Posts Tagged ‘Bruce Botnick’

The Doors went back to basics when they checked into Morrison Hotel for their 1970 studio album. The band’s fifth LP, it’s now being reissued by Rhino on October 9th as a 2-CD/1-LP 50th Anniversary Deluxe Edition. This release follows the label’s similar reissues for The Doors’ first four albums including The Soft Parade which expanded their sound to include orchestration. Morrison Hotel got them back to blues-rock in striking fashion.

The box set features original engineer Bruce Botnick’s remastered version of the 1970 album produced by Paul Rothschild on both CD and vinyl. While Morrison Hotel didn’t yield any major chart hits – “You Make Me Real” b/w “Roadhouse Blues” only made it to No. 50 on the Billboard Hot 100 – it’s since been recognized as a powerful full-length album statement. Henry Diltz’s cover photography has since become one of rock’s most familiar images. The LP made it to No. 4 on the albums chart, and became the band’s highest-charting album in the United Kingdom with its No. 12 berth.

The new box set expands the original album with a second disc of 19 outtakes – totalling more than one hour’s worth of session material. Botnick states in the press release, “There are many takes, different arrangements, false starts, and insightful studio conversations between the band – who were in the studio – and producer Paul Rothchild – who was in the control room. It’s like being a fly on the wall.”

Disc Two kicks off with three sessions for “Queen of the Highway” and continues with another three for “Roadhouse Blues,” arguably the album’s most beloved track. The latter song evolved with different bass players including Soft Parade veteran Harvey Brooks and Lonnie Mack. The pseudonymous John Sebastian (appearing as “G. Puglese”) appeared on the final take with Mack on bass. The disc concludes with the “Peace Frog”/”Blue Sunday” session. Along the way, the set presents the previously released outtake “I Will Never Be Untrue” (indicated here as in an unissued version or mix) and outtake jams on Barrett Strong’s Motown classic “Money (That’s What I Want)” and B.B. King’s “Rock Me Baby.”

David Fricke has penned the liner notes which place the album in the context of its creation, when legal troubles plagued Jim Morrison and threatened to curtail the band’s activity. The Morrison Hotel: 50th Anniversary Deluxe Edition is due from Rhino on October 9th. You’ll find pre-order links and the track listing below!

The Doors, Morrison Hotel: Deluxe Edition (Elektra/Rhino, 2020) (Amazon U.S. / Amazon U.K. / Amazon Canada)

CD 1: The Original Album (Elektra EKS-75007, 1970)

Side One: Hard Rock Cafe

“Roadhouse Blues”
“Waiting For The Sun”
“You Make Me Real”
“Peace Frog”
“Blue Sunday”
“Ship Of Fools”
Side Two: Morrison Hotel

“Land Ho!”
“The Spy”
“Queen Of The Highway”
“Indian Summer”
“Maggie M’Gill”
CD 2: Mysterious Union

Black Dressed In Leather (“Queen Of The Highway” Sessions)

First Session (11/15/68)

“Queen Of The Highway” (Take 1, She Was A Princess) *
“Queen Of The Highway” (Various Takes) *
“Queen Of The Highway” (Take 44, He Was A Monster) *
Second Session (1/16/69)

“Queen Of The Highway” (Take 12, No One Could Save Her) *
“Queen Of The Highway” (Take 14, Save The Blind Tiger) *
Third Session (Date Unknown)

“Queen Of The Highway” (Take 1, American Boy – American Girl) *
“Queen Of The Highway” (Takes 5, 6 & 9, Dancing Through The Midnight Whirlpool) *
“Queen Of The Highway” (Take 14, Start It All Over) *
“I Will Never Be Untrue” *
“Queen Of The Highway” (Take Unknown) *
Money Beats Soul (“Roadhouse Blues” Sessions)

First Session

“Roadhouse Blues” (Take 14, Keep Your Eyes On The Road) *
“Money (That’s What I Want)” *
“Rock Me Baby” *
Second Session

“Roadhouse Blues” (Takes 6 & 7, Your Hands Upon The Wheel) *
“Roadhouse Blues” (Take 8, We’re Goin’ To The Roadhouse) *
Third Session

“Roadhouse Blues” (Takes 1 & 2, We’re Gonna Have A Real Good Time) *
“Roadhouse Blues” (Takes 5, 6 & 14, Let It Roll Baby Roll) *
Dawn’s Highway (Peace Frog/Blue Sunday Session)

“Peace Frog/Blue Sunday” (Take 4) *
“Peace Frog” (Take 12) *
LP Track Listing

Side One: Hard Rock Cafe

“Roadhouse Blues”
“Waiting For The Sun”
“You Make Me Real”
“Peace Frog”
“Blue Sunday”
“Ship Of Fools”
Side Two: Morrison Hotel

“Land Ho!”
“The Spy”
“Queen Of The Highway”
“Indian Summer”
“Maggie M’Gill”
(*) previously unreleased

“the soft parade/stripped”.  The LP is comprised of stripped down “Doors Only” versions of five tracks where the horns and strings have been removed.  The set also features three of those stripped-back versions with new guitar parts added by Robby Krieger.  All tracks are making their vinyl debut and were mixed & remastered by The Doors’ longtime engineer and mixer Bruce Botnick.

This numbered, limited edition LP is pressed on 180-gram clear vinyl and is housed in a clear plastic sleeve with a colored insert.  Only 12,000 copies of this release will be pressed worldwide.  the soft parade/stripped will be available at participating independent retailers for Record Store Day, June 20th, 2020.

The Doors will include a trove of previously unreleased recordings on the upcoming 50th Anniversary Deluxe Edition of their 1969 album, The Soft Parade, out October 18th.

The Doors’ fourth studio album, The Soft Parade, became the band’s fourth straight Top Ten album when it was released 50 years ago on July 18, 1969. Despite featuring one of the group’s biggest hits – “Touch Me” – it remains the most-polarizing record of The Doors’ career thanks to the brass and string arrangements that embellish several tracks.

To commemorate the album’s 50th year anniversary, Rhino reimagines The Soft Parade on a newly expanded 3CD/1LP set. The set includes the original studio album – and the B-side “Who Scared You” – newly remastered by Bruce Botnick, The Doors’ longtime engineer and mixer. The collection is a limited edition of 15,000 individually numbered copies and also includes the original album on 180-gram vinyl along with liner notes by noted rock journalist David Fricke.

The core of the new collection is comprised of more than a dozen unreleased songs. Among the highlights are newly remixed “Doors Only” versions of five tracks where the horns and strings have been removed (“Tell All The People,” “Touch Me,” “Wishful Sinful,” “Runnin’ Blue,” and “Who Scared You.”) The set also features three of those stripped-back versions with new guitar parts added by Robby Krieger (“Touch Me,” “Wishful Sinful,” and “Runnin’ Blue).

The collection also uncovers three songs from studio rehearsals – with Ray Manzarek (a.k.a. Screamin’ Ray Daniels) on vocals – that include an early version of “Roadhouse Blues,” a song that would be released the following year on Morrison Hotel. These three songs include newly recorded bass parts by Robert DeLeo of Stone Temple Pilots, who joined Krieger and John Densmore at a tribute concert for Manzarek in 2016, three years after the organist died of cancer.

No photo description available.

A trio of studio outtakes collected on the set’s final disc feature the much-bootlegged, hour-long jam, “Rock Is Dead,” which appears here in its entire, surviving form for the first time ever. The track finds The Doors riffing through the entire history of rock ’n’ roll, from early delta blues through surf music, ending with the death of rock.

The band teased the project with one such rarity: An raucous early version of their 1970 track “Roadhouse Blues” — which would appear on the band’s next album, Morrison Hotel — sung by organist Ray Manzarek, who’s cheekily billed as “Screamin’ Ray Daniels.”

The Soft Parade is one of the most controversial albums in the Doors’ catalogue, due to the string and horn arrangements on several tracks (one such song, “Touch Me,” did become one of the band’s biggest hits). The 50th anniversary edition of The Soft Parade will notably include “Doors only” versions of five tracks — “Tell All the People,” “Touch Me,” “Wishful Sinful,” “Runnin’ Blue” and “Who Scared You” — where the strings and horns have been removed. There will also be additional stripped-down versions of  “Touch Me,” “Wishful Sinful” and “Runnin’ Blue” featuring new guitar parts from Robby Krieger.

The 50th anniversary edition of The Soft Parade is available and will be released as a three-CD, single LP set that will be limited to 15,000 copies.

Waiting For The Sun (50th Anniversary Deluxe Edition)

Nearly 50 years ago, in July 1968, The Doors released their third studio album on Elektra Records.  Waiting for the Sun yielded the chart-topping hit “Hello, I Love You” and became the band’s first album to top the album chart (not to mention a third platinum certification in under two years’ time).  On September 14th, Rhino will reissue Waiting for the Sun in a 2-CD/1-LP book-style box set, including previously unreleased material, following the label’s anniversary reissues of The Doors and Strange Days.

The 2-CD/1-LP box features Bruce Botnick’s remastered version of the original stereo mix on both CD and 180-gram vinyl, plus a disc of 14 previously unreleased tracks including nine rough mixes and five live performances from Copenhagen on September 17th, 1968.  Botnick is quoted in the press release, “I prefer some of these rough mixes to the finals, as they represent all of the elements and additional background vocals, different sensibilities on balances, and some intangible roughness, all of which are quite attractive and refreshing.”  The complete audio will also be available on digital download and streaming services.

The press release also notes that, “When the Doors recorded Waiting for the Sun in 1968, they were among the first bands to use Dolby A301 noise reduction processors, which was cutting-edge recording tech at the time. Similarly, the most advanced sound recording innovations were used to make the anniversary edition of Waiting for the Sun.

Prior to the box set, however, Rhino will also mark the anniversary of “Hello, I Love You.”  The Doors’ second No. 1, it topped the singles chart for two weeks beginning on August 3rd, 1968.  On August 3rd of this year, Rhino will release a 7-inch single of “Hello I Love You” and its original B-side, “Love Street,” with the exclusive mono promotional mixes sent out to radio stations.  This version of “Hello, I Love You” was released last year on CD as part of The Singles, while the mix of “Love Street” is being issued on this single commercially for the first time.

That’s not all.  The Doors only produced one official tour program in the band’s original lifespan, and now that 1968 program is being reprinted.  The 24-page booklet designed by Paul Ferrara includes photos of each band member, astrology charts, and more.  It’s exclusively available now for order at The Doors’ official webstore. The band has reprinted their original 1968 Doors Concert Program for the first time, which is available exclusively in The Doors Online Store. This was the only official tour program ever created by the band.

Waiting for the Sun: 50th Anniversary Deluxe Edition arrives from Rhino/Elektra on September 14th, while the Hello, I Love You/Love Street single hits stores on August 3rd.

The DoorsWaiting for the Sun: 50th Anniversary Deluxe Edition Rhino/Elektra Records,

The Doors Logo

Following the success of The Matrix Part I for RSD 2017, the second part – The Doors’ Live At The Matrix: Let’s Feed Ice Cream To The Rats, San Francisco, CA – March 7th & 10th, 1967 will follow for RSD 2018. Originally recorded on March, 1967 in San Francisco. Newly mastered by Bruce Botnick, the historic engineer for The Doors, from recently discovered original master tapes.

Playing a sizable chunk of their first album and half of their follow up record (yet to be laid down in a studio), the rest of the set is upholstered with a few standards.
Just a few weeks on from the release of their debut, word about the band’s impending canonisation does not appear to have reached the handful of punters who turned up to Marty Balin’s nightclub in San Francisco, and who can be heard offering only the politest of applause between numbers.
Without the catalyst of audience reaction and in the face of such indifference, the sparks rarely fly and despite Manzarek’s assertion about the extent to which this meant the band could stretch out and experiment, we have a performance that only occasionally smoulders, never quite ever catching fire. In truth, ther’’s little evidence here of a group that matches essayist Joan Didion’s description of The Doors as “the Norman Mailers of the Top Forty, missionaries of apocalyptic sex.” Die-hard Morrisonologists will however be cheered by the inclusion of alternate words grasped from his poetic writings and scattered about in songs such as a pulsing cover of the old Them stomper, Gloria and their sinuous classic, The End.
With Kreiger’s blazing guitar solo on When The Music’s Over, and Manzarek’s faux-classical noodling, there’s a lot of potential waiting to be called upon. However, at The Matrix we’re in the company of a somewhat quaint and reserved bar band, prone to stretches of timorous research, rather than anyone dropping their trousers in the face of the establishment. That would all come later and with it, quite literally in the case of The Doors, the stuff of legend.

Following The Doors’ 2017 Record Store Day release Live at The Matrix, Part 2 will be released for Record Store Day 2018 on 180g, individually numbered vinyl. The historic shows were originally recorded in March, 1967 in San Francisco. from recently unearthed, first generation masters. Worldwide run of 13,000.

Rhino

Earlier this year, the self-titled 1967 debut album by The Doors arrived in a 50th anniversary box set presenting the original album on CD in both mono and stereo plus the mono version on vinyl.  Much as The Doors followed that debut months later with Strange Days, Rhino is following up the reissue of The Doors with a 50th anniversary presentation of that sophomore album, due on November 17th.  Strange Days: 50th Anniversary Edition will be released in two configurations: a 2-CD set with the mono and stereo versions of the album, each on its own CD; and a 1-LP vinyl reissue of the original mono album only.  Digital streaming and download versions will also be released.

Strange Days, originally issued on Elektra in September 1967, reached No. 3 on the American  chart, and yielded two hit singles with “People Are Strange”  and “Love Me Two Times” . Strange Days arrived in stores a little more than eight months after the Doors’ self-titled debut in January 1967, and was a more experimental record – due in part to a bigger budget allotted to the band for its second record.
Recorded like The Doors debut album at Hollywood’s Sunset Sound, the LP was the band’s first to be recorded on eight tracks, allowing for a more expansive and experimental sound than its predecessor.  Its songs were a mix of both current tunes and older ones tested onstage; the band performed “Strange Days” during its 1966 residency at the London Fog in L.A., and “My Eyes Have Seen You” dates back to 1965.  “Moonlight Drive” was a similarly early composition, and one of the first songs Jim Morrison, Ray Manzarek, Robby Krieger, and John Densmore ever rehearsed together.

The Strange Days: 50th Anniversary Edition has been produced by the album’s original engineer Bruce Botnick and restores the original stereo mix to CD for the first time in over a decade, fully remastering it for the first time in 30 years.   The second disc features the album’s original mono mix, which has been remastered for this set and is making its CD debut. No additional audio material has been included.  Liner notes have been provided by David Fricke, and his notes are accompanied in the booklet by rare and previously unseen photographs.

Strange Days: 50th Anniversary Edition will be available from Rhino Records on November 17th

A & B-sides gathered on CD with Quad mixes on bonus blu-ray audio

Rhino Records will release The Singles, in a new compilation that collects all 20 U.S. singles released by The Doors , and their corresponding B-sides. It will be available as a 2CD+blu-ray package, a 2CD set without the blu-ray and a seven-inch box set will also be made available.

The 44-track collection includes the rare, original single versions of such classics as, Love Me Two Times, Love Her Madly, Riders On The Storm and many more. With collectors in mind, the CDs will also feature four original mono radio versions of some of the hits. These have never been made available anywhere after being sent to radio stations at the time of their original release.

All tracks have been mastered from the original analog single masters by the band’s longtime engineer Bruce Botnick.

The Blu-ray disc that accompanies the ‘deluxe’ three-disc version features the original hi-res Quadraphonic mix of 1973 compilation The Best Of The Doors. This 11-song compilation was released on SACD by Audio Fidelity in 2015, but this is the first time it has been available on Blu-ray audio.

In addition to the above, a 20-disc seven-inch box set of The Singles (‘limited’ to 10,000 copies) is being issued .

8. The Doors, 'L.A. Woman'

The Doors had crammed several lifetimes into just five years as band, and by late 1970, the psychic toll of Jim Morrison’s addiction and legal hassles threatened to overwhelm the group. Any attempts at making an album under these conditions should have met with unmitigated disaster, but on L.A. Woman – the final Doors LP released during Jim Morrison’s lifetime – the band succeeded almost in spite of themselves. Self-produced and recorded in their private rehearsal space, the album was a homecoming in both a musical and spiritual sense. “Our last record turned out like our first album: raw and simple,” drummer John Densmore reflected in his autobiography. “It was as if we had come full circle. Once again we were a garage band, which is where rock & roll started.”

The Doors’ longtime producer quit the sessions, dismissing the songs as “cocktail music.”
L. A. Woman
got off to an inauspicious start in November 1970, when the band played their new material for producer Paul Rothchild. They possessed only a handful of semi-complete tunes, and Rothchild was less than impressed. He dismissed “Riders on the Storm” as “cocktail music,” but reserved particular scorn for “Love Her Madly,” which he cited as the song that drove him out of the studio. “The material was bad, the attitude was bad, the performance was bad,” he said in the Morrison biography No One Here Gets Out Alive. “After three days of listening I said, ‘That’s it!’ on the talk-back and cancelled the session.”

They convened for an emergency meeting at a nearby Chinese restaurant, and Rothchild laid his cards on the table. “I said, ‘Look, I think it sucks. I don’t think the world wants to hear it. It’s the first time I’ve ever been bored in a recording studio in my life. I want to go to sleep.'” With that, the so-called “Fifth Door,” who had produced the band since their debut, walked out. Once the shock had worn off, the Doors turned to engineer Bruce Botnick, whose credits included all of their previous albums, as well as the Beach Boys’ Pet Sounds, and the Rolling Stones’ Let It Bleed. With his help, the reinvigorated band vowed to coproduce their new album. Gone were the days of Rothchild’s studio strictness, where it was normal to record 30 takes or spend hours on perfecting a drum sound. “Rothchild was gone, which is one reason why we had so much fun,” Robbie Krieger “The warden was gone.”

Jim Morrison recorded his vocal parts in a bathroom.
Eschewing the high tech luxury of Sunset Sound, the Doors decided to record in their unassuming “workshop” at 8512 Santa Monica Boulevard. “It was the room we had rehearsed in forever,” recalled John Densmore in the documentary Mr. Mojo Risin. “Our music was seeped into the walls. We were very comfortable. It was home.” Like a fraternity common room, the cramped space was littered with empty beer bottles, dog-eared magazines, an endless tangle of cables and assorted instruments – plus a jukebox and pinball machine. “It was tight,” says Botnick, who was ensconced in the upstairs office behind a portable mixing board. “It was like sardines.”

During takes, Morrison would grab his gold Electrovoice 676-G stage mic and sing in the adjoining bathroom, which served as a provisional vocal booth. The room’s tile provided impressive natural acoustics, and he ripped the door off its hinges to better commune with his bandmates.

The band called upon Elvis Presley’s bass player to add some extra funk.
The Doors
famously lacked a bassist during live sets, instead relying on Ray Manzarek’s Fender Rhodes’ keyboard bass to lock into the rhythm with Densmore. For their studio albums, the band quietly supplemented their core lineup with session pros handling the low end. Some of these contributions were overdubbed separately from the band, but for L.A. Woman, they wanted the live sound of musicians playing together. Botnick suggested Jerry Scheff, fresh from backing Elvis Presley at Las Vegas’ International Hotel. Morrison, was a massive Presley fan, was thrilled. So was Densmore. “Jerry was incredible; an in-the-pocket man,,  He allowed me to communicate rhythmically with Morrison, and he slowed Ray down, when his right hand on the keyboards got too darn fast.”

The band also called upon guitarist Marc Benno, who was making a name for himself playing with Leon Russell. He contributed the percussive James Brown-like rhythm guitar stabs on the title track, as well as “Been Down So Long,” “Cars Hiss By My Window,” and “Crawling King Snake.” Scheff played on all songs except “L’America.”

“L’America” was originally recorded for a Michelangelo Antonioni soundtrack.
The cartwheeling “L’America” predates the L.A. Woman sessions by more than a year. The track had been intended for inclusion in Antonioni’s 1970 psychedelic drama, Zabriskie Point. The Italian auteur had notably tapped the Yardbirds for 1966’s Blow-Up, and it appeared he might do the same this time around with the Doors. He visited the band in the recording studio, but their intensity – not to mention volume – proved too much for him to handle at close range. “We played it for him, and it was so loud, it pinned him up against the wall,” said Manzarek “When it was over, he thanked us and fled.” Predictably, the song was not included in the film. The Doors were in good company – Jerry Garcia, John Fahey and Pink Floyd also had work rejected from the soundtrack.

“Riders on the Storm” was inspired by an old cowboy song – and a real-life serial killer.
During one of the early rehearsal jams that fueled L.A. Woman, the Doors began riffing on Stan Jones’ galloping 1948 country-western hit “(Ghost) Riders in the Sky: A Cowboy Legend,” made famous by Vaughn Monroe. “Robbie was playing his twang guitar,”And Jim went, ‘I got lyrics for that!’ And he had ‘Riders on the Storm.’” The moody words fit the equally foreboding music, and Manzarek’s driving keyboard figure shifted the melody from a Morricone-esque “yippee ki-yay” to a lonely desert highway.

Characteristically, Morrison’s lyrics drew from a myriad of sources. The title was adapted from a passage in “Praise for an Urn” by poet Hart Crane, and other lines were inspired by his tumultuous relationship with long-term partner Pamela Courson. But the most memorable verse is culled from a self-penned screenplay inspires by the serial killer Billy Cook , who murdered six people – including a family – while hitchhiking to California in 1950. Though executed for his crimes, he is immortalized as the “killer on the road.”

“Love Her Madly” takes its title from a Duke Ellington catchphrase.
The lyrics for L.A. Woman’s lead single – the Doors‘ first to crack the Top 40 since “Touch Me” two years earlier – were born out of a particularly noisy fight between Robbie Krieger and his future wife, Lynne. “Every time we had an argument, she used to get pissed off and go out the door and slam the door so loud the house would shake,” he said in Mr. Mojo Risin. But the title borrows a signature phrase from Duke Ellington, who would end every concert with the sign-off, “We love you madly.”

The album was recorded in less than a week.
Aside from “L’America,” which was already in the can, the basic tracks for L.A. Woman came together in just six days spread between December 1970 and January 1971. Mixing took an additional week, but that’s still a blink of an eye compared to the nine months it took to complete the Doors‘ cumbersome 1969 work, The Soft Parade. The rapid pace ensured that the mercurial Jim Morrison, whose short attention span often led him towards destructive tendencies, remained focused and on his best behavior. During a single session, which the singer dubbed “blues day,” they enthusiastically tackled “Cars Hiss By My Window,” “Been Down So Long,” “Crawling King Snake” and several other loose jams.

“We just did a couple takes, on everything,”  said Densmore. “There were some mistakes, and I would say, ‘Remember on Miles Davis at Carnegie Hall … there’s this horrible trumpet error? Miles said he didn’t care, because of the feeling.’ That’s what L.A. Woman is. Just passion – in our rehearsal room, not in a fancy studio. It was the first punk album!”

Jim Morrison used the L.A. Woman cover to get revenge on his record company.
Morrison
was always contemptuous of his rock Adonis image, and by 1970 he had ditched his trademark leather pants, gained considerable weight, and obscured his handsome features with a bushy beard in an effort to direct fans away from his appearance and towards his art. But rock is built around image, and Elektra Records preferred the svelte Lizard King of yore. They used a much earlier photo of Morrison on the cover of 1970’s compilation 13, even after he consented to shaving his beard for photo sessions. The message was even more blunt on the cover of that year’s Absolutely Live, which superimposed an older photo of the singer over a contemporary shot of the rest of the band. Morrison was furious.

For L.A. Woman, he would do it his way – beard and all. Fed up with having his image emphasized on album covers, he insisted on a group shot, and crouched to appear even smaller alongside his bandmates. What you can’t see is a bottle of Irish whiskey just out of frame. “In that photo you can see the impending demise of Jim Morrison,

“Riders on the Storm” contains Jim Morrison’s last recorded contribution to the Doors.
When the band gathered at Poppi Studios early January 1971 to mix L.A. Woman with Bruce Botnick, they made some last minute embroideries to their epic album closer. Thunderstorm sound effects were added to “Riders on the Storm,” but Morrison had a more subtle contribution: two ghostly whispers of the song’s title on the fadeout. The eerie send-off is even more haunting in retrospect. “That’s the last thing he ever did,” said Ray Manzarek  “An ephemeral, whispered overdub.” The song was released as the album’s second single,

Additional songs were recorded during the L.A. Woman sessions – and one remains unissued.
In addition to the 10 tracks that made up the final album, several additional songs were considered for L.A. Woman. “Orange County Suite,” which Morrison had recorded as a piano demo in early 1969, was ultimately rejected, as it had been from their previous album, 1970’s Morrison Hotel. It eventually was completed by the band posthumously and included in a 1997 box set.

A primitive bluesy medley called ““She Smells So Nice/Rock Me,” recorded early in the sessions and long forgotten, was rediscovered in the tape vault and issued on the expanded 40th Anniversary Edition in 2012. But perhaps most intriguing is the song “Paris Blues,” which remains unheard. The only known copy is a badly damaged cassette, on which portions have been accidentally erased. Lyrical fragments hint at a deeply personal song. “Goin’ to the city of love, gonna start my life over again,” Morrison sings. “Once I was young, now I’m gettin’ old/Once I was warm, now I feel cold/Well, I’m goin’ overseas, gonna grab me some of that gold.”