The Doors – Moonlight drive Oil Well – RSC 115 CD
The Doors – Moonlight Drive
Oil Well – RSC 115 CD
1 Twentieth Century Fox 2:59
2 Moonlight Drive 6:41
3 Summer's Almost Gone 3:53
4 Unhappy Girl 4:12
5 Woman 8:36
6 Break On Through 4:25
7 Light My Fire 8:36
8 The End 14:29
Note
All songs by Morrison/Mankzarek/Krieger/Densmore unless noted.
Live in San Francisco, CA - March 7, 1967 - Vol.2
Tracks 1-6 recorded live at the Matrix, 7 Mar 1967,
Tracks 7-8 recorded live at Matrix 10 mar 1967
Lineup:
Jim Morrison - vocals
Ray Manzarek - keyboards, piano, organ, vocals
John Densmore - drums
Robby Krieger - guitars
This album is a digital copy of disc two from The Complete Matrix Club Tapes.
Due to its rarity and good quality, this disc is recommended.
On the front cover two pictures of The Doors, one from the Morrison Hotel photo session.
Please note that track 5 here noted as Woman is a medley of: Me And The Devil Blues/Sittin' Here Thinkin'/Rock Me Baby
© Official released material:
This bootleg has been released officially as Live at the Matrix 1967 in 2008 by Rhino - Bright Midnight Archives.
_____________________________________________________________
Live at the Matrix 1967 - BBC Review
So long after their explosive heyday The Doors and Jim Morrison retain their gold-standard of cool. Like all major acts they’ve been incorporated, corporatized and accessorised to the nth degree – a pair of Doors-branded Coverse All-Stars anyone? Of course not everyone however buys into the myth of Morrison as the epitome of rock n' roll shaman dispensing visionary wisdom. As David Crosby caustically wrote about such myth-making in his 1998 CPR song, Morrison, "I've seen the movie and it wasn't like that."Strip away the fables surrounding Morrison and The Doors and what are we left with? The answer, or at least something approaching part of it, tantalisingly hovers in and out of view on this 2 CD live bootleg.
Although these tapes will be well known by hardcore Doors fans, this is the first time they’ve seen the official light of day. Massaged into life by Bruce Botnik (engineer on those original Paul Rothschild produced albums), they offer a glimpse, as Ray Manzarek observes, of the band having fun. 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 greasy-spoon 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." Morrison’s celebrated "wardrobe malfunction" was still a couple of years off
Though he would become the patron saint of the rock-star-in-leather-trousers look, here Morrison stands awkwardly at the microphone oozing something between lounge-singer schmaltz and half-hearted karaoke chutzpah that’s a few shot-glasses short on Dutch courage.
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.
Who are The Doors
The Doors, one of the most influential and controversial rock bands of the 1960s, were formed in Los Angeles in 1965 by UCLA film students Ray Manzarek, keyboards, and Jim Morrison, vocals; with drummer John Densmore and guitarist Robby Krieger. The group never added a bass player, and their sound was dominated by Manzarek's electric organ work and Morrison's deep, sonorous voice, with which he sang and intoned his highly poetic lyrics. The group signed to Elektra Records in 1966 and released its first album, The Doors, featuring the hit "Light My Fire," in 1967. Like "Light My Fire," the debut album was a massive hit, and endures as one of the most exciting, groundbreaking recordings of the psychedelic era. Blending blues, classical, Eastern music, and pop into sinister but beguiling melodies, the band sounded like no other.
With his rich, chilling vocals and somber poetic visions, Morrison explored the depths of the darkest and most thrilling aspects of the psychedelic experience. Their first effort was so stellar, in fact, that the Doors were hard-pressed to match it, and although their next few albums contained a wealth of first-rate material, the group also began running up against the limitations of their recklessly disturbing visions. By their third album, they had exhausted their initial reservoir of compositions, and some of the tracks they hurriedly devised to meet public demand were clearly inferior to, and imitative of, their best early work.
Long available on bootleg, Live at the Matrix captures the Doors in the period just before Light My Fire made them stars. Here they perform their debut, some blues standards and much of what would become Strange Days in a near-empty LA nightclub. There's a ghostly, eerie atmosphere as storming renditions of Soul Kitchen and The Crystal Ship are met with polite applause. Although Back Door Man hints at sexual deviance, Jim Morrison has not yet discovered the Dionysian power that made him such an explosive (if excessive) performer; he sounds focused, innocent and eager. The instrumental flights of Ray Manzarek, John Densmore and Robbie Krieger show the Doors were a mighty force even without him, although Morrison's poetry and ad-libs dwelling on death hint at what's to come.
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Oil Well – RSC 115 CD
1 Twentieth Century Fox 2:59
2 Moonlight Drive 6:41
3 Summer's Almost Gone 3:53
4 Unhappy Girl 4:12
5 Woman 8:36
6 Break On Through 4:25
7 Light My Fire 8:36
8 The End 14:29
Note
All songs by Morrison/Mankzarek/Krieger/Densmore unless noted.
Tracks 1-6 recorded live at the Matrix, 7 Mar 1967,
Tracks 7-8 recorded live at Matrix 10 mar 1967
Lineup:
Jim Morrison - vocals
Ray Manzarek - keyboards, piano, organ, vocals
John Densmore - drums
Robby Krieger - guitars
This album is a digital copy of disc two from The Complete Matrix Club Tapes.
Due to its rarity and good quality, this disc is recommended.
On the front cover two pictures of The Doors, one from the Morrison Hotel photo session.
Please note that track 5 here noted as Woman is a medley of: Me And The Devil Blues/Sittin' Here Thinkin'/Rock Me Baby
© Official released material:
This bootleg has been released officially as Live at the Matrix 1967 in 2008 by Rhino - Bright Midnight Archives.
_____________________________________________________________
So long after their explosive heyday The Doors and Jim Morrison retain their gold-standard of cool. Like all major acts they’ve been incorporated, corporatized and accessorised to the nth degree – a pair of Doors-branded Coverse All-Stars anyone? Of course not everyone however buys into the myth of Morrison as the epitome of rock n' roll shaman dispensing visionary wisdom. As David Crosby caustically wrote about such myth-making in his 1998 CPR song, Morrison, "I've seen the movie and it wasn't like that."Strip away the fables surrounding Morrison and The Doors and what are we left with? The answer, or at least something approaching part of it, tantalisingly hovers in and out of view on this 2 CD live bootleg.
Although these tapes will be well known by hardcore Doors fans, this is the first time they’ve seen the official light of day. Massaged into life by Bruce Botnik (engineer on those original Paul Rothschild produced albums), they offer a glimpse, as Ray Manzarek observes, of the band having fun. 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 greasy-spoon 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." Morrison’s celebrated "wardrobe malfunction" was still a couple of years off
Though he would become the patron saint of the rock-star-in-leather-trousers look, here Morrison stands awkwardly at the microphone oozing something between lounge-singer schmaltz and half-hearted karaoke chutzpah that’s a few shot-glasses short on Dutch courage.
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.
The Doors, one of the most influential and controversial rock bands of the 1960s, were formed in Los Angeles in 1965 by UCLA film students Ray Manzarek, keyboards, and Jim Morrison, vocals; with drummer John Densmore and guitarist Robby Krieger. The group never added a bass player, and their sound was dominated by Manzarek's electric organ work and Morrison's deep, sonorous voice, with which he sang and intoned his highly poetic lyrics. The group signed to Elektra Records in 1966 and released its first album, The Doors, featuring the hit "Light My Fire," in 1967. Like "Light My Fire," the debut album was a massive hit, and endures as one of the most exciting, groundbreaking recordings of the psychedelic era. Blending blues, classical, Eastern music, and pop into sinister but beguiling melodies, the band sounded like no other.
With his rich, chilling vocals and somber poetic visions, Morrison explored the depths of the darkest and most thrilling aspects of the psychedelic experience. Their first effort was so stellar, in fact, that the Doors were hard-pressed to match it, and although their next few albums contained a wealth of first-rate material, the group also began running up against the limitations of their recklessly disturbing visions. By their third album, they had exhausted their initial reservoir of compositions, and some of the tracks they hurriedly devised to meet public demand were clearly inferior to, and imitative of, their best early work.
Long available on bootleg, Live at the Matrix captures the Doors in the period just before Light My Fire made them stars. Here they perform their debut, some blues standards and much of what would become Strange Days in a near-empty LA nightclub. There's a ghostly, eerie atmosphere as storming renditions of Soul Kitchen and The Crystal Ship are met with polite applause. Although Back Door Man hints at sexual deviance, Jim Morrison has not yet discovered the Dionysian power that made him such an explosive (if excessive) performer; he sounds focused, innocent and eager. The instrumental flights of Ray Manzarek, John Densmore and Robbie Krieger show the Doors were a mighty force even without him, although Morrison's poetry and ad-libs dwelling on death hint at what's to come.
Downloadhttps://mega.nz/#F!8X4jEIqL!OPwGf142t6qcdgBY8aw4OA
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