Doors - In Concert
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CD Details
Artist: DoorsEdition: Music CD
Audio: English (Original Language)
Format: Live
Published: 1991
CD Release Date: 1991-05-21
Music Label: Elektra / Wea
Product features:
- DOORS THE IN CONCERT (2 CD)
Music CD 1
- House Announcer
- Who do You Love?
- Alabama Song (Whiskey Bar)
- Backdoor Man
- Love Hides
- Five to One
- Build Me A Woman
- When The Music's Over
- Universal Mind
- Petition The Lord With Prayer
- Dead Cats, Dead Rats
- Break On Through #2
- Lions In The Street
- Wake Up
- A Little Game
- The Hill Dwellers
- Not To Touch The Earth
- Names Of The Kingdom
- The Palace Of Exile
- Soul Kitchen
- Roadhouse Blues
- Gloria
- Light My Fire
- You Make Me Real
- Texas Radio & The Big Beat
- Love Me Two Times
- Little Red Rooster
- Moonlight Drive
- Close To You
- Unknown Soldier
- The End
Music reviews of In Concert
Music Review: The Best and the Worst of the Doors In Concert
Rating: 3 Stars
Combining the original "Absolutely Live" concert set with a pair of 1980s live albums, "Alive, She Cried" and "At the Hollywood Bowl," wasn't a terrible idea in concept---unless you heard each in its own time and realised there were almost two identities of Doors presented. The Doors of "Absolutely Live" were clearly enough knobbled by Jim Morrison's increasing dissolution and legal troubles; the Doors of "Alive, She Cried" and "At the Hollywood Bowl," by contrast, were a tightly expensive quartet who knew when to keep their troubled (and often troubling) frontman in check and when to let him have at whatever struck him in the moment.
They were never less than remarkable---and underrated (especially guitarist Robby Krieger, maybe the best unappreciated guitarist of the late 1960s and probably most eras)---musicians individually, and they get to shine in various places over those two sets. So does Morrison when he has the voice and leaves the bull behind. When he reads a verse from "Texas Radio and the Big Beat" over a slow, almost foreboding rhythm section, as a prelude to a bristling "Love Me Two Times," he's almost everything his most stubborn admirers insist him to have been, the transcendent rock poet. He's in better voice on the "Alive, She Cried" and "Hollywood Bowl" material than he was for the "Absolutely Live" performances, to the point where his well-recorded, rising disdain for the machinery of rock and roll seemed incapable to obstructing him from delivering the goods. The soundcheck performance of Van Morrison's "Gloria" is a treat---for once the Doors are just a tight rock and roll quartet and not trying to live up to an image actual or impossible. The concert renditions of "Light My Fire" (where Manzarek and Krieger really wear their jazz influences on their sleeves during their solos), "You Make Me Real" (a far more powerful Otis Redding tribute than the ill-conceived "Running Blue"), and (especially) "Moonlight Drive" (with Morrison wringing every nuance from the lyric and Krieger outperforming his original with a shuddering, soaring round of slide guitar) are almost as revelatory as the studio originals.
"Absolutely Live" remains as problematic now as when it appeared in 1970---for every lively and committed performance (their cover of Bo Diddley's "Who Do You Love"; the eerie "Universal Mind," no studio version of which has ever surfaced so far as I know; the playful "Build Me a Woman"), there are several spotty ones. "The Celebration of the Lizard" was always better as a concept (and, inside the gatefold sleeve of their third album, "Waiting for the Sun," a medley of poems) than as an execution even if you agree that their studio extract, "Not to Touch the Earth," was probably the highlight of the experiment. Morrison almost sounds as though he's given up on the piece (of which they tried and failed to secure a workable recording) and the band behind him doesn't seem completely comfortable with it. They've performed "When the Music's Over" with far more commitment and better instrumental solos than they do here, though it does still include the jarring interruption of Morrison bellowing at the crowd to shuddup! during the song's quiet passage. They should have known better trying to knit together the opening exhortation from "The Soft Parade" and the useless "Dead Cats, Dead Rats" to "Break on Through," and as it is the Doors did what was once thought impossible with their first album's kickoff song---they play it as though under sheer exhaustion. And "Soul Kitchen," one of their debut album's best selections, seems very lacking in soul and very abundant in slogging.
If this (you can call it the best and the worst of the Doors in concert) is the only way to get the performances of "Alive, She Cried" and "Live at the Hollywood Bowl" anymore, so be it. The surviving Doors themselves have been raiding their vaults of late for concert sets that do what "Absolutely Live" was supposed to do. The presence of those sets only amplifies that there were reasons "Absolutely Live" hit the cutout bins as fast as it did back in the year, reasons having less to do with the popularity (and image-softening, to an extent) of the "13" greatest-hits collection than Doors analysts believe. The sets are pricey but if you love the Doors the prices are worth it.
Description of In Concert
DOORS THE IN CONCERT (2 CD)Alternative Rock CDs
Music Genres
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