and blues and skips all the winsome and folky stuff that cluttered up Waiting forthe Sun and The Soft Parade. Organist Ray Manzarek played the hooks that turned songs like “Hello, I Love You” into pop hits, buthere he’s focused on driving the rhythm section. Even his legendary solo on “Light My Fire” changes in concert from a melodic improvisation to a jam that climaxes in frustration, as you can hearhim stabbing the keys with all ten fingers and wishing he had another ten besides. On the other hand, guitarist Robby Krieger is ferocious right from the riff of “Roadhouse Blues”, and he makes their cover of Bo Diddley’s “Who Do You Love” one of the best recordings the Doors ever made.
History hates this band for its excess, but so what? The Doors thrived on excess. When Morrison gears up the crowd with his groin and his ego and roars, “gonna havea re-al, good time,” no excess, no overdose, no scream is big enough for the good time he’s got in mind. And that’s the way to remember him.
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from RollingStone.com
Doors’ Final New York Concerts Emerge asSix-Disc Collection
8/27/09, 10:03 am EST
The Doors’ finalfour concerts with Jim Morrison in the Big Apple will be releasedin their entirety November 10th in a six-disc collection calledLive in New York. Nearly a third of the set’s 90 tracks were previously unreleased, including performances of “Break on Through,””Soul Kitchen” and “When The Music’s Over.” The four shows were recorded on January 17th and 18th, 1970, with both days featuringearly and late gigs at New York’s Felt Forum (the adjunct venue next to Madison Square Garden now called the WaMu Theatre).
After playing Madison Square Garden in 1969, the Doors opted for theFelt Forum to showcase their then-new album Morrison Hotel. “Itwas more intimate, and you could feel the audience more,” drummerJohn Densmore said in a statement. “There was more interaction,and the acoustics were much better, because it was designed for music.”
Keyboardist Ray Manzarek added that the concerts werereminiscent of the Doors’ small-club days in Los Angeles. “We used to do four sets a night at the London Fog, and we only had a small block of songs written up to that time. So we would do otherpeople’s material. And in New York, it was like the same thing,”Manzarek said. “We’ve got four shows to play here, two sets tonight, two sets tomorrow night. Let’s play whatever we want! Let’s just go!”
In addition to the Live in New York collection, Rhinowill also rerelease all of the Jim Morrison-era Doors albums on180-gram vinyl on September 15th.
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from CollectorsMusicReviews.com
The Doors – Live In New York (Bright Midnight R2 521457)
November 23,2009, gsparaco @ 2:29 pm
The Doors’ four Felt Forum shows in New York in 1970 were among the most requested and anticipated shows collectors wanted to see released when Bright Midnight began.After almost a decade of waiting Live In New York was finally released this November. The sound and editing on these discs is tremendous, perhaps some of the best work yet to be released by this label.
The notes accompanying this set claim: “A long, long time ago, when nobody thought that we would ever need the 8-track tapes again, many bits and pieces were removed from these shows and were scattered through many Doors albums. Large chunks were used in Absolutely Live, An American Prayer, and Alive, She Cried. Goings-on between Jim and the audience, as well as parts ofsongs from the 8-track masters, have disappeared forever, thoughsome do exist on the live 2-track tapes. Through the generous help of a few of our Doors collectors, we were able to obtain personal copies of audience recordings that helped us sort out the roadmap, show us what bits went where, and determine exactly what was missing.
“In putting this project together, The Doors and Iagreed that it was very important to have complete shows. The plan was to insert the audience and the live 2-track recordings where chunks were missing from our masters, in order to have a faithful reproduction of the concert. So, you might be rocking to ‘FiveTo One’ or ‘Light My Fire,’ and all of a sudden the sound mightchange into the live 2-track or an audience recording, and then back again. We tried to keep this at a minimum, but felt that going about it in this fashion would, in the end, be a more satisfying experience. Beyond the audience recordings that have been circulating through the Doors-o-sphere, this is the first time that we have all four concerts complete.”
The sound quality and editing done on these shows is so good that they are not noticeable at all. Bright Midnight have more than atoned for their messing up of the Matrix shows earlier in the year with this release.
The previous Doors show in New York was a year before on January 24th, 1969 at Madison Square Garden, being one of the first rock bands to play the venue. These four are at the relatively intimate, 5,000 capacity Felt Forum. Occuring three weeks before therelease of Morrison Hotel, they preview several new songs like”Roadhouse Blues,” “Peace Frog,” “Ship Of Fools,” and “Maggie M’Gill.” The band’s tactic at this time, after the cool reception of 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, butalso by their inclusion of covers such as Bo Diddley’s “Who Do You Love,” Howlin’ Wolf’s “Little Red Rooster,” and John Lee Hooker’s “Crawling King Snake.”
The Doors are not represented wellin the current underground market. There have been two silver Doors boots released in the past three years. But the Forum showsare among the earliest Doors tapes to be booted in the late eighties and early nineties. Build Me A Woman – The Live Experience (Great Dane Records GDR CD 8908) in 1989, Live In New York 1970 (Armando Curcio Editore DIR 46) in 1990 and New York 1970 – Live (Stentor Sten 91.001) in 1991 were a mixture of the two January 17th shows.
Other songs can be found on various bootleg compilations such as Break On Through (Live & Alive LA CD 110) released in1993 and Celebration Of The Lizard (Sarabandas (Allegra) CD 9019) a few yers after. A few are dedicated to one of the particularshows such as New York Blues (Document Records DR 033) in 1988 and disc one of Do You Wanna Have Fun Tonight (Oh Boy OH BOY 2-9127) in 1991 feature the late show on January 17th and Freedom Man- The Doors in 1970 (Banzai BZBX 036/037/038) with the January 18th early show.
Needless to say this really puts to rest any previous release of these shows, both official and unofficial. Thesix discs are housed in cardboard pockets and it also comes witha hard cover small booklet with a long and detailed summary of the New York shows, the after show party thrown by Jack Holtzman and the work done on the current release.
In what would turnout to be the Doors’ final New York shows with Jim Morrison, theNew York audience receives them enthusiastically. Mike Jahn, writing in The New York Times, points out that: “The Doors, the Los Angeles rock group, fought off repeated assaults by young members of their audience…Onstage assaults, where teen-age girls must be pried off the bodies of the performers, are tributes usuallyreserved for the best-known rock idols. Saturday (January 17th), at least two dozen teen-age girls and quite a few boys had to be dragged away from The Doors’ singer, Jim Morrison, by stagehands. The other three Doors – Robbie Krieger, guitar; John Densmore, drums; and Ray Manzarek, organ – played on unperturbed.” Jahngoes on to say that: “The Doors played their familiar songs quite well, much better than in last year’s concert in the Garden.”He also claims that they “confined themselves to their older material” which isn’t true since many songs from the new album are played.
** Felt Forum, New York, NY – January 17th, 1970 (first show) **
Disc 1 (74:21): Start Of Show, Roadhouse Blues,Ship Of Fools, Break On Through (To The Other Side), Tuning, Peace Frog, Blue Sunday, Alabama Song (Whisky Bar), Back Door Man, Love Hides, Five To One, Tuning/Breather, Who Do You Love, Little Red Rooster, Money, Tuning, Light My Fire, More More More, Soul Kitchen, End Of Show
The first Felt Forum show is the shortest and most “standard” of the four. In addition to having several tracks represented on the above unofficial releases, the tape for this show also circulated under the Westbury Music Festival (Octopus) hoax. “Peace Frog,” “Blue Sunday” and “Money” were also featured on The Doors: Box Set Disc 2: Live In New York released in 1997.
They whisk through the set with very little time to slowdown and take a breath. Morrison says nothing to the audience outside of singing the songs and there is very little onstage improvisation in the numbers. The audience also sound very subdued aswell and don’t really seem to get into the show until they play”Back Door Man.” That four of the first five songs were unfamiliar at the time probably had something to do with that.
Performance does hit a peak with “Five To One” and the string of cover tunes played before “Light My Fire” which naturally is played at all four shows. Since it is such an improvisational song it tendsto differ between performances. At just over eight minutes thisis the shortest of the four. There is two minutes of audience cheering before the band come back out for the only encore “Soul Kitchen.” Overall it is a good first show but they will get better.
** Felt Forum, New York, NY – January 17th, 1970 (second show) **
Disc 2 (72:48): Start Show 2, Jim “How Ya Doing?”, Roadhouse Blues, Break On Through (To The Other Side), Ship Of Fools, 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, LightMy Fire, Hey Mr. Light Man!, Soul Kitchen, Jim’s Fish Joke, TheEnd, End Of Show
The second January 17th show is much longer and looser than the first. It circulated on a very good to almostexcellent audience recording that is incomplete, missing from the show (between “Build Me A Woman” and “The End”) is “Who Do YouLove,” “Wild Child (Attempt),” “When The Music’s Over,” “Light MyFire,” “Soul Kitchen,” and the little joke Jim tells. Four songs, “Roadhouse Blues,” “Ship of Fools,” “Crawling King Snake” and”The End” were used on The Doors: Box Set Disc 2: Live In New York but now thankfully we have the entire performance in excellentsound quality.
The tape starts as the appear on stage. Morrison greets the audience, saying “how you doing?” There is a shorttuning and delay which prompts him to joke, “everything is fucked up as usual” before they start in with an aggressive version of”Roadhouse Blues” and a performance of “Break On Through” whichManzarek dominates on organ. “Peace Frog” and “Blue Sunday” aredropped in favor of a cover of John Lee Hooker’s “Crawling King Snake,” a tune they would record later in the year for L.A. Woman.
Another interesting cover in the first half of the show is BoDiddley’s “Who Do You Love?” They stretch the song out to nineminutes long and Krieger throws in the melody of “Willie And TheHand Jive” by Johnny Otis in the middle. “Wild Child” from The Soft Parade is given an attempt but is abandoned for “When The Music’s Over.” For fifteen minutes they improvise in the middle andit’s during this song people rush the stage prompting Morrison to make the famous remark “well that’s New York for you. The onlypeople to rush the stage are guys.”
“Light My Fire” is a bitlonger in the second performance, lasting nine minutes with a forceful solo by Krieger in the middle. Afterwards Morrison asks for the lights to remain as they are before they play the first encore “Soul Kitchen.” Morrison tells a lame joke afterwards (“didyou ever hear the one about the blind man who passed the fish store? You know what he said? Hi girls.”)
“The End” is givenits only performance in out of the four shows. Morrison shoutingout “bring out your dead!” is a prelude before the band start the tune. Since there is no time to end they take their time playing the song, stretching it out to nineteen minutes including the”ride the snake” interlude. The last track on the disc is the promoter 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, 1970 (firstshow) **
Disc 4 (79:29): Start Show 3, Roadhouse Blues, ShipOf Fools, Break On Through (To The Other Side), Tuning/Breather,Universal Mind, Alabama Song (Whisky Bar) – False Start, AlabamaSong (Whisky Bar), Back Door Man, Five To One, Tuning/Breather,Moonlight Drive, Who Do You Love, Calling Out For Songs, Money, Tuning/Breather, Light My Fire, More More More, When The Music’s Over, Good Night – End Show
The two January 18th shows follow the same pattern. The early show is shorter and less adventurousthan the evening show which is longer and much more loose. “Roadhouse Blues” and “Ship Of Fools” start off the show and sound straight with no variations. But Manzarek then plays an interestingvariation on the introduction to “Break On Through” which livensup the show a little. There is a forty second tune up before the only Felt Forum performance of the excellent “Universal Mind.”
Manzarek begins “Alabama Song (Whisky Bar)” but has to calla halt when there is a loud, piercing whistle going thorough thePA. “If it ain’t one things it’s another” Morrison quips while the roadies work on the organ. “Alabama Song (Whisky Bar)” resumes and is played as part of a medley that includes also “Back DoorMan” and “Five To One.”
A tight performance of “Moonlight Drive” follows which has a recitation of “Horse Latitudes” in themiddle. “Who Do You Love” is only six minutes long but like thelate show the previous evening contains the “Willie And The HandJive” reference. There is a delay before the last song since thebuzz from Manzarek’s organ comes back. “Thank you for being sopatient. It usually takes us about an hour to get warmed up” Morrison says before they play the “radio song” “Light My Fire.” Awild twelve minute long version of “When The Music’s Over” closesthe early show.
** Felt Forum, New York, NY – January 18th,1970 (second show) **
Disc 5 (60:35): Start Show 4, Roadhouse Blues, Peace Frog, Alabama Song (Whisky Bar), Back Door Man, Five To One, We Have A Special Treat, Celebration Of The Lizard, Alright Let’s Boogie, Build Me A Woman, When The Music’s Over, MoreMore More
Disc 6 (70:18): Soul Kitchen, for fear of gettingtoo patriotic, Petition The Lord With Prayer, Light My Fire, OnlyWhen The Moon Comes Out, Close To You, The Encore Begins, Rock Me, What To Do Next?, Going To N.Y. Blues, Tuning/Breather, MaggieM’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 show, the seventeen minute “The Celebration of the Lizard” and the”Poontang Blues/Build Me a Woman/Sunday Trucker” medley.
Morrison speaks the the audience before the first song, saying that “I know what you do in the bathrooms” before they start a strangeversion of “Roadhouse Blues.” Morrison experiments with a different vocal melody leaving the rest of the band befuddled. Insteadof playing “Break On Through” they follow with “Peace Frog” instead which, instead of segueing into “Blue Sunday” is linked to “Alabama Song (Whiskey Bar).” A lascivious “Back Door Man” followsand runs straight into “Five To One.”
Afterwards Morrison tells they audience they “have a special treat.” They are going toplay “a tour-de-force we’ve only played a few times in front of strangers” and tell audience to relax and “think about your eventual end.” There is a delay so Morrison continues, reminding themthat they are recording “and if you want to be represented in eternity with some uncouth language then I hope you stand up on thetop of your seat and shout it too clearly or else we’re not gonnaget it on tape.” What follows is a sixteen minute, disjointed “Celebration Of The Lizard.”
“Pootang Blues” is a short improvisatory 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 that, “for fear of getting too patriotic, we’re going to attempt arendition of the national anthem” before reciting the beginning of “The Soft Parade” as an introduction to a eleven minute, adventurous version of “Light My Fire.” “Close To You” with Manzarek closes the show.
Before the encores Morrison introdcues John Sebastian of The Lovin’ Spoonful’s John Sebastian who plays harmonica 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 the night and it takes Krieger to start playing “Gloria” for the rest of them to follow and they give a long, thirteen minute version of the piece.
The Bright Midnight label received much criticism over the years for not delivering on their promise of four tosix releases a year. And they really took a hit with the Matrixshows by using high generation tapes but claiming they were fromthe master. Live In New York is so good it will alleviate any such concerns and more than makes up for their misjudgements. Thetimeliness, the packaging and the soudn quality of the tapes pushes this close to being the definitive live statement of The Doors available in any form and is an essential title for the collection.
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fromRecordCollectorMag.com
It Never Felt This Good For ‘Em Again
Reviewed by Jason Draper
Were The Doors washed up in 1970? Released in July of that year, Absolutey Live’s sleeve was adorned with prime ’68-era Morrison: the Lizard King in full leathers; hot, sexy, very much alive.
The reality? Morrison Hotel had beenreleased in February, the LA Woman “comeback” was almost a year away: Jim was paunched, baggy-clothed and in and out of Jesus beard territory, barely concerned with fighting his alcoholism. WithMorrison Hotel, The Doors had retreated back to blues basics andwere recording their ’69-70 live shows; “Jimbo” might not have been around much longer. Not only that, following Morrison’s chargefor lewd and lascivious behaviour in Miami the previous year, they needed as much live material as they could hoard: the promoters were running away in droves, or adding obscenity clauses into contracts.
Amazing, then, that the four-show, two-day residencystaged 17-18 January at NYC’s Felt Forum, a 4,000-seater venue which brought the band closer to the audience than they had been in a while, sees the four Doors as on top of their game as they could have been. Of all the Bright Midnight releases from this period, Live In New York offers flow and progresson (from almost tentative dinner club-like performance — technically perfect, but slightly too clean — to raucous, crowd-incensing whipping frenzies), evidence of a band settling into a groove, realising why theyneed to be on stage. Come the end, it’s a riot; in between, thisis the no bullshittingest The Doors had been in a while, then-unreleased Morrison Hotel (including a blistering opening RoadhouseBlues every night) material riding as confident as your well-wornAlabama Songs. For the first time since reinventing himself in 1965, Morrison concentrates on his job with absolute clarity: theepics are teased out with less of the stage theatrics, the mythsget busted. They were just a fucking band, and this release showswhy they need to be respected as one.
| S/N | Time | Song Title |
| 1. | 4:27 | Start Of Show 1 |
| 2. | 4:22 | Roadhouse Blues |
| 3. | 6:29 | Ship Of Fools |
| 4. | 4:24 | Break On Through (To The Other Side) |
| 5. | 2:04 | Tuning, Breather |
| 6. | 3:15 | Peace Frog |
| 7. | 2:28 | Blue Sunday |
| 8. | 1:52 | Alabama Song (Whisky Bar) |
| 9. | 2:29 | Back Door Man |
| 10. | 0:33 | Love Hides |
| 11. | 5:07 | Five To One |
| 12. | 1:26 | Tuning, Breather |
| 13. | 5:55 | Who Do You Love |
| 14. | 6:25 | Little Red Rooster |
| 15. | 3:18 | Money |
| 16. | 1:36 | Tuning, Breather |
| 17. | 8:46 | Light My Fire |
| 18. | 2:00 | More, More, More |
| 19. | 6:35 | Soul Kitchen |
| 20. | 1:00 | End Of Show |