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30 Jun 2017

The Doors "Live in New York" (The Doors Live Album) 2009 (Recorded in 1970)














The Doors "Live in New York" (The Doors Live Album) 2009 (Recorded in 1970)

full 6 CD Compilation…….

https://vk.com/wall312142499_6229

Double LP collection contains The Doors' first show from the Felt Forum in New York City on the night of January 17th, 1970 in its entirety. Recorded just a few weeks before the release of Morrison Hotel.........

I just finished listening to this 6 cd box set. It's a collection of the Doors 4 performances recorded at New York's Felt Forum on January 17/18, 1970. All I can say is I've been really impressed by the quality of the packaging, the sound, as well as the bands performances! These concerts were expertly recorded! Very clear and atmospheric recordings. The Doors performances were great and often inspired! Jim's voice gave out a little in the final show, but he made up for it with his energy and enthusiasm! Jim was really into these shows and performed very well.

Some may notice that small parts of the song introductions as well as a few sections of songs themselves have been spliced in from other performances on the rare occasion. However, this is very very minor. The vast majority of the original Felt Forum tapes are included here. The problem was since these shows were originally recorded, the tapes had been cut into many fragments for usage in various live releases through the years. From my understanding, Bruce Botnick basically had to assemble the tapes as if they were a jigsaw puzzle. A few very small tape fragments are unfortunately lost forever. With this taken into consideration, I think Mr. Botnick did a great job! The other options were to either a) release what they had with the missing pieces, or b) fill in the missing gaps with lesser sound quality audience recordings. Mr. Botnick chose to keep the flow of the concerts going without a drop in sound quality. I'm fine with his decision all things considered.

Another decision Bruce Botnick had to make was regarding John Sebastion's harmonica playing on the January 18th late show. The problem was that his harmonica wasn't miced and thus not picked up on the original recordings. The solution was to have Mr. Sebastion overdub his harmonica playing. I've read those particular songs will be released via download without Sebastion's overdubs. Keeps all sides happy I think.

In conclusion, I'm very happy with this release and highly recommend it to fans of the group! I also encourage them to BUY it. This is the last release from the 'Absolutely Live' concert recordings. Hopefully if this release is supported well and they make a little profit, it could encourage them to seek out rare recordings for future release via download or cd (I'd love Avalon Ballroom 1967 personally). Can't wait for the Matrix master tapes!......By GoBlue77......................

Whenever Rhino is involved in a project it is usually done quite tastefully. This 6CD set from " The Doors " is certainly no exception. I am a huge Doors fan and have all the recently released live sets from " The Doors " mostly on the Bright Midnight label and while they are all very fine captured moments in The Doors legacy this one smokes them all hands down. As usual when The Doors perform the crowd is quite rowdy to say the least and the are captured very well on these discs. But in no way does it interfere with the music. In fact I think it enhances the feeling of a Live Doors show. The music ( some of which appears on the incredible " Absolutely Live " Lp from 1970 ) is recorded well and hits the mark quite well. This is the best Live Doors I have ever heard. You get four complete shows on two different nights. There may be better live material out there but I have not heard it. I realize its a little pricey in this bad economy but If you can swing it you won't regret it. It is worth it. This my friends is real Rock n Roll!.......By Arthurley.............

There is very little, if any, that one could criticize about this CD set. This weekend at the Felt Forum in January of 1970 represents all that was/is pure about live music. It transcends the onslaught of all the failed attempts (for the consumer) at re-marketing, remastering and AAD conversions perpetrated by the music industry directed to it's dedicated customers. Going from AM radio to 45's to LP's to 8 tracks to cassette to reel-to-reel to CD's to digital media and back to remastered CD's - I still LOVE the music that played such an important part in my personal growth. And when it is THIS good I've come to LOVE it at a substantially greater/different level. Despite the fact that my parents literally locked me in my room that weekend in January 1970, to prevent me from sneaking to any of the Door's shows, it was a bonus to purchase this set and enjoy a truly unadulterated display of creativity. In my humble opinion the four nights are NOT the same shows but four separate performances each with it's own identity. An audiophilic Doors fan MUST HAVE. A "must have" for any fan of live/studio music. Pass the banner to the next generation. A symbolic and impressive gift to yourself or special one - Democrat or Republican. Considering the cost of a concert ticket, here your cost is $12.00 per show which is not much more than $5.50 for an Orchestra Seat at the Forum. Cost today for the Door's @ Felt Forum - Orchestra seating???? Some things are good enough to be true. P.S. I did pay $32.00 each ($26.00 more) for four seats which I consequently gave to my older sister (she didn't go).......By challenged1..............

So  I'm 13, and I'm slouching through Harvard Square on my way to get Pink Floyd boots at the used record store. I'm just starting to grow my hair long-- which never 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!" And for that moment, we are brothers.

*The Kids in the Hall'*s Bruce McCulloch argued that Doors fans are born, not made. But he 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. The music sounds like a weird cross between shit-kicking blues-rock and brain-spraining acid-jams, and it's easier to get your avant-garage fix from the Velvet Underground, your rock shaman verse from Patti Smith (or not at all), or your psychedelic extravagance from countless Nuggets bands. As dead 1960s rockers go, Jimi's legacy has left Janis and Jim in the dust. It may be a strange way to put it, but the problem with the Doors is that they were not 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 York set sounds like an unedited performance, but in fact, the tapes had been so worked-over for other live albums that the team had to meticulously reconstruct it from 8-track and 2-track source tapes, using fan tapes as reference. Guest John Sebastian's harmonica wasn't even captured in the original mix; producer Bruce Botnick brought him back to the studio this year to replay the solos, 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, without the 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 as a self-absorbed mystic: He's far more like the troubled kid in school who couldn't sit still and didn't fear anything. He demands and 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 sounds disengaged 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". The piece isn't exactly a lost classic-- it's not his most powerful verse, and musically it doesn't gel like "The End"-- but the best thing about this recording is how into it Morrison gets, from the quiet couplets to the screams. It's easy to see how people fell in love with the poet no matter the poetry, although some of his verse is still dangerous: The "Horse Latitudes" poem that he 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 for the Sun and The Soft Parade. Organist Ray Manzarek played the hooks that turned songs like "Hello, I Love You" into pop hits, but here 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 hear him 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 have a 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.......by Chris Dahlen.....................

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 and 18, 1970. Although previously unavailable in its entirety, music from 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 ebb and 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 of Doors' 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 question mark in terms of performance quality, Morrison is on pretty good behavior 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 issued for 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 seems to have gotten the message, and was actually awaiting trial at the time of these recordings. He even jokingly refers to it during the spoken "Only When the Moon Comes Out" interlude on the 18th. On paper, there is little variance between each of the four set lists. However, the energy and vibe vacillate significantly from version to version and show to show. The core inclusions of "Roadhouse Blues," "Ship of Fools," "Alabama Song," "Light My Fire," and a combo pairing "Back Door Man" with "Five to One" were played every time. While "Alabama Song (Whisky Bar)," "Break on Through (To the Other Side)," and "Who Do You Love" were done a bit less frequently. On the other hand, there are rarities aplenty as "Blue Sunday," "Love Hides," "Little Red Rooster," "Crawling King Snake," a half-hearted "Wild Child," "The End," "Celebration of the Lizard," "Close to You" (sung by Manzarek) -- plus the four-song encore on the 18th that includes "Rock Me Baby," "Going to N.Y. Blues," "Maggie M'Gill," and "Gloria" were only unleashed once. 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 from the 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 Lindsay Planer.....................

Rhino and Bright Midnight Archives unleash four inspired performances from The Doors‘ final tour with Live In New York. The latest addition to the band’s acclaimed series of archival concert releases, this six-disc collection contains all four of The Doors’ performances – in their entirety – recorded in 1970 at the Felt Forum in New York City. The collection will be available November 10 at all retail outlets, for suggested list price of $89.98 for the physical boxed set. A digital version featuring select highlights from all four Felt Forum shows will also be available at all digital retail outlets for $9.99.
The year prior to these shows, The Doors became one of the first rock bands to play New York City’s Madison Square Garden. When they returned in 1970, Densmore says they chose to play the Felt Forum, a smaller venue at the Garden. “It was more intimate, and you could feel the audience more,” he says. “There was more interaction, and the acoustics were much better, because it was designed for music.”

Fans will be blown away by the crisp sound found on Live In New York. All four shows were mixed and mastered by the band’s longtime engineer, Bruce Botnick, who recorded a number of shows from The Doors’ 1970 tour on multi-track tape for the Absolutely Live album. While most of the music contained on Live In New York is unreleased, a few songs (and portions of songs) surfaced in 1970 on Absolutely Live and in 1997 on The Doors Box Set.

Prior to the release of Live In New York, Rhino will release 180-gram vinyl versions of all six Doors studio albums on September 15. Previously available only in 2007’s The Doors Vinyl Box, original stereo mixes of The Doors’ six albums will now be available individually at all vinyl retail outlets......................

Disc 1
January 17, 1970 (First Show)
1. Start Of Show
2. Roadhouse Blues
3. Ship Of Fools*
4. Break On Through (To The Other Side)
5. Tuning
6. Peace Frog
7. Blue Sunday
8. Alabama Song (Whisky Bar)
9. Back Door Man*
10. Love Hides*
11. Five To One*
12. Tuning/Breather
13. Who Do You Love
14. Little Red Rooster
15. Money
16. Tuning
17. Light My Fire*
18. More, More, More
19. Soul Kitchen*
20. End Of Show

Disc 2
January 17, 1970 (Second Show)
1. Start Show 2
2. Jim “How Ya Doing?”
3. Roadhouse Blues
4. Break On Through (To The Other Side)*
5. Ship Of Fools
6. Crawling King Snake
7. Alabama Song (Whisky Bar)
8. Back Door Man*
9. Five To One
10. Pretty Neat, Pretty Good
11. Build Me A Woman
12. Tuning/Breather
13. Who Do You Love*
14. Tuning/Breather
15. Wild Child*
16. Cheering/Tuning
17. When The Music’s Over

Disc 3
January 17, 1970 (Second Show) continued
1. Tuning/Breather
2. Light My Fire*
3. Hey, Mr. Light Man!
4. Soul Kitchen*
5. Jim’s Fish Joke
6. The End
7. End Of Show

Disc 4
January 18, 1970 (Third Show)
1. Start Show 3
2. Roadhouse Blues*
3. Ship Of Fools*
4. Break On Through (To The Other Side)*
5. Tuning/Breather
6. Universal Mind*
7. Alabama Song (Whisky Bar) – False Start*
8. Alabama Song (Whisky Bar)*
9. Back Door Man*
10. Five To One
11. Tuning/Breather
12. Moonlight Drive
13. Who Do You Love*
14. Calling Out For Songs
15. Money*
16. Tuning/Breather
17. Light My Fire
18. More, More More
19. When The Music’s Over*
20. Good Night – End Show

Disc 5
January 18, 1970 (Fourth Show)
1. Start Show 4
2. Roadhouse Blues*
3. Peace Frog*
4. Alabama Song (Whisky Bar)*
5. Back Door Man
6. Five To One
7. We Have A Special Treat
8. Celebration Of The Lizard
9. Alright Let’s Boogie
10. Build Me A Woman
11. When The Music’s Over*
12. More, More, More

Disc 6
January 18, 1970 (Fourth Show) continued
1. Soul Kitchen*
2. For Fear Of Getting Too Patriotic
3. Petition The Lord With Prayer
4. Light My Fire
5. Only When The Moon Comes Out
6. Close To You
7. The Encore Begins
8. Rock Me*
9. What To Do Next?
10. Going To N.Y. Blues*
11. Tuning/Breather
12. Maggie M’Gill*
13. Tuning/Breather
14. Gloria*/End Of Show

*Previously unreleased

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