Posts Tagged ‘Robbie Kreiger’

On 5th July 1968, The Doors celebrated their own independent streak with a performance at the Hollywood Bowl which, like most things they did, has since passed into rock lore (and not just because Mick Jagger was in the crowd).

While parts of it have been released before, this is the first ever vinyl release of the entire show, from intro to, inevitably, The End. Modern technology has found a way to clean up tracks previously considered poorly recorded,

Most of this concert was released back in 1987 but it returns further restored and with a tasty “Hello, I Love You”, the poetry jam “The WASP (Texas Radio And The Big Beat)” and a fruity “Spanish Caravan” added. Never mind all that, though, and never mind that the greatest rock singer ever Jim Morrison could be a bit of a pillock, listening to this all I can think is, “Bloody hell, I wish, I’d seen The Doors live in their prime”. And this is them on essential form – more so than on any of the recentish live albums that’ve come out – the nuanced loud-quiet dynamic, the blues-rock grind, the punk attitude crashing into Ray Manzarek’s stoned organ, “When The Music’s Over” and “The End” indulgently long but utterly seductive, all topped with Morrison’s sleaze-bellowed charisma overload.

Even when he’s rambling about pharaohs like a wannabe beatnik, all it does is make me wish there were more bands now on massive doses of psychedelic drugs attempting to push the envelope. Vital stuff. What shows less is that the band took LSD before going onstage: Morrison sounds relatively cheerful, as if he’d had a big bag of barley sugars. If the musicians were all off their trolleys, one can only assume that rehearsals led to impeccable muscle memory. Ray Manzarek recalled they were “locked in”. Drummer John Densmore had even insisted on a planned set list, to be adhered to (again, something usually anathema to The Doors). There is a crisp, tight zip here, not always evident in the group’s cooed-over canon.

This is a very atmospheric album,you feel like you are at the concert,whilst listening to it. Well i do anyway! Jim Morrison’s vocals are on point throughout,from his crooning to his screaming!He performs his poetry pieces with real passion and verve,these pieces also blend in perfectly with all the songs and music. Manzarek,Krieger and Densmore’s musicianship throughout is very good,as you would expect.

During Light My Fire you can hear firecrackers exploding: it sounds, as they say, like you are actually there, among the 18,000-strong congregation. So from the swing of When the Music’s Over and the sleazy lilt of Brecht/Weill’s Alabama Song, this is a band delivering, knowing they’ve arrived, swaggering without slobbering.

Moonlight Drive and Horse Latitudes are allowed to gleam and the night gathers momentum until that mother of all comedowns, The End, puts a wail in the tail. Love or loathe The Doors, this will polish the windows of your perception.


The Doors’ fifth album, Morrison Hotel, released in February 1970, was seen as a return to form after the critically mauled (but commercially successful) Soft Parade from the previous year. A few weeks before the record’s release, the band set off on their “Roadhouse Blues Tour”, playing across the US, and certain shows in Canada – planned Japanese dates were cancelled during this period – before, on 5th June, performing at the Seattle Coliseum in Washington State’s largest city. Putting on a dynamic but amicable show with Jim Morrison in good spirits, conversing rather than taunting the crowd (albeit somewhat cryptically at times), this rarely heard concert, recorded for FM radio broadcast at the time, proves that The Doors remained a force to be reckoned with, a year from their demise following the death of The Lizard King in July ’71.

This is the first concert taped by Doors road manager Vince Treanor. Vince used a Sony TC-630 stereo tape recorder (a gift from The Doors) running at 3 3/4 ips with a pair of AKG-D1000E cardioid microphones placed on either side of the stage to capture the audio from the vocal and instrument amps. Jim is drunk for the show and interacts quite a bit with the audience. Interesting! What always struck me about this show is how TENSE it sounds. Hecklers get worse and worse throughout the show, Date: June 5th – 1970

6d59aac0 5bd1 4ca8 904e 35e196a7c766

During September 1968 the Doors made their first trip to Europe for a tour that saw them paired with the Jefferson Airplane, far from the eyes of the world they played intimate concerts for audiences who where not there for the event but to listen and watch the performers, the tour was a major success in terms of attendance and in terms of artistic satisfaction from the band that equated to some of the best performances the band would ever perform.

These performances are an eye-opener if you’ve never heard them before. What you get is a wowser recording of an in-shape, ready to kill you Jim Morrison. The man is out for blood and it shows. The only thing wrong here, and it’s the Only thing is that Jim is off mike for the first “When The Music’s Over”. The recording is clear enough that you can just about hear him, but alas there is nothing that can be done about that now. The material itself is stellar and the band is in top form. Enjoy this show, it’s a mind-ripper.

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

The Doors, live at Konserthuset, Stockholm on 20th September 1968 The Doors finally visited Europe in September 1968, playing to rapturous audiences in the UK, Germany, Holland, Denmark and Sweden. Many fans agree that they were at their peak on this tour, despite Jim Morrison’s condition being unpredictable from gig to gig. This release contains the final date of the tour, originally broadcast by Sveriges Radio. It includes rare performances of Mack The Knife, Love Street and You’re Lost Little Girl as well as familiar staples of their set, and is presented here together with background notes and images.

The recording begins with the call to arms of “Five To One”, one can take many interpretations to Jim’s lyrics, the best I had read was five to one is the ratio to people under the age of 30 outnumber the old five to one. Of course the radio station does not censor the “I Got in this car with these people and get …f*cked up”, Jim slurring his words in true bluesman tradition. To show their respect from the European audiences the band treat them to an impromptu version of “The Ballad Of Mack The Knife” by Weill and Bretcht that was made famous by Frank Sinatra in America that flows right into the same song writing duo’s “Alabama Song” aka “Whiskey Bar”, a song the band adapted for their first self title LP. The song flows right into the abrupt riff of Willie Dixon’s “Backdoor Man”, played in true blues fashion. Morrison lets yell with a manic laugh before the band slows it down for the pork and beans section, the song is a prime example of their blues origins and garners a huge round of applause before Morrison tells them “Stop That”.

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

Curiously the band play an early version of “Wild Child”, a song that would not find its way onto a Doors record for close to a year until the release of 1969’s The Soft Parade. It started appearing in the bands set early the prior month of August 2nd at the band’s chaotic performance at the Singer Bowl in Flushing Meadows, New York. This version is much subdued to that version largely due to the circumstances, but we are treated to a superb rendition of the song and is nice to be able fully enjoy. They continue with their take on the Gordy / Robinson classic “Money”, a song that they had been playing since their early incarnation of the band in their pub days. They play a laid back version of the song that features song great Manzerek keys as he hammers out a great solo, the song simply swings as the band hit their stride.

“Light My Fire” is the culmination of Doors Concerts, its there most popular song and therefore is the one that people clamor to hear. Live versions are always extended, to give a showcase to move through music themes such as jazz, Manzerek, Krieger, and Densmore were all aficionados of the form and this song is their vehicle to express it. This version clocks in at over 11 minutes and features a long center section where they free form the music with teases of Coltrane’s “My Favorite Things”, Morrison does enter the fray at about 8 minutes in when he asks “why you jump up my ass…what did you come hear for anyway?” in some obvious dialog with an audience member and forces the band to abruptly go back into the main theme of the song and push Morrison’s focus back to the music.

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


A few months prior to the release of 1969’s brilliant The Soft Parade, Jim Morrison and gang performed a now legendary set in the New York City studios of PBS. Playing live 3 tracks from that album, this was the majority of the American public’s introduction to what would be the band’s most pop oriented band to date. However, in these live band versions, The Doors are as stripped down and raw as ever. Essential listening for any Jim Morrison fan out there, this great radio broadcast is back in print thanks to Wax Love Radio.

This 1969 live radio broadcast feat tracks from their debut & forthcoming Soft Parade, plus a rare track Build Me A Woman

1. “Tell All The People” (3:36) 00:00 2. “Alabama Song/Back Door Man” (6:06) 03:37 3. “Wishful Sinful” (3:13) 09:46 4. “Build Me A Woman” (4:27) 12:54 5. “In Conversation With Richard Goldstein” (11:49) 17:34 6. “The Soft Parade” (10:08) 29:25

Image may contain: 1 person, text

The premiere of “Break On Thru: A Celebration of Ray Manzarek and The Doors,” at Asbury Park Music And Film Festival is now sold out!.

Break On Thru: A Celebration of Ray Manzarek and The Doors is a concert documentary from a 2016 all-star performance in Los Angeles that John Densmore and Robby Krieger, the two surviving members of The Doors, developed to celebrate what would have been Manzarek’s 70th birthday. As well as the all star concert there’s never before seen footage from The Doors archives and new Interviews from Densmore and Krieger. It’s a one of a kind documentary about a very special person and a legendary rock band.

VIDEO: The Doors at the Asbury Park Convention Hall in New Jersey in ’68. See more footage in the film, “Break On Thru: A Celebration of Ray Manzarek and The Doors”!

Find out more about the festival here:

In the late 1960s, the Doors, and particularly their frontman Jim Morrison, were one of the most unpredictable live acts on the planet. You simply didn’t know what they were going to do or how long they were going to do it for. Just two weeks after the Fillmore East opened, Bill Graham booked the Southern California psych rockers to play four sets of music spread across two nights. The final set on the second evening was the one to catch.

Doors Jim Morrison Performing Fillmore East

That night, the Doors played their regular collection of material but apparently enjoyed themselves so much that they came back after most of the crowd had thinned out and played again for nearly an hour. It was an incredible showing, and left a tremendous impression on one audience member in particular: future punk poetess Patti Smith. Her boyfriend, photographer Robert Mapplethorpe, was working as an usher at the venue and managed to get her a free pass to the show. It was a galvanizing experience, as she explained in her autobiography Just Kids. “I felt, watching Jim Morrison, that I could do that,” Smith wrote.





The rock world was still staggering from the back-to-back deaths of Jimi Hendrix and Janis Joplin when they were suddenly and mysteriously joined in pop star heaven by Jim Morrison, lead singer of The Doors.

Hendrix’s aura has been kept financially floating by virtue of many posthumous live albums and filmed tributes, and Joplin is famed by her biopic, as a result of two recent biographies and a court dispute over the nature of her death. Morrison is barely mentioned but with recent live albums released a plenty and now the newly released London Fog Box Set of the Doors early live set at the infamous tiny venue, The near future, we are told, Jerry Hopkin’s book on Morrison will appear in print .

The Doors peaked early, with one remarkably strong year or so, By the time of his death, Morrison was definitely seemed to be losing interest. Yet for a while he and his group were one of rock’s premier attractions and in many ways, some fortunate and some not, one of the most influential. In early 1967 the word on The Doors came from two sources: Crawdaddy! and Murray the K’s WOR-FM show, where Buffalo Springfield proclaimed The Doors their favorite L.A. band. And The Doors‘ debut album was a singularly special event on a year that was brimming with stellar first efforts (Moby Grape, Country Joe, Buffalo Springfield). There was something foreboding about The Doors, something candlelit about the lyrical imagery and entirely sensual about the instrumental interplay. One is tempted to describe them as, from the very first lines of their very first album (“You know the day destroys the night/Night divides the day”), the original dialectical rock band. Morrison the writer, self-consciously poetic, dealt in contradiction: light/dark, death/life, water/fire, to a greater extent than any other rock lyricist. In that winter, The Doors was an underground experience of mystery and intrigue.

By summer, of course, it was impossible to avoid the song Light My Fire, an ever present invocation that marks its time as precisely as Sgt. Pepper and that became part of the general vocabulary. Around the same time, The Doors began appearing in concert on the east coast.

The initial live Doors shows were hardly satisfactory. Ray Manzarek supplied the bass line on organ, More crucial, however, were Morrison’s shortcomings. He had yet to accommodate his live approach from what he used in clubs to one suited to the concert hall. The sets were short, 30-45 minutes, and consisted of rehashed album material that was neither effectively staged nor good-naturedly spontaneous.

As it happens, they still had some reserve life in them. In March 1968, Bill Graham opened the Fillmore East and on the second weekend, following the Janis Joplin opening night , The Band played one of the most mesmerizing performances you could have hoped to witness. After dismal sets by Ars Nova and Chrome Syrcus, The Doors came out and spellbound an audience with a show of intensive drama and uncommonly well-played music. Manzarek, Krieger and Densmore locked into a wholly cohesive, responsive unit fronted by a man who appeared possessed.

Rock theatre was what it was on that practically virginal Fillmore stage, and there had been nothing quite like it before in those days before showman like Alice, David and Iggy. Lit by a single spot and accompanied by a subtle light show, Morrison dove head on into When the Music’s Over , plunging into a two-hour set that included the full-length version of Celebration of the Lizard, a bizarre mixture of erotic rock and neo-beat poetics. What was remarkable was the absolute control that Morrison held over his material and over the audience. Over the previous summer a mess of marvelous rock was played in New York City by The Who, The Yardbirds, The Dead and many more groups who obviously surpassed The Doors in terms of rock kinetics and energy, but this was different. That was brilliant rock for dancing, shouting and destroying; this was Performance

At that concert, The Doors screened a short film cued to promote their newest single, The Unknown Soldier. It was a crude work, influenced, I know now, by Godard and Bunuel, and filled with Morrison-as-martyr iconography, simulated vomiting and political montage. And yet it worked. Morrison the U.C.L.A. film student knew how to use Morrison the performer in an effective manner and, as should be evident from his interviews and his book of poetry, he was both highly intuitive and intellectually curious about the theories and possibilities of cinema. It would have been no surprise had he became a competent, if heavy-handed, filmmaker. “The Unknown Soldier” brought the crowd to its feet and for an encore The Doors did a new, extended The End.

Jim Morrison and The Doors were, at that moment, superstars. It was a very short moment. The follow-up single to “Soldier” was Hello, I Love You, and the third album, Waiting for the Sun, was a little uninspired. “Celebration of the Lizard” was printed on the inside of the uni-pack, but a mere four minutes of it was on the record . In black and white, moreover, it seemed silly, an unstructured tour-de-forceby a mediocre poet.

There were some memorable television appearances on Ed Sullivan and Jonathan Winters (on which Morrison tore apart some scenery) and on a PBS special devoted to them that had Richard Goldstein and Al Aronowitz debating their worth as well as the premiere of ‘The Soft Parade’, an epic work with all of the pretense and none of the style of their earlier attempts at this form .

The Morrison legacy is one remarkable album that fuses for all time his concern with blues and theatre (Willie Dixon and Brecht/Weill) and a dynamic on-stage persona that he could not sustain. He is also the ancestor of all those rockers, with theatrical pretensions that revolve around death, mysticism and evil sexuality.

The Doors are to release a new album, London Fog 1966, which will consist of recently discovered live recordings, the earliest known to exist.

Available From Rhino/Bright Midnight Archives on December 9th, they will be released in a Collector’s Edition Boxed Set on CD And Vinyl along with 8 x 10 prints of unseen photos and replica memorabilia.

The music was recorded during the Doors tenure as the house band at the London Fog, a Sunset Strip dive bar located close to Whisky a Go Go. The seven song set has been remastered by Doors engineer Bruce Botnick.

The set includes covers of standards like Muddy Waters’ “Rock Me” and “I’m Your Hoochie Coochie Man”. The set also includes performances of “Baby, Please Don’t Go” (Big Joe Williams), “Don’t Fight It” (Wilson Pickett) and “Lucille” (Little Richard) alongside two originals: “Strange Days” and “You Make Me Real”, which wasn’t officially released on a studio album until Morrison Hotel in 1970.

The Doors band in 1968

Many of the countless Doors live albums are far from essential, but this one feels genuinely important. The recently discovered 1966 audience recording from a gig at the London Fog in Los Angeles, captures the band in their lesser-known embryonic period. Their sound is already in place and Jim Morrison is on the verge of becoming the Lizard King, using the near-empty Sunset Strip venue to develop the necessary stagecraft to get his mojo rising. The various covers range from smouldering, sensual blues (BB King’s Rock Me) to raw, roughhouse rockers (Big Joe Williams’ Baby Please Don’t Go). The two originals – a tightly wound, thrillingly focused You Make Me Real and a particularly ominous, spooked and spooky Strange Days – may be respectively two and four years away from their studio versions, but already sound eerily fully formed. Throughout, disinterested audience chatter and the chink of glasses belies the fact that within months, the London Fog’s unknown house band would be among the hottest groups in the world.

London Fog 1966 track Listing:

“Rock Me”
“Baby, Please Don’t Go”
“You Make Me Real”
“Don’t Fight It”
“I’m Your Hoochie Coochie Man”
“Strange Days”


<em>Morrison Hotel</em> (1970)

“Morrison Hotel” (sometimes referred to as Hard Rock Café from the title of the first side of the LP, with the second side titled “Morrison Hotel” is the fifth studio album by the American psychedelic rock band The Doors, recorded from between August 1966 and November 1969 and released by Elektra in February 1970. The group went back to basics and back to their roots. On this album, there is a slight steer towards the  blues sound, which would be fully explored by the band on their next album, “L.A. Woman“.

Between Jim’ Morrison’s, tour-killing obscenity charge (stemming from a Miami concert where he may or may not have exposed himself on stage), declining sales, and the negative reviews given to their previous two albums, many people gave up on The Doors.  but “Morrison Hotel” , with its tougher, back-to-basics sound, reestablished them as America’s greatest rock & roll band. It became a Top 5 album, but it’s only single, “You Make Me Real,” didn’t even make the Top 40. Still, “Roadhouse Blues” (the single’s b-side), “Peace Frog,” and “Waiting For The Sun” have since become some of The Doors’ best-known songs.

The cover photo was taken at the actual Morrison Hotel located at 1246 South Hope Street in Los Angeles. The band asked the owners if they could photograph the hotel and they declined, so the band went inside when nobody was looking and took the photograph anyway.  The desk Clerk wouldn’t let the Doors shoot their cover shot in the Lobby, but when he stepped out for his break photographer Henry Diltz stayed outside the hotel, snapping away while the band rushed inside and gathered behind the hotel’s now famous window. The rear cover features a photograph of the Hard Rock Café on 300 East 5th Street, Los Angeles.  The founders of the later and otherwise unrelated Hard Rock Cafe chain used the name, having seen it on the Doors’ album. The original cafe is no longer open. After they wrapped up their hit-and-run cover shoot, The Doors hit LA’s skid row to grab a drink. They settled in to a dive called the Hard Rock Café, where Diltz took the photo for the album’s back cover. After the album came out, two guys called to ask if they could use the name of the bar for a new restaurant they were opening in London, paving the way for hundreds of restaurants, hotels and casinos. When it was originally released on vinyl, side one of Morrison Hotel was labeled Hard Rock Cafe. Side two was Morrison Hotel.

One of Morrison Hotel’s most revered cuts was actually supposed to be the title track to an earlier album. “The artwork was done, but the song wasn’t ready,” said keyboardist Ray Manzarek. It took a year, but they finally got “Waiting For The Sun” right.


You’d think having your hotel on the cover of a seminal rock album would inspire you to fix up the place and raise the rent, but the owners of the Morrison were among LA’s most notorious slum-lords. By the time the hotel was shut down, they’d been convicted on 21 counts of violating fire, safety and health codes, with the city citing vermin infestations, broken heaters, lead poisoning, and raw sewage leaks among the offenses.

Even though no major hit singles were drawn from the album, “Morrison Hotel” re-established the Doors as favorites of the critics, peaking at No. 4 on the US album chart. The album also became the band’s highest charting studio album in the UK,

For the 40th anniversary the album was re-released in completely remixed and remastered form. This practice extended to incorporating vocal and instrumental components which were not part of the original album. According to Ray Manzarek, “There are background vocals by Jim Morrison, piano parts of mine that weren’t used and guitar stingers and solos by Robby Krieger that never made the original recordings that can now be heard for the first time.


Lonnie Mack, who plays bass on “Roadhouse Blues” was better known as a top-shelf blues guitarist. In fact, Stevie Ray Vaughan said that, as a kid, he practiced guitar to one of Lonnie’s albums so many times his dad destroyed it.
The stripped-back recording sessions toughened up and focused The Doors on stage as well as in the studio. Before it was even released, “Roadhouse Blues” became a fixture in their set lists and many fans still consider it their best live cut.

Powered by the lead single “LIGHT MY FIRE” the Doors debut release in 1967 served as the dark cousin to the summer of pop, the band went on to become one of the most Influential and controversial rock acts ever, also adding to the myth frontman lyricist and iconic Jim Morrison’s strange death in a Paris hotel in 1971 only added to the many myths this band have conceived

The Doors music album