Doors - Morrison Hotel
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CD Details
Artist: DoorsBrand: WARNER
Edition: Music CD
Audio: English (Original Language)
Format: Import
CD Release Date: 2007-03-27
Music Label: Rhino
Product features:
- The Doors - Morrison Hotel Brazil Import
- Roadhouse Blues
- Waiting For The Sun
- You Make Me Real
- Peace Frog
- Blue Sunday
- Ship Of Fools
- Land Ho!
- The Spy
- Queen Of The Highway
- Indian Summer
- Maggie M'gill
- Talking Blues (Bonus)
- Roadhouse Blues (11/4/69, Takes 1-3) (Bonus)
- Roadhouse Blues (11/4/69, Take 6) (Bonus)
- Carol (11/4/69) (Bonus)
- Roadhouse Blues (11/5/69, Take 1) (Bonus)
- Money Beats Soul (11/5/69) (Bonus)
- Roadhouse Blues (11/5/69, Takes 13-15) (Bonus)
- Peace Frog (False Starts & Dialogue) (Bonus)
- The Spy (Version 2) (Bonus)
- Queen Of The Highway (Jazz Version) (Bonus)
Music reviews of Morrison Hotel
Music Review: I think I know the reason but I cant spell it
Rating: 5 Stars
I've always loved the DOORS, have their albums, their LIVE shows, sheet music, books, poems, DVDs, reunion films, offically licenced products, you name it. But, here comes a remix/remaster of one of their best works, with NEW bonus tracks, outtake photos, and the lyrics. So, more product the Door's fans are going to grab. On one of the outake photos from the photoshoot for the cover, JIM wrote in chalk behind him, "I think I know the reason but I cant spell it." WOW. I'd put the money out just for these outtake photos, cos of the little bits of insight even they reveal. (A picture is worth a thousand words, but i'll limit it to 20-30.) However, let's look at the whole product objectively, if such a thing is possible, after fourty years of books, band reunions, the various films, and modern pop mythology clouding our reaction to changing the sound on songs, that for some of us, are sacrosanct in the canon of rock and roll history. The biggest change in the mix, is that the bass parts are VERY loud, and Jim's yips and yelps during the instrumental parts of the songs, are not edited out. I wonder if Jim would have wanted all that personal yelping in place, or if he might have wanted some of his handclaps, (The Spy), guide vocal bleed thru (Blue Sunday?), or pre-take chatter (Land Ho!) removed? On one take, I think it's Ship of Fools, you hear Paul Rothchild say "16" at the beginning of the song. (meaning take 16 obviously.) Its said over the instrumental vamp that starts the song, and hardly ads anything noteworthy to the song, other than a Cinema veritie vibe. I like to look for the outtakes, and alternate takes, for my Cinema Veritie view of work process. Also, on another song, for some strange reason, the organ and the guitar parts were interchanged between channels. Again, i cant for the life of me figure out WHY that would have been nessacary. I hope, i really do, that this remix wasnt just balanced, leveled, and then allowed to run, without editing out extraneous noise and studio sounds, unconsidered guitar lines, or vocalizations by Jim, which were mixed out when the offical mix was made for valid esthetic reasons. This remixed version, as good as the sound density becomes from the louder bass part, shouldn't replace permenantly the mix made for the album when it was first released. After all, the time, and consideration put into the mix at the time, is just as important, as any other part of the recording process. So, does Jim want his extra vocalizations in the mix? Obviously he is not around to give his imput on this, and personally, I'm tired of hearing Ray tell people what JIM wanted. Only Jim understood Jim, or should ever be expected to speak for him. Think I'm wrong? Dont forget how Jim reacted to the car commercial that the other Door members allowed LIGHT MY FIRE to grace back in the late 60s, and how betrayed Jim felt over that. Jim almost seems to be commenting on the situation, in one of the outtake photos. In it, Jim is in a closet posed over a TV set, that is playing HOLLYWOOD SQUARES. I'm sure that Jim had a lot of conflicts in his life, with "Hollywood Squares".
As for the song alternate takes and outtakes, I can only say that, at least for this edition, they are fantastic. Everyone of them is worth listening to, and definately show the process involved in the band's creative process. As far as I know, no bootlegs have EVER surfaced of the DOORS unused studio outtakes. So this is definately a welcome addition. I do have one last criticism, and it's a big one. With the technology of DUALDISC, I cant understant why the Doors didnt allow the 5.1 DVD mix of these songs, which were included on their third, and latest box set from last year. It would have been nice, to have the 5.1 remix, along with some videos, included with the CD. I have no idea how those 5.1 remixes sounded. Maybe they were not very good, except for those albums recorded on 8 or 16 tracks. I would have gladly paid a couple extra dollars to have that DUALDISC technology involved with this project. Overall, for a true Door's fan, I suppose you are suppost to shell out $200 for the newest BOX SET to get those 5.1 DVD mixes, or live with the 2007 version. Well, fine for the famously rich. So, why did the band release these album remixes, with alternate takes? "I THINK I KNOW THE REASON BUT I CAN'T SPELL IT". ($$$-how do you THAT?)
Description of Morrison Hotel
MORRISON HOTEL, released in 1970 in the wake of Morrison's infamous indecency bust, hit #4 and introduced "Waiting For The Sun," "Roadhouse Blues," and "Ship Of Fools." Insightful liner notes from David Fricke. Ten bonus tracks include eight previously unissued takes of "Roadhouse Blues, a run-through of Chuck Berry's "Carol," a jazz version of "Queen Of The Highway," and the previously unreleased "Money Beats Soul."The next-to-last Doors album, recorded prior to Jim Morrison's still mystery-shrouded death in a Parisian bathtub, eschewed much of the band's previous penchant for baroque musical, poetic, and philosophical pretensions (this was, after all, the back-to-roots era of the Beatles' Let It Be, the Stones' Let It Bleed, and Dylan's Nashville Skyline). Instead, the Doors circa 1970 wisely seeped themselves in a bluesy, no-frills approach that might have hinted at creative exhaustion in a lesser band. Instead, the Doors of "Roadhouse Blues" and "Peace Frog" reinvented themselves into arguably one of the greatest bar bands ever, with Morrison's well-documented demons frolicking in a welcome new ambience. "Waiting for the Sun" and "Ship of Fools" may hearken back to the band's cabalistic and Kurt Weill leanings, respectively, but framed in an edgier, more effective way. --Jerry McCulley
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