Post by silverforest on Sept 12, 2010 11:30:51 GMT -5
Para quem estiver interessado, surgiu uma nova gravação de um espetáculo dos Doors em 1968. Até agora mantida não circulava. Qualidade razoável, Soul Kitchen aparece com uma versão bastante interessante.
Pode ser encontrado em torrent no TheTradersDen (www.thetradersden.org/):
www.thetradersden.org/forums/showthread.php?t=85008&highlight=doors+asbury
THE DOORS
Saturday August 31, 1968
Convention Hall, Asbury Park, New Jersey, USA
Mini Northeast tour - August 30, 1968 - September 1, 1968
7:00 p.m. Early Show
9:45 p.m. Late Show
1. Back Door Man 2:45
2. Five To One 5:51
3. Break On Through 3:40
4. Love Me Two Times 3:34
5. When The Music's Over 13:34
6. Spanish Caravan 2:55
7. Soul Kitchen > Pray The Lord 8:14
8. Wake Up! 2:20
9. Light My Fire 9:45
The End
Total running time: 52:39
SOURCE
Audience recording (remastered)
Lineage: Aud > 1st gen copy > WAV > Flac
The original source runs 52:56 in 8 tracks (the first two being in one).
Recently discovered uncirculating show previously only available to selected traders.
Still not confirmed whether it is the early or the late show but reviews and certain
accounts suggest it's likely the latter one. Quality of this 1st generation recording
is way above medium, similar to other recordings from the 1968 US summer tour.
Original notes:
"Here it is. The show I suspect many of you have been waiting for -- the first
completely new Doors audience recording to turn up in years. For collectors, finding
a new tape is a lot like getting tickets to a Doors show in 1968. You can't believe
your luck and you don't know what to expect. I'm releasing this on what would have
been Jim Morrison's 66th birthday this year so please spare him a thought and toast
something to his memory.
Technical Notes: The original transfer wasn't very good. One channel suffers from
distortion throughout and the other has some clipped audio. For this copy, I simply
copied over the cleaner channel, restored the clipped portions, and removed a few
clicks/pops. I didn't EQ or make any other major changes." Porsche, December 8, 2009
NOTES
"The Doors were on tour full-time in 1968, roaring generally to all major cities in the US and due to
their already earned notoriety in the media, the word of their coming has preceded the band, causing
high anticipation and sold-out venues all across the country. During this summer tour, a tour that US
has never seen before for all its near-riot gigs along with the singer's controversial theatrics, the
band have reached the pinnacle of their live performances. These were musically and artistically the
most blazing times of their carrier with Jim being the guiding light, now perfectly in command with
his act, if he wants to, with his fascinating stage persona often full of unexpectedness and drama
backed by a loyal band very much in tune with him.
After they finished off their hefty East Coast tour on August 4 in Philadelphia, and basicly six months
of constant touring, they took a three week long rest to be fit for the coming European tour. Still,
in order not to lose focus, they got back on the road on August 30, 1968 with a short but rather
effective warm-up tour on the North East coast before taking Europe in their stride in September.
These were not sold-out shows but none of them was short in attendance and sold quite well despite the
fact they were late additions and there was no time for advertising. The first of the four shows they
were scheduled to play in three days was an outdoor concert in Columbia, Maryland at Merriweather Post
Pavilion where the band performed to several thousands under the trees of Symphony Woods.
On the following day, Frank Lisciandro photographed Jim and his entourage, including Bill Siddons,
Babe Hill and Paul Ferrara, as they were taking their plane to Asbury, New Jersey. There, they pulled
off two sets at Convention Hall, located on the boardwalk and on the beach in Asbury Park,
in front of an appreciative crowd which filled two thirds of the 3600 capacity arena. Opening act were
Earth Opera which Bruce, a then 15 year old kid remembers "did great until they performed the Great
American Eagle Tragedy, when the greasers took exception to Peter Rowan's classic anti-war song and
flung garbage at the stage until the band fled and the stage was surrounded by regular and rent-a-cops,
on hand to deal with a George Wallace rally taking place outside. This is how the Doors landed on stage."
As usual, they kicked off the late show with 'Back Door Man' but Jim was not yet in the mood, resulting
a laid back opener. He began seemingly incurious; there were no moans or shouts nor any of his routines
to set the mood, only plain but resolute singing. Right before Robbie started his guitar solo, which
gave back the performance its edge, did Jim finally let a scream out. As soon as Robbie finished his
part, Jim began to sing 'Five To One' straight off, drawing wild applause and forcing his mates to change
the melody in the spur of the moment. Jim is appearently much more into performing this tune and with his
vocal chords warmed up, he brings his finest form to the performance, profundly emphasizing certain parts
of the lyrics, shouting "We're gonna take it over! COME ON!!" in the midst of wild cheers to which Robbie
delivers a spectacular guitar solo. Evidently in the mood by now, he decides to play with the audience
during the end of the song, singing "get together for just one more..." repeatedly, over and over for
minutes until the crowd grew impatient enough for Jim to finally exclaim "I mean EVERYBODY gotta get
together just one more TIME!!" The band responds with an ear-shattering sounds of noise closing the 14
minute long spellbinding performance. The act, which is rarely pulled off puts the audience in awe and
receives an enormous applause.
After the boistorous performance Jim addressed the crowd: "Yeah! We definetly wanna have fun tonight,
okay? Anything goes!" He's putting on a bold front in the following 'Break On Through' and he's in
complete contrast to his opening: he's engaged and performs the song at an overwhelming pace, setting the
tone for Robby as well. 'Love Me Two Times' countinues with the same commitment and Jim finishes off the
tune singing from full throat. 'When The Music's Over' starts with Jim remarking "beautiful" while Ray
plays the intro. The performance is dominated by Robbie's very own, extraterrestrial guitar solo with
ear-tearing licks. During the long silent part a heckler unexpectedly lets out an "asshole!" to which Jim
responds after a few seconds: "Come up here and I'll show you something." This earns a big laughter from
the crowd which is appearently fond of witnessing such uncontrolled interaction between singer and attendant.
As Jim countinues to tease the crowd along to Ray's monotone play in the back, they became more and more
reckless, stirring up other members of the audience as well, who suddenly scream as one, shouting "What are
you waiting for?!" "Fuck You!" In return Jim answers patiently: "I wonder if you wanna.. you wanna hear it?"
But his remark arose another wave of hecklers screaming, shouting requests which Jim laughs off scornfully.
Suddenly he bursts out in anger: "OH COME ON LITTLE FUCKER, SHUT UP AND LISTEN!! ... We Want the world and
we want it NOW!" He finshes the song being just as restless as his audience while the band gives the song
the grand finale with all its glory and thundering sounds featuring Ray's extraordinary improvisation after
the climaxing part - similarly compelling as Robbie's licks before. Spanish Caravan follows, an ever-present
tune in these summer setlists, and tonight an engaging rendition with Jim's and Robbie's great duet which
receives an adoring applause.
A remarkably extended 'Soul Kitchen' follows with Robby's excellent guitar solo, featuring Jim inserting
improvised lyrics "Something wrong, something not quite right" lifted from 'When The Music's Over' where
it's usually sang live. Clearly inspired, later Jim also adlibs the closing lines of 'Summers Almost Gone'
to the tune: "We gotta go now, we gotta go now, We had a good time, but they're gone." After the performance
people started shouting requests again, including 'Light My Fire' and 'The End' and surprisingly enough,
they did receive both. Jim bursts into 'Wake Up!' and led the audience casually through the performance.
Then everyone went wild and cheered enthusiastically when the band kicked off 'Light My Fire,' - probably
the most cheered song all night - and get what they came for in an excessive performance. Greg Shaw in
"The Doors On The Road" reports: "After The Doors’ finale of “Light My Fire”, the audience is well on their
way to the exits when Morrison unexpectedly reappears onstage. Somewhat shyly he announces, “Hey! The show
was supposed to end with that number, but [pause] I don’t see why we can’t go on!” All at once, the entire
crowd reverses in a huge surge, cheering, shouting, scaling chairs, and prompting the hall’s security forces
to encircle the stage. The mesmerizing opening chords of “The End” serve to induce a calm trance throughout
the scores of people crushed against the stage, and The Doors conclude the show with a terrific version of
the song."
Vince Treanor, the Doors' road manager recollections of the night: "The show, fueled by excitement and Jim's
moderate drinking, was another success. There were no riots, no excitement. Just another good show. When it
was all over, the crowds still loud with excitement and the experience went out peacefully. Again, it might
not have been one of the best but compared to the performances after Amsterdam, it was magnificent.""
____________________________
Reviewed by Buda, 2010
Pode ser encontrado em torrent no TheTradersDen (www.thetradersden.org/):
www.thetradersden.org/forums/showthread.php?t=85008&highlight=doors+asbury
THE DOORS
Saturday August 31, 1968
Convention Hall, Asbury Park, New Jersey, USA
Mini Northeast tour - August 30, 1968 - September 1, 1968
7:00 p.m. Early Show
9:45 p.m. Late Show
1. Back Door Man 2:45
2. Five To One 5:51
3. Break On Through 3:40
4. Love Me Two Times 3:34
5. When The Music's Over 13:34
6. Spanish Caravan 2:55
7. Soul Kitchen > Pray The Lord 8:14
8. Wake Up! 2:20
9. Light My Fire 9:45
The End
Total running time: 52:39
SOURCE
Audience recording (remastered)
Lineage: Aud > 1st gen copy > WAV > Flac
The original source runs 52:56 in 8 tracks (the first two being in one).
Recently discovered uncirculating show previously only available to selected traders.
Still not confirmed whether it is the early or the late show but reviews and certain
accounts suggest it's likely the latter one. Quality of this 1st generation recording
is way above medium, similar to other recordings from the 1968 US summer tour.
Original notes:
"Here it is. The show I suspect many of you have been waiting for -- the first
completely new Doors audience recording to turn up in years. For collectors, finding
a new tape is a lot like getting tickets to a Doors show in 1968. You can't believe
your luck and you don't know what to expect. I'm releasing this on what would have
been Jim Morrison's 66th birthday this year so please spare him a thought and toast
something to his memory.
Technical Notes: The original transfer wasn't very good. One channel suffers from
distortion throughout and the other has some clipped audio. For this copy, I simply
copied over the cleaner channel, restored the clipped portions, and removed a few
clicks/pops. I didn't EQ or make any other major changes." Porsche, December 8, 2009
NOTES
"The Doors were on tour full-time in 1968, roaring generally to all major cities in the US and due to
their already earned notoriety in the media, the word of their coming has preceded the band, causing
high anticipation and sold-out venues all across the country. During this summer tour, a tour that US
has never seen before for all its near-riot gigs along with the singer's controversial theatrics, the
band have reached the pinnacle of their live performances. These were musically and artistically the
most blazing times of their carrier with Jim being the guiding light, now perfectly in command with
his act, if he wants to, with his fascinating stage persona often full of unexpectedness and drama
backed by a loyal band very much in tune with him.
After they finished off their hefty East Coast tour on August 4 in Philadelphia, and basicly six months
of constant touring, they took a three week long rest to be fit for the coming European tour. Still,
in order not to lose focus, they got back on the road on August 30, 1968 with a short but rather
effective warm-up tour on the North East coast before taking Europe in their stride in September.
These were not sold-out shows but none of them was short in attendance and sold quite well despite the
fact they were late additions and there was no time for advertising. The first of the four shows they
were scheduled to play in three days was an outdoor concert in Columbia, Maryland at Merriweather Post
Pavilion where the band performed to several thousands under the trees of Symphony Woods.
On the following day, Frank Lisciandro photographed Jim and his entourage, including Bill Siddons,
Babe Hill and Paul Ferrara, as they were taking their plane to Asbury, New Jersey. There, they pulled
off two sets at Convention Hall, located on the boardwalk and on the beach in Asbury Park,
in front of an appreciative crowd which filled two thirds of the 3600 capacity arena. Opening act were
Earth Opera which Bruce, a then 15 year old kid remembers "did great until they performed the Great
American Eagle Tragedy, when the greasers took exception to Peter Rowan's classic anti-war song and
flung garbage at the stage until the band fled and the stage was surrounded by regular and rent-a-cops,
on hand to deal with a George Wallace rally taking place outside. This is how the Doors landed on stage."
As usual, they kicked off the late show with 'Back Door Man' but Jim was not yet in the mood, resulting
a laid back opener. He began seemingly incurious; there were no moans or shouts nor any of his routines
to set the mood, only plain but resolute singing. Right before Robbie started his guitar solo, which
gave back the performance its edge, did Jim finally let a scream out. As soon as Robbie finished his
part, Jim began to sing 'Five To One' straight off, drawing wild applause and forcing his mates to change
the melody in the spur of the moment. Jim is appearently much more into performing this tune and with his
vocal chords warmed up, he brings his finest form to the performance, profundly emphasizing certain parts
of the lyrics, shouting "We're gonna take it over! COME ON!!" in the midst of wild cheers to which Robbie
delivers a spectacular guitar solo. Evidently in the mood by now, he decides to play with the audience
during the end of the song, singing "get together for just one more..." repeatedly, over and over for
minutes until the crowd grew impatient enough for Jim to finally exclaim "I mean EVERYBODY gotta get
together just one more TIME!!" The band responds with an ear-shattering sounds of noise closing the 14
minute long spellbinding performance. The act, which is rarely pulled off puts the audience in awe and
receives an enormous applause.
After the boistorous performance Jim addressed the crowd: "Yeah! We definetly wanna have fun tonight,
okay? Anything goes!" He's putting on a bold front in the following 'Break On Through' and he's in
complete contrast to his opening: he's engaged and performs the song at an overwhelming pace, setting the
tone for Robby as well. 'Love Me Two Times' countinues with the same commitment and Jim finishes off the
tune singing from full throat. 'When The Music's Over' starts with Jim remarking "beautiful" while Ray
plays the intro. The performance is dominated by Robbie's very own, extraterrestrial guitar solo with
ear-tearing licks. During the long silent part a heckler unexpectedly lets out an "asshole!" to which Jim
responds after a few seconds: "Come up here and I'll show you something." This earns a big laughter from
the crowd which is appearently fond of witnessing such uncontrolled interaction between singer and attendant.
As Jim countinues to tease the crowd along to Ray's monotone play in the back, they became more and more
reckless, stirring up other members of the audience as well, who suddenly scream as one, shouting "What are
you waiting for?!" "Fuck You!" In return Jim answers patiently: "I wonder if you wanna.. you wanna hear it?"
But his remark arose another wave of hecklers screaming, shouting requests which Jim laughs off scornfully.
Suddenly he bursts out in anger: "OH COME ON LITTLE FUCKER, SHUT UP AND LISTEN!! ... We Want the world and
we want it NOW!" He finshes the song being just as restless as his audience while the band gives the song
the grand finale with all its glory and thundering sounds featuring Ray's extraordinary improvisation after
the climaxing part - similarly compelling as Robbie's licks before. Spanish Caravan follows, an ever-present
tune in these summer setlists, and tonight an engaging rendition with Jim's and Robbie's great duet which
receives an adoring applause.
A remarkably extended 'Soul Kitchen' follows with Robby's excellent guitar solo, featuring Jim inserting
improvised lyrics "Something wrong, something not quite right" lifted from 'When The Music's Over' where
it's usually sang live. Clearly inspired, later Jim also adlibs the closing lines of 'Summers Almost Gone'
to the tune: "We gotta go now, we gotta go now, We had a good time, but they're gone." After the performance
people started shouting requests again, including 'Light My Fire' and 'The End' and surprisingly enough,
they did receive both. Jim bursts into 'Wake Up!' and led the audience casually through the performance.
Then everyone went wild and cheered enthusiastically when the band kicked off 'Light My Fire,' - probably
the most cheered song all night - and get what they came for in an excessive performance. Greg Shaw in
"The Doors On The Road" reports: "After The Doors’ finale of “Light My Fire”, the audience is well on their
way to the exits when Morrison unexpectedly reappears onstage. Somewhat shyly he announces, “Hey! The show
was supposed to end with that number, but [pause] I don’t see why we can’t go on!” All at once, the entire
crowd reverses in a huge surge, cheering, shouting, scaling chairs, and prompting the hall’s security forces
to encircle the stage. The mesmerizing opening chords of “The End” serve to induce a calm trance throughout
the scores of people crushed against the stage, and The Doors conclude the show with a terrific version of
the song."
Vince Treanor, the Doors' road manager recollections of the night: "The show, fueled by excitement and Jim's
moderate drinking, was another success. There were no riots, no excitement. Just another good show. When it
was all over, the crowds still loud with excitement and the experience went out peacefully. Again, it might
not have been one of the best but compared to the performances after Amsterdam, it was magnificent.""
____________________________
Reviewed by Buda, 2010