The Doors - Studio Outtakes - CDr - Hollywood, Elektra Sound Recorders
1. We're Going to Push These Machines Too Far 0:04 - 2. Push-Push (Morrison Hotel outtake) 5:53 - 3. The Spy (jazz version) (Morrison Hotel outtake) 3:49 - 4. Queen Of The Highway - instr. (Morrison Hotel outtake) 5:05 - 5. Indian Summer '66 2:31 - 6. Blues Jam (Morrison Hotel outtake) 6:40 - 7. Blues Jam* 0:58 - 8. Dirty Roadhouse Blues (Morrison Hotel outtake) 7:49 - 9. Dirty Roadhouse Blues* 1:00 - 10. Shaman's Blues (Soft Parade outtake) 0:32 - 11. Celebration Of The Lizard (Waiting For The Sun outtake) 16:47 - 12. KHJ Radio Promo with Jim Morrison (Oct 11, 1967) 0:47
Total running time: 51:55

The 21st Century DOORS - Las Vega$, Palms Hotel, Rain Nightclub 19.1 2003 - 2CDr - DAUD FOB - Sonic Solution stealth mics>D8 - 20' from stage (roughly)
Disc 1: Intro - Intro Music - Roadhouse Blues - Break On Thru - When the Musics Over - Love Me Two Times - Whiskey Bar - Backdoor Man - Five Two One - band intros - Strange Days - Moonlight Drive - poem - Wild Child
Disc 2: Ghost Song - Light My Fire - Encore: (band left for not even 2 minutes) - Riders On the Storm - ?? - Soul Kitchen

Riders On The Storm:- Surrey, Bell Performing Arts Centre, 6250 144th Street 4.5 2007 - 2CDr - Lineage: iRiver Recorder> wav> FLAC
Disc 1: 1. Carmina Burana Intro - 2. Love Me Two Times - 3. Break On Through [Including Dead Cats, Dead Rats] - 4. Strange Days - 5. Roadhouse Blues - 6. The Crystal Ship - 7. People Are Strange - 8. Alabama Song (Whiskey Bar) - 9. Back Door Man
Disc 2: 10 Spanish Caravan - 11. Peace Frog- Blue Sunday - 12. Love Her Madly - 13. Touch Me [Dedicated to James Brown] - 14. L. A. Woman - 15. Riders On The Storm [Encore] - 16. Light My Fire [Encore]
Total Time: 01:35:57

Riders on the Storm - Mt. Clemens, Emerald Theatre 23.5 2007 - 2CDr - Master cassette > wav > flac > you
Disc 1: 1. [omitted - none of the actual show is lost] - 2. Intro - 3. Roadhouse Blues - 4. Break on Through - 5. Peace Frog - 6. Blue Sunday - 7. Love Me Two Times - 8. Strange Days - 9. When The Music's Over - 10. [tape flip] ...continued - 11. Waiting for the Sun - 12. Spanish Caravan
Disc 2: 1. Alabama Song - 2. Back Door Man - 3. Five To One - 4. The Wasp - 5. Sex Machine> Touch Me [tape flip] - 6. banter - 7. L.A. Woman - 8. Riders on the Storm - 9. Light My Fire

The Doors - Long Beach, Sports Arena 7.2 1970 - 2CDr - Audience Recording Two Sources
First Source: Master Reel > Cassette > CDR > EAC > WAV > Flac Frontend > FLAC (lvl 8, SBE aligned)
Second Source: Master Reel > Cassette(2) > DAT > CDR > EAC > WAV > Flac Frontend > FLAC (lvl 8, SBE aligned)
Disc 1: Feb. 7, 1970, First Source
1. Roadhouse Blues 4:34 - 2. Alabama Song 1:48 - 3. Back Door Man 2:20 - 4. Five To One 5:58 - 5. Ship Of Fools 6:54 - 6. When The Music's Over 18:09 - 7. The Spy 5:28 - 8. Break On Through 4:23 - 9. Is There Any Left? 0:55 - 10. Peace Frog [cut] 3:05 - 11. Blue Sunday [cut] 2:26 - 12. Petition The Lord With Prayer 0:59 - 13. Light My Fire 13:37
Disc 2: Feb. 7, 1970, First Source(cont.)
14. Soul Kitchen 5:26 - 15. Turn Those Lights Off 1:16 - 16. Love Me Two Times 3:43 - 17. Maggie M'Gill 5:37
Feb. 7, 1970, Second Source
18. Roadhouse Blues 1:24 - 19. Ship Of Fools 4:58 - 20. When The Music's Over 13:16 - 21. The Spy 3:47 - 22. Break On Through 4:16 - 23. Is There Any Left? 0:25 - 24. Peace Frog 0:24 - 25. Petition The Lord With Prayer 0:38 - 26. Light My Fire 7:00 - 27. Soul Kitchen 1:14 - 28. Turn Those Lights Off 0:18 - 29. Love Me Two Times 0:10 - 30. Requests 0:07 - 31. Universal Mind 0:07 - 32. Carol 0:12 - 33. The End 1:53

Ray Manzarek UCLA Trio - Hermosa Beach, CA, Lighthouse Jazz Club 29.3 1961 - CDr - Soundboard Recording - 31:13 min

1st Gen

1. Moanin' 7:29

2. Softly, As In A Morning Sunrise 7:13

3. Joey 6:21

4. Ikin Retnin 5:30

5. 'Round Midnight 4:39

this is the earliest known tape

Ray Manzarek. Vocals, Piano - John Hallibertan. Bass - Sam Beale. Drums

Rick & The Ravens - Complete Singles - Aura Records / Posae Records 6.5 1965 - CDr - 19:50 min
Tracks 1-2: Original 45 Single > WAV > Flac Frontend > FLAC (lvl 8, SBE aligned)
Tracks 3-6: "Stages" Bootleg > EAC > WAV > Flac Frontend > FLAC (lvl 8, SBE aligned)
Tracks 7-8: Original 45 Single > ? > CDR > EAC > WAV > Flac Frontend > FLAC (lvl 8, SBE aligned)
Tracks 9-13 (UCLA Trio): Low Gen > CDR > EAC > WAV > Flac Frontend > FLAC (lvl 8, SBE aligned)

1. Henrietta 2:02

2. Just For You 2:10

3. Soul Train 3:08

4. Geraldine 2:43

5. Big Bucket 'T' 3:05

6. Rampage 2:52

7. Circle Twist 2:03

8. Blow Top 1:43

Rick Manzarek. Guitar - Jim Manzarek. Keyboards, Vocals on Circle Twist - Pat Stooner. Saxophone - Vince Thomas. Drums - Screamin' Ray Daniels. Vocals

Ray Manzarek - Hempstead, Long Island, Ultrasonic Studios 11.6 1974 - CDr - 69:49 min

1. He Can't Come Today 6:51

2. The Purpose Of Existence 6:49

3. Solar Boat 8:49

4. Downbound Train 7:45

5. Interview 4:47

6. The Moorish Idol 12:45

7. Oh Thou Precious Nectar Filled Form 6:29

8. The Golden Scarab 10:19

9. Good Rockin' 5:15

Ray Manzarek. Vocals - Larry Carlton. guitar - Jerry Scheff. Bass - Tony Williams. drums - Percussionists: Mluto, Steve Forman and Milt Holland.

Ray Manzarek - Hollywood, CA. Whisky A Go Go 17.6 1974 - CDr - 61:07 min

1. He Can't Come Today 5:28

2. The Purpose Of Existence Is? 6:31

3. Solar Boat 7:49

4. Downbound Train 8:10

5. The Golden Scarab 7:50

6. The Moorish Idol 12:46

7. A Little Fart 6:07

8. Good Rockin 6:26

Pyramid - Hollwood, CA. Starwood 1976 - CDr - 44:12 min

1. In The Pyramid 4:53

2. Caught In A Panic 6:20

3. Summer Eyes 5:06

4. Game Of Skill 9:30

5. Bitter Sky Blue 3:46

6. Midnight Queen 5:01

7. America 9:36

Pyramid - Hollywood, CA. Troubadour july 1976 - CDr - 62:42 min

1. Who Do You Love? 7:18

2. Caught In A Panic 6:18

3. Angel With No Freedom 7:18

4. Midnight Queen 7:28

5. Nite City 7:09

6. Love Will Make You Mellow 6:25

7. Game Of Skill 12:00

8. Behind The Night 8:46

Nite City - Los Angeles, CA, Starwood Club 23.2 1977 - CDr - 60:00 min

1. In The Pyramid 6:41

2. Who Do You Love? 6:49

3. Summer Eyes 8:49

4. Caught In A Panic 7:45

5. Midnight Queen 4:47

6. Bitter Sky Blue 12:45

7. Love Will Make You Mellow 6:29

8. Guitar Improvisation 10:19

9. Game Of Skill 5:15

Nite City . Detroit, MI 28.4 1977 - CDr - 09:10 min

1. Nite City

Nite City - Hollywood, CA, Whisky A Go Go 23.9 1977 - CDr - 68:38 min - Source: CD-R > FLAC (LEVEL 8)

1. Summer Eyes 6:21

2. The Gambler 6:27

3. Nite City 6:59

4. Close To You 7:39

5. Barcelona 7:00

6. Die High 5:51

7. The Dreamer. Ain't Got The Time 4:45

8. The Dreamer (reprise) 3:02

9. Blinded By Love 11:51

10. Game Of Skill 8:43

Ray Manzarek / Michael McClure - Albuquerque, University Of Mexico, Arts Hall 30.9 1990 - 2CDr - 102:25 min - Source: Low Gen CD-R > FLAC (LEVEL 8)

1. Part 1 45:00

2. Part 2 32:26

3. Part 3 09:19

4. Part 4 15:38

this is an interesting performance, they tells histories and poetry reading.

Ray Manzarek /Jim Carroll - New York, NY, The Bottom Line 23.1 2002 - 2CDr - 93:45 min - Source: 1st Gen CD-R > FLAC (LEVEL 8)

1. Jim Carroll Poetry Readings Performance (incomplete) 8:14

2. Jim Carroll Poetry Readings 4:21

3. Jukebox (Carroll & Manzarek) 3:46

4. Dance Floor (Carroll & Manzarek) 9:52

Ray Manzarek Performance:

5. Poet In Exile / Enlightenment / Current State Of Music 5:26

6. Riders On The Storm 6:52

7. Substances – Breaking On Through 6:30

8. The Crystal Ship 3:37

9. How Ray & Jim Met 6:20

10. Ray & Jim On Venice Beach 3:26

11. Moonlight Drive. Horse Latitudes 4:36

12. Summer’s Almost Gone 3:46

13. Jim Living With Ray / Meeting Robby & John / The End 9:54

15. Questions & Answer Session 7:05

16. Light My Fire 4:05

Jim Carroll opened with his poetry and with some histories Ray talks about his new book Poet In Exile, tells the never ending doors histories and play some doors songs. this is a really interesting solo performance

Ray Manzarek & Geroge Winston - New York, Society Hall 26.9 2002 - 2CDr - 92:03 min - Source: Low Gen CD-R > FLAC (LEVEL 8)

1. Introduction 6:20

2. Love Street 5:15

3. Love Me Two Times 4:39

4. My Wild Love 9:57

5. Love Her Maddy 5:12

6. Light My Fire 10:05

7. Summer's Almost Gone 5:30

8. I Can't See Your Face In My Mind 9:59

9. TAke It As It Comes 4:00

10. Solo Piano For Jim 10:18

11. Bird Of Pray 2:41

12. Riders On The Storm 10:35

13. Soul Kitchen 7:25

This is a great performance by George And Ray, this is from the promo little tour because of the releasing of the new piano solo album of george "Night Divides The Day. The Music Of The Doors"

The Krieger /Burdon Band - The Demos - CDr - 69:26 min

1. People, People 4:43

2. Story Of Jesus 5:20

3. Driftin' 7:27

4. City Boy 5:46

5. Letter From The County 10:23

6. Travlin Man 4:23

7. Set Me Free 2:35

8. Wayward Wind 3:31

9. Live In The 90's 5:08

10. The Night 4:51

11. Hard Times 3:56

12. Love & Anarchy 4:00

13. Sunny Daze 2:51

14. Love Is For All Time 4:25

these 14 demos have never been released, they are studio worki in progress of the Krieger / Burdon Band, this band touring early 90's (90. 91) and they played mostly animals songs (eric is too lazy to learn new songs) the only played Back Door Man and Roadhouse Blues in their shows, but the sound of them live is amazing! but this demos are most a curiosity ....

The Robby Krieger band - Salt Lake City, Zephir Club, april 1992 - CDr - 54:11 min

1. Peace Frog 4:25

2. Riders On The Storm 8:13

3. Roadhouse Blues 10:56

4. Spanish Caravan 4:58

5. You're Lost Little Girl 4:57

6. Love Me Two Times 6:55

7. Light My Fire 13:31
this is a fantastic RKB show, the guitar solos are amazing!!!

The Doors 21st Century - Boston, The Orpheum 25.4 2003 - 2CDr
Disc 1: 1. Introduction 2:07 - 2. Ladies and Gentleman... 0:11 - 3. Roadhouse Blues 6:01 - 4. Break On Through 5:36 - 5. When The Music's Over 14:15 - 6. Love Me Two Times 6:23 - 7. Moonlight Drive (includes Louie Louie) 3:41 - 8. Horse latitudes [0:01:45 - 9. Wild Child 4:05 - 10. Cops Talk 6:29 - 11. Alabama Song/ 3:40 - 12. Back Door Man/ 4:25 - 13. Five To One 6:54
Disc 2: 1. Crystal Ship 4:26 - 2. People Are Strange 3:00 - 3. Spanish Caravan - solo 3:57 - 4. Spanish Caravan 3:26 - 5. Maggie M'Gill 5:04 - 6. L.A. Woman 9:48 - 7. Light My Fire 15:16 - 8. Riders On The Storm 9:25 - 9. Peace Frog 6:02 - 10. Soul Kitchen 7:45

Riders on the Storm - Sheffield, Corporation 20.6 2007 - 2CDr
Disc 1: 1. Carmina Burana Intro - 2. Love Me Two Times - 3. Break On Through - 4. Peace Frog - 5. Blue Sunday - 6. Strange Days - 7. When The Music's Over - 8. Moonlight Drive/Horse Latitudes - 9. Wild Child - 10. Crowd Noise - 11. Spanish Caravan - 12. Alabama Song (Whisky Bar) - 13. Back Door Man - 14. Crowd Noise - 15. 5 to 1
Disc 2: 16. The WASP (Texas Radio And The Big Beat) - 17. Touch Me - 18. L. A. Woman - 19. Riders On The Storm - 20. Light My Fire

The Doors - San Fransisco, Winterland 26 & 28.12 1967 - CDr

26.12 1967:

1. Back Door Man

2. Break on Through

3. When The Music's Over

4. Close To You

5. I'm A Man [tape flip or stop]

6. I'm A Man continued

7. Light My Fire

28.12 1967:

1. Alabama Song(Whisky Bar)/Back Door Man[cut]

2. You're Lost, Little Girl[cut]

3. Love Me Two Times[cut]

4. Wake Up![cut]

5. Light My Fire

6. The Unknown Soldier[cut]

Time: 68:29

The Doors - Chicago, Coliseum 10.5 1968 - CDr - 54:10 total running time - GS MASTER copy of original - (on metal cass.) - DAT copy - CDR - Flac - world

1. Soul Kitchen > Runnin' Blue 7:50

2. Break On Through > There You Sit 5:47

3. Jim talk to the aud.

4. Alabama Song > 1:55

5. Back Door Man 2:27

6. Five To One 6:24

7. When The Music's Over 15:27

8. Jim takes requests

9. The Crystal Ship 3:48

10. Wake Up > 1:47

11. Light My Fire 8:56

Jim, refreshed and roaring to go, incites a riot this night escaping through the backstage door while the crowd of 4,000 destroys the stage. During the 8:30 p.m. show one teen gets so excited he does a swan dive off the balcony. Jim is now pushing every button, raising every level as far as they will go, both personally and professionally, just to see what will happen. Also erforming: The Shady Daze; The One-Eyed Jacks"

The Doors Interactive Chronological History at www.doorshistory.com
----------------------------------------------------------
AN excpert taken from Stephen Davis' book on Jim Morrison p. 256-257:

May 1968. The Doors played their first Chicago gig at the Coliseum on May 10, trailed by the film crew. They opened with "Soul Kitchen," interrupted by Jim's insertion of lines from what later became the song "Runnin' Blue." Then he paused "Break On Through" to insert his "There You Sit" poem before charging back into the song like a marauding lion. Then he winked at the film guys and tried to get something going. He gestured the crowd toward the stage, and seemed mesmerized as the crew filmed the cops trying to control the surging crowd. He was trying out audience dynamics, getting ten thousand kids to be pin-drop silent during "Crystal Ship," then whipping them up to frenzy on hardcore numbers "Back Door Man" and "Five To One."

hen he shouted "Wake up!" and recited the stanza from "Lizard," there was an electricity in the silent air. They finished with "Light My Fire" and encored with the "Unknown Soldier" - a performance that communicated all the howling anguish of the song and again caused screams in the crowd when Jim fell to the stage like he'd been assassinated. He lay there for a long time, and girls up front started to cry. Was he dead? But then he was erect again, and a few minutes later, the Doors left the stage to a roaring ovation. The crowd rushed the stage, trying to get close to the vanished aura of the great band, but somehow the police line held.

The next night, Saturday, the James Cotton Blues Band opened for the Doors at Cobo Arena in Detorit. Earth Opera opened in Toronto, where Jim's microphone (and the film crew's lights) failed to work properly.

aul Rothchild met with the Doors that week, while they were working on early versions of "Orange County Suite" and "Who Scared You?" and trying to finish their record. Densmore had asked Rothchild what he thought they should do about Jim, who was coming to the studio looking unshaven and dissolute, his long hair dirty and stringy, his eyes horribly bloddshot, his clothes slept-in for three days. The mood in the studio was sullen, the usual vibe when the Doors got together around then. Rothchild decided to try to talk it over with the whole band present.

Jim," Paul began, "we don't get the feeling you want to work on this record anymore. I gotta ask you, man - what are you doing? You're not into it. You don't look like yourself anymore. Can you tell us, like, what's happening with you?"

ensmore: "Jim brushed back his greasy hair and stroked his stubble. He didn't respond verbally, and the usual quiet tension in the room intensified." Jim walked out to the lobby alone, Densmore threw up his hands, and the two others just shook their hands.

he next evening Jim astounded them all by appearing totally cleaned up, shaven, with fresh clothes and a drastic haircut he'd done himself by grabbing his locks in a ponytail and chopping them off with slashes of the scissors. The result looked so absurd that they had to take Jim to Jay Sebring's salon to have the damage fixed before the weekends big show in San Jose. Immediately all the groupies negan calling each other, coast to coast: "What? He did? All of it? How short?"

The Doors - Philadelphia, Arena 4.8 1968 - 2CDr

- Last show of the 1968 US tour -

1. When The Music's Over / the Royal Sperm

2. Alabama Song

3. Back Door Man

4. Five To One

5. Spanish Caravan

6. The W.A.S.P.

7. Hello I Love You

8. Wake Up! /

9. Light My Fire

SOURCE: Greg Shaw master- Master tape (reel) - DAT(GS) - DAT1(me) - CDR - Flac - world CD1 - "fixed" version - echo removed

CD2 - ORIGINAL tape version with echo on 2nd channel

======================================

Thanks to Buda for the following info:

NOTES:

The Doors supposedly played two shows on Sunday, August 4, 1968 first at 8:00pm and then at 10:30pm.

Ticket Prices were $3.00 & $5.00

I'm in doubt which one is this - by the way, was there any show at 8pm?

Excperts from Stephen Davis' recent book on the Doors:

------------------------------------------------------

...The final show of that wild weekend was played at the Philadelphia arena at the Forty-sixth Market on Sunday night, August 4, and it was magnificent. Strolling onto the sweaty hockey arena's stage amid wild cheering and applause at ten-thirty, Jim appeared sober and in command; he even asked the audience to stop bothering the relatively young cops who were guarding the stage. As "Backdoor Man" bled into "Five To One," Jim bummed a beer and a cigarette from the audience. He stood back and watched as Robby played a brazen, distorted solo that soon turned into a flamenco guitar clinic on "Spanish Caravan." What do you want to hear? Jim asked before the last section of the show. Hundreds began shouting requests. "One at atime," Jim tried. "I can't hear you." So he recited "Texas Radio" with its preaching cadences and images of Negroes in the forest and other exotica. Then "Hello, I Love You" got a quick reading, followed by "Wake Up!" and "Light My Fire, " during which Jim yelled and twitched and danced around the mike like a aman on fire. The crowd surged forward, and the cops formed a defensive perimeter, as the Doors finished the song and ran off. The Doors took the rest of August 1968 off. Jim was obviously brain fried, and anyway Waiting For The Sun was selling on its own. Unexpectedly, this cobbled-together melange of pop tunes and art songs would be the number one album in America by early September.

Background information regarding the two previous nights' happenings also taken from Stephen Davis' book on the Doors (p 272-276):

------------------------------------------------------------------------

When the Doors went back east with their film crew in early August 1968, Jim Morrison was primed. Although half drunk, ge played a riveting, focused show with his eyes closed in Bridgeport, Connecticut, on August 1, barely moving at all as a looming summer thunderstorm echoed over the Long Island Sound. the concert had a surreal vibe as Jim bore down, enunciating lyrics and poems with hyperbolic clarity. The audience sat transfixed, and left quietly after the encores "Little Red Rooster" and "The Unknown Soldier." The next night, August 2, the film crew finally got its riot. It was a steamy friday night in New York City. The Doors were headlining the Super Bowl, in Flushing Meadows, Queens. There was tension backstage. The opening act, the rip-roaring English band the Who, perhaps the most hottest group in the world that summer, were angry they weren't headlining, and demanded the Doors' gear not be onstage as they played their incendiary live show that ended in explosions and splintered guitars. During the Who's set, the Singer Bowl's revolving stage malfunctioned, leaving a large part of the audinece unable to see the performance and extremely annoyed. im rode to the show in a limo with Jac Holyman and Ellen Sander, who later wrote: "Morrison and 'the boys' had grown apart. He was too crazy, too unreliable, too intellectual, too conceited, but mostly he was too insecure. They shummed him socially, and he retailated by terrorizing them with the threat that he'd quit. He was lonely, as all writers must be, and he often drank himself blind and created a scene. He was also a rather pleasant guy when he wasn't acting out." On the ride to the gig Jim flipped through the Village Voice and mumbled about how bored he was in New York. The driver got lost. "Fucking anarchy, " Jim said. He started singing "Eleanor Rigby."Sander told him he was weird, and Jim said, "I tries." In a traffic jam near the Singer Bowl, Jim opened the limo's window and let a mob of excited kids grope him. "Will some of you chicks escort me backstage?" he asked. "I might get mobbed or something." The backstage area was cramped and sterile. Checking the film crew was with him, Jim stepped out to the crowd and was surronded bykids who seemed afraid to get too close. He signed a few autographs and then disappeared backstage. Pandenmonium ensued when the Doors finally appeared after an hour's delay, ushered through the fifteen-thousand-strong crowd by a newly hired phalanx of black Philadelphia private detectives in stingy-brim hats. Off-duty uniformed police repelled an initial assault on the stage, then formed into a defensive perimeter. Jim had to push his way through the line of though New York street cops in order to face the crowd."Cool down," he told them.

"We are going to be here a long time."He preached to them, screamed, moaned, collapsed, and pussy-footed along the rim of the stage. The kids infront tried to grab at him, and twenty cops onstage had to pry them away. Jim intercut familiar songs with long stretches of "Cleberation" and other snatches of surreal, ad-libbed poetry hat mystified the restive Long Island teenagers. When the cops got rough with the kids upfront, wooden seats flow onto the stage, Jim picked them up and threw them back into the convulsive crowd. The film crew kept shooting and tried to duck the lying debris. The last song of the night was "The End." The kids, who couldn't see were fustrated, upset, and very loud. Many tried to speak to Jim onstage. Others ket shouting "Sit down" at overwrought kids standing on chairs to see better. "Shhhh," Jim whispered. "Hey, everyone! This is serious now. Everyone - get quiet, man. You're gonna ruin this thing. Shhhhh." He kept interrupting the familiar flow of the recorded version with poetic interjenctions - "Fall down now, strange gods are coming" amd other improvistaions. At one point he shrieked, as if in a nightmare: "Don't come here! Don't come in! " When he began the Oedipal verses, the audience was way ahead of him, yelling "And he walked on down the hall" before Jim spoke the line himself. When Jim got to the climactic "Mother?" hundreds of young girls screamed in terror. As the band crashed into the finale, Jim collapsed onstage like he'd been shot, and the stadium exploded. Robby Krieger finished the set in the electric storm of reverb and feedback. Jim wasn't finished yet. As the show was ending, he went to the edge of the stage and made a negative connection with a young Hispanic couple he"d been yeing down front.

He looked at this big Puerto Rican guy and said, "Who's that Mexican slut you're with tonight?

"The guy picked up his seat and heaved it at Jim. The whole stage area erupted in dozens of chairs came flying through the hot, humid air. Jim kept dancng and laughing hysterically. The cops tried to get him off the stage, but he layed down and they couldn't move him.

Finally the Afro-American bodyguards hustled the band toward the dressing room. the cops fought with the kids, and a miniriot ensued with a dozen arrests and several injuries, all reported in papers the next day. The Doors road crew had to defend the amplifiers from being torn apart. After the crowd was cleared out, the Singer Bowl looked like it had been bombed. Pete Townshend, the Who's flamboyouant, intellectuallead gutarist, watched this wild drama from the side of the stage. He saw Jim watching impassively as his bodyguards roughed up kids who just wanted to get near him. He thought he had seen it all by then, but he was amazed by Jim Morrison's alculated escalation of the crowd's mood adulation to rapture to chaos and violence. He wrote the song "Sally Simpson" soon afterward, in a backhand tribute to Jim. Backstage, as the film crew"s camera rolled, Jim comforted a teenage girl who had been hit in the head by a flying chair. She was bleeding from a scalp wound and trying to stop crying as Jim put his arm around her. It's demoracy," Jim said shootingly, looking into the camera with a crooked smirk. "Somebody hit her with a chair. There's no way to tell who's did it. " Tenderly, Jim wiped blood from her face. "It's already coagulating," he cooed. "She was just an innocent bystander." when a groupie-looking chick shasayed by in a red dress, Jim grabbed her and stuck his hand up her dress for the benefit of the camera, smiling broadly. Later he said, "Did you think it looked phony, me talking to her liked that?"

On Saturday, August 3, 1968, "Hello, I Love You" was the top single in the country, blaring mindlessly from every car in America. The Doors played the Cleveland Public Auditorium that night, with Jim again working the crowd for the film crew. He arrived at the hall shit-faced, and let the band play "Break On Throgh" for five minutes without him. when Jim finally appeared, he was clutching a quart of Jack Daniel's in his right hand a nd giving the sold-out, nine-thousand seat a finger with his left. He began shouting and lurching around, singing incoherently as Krieger tried to drown him out with extraloud shards of feedback and echo. This got Jim mad. "I can't hear myself! I'm gonna give you a good time, but I want it real soft." He turned to the band. "If I can't hear myself, I'm gonna get a gun and kill some people here." during a long, horrid version of "Five To One" he started talking with the kids upfront, drawing up in laughter, derivision, and applause. Then he yelled "Listen! Llisten! I want you to feel it. I'm not kidding! I want you to feel it!" He missed all his vocal cues during "When The Music's Over," and Krieger kept trying to mask his petulant antics with washes of electronic noise. Jim came back to the microphone. "Softer, baby, softer. Gotta feel it inside. Take it deeep inside....Hey, listen. I want to give you a history of me. All right! All right! I have a few things to say, if you don't mind...I don't know where I am or how I got here, but I did." He began to recite his poems "Vast Radiant Beach" and "The Royal Sperm." He asked for a Marlboro and dozens of cigarettes landed at his feet. The band lit into "Soul Kitchen," but Jim was getting tired and wandered away from the microphone. He seemed to be vomiting at the side of the stage, which drew a loud burst of the applause. By the time the band lit into Light My Fire," Jim's mind had left the building. He kept shouting, "Come on," during Ray's solo. As Robby began his, Jim was yelling as loud as he could: "YOU KNOW I CAN'T TAKE IT! YOU KNOW THAT! I CAN'T TAKE IT ANYMORE! COME ON! YEAH! COME ON!" Suddenly Jim dived into the crowd with his live microphone, and it looked like a footbal scrimmage. Fights started as he was passed over the heads of the audience, chanting the yippie yell: "DO IT! DO IT!" By the time he made it back to the stage, Jim's voice was gone and the band finished "Light My Fire" and ran off. The kids kept chanting Jim's name but there was no encore. They started throwing chairs, wrecking the concession stands, and tearing heavy wooden doors to pieces in a wanton ritual of destruction.

Doors - Bakersfield , Civic Arena 21.8 1970 - CDr - Total Time: 1:03.26 - 2nd Gen Tape > WAVE > CD. R > FLAC

1. Roadhouse Blues 5:35

2. Alabama Song 2:04

3. Back Door Man. Old Stone Road. Five To One 10:11

4. Universal Mind 8:24

5. When The Music's Over 13:04

6. Tuning 0:58

7. Mystery Train 14:49

8. Ship OF Fools 8:15

The Doors - Isle of Wight Festival 29.8 1970 - 2CDr - Source : Palace of Exile Bootleg (SBD), BBC broadcast unknown date (snippet cut of The End), audience recording (cuts of WTMO and tunings), torrent file (The Ultimate Collected Spoken Words 1967-1970) for Jim's interview.=> Flac level 6

What I have done :

- swap the chanels of SOF, RHB, LMF and The End to get the correct mixing (organ on the left and guitar on the right)

- add the tunings of the audience recording between the tracks, the "outrageous" part which was behind the WTMO SBD at the end of the show (I got this info from Porsche)

- add the missing part of the beginning of The End

- modify the snippet cut of The End from the BBC broadcast to get a better transition, I place the cut a little bit later and remix

- add the cut parts of WTMO from the audience recording and tried a remix to make them sound like the SBD, the result is far of the perfection but gives a good idea of the complete track, then pulled down the volume level of this track which seemed a little too heavy

- put as a bonus track the original WTMO with its cuts for those who do not like the EQ modifications

- put as a bonus track the interview of Jim

Disc 1

1. Back Door Man 4:40

2. Break On Through 4:56

3. When The Music's Over 14:31 (complete incl. snippets from the audience recording)

4. Ship Of Fools 7:36

5. Roadhouse Blues 5:16

6. Light My Fire 13:48

7. The End / Away In India / Crossroads / Wake Up / The End 17:24 (complete incl. beginning and snippet from the BBC broadcast)

Disc 2
8. Isle of Wight 1970 Interview ("In Full") 15:03

9. When The Music's Over 11:25 (cut without snippets)

The Doors - Tampa 12.3 1972 - CDr - (Incomplete) - Time: 19:47

1. Intro/Tuning

2. Tightrope Ride [left channel kicks in around 00:30]

3. In The Eye of the Sun

4. The Mosquito

The Doors - Paris, Olympia Theatre 1.5 1972 - CDr - Time: 50:52

1. In The Eye Of The Sun

2. I'm Horny, I'm Stoned

3. Love Me Two Times

4. Verdilac

5. Close To You[cut]

6. Ships w/ Sails[cut]

7. Good Rockin'

8. Light My Fire

9. Mannish Boy/Close To You (Reprise)/(I'm Your) Hoochie Coochie Man

The Doors - Chicago, Aragon Ballroom 21.7 1972 - CDr - (Incomplete)

1. Intro

2. In The Eye of the Sun

3. I'm Horney, I'm Stoned

4. Love Me Two Times

5. The Mosquito

6. Ships w/Sails

The Doors / Frank Zappa - Rockline, WPLJ - FM NYC 18.5 1981 - CDr
B. Mitchell Reed interviews two the remaining Doors (Kreiger and Manzerek) and Frank Zappa.

Doors of The 21st Century - Glasgow S.E.C.C. hall 4 13.7 2004 - 2CDr - recorded using sony minidisc recorder MZ-R30 with a Sony ECM-717 clip on mic.
source : minidisc > phillips standalone cd recorder > cdr > dbpoweramp > flac

1. Roadhouse Blues

2. Break On Thru

3. When The Music's Over

4. Love Me Two Times

5. Alabama Song

6. Backdoor Man

7. Five To One

8. Robbie guitar intrumental/Spanish Caravan

9. Not To Touch The Earth

DISC 2

1. 21st Century Fox(there was a bit of crackling through the pa system)

2. Unknown Soldier(there was a bit of crackling through the pa system)

3. Peace Frog

4. L.A Woman

encore
5. Riders On The Storm
6. Touch Me
2nd encore

7. Light My Fire

Jim Morrison - The Lost Paris Tapes (And Extras) - CDr - Poetry From 1965-1971
Tracks 01-25: "The Lost Paris Tapes" Bootleg > EAC > WAV > FLAC
Track 26: "Innerview Radio Show" Vinyl Bootleg > CDR > EAC > WAV > FLAC
Track 27: German Doors Documentary VHS > CDR > EAC > WAV > FLAC
Track 28: "Feast Of Friends" VHS > CDR > EAC > WAV > FLAC
Track 29-30: "HWY" VHS > WAV > FLAC
MARCH 1969 POETRY SESSION:
1. Session Start 0:16

2. In That Year... [False Start] 1:02

3. In That Year... 3:00

4. Bird Of Prey 1:55

5. Tape Noon 2:22

6. Whiskey, Mystics And Men 3:38

7. Orange County Suite 5:34

8. All Hail The American Night 5:57

9. The American Night 0:34

10. The Holy Sha 0:37

11. Hitler Poem 0:44

12. Can We Resolve The Past 1:55

13. Always A Playground Instructor 1:32

14. There's A Belief... 0:25

15. Indian, Indian... 0:18

16. Woman In The Window 2:40

17. She's Selling News... 1:11

18. Science Of Night 0:24

19. Tales Of The American Night 0:36

20. Now Listen To This 0:46

21. Babylon Fading 0:39

22. Thank You, O Lord 0:35
JOMO & THE SMOOTHIES TAPE:
23. Warm Up & Tuning 4:30 - 24. "Starting Now!" 1:14 - 25. Orange County Suite 8:41
DECEMBER 8, 1970 POETRY SESSION:
26. Graveyard Poem 0:50 - 27. The Politics Of Ecstacy 0:10
FEAST OF FRIENDS:
28. "Earth, Air, Fire, Water" 0:53
HWY:
29. Dawn's Highway 3:57 - 30. Phone Booth 2:29

Doors - Jim Morrison interviews - 2CDr
Disc 1: 1967 University of New York at Oswego Interview - 1968 Interview, Stockholm - 1968 Press Conference Extracts - Random Utterances
Disc 2: 1969 Village Voice interview December - 1970 Canadian Broadcasting Corporation Interview - 1970 Circus magazine - 1970 Isle of Wight - 1971 Bob Chorush interview 1 - 1971 Bob Chorush interview 2 - 1971 Bob Chorush interview 3 - 1971 Rolling Stone

The Doors - Television Bleeding - CDr
1. Hello I Love You (no drums, no second vocal overdub) - 2:18 - 2. People Are Strange (no drums, no guitar solo, no second vocal overdub) - 2:04 - 3. Love Her Madly (no reverb, no drums, no echo on voice) - 3:09 - 4. Love Me Two Times (no tambourine, no guitars) - 3:08 - 5. Riders On The Storm (no second vocal overdub, no echo, no drums) - 6:13 - 6. Touch Me (no drums) - 3:03 - 7. Soul Kitchen (different bass sound) - 3:22 - 8. Tightrope Ride - 4:08 - 9. In The Eye Of The Sun - 5:06 - 10. I'm Horny, I'm Stoned - 4:57 - 11. Love Me Two Times - 4:49 - 12. Verdilac - 6:17 - 13. Ships w/ Sails (false start) - 1:15 - 14. Ships w/ Sails - 9:46
Tracks 1-7 are alternate studio mixes, done by Paul Rothchild during the production of "The Best of the Doors" Quadrodisc.
Tracks 8-11 recorded live for TV broadcast ("Beat Club", Bremen, Germany) on May 3, 1972.

The Doors - Miami, Miami Dinner Theatre 1.3 1969 - CDr - Lineage: M cassette Audience Recording > DAT master > 1G DAT > CDR > Flac > world

1. Jims intro / Backdoor Man

2. " i want some love"

3. 5 to 1

4. "love" plus "Touch me" (partial)

5. Jim > Love Me Two Times

6. When The Music's Over

7. cont. > Jim commentary on change

  > Away in india8. > Jim talks to the audience9. > "I was born here..."

10. > "we want the world..."

11. Celebration Of The Lizard (intro) >

12. Light My Fire

13. cont. (the sheep comes out) > Jim "I'd F*** her but..."

14. "I wanna see some action...NO LIMITS NO LAWS..."

15. end comments...

The doors - Miami Master 69 Revised (aka The Show & Tell Show!) - CDr Miami, Miami Dinner Theatre 1.3 1969

1. Jim’s intro > Back Door Man

2. “I want some love"

3. 5 to 1

4. "talkin’ about love" > Touch Me// (1:42)

5. Love Me Two Times

6. When the Music’s Over pt1 >

7. > When the Music’s Over pt2 >

> Jim’s commentary on change >

> Away in India >

8. > When the Music’s Over pt3 >

9. > "I was born here..." >

10. > When the Music’s Over pt4 = "We want the world..."

11. Celebration of the Lizard (partial)//

12. Light My Fire pt1 >

13. > Light My Fire pt2 (the sheep comes out) >

> "I'd F*** her but..." & Jim invites people on stage!

14. "There are no rules...NO LIMITS NO LAWS..."

15. end comments...

"Well , you guys should know that two different tapes are/were claimed to

be the master, one was a cassette, the other a 8-track tape. We obviously have a copy of the 8-track tape. ( until now at least , CD bootleg by RTW records , CDR 2nd gen. ... ) Are these two tapes absolutely identical recordingwise? Or is there the possibility that the cassette source has a few additional minutes or less stops ?"

The 8 track tape copy goes like this :

"This has three tape stops, one after Touch Me, one in M's Over, one

in LMF. All are in a distance of a few seconds less than 18 minutes.

As far as I know a 8-track tape is an endless tape which runs in a circle and when it comes to the beginning again it changes to the second track and so on until the fourth

track (x 2, stereo, = 8 tracks). In Touch Me you can hear for 0,5 seconds the harmonica ( harmonica sound that was originally performed before BDM ) , then it goes on. In M's O you hear for 18 seconds the beginning of Love Me Two Times. ( That mean 18 sec. of WTMO are missing ! ) And in LMF there is a silent gap of 3 seconds. That means to me that an 8-track recorder does not change the tracks correctly when it is supposed to do so - at least the one used didn't. That again means, that there is not really something missing in Touch Me, but in M's O there must be 18 seconds missing from the original recording because the recorder changed too late. In LMF the recorder changed 3 seconds too early therefore the silence and also 3 seconds missing. These tape stops can clearly be identified because the tape slows audibly down for half a second before the stop, and speeds up audibly after the stop. So lets talk about this 18 minutes stops it seems that everybody is happy to have a copy of the Miami tape and does not bother about the incompleteness."

"Is the cassette more or less the same as the 8-track source ?"

That cassette was ( partially ) released on the bootleg LP " Miami 69' " ( Living Theatre Records ) :

On that LP , you can hear more harmonica sound before BDM start !

Touch Me is intact .

And nothing is missing during Musisc's Over .......

That LP was released from a copy of a copy of the cassette transfer , NOT the 8 track transfer .

Do you guys follow me ?

There was two different transfer of the master tape : one to an 8 track tape , one to a cassette ...

The 8 track tape has some drop outs , & because of this a couple of seconds were missed ( 18' in WTMO ) , but the cassette doesn't have those drop outs , leaving the songs intact !

The Doors - In The Studio - Sunset Sound, Hollywood, CA 25.2 1969 - 2CDr - 2nd gen. cass.

CD1tt:66:32

1. Roadhouse blues vocal vamp fragment

2. seminary school (playback over bit of track)

3. talk

4. seminary school/whisky mystics...(full take)05. whisky mystics...cont. Rock Is Dead (pt. 1)

6. Love Me Tender

7. "gonna save the whole world"

8. Woman Is A Devil / Rock and Roll is dead

9. "No impablimations...let's roll!..." Rock Is Dead pt. 2

10. Boogie All Night Long / rap

11. Rock and Roll Woman

12. Queen of the Magazines

13. "madison" (fragment) / Wipe out (Ventures song) Rock Is Dead pt. 3

14. Naked woman /-

15. (cont. ) Rock Me /

16. Mystery train / train jam (with JM Harp) / "big black train" /

17. "A little piece..." /

18. "I could not help myself..."

19. "rock and roll is dead"

20. "it's over...i feel so sad..."

21. "we had some good times"-

22. cont. "...under the ground...."

23. "the death of rock...." conclusion (JM harp)

CD2 Version no. 3 (RK/BB tape)1st gen. "with Edits"

tt:37:23 (1-13) plus extras on metal cass.

1. Petition the Lord (tk.1) / talk

2. Love me Tender (pt 2 only) /

3. Rock is Dead (edited) /

4. woman is the devil (?) bass solo part /

5. "i wanna talk to them peoples...." / "No Revolution...No impablimations...let's roll!..." Boogie All Night Long / rap

6. "i wanna see some dancin' in the streets..." / Rock and Roll Woman

7. Queen of the Magazines "madison" (fragment) /

8. Wipe out (Ventures song) cuts /

9. Naked woman (cuts) *BUT has more complete part before jam which cuts on other versions)* / Rock Me / cuts

10. Mystery train (cuts)

11. / train jam (with JM Harp) / "big black train" / (cuts)

12. "A little piece... / Don't do it..." "I could not help myself..." / "rock and roll is dead"13. "it's over...i feel so sad..." "we had some good times" / "...under the ground...." / "the death of rock...." conclusion (JM harp)-

14. Whiskey, Mystics and Men (with "petition..." intro)

15. Love me Tender (short)

16. Woman Is A Devil

17. Train jam (edit)

18. Rock is dead jam (edit)-

19. Whiskey, Mystics and Men (with "petition..." intro)

20. Love me Tender (short clip)

21. Woman Is A Devil(last 3 tracks seem to be the same as previous)

-------------

An excerpt taken from Stephen Davis's book on Jim Morrison, p.312-313 On Tuesday, February 25, 1969, the Doors were recording at Sunset Sound. Jim laid down two stentorian versions of "When I Was Back in Seminary School," his scary southern gospel radio riff, plus a blues titled "Build Me a Woman" - also known as "The Devil Is a Woman," lifted from Robert Johnson's "Me And The Devil." A new bootleg record of the unreleased Robert Johnson recordings had just appeared, and Jim immediately reworked "Love in Vain," which the Rolling Stones would soon approipriate. He also cut a sing song fragment called "Whiskey, Mystics, and Men," with accompaniment by the band.

hat eveing the Doors and their entourage went out to supper together at a local Mexican joint, the Blue Boar, where they stuffed themselves in a private dining room and drank beer and tequila for a couple of hours. Well lubed, they returned to the studio, and started jamming. Jim sang Elvis's "Love Me Tender" and, as the band played free form R & B, started improvising about the death of rock and roll. He kepr repeating "Rock is dead," and "Listen, listen, I don't wanna hear no more talk about revolution," as if trying to damn the rock movement as something that was definetly over. "I'm not talking about no revolution," Jim sang. "I'm not talking about no demonstration. I'm talking about...the death of rock and roll....The death is rock, is the death of me....And rock is dead,...We're dead! All right! Yeah....Rock is dead!"

his was then interspersed with a memory riff. The singer was now a child, overhearinghis mother complain about him to his father. "Mama didn't like the way I did my thing. Papa says, 'You gotta hit him, baby.'...And I'm feeling real bad, real bad, real bad.

he "Rock Is Dead" jam - forty-five minutes of primal bar-band R & B - was Jim Morrison's disgusted, explicit farewell to the rock movement that had launched him into immortality. It summed up the depressive, changing climate of the youth movement of 1969, when the Haight-Asbury had become a slum of panhandlers, burnouts and runaways. Led Zeppelin was hammering its way to the top. Ken Kesey had denounced LSD. The Nixon presidency escalated the war in Vietnam and started persecuting its critics. The Doors had lost the avant-garde, and were now hated by the same writers who had fawned on them the year before. Jim Morrison's original audience - college students and bohemians who responded to the long silences and mannered gestures of rock theater - had been replaced by dopey high school kids, pressed together like goats, giggling at "The End" and catcalling to Jim, "Hey, you wanna fuck me?" It was all too much. For Jim, rock was truly dead.

im later explained: "We needed another song for this album. We were wrecking our brains trying to think - what song? We started throwing up these old songs in the studio. Blues trips. Rock classics. Finally we just started playing, and went through the whole history of rock music - blues, rock and roll, LAtin jazz, surf music, the whole thing. I called it 'Rock Is Dead.' I doubt if anyone will ever hear it."

he "Rock Is Dead" session remained officially unreleased for almost thirty years, but was notoriously bootlegged and became familiar to fans of the Doors. Tapes of this session also featured an early Doors version of Elvis' "Mystery Train." This would soon become a Doors concert staple when the band was prodded by Jim Morrison into more conservative, and personally manageable, artistic terrain.

The Doors - Danbury High School Auditorium 11.10 1967 - CDr - Master 7" Reel (3.75 ips) > Reel To Reel > DAT(2) > CDR > EAC > WAV > Flac Frontend > FLAC (lvl 8, SBE aligned)
1. Introduction 0:59 - 2. Moonlight Drive 6:29 - 3. Money 3:40 - 4. Break On Through 6:11 - 5. Back Door Man 4:41 - 6. People Are Strange 2:49 - 7. The Crystal Ship 3:02 - 8. Wake Up 1:44 - 9. Light My Fire 8:57 - 10. The End 19:37

"The master reel was made by a faculty member at Danbury High School (at the time) who ended up teaching at Wesleyen University in the early 1980s. A student there, who I've long since lost touch with, borrowed the master reel and I made a reel copy of that in the early '80s. The master was a 7" 3.75 ips reel and my reel copy was the same. A metal cassette with Dolby B was made from my reel (as well as an XL2 cassette for my friend ) and I'm fairly sure most circulating copies are from those cassettes which would be 2nd generation from the master. I made many copies of my cassette for various people over the years because my Revox was packed away in storage. A few years ago, my original reel copy was finally transfered to DAT and CD and I have traded that a few times since so a digital copy of the first gen reel is also now circulating."

Despite its first generation origins, there are still some problems with the recording. First, while The Doors were setting up, Jim's friend Tom Baker did a poetry reading (perhaps as much as 25 minutes worth) and this reading is said to be on the original master. In fact, it's Baker's voice you hear at the start of "Moonlight Drive" introducing the band. Also, throughout the show, there are some amplification issues and different parts come through louder/clearer than others. These may be problems present on the original master tape or on the reel to reel copy. "Break On Through" has the most issues as there were dropouts which were fixed by the person who transferred the tape by copying over the intact channel. I tried matching up the audio channels where there was an obvious difference in amplification (only two or three spots) and also ran the tape through ClickRepair (on a low setting of 50 with DeCrackle off) to remove some clicks and pops which were present during the quietest portions -- most audibly between "Light My Fire" and "The End." No noise reduction or other "remastering" was applied to this recording.

All in all, this is the best sounding source for this show I've ever heard and unlike many other copies it even appears to run at the correct speed. So enjoy this great upgrade.

The Doors - Live Compilation (1967 & 1970) - CDr - Avalon Ballroom/Family Dog/Winterland Arena - San Francisco, CA & Denver, CO - [Soundboard & Audience Recordings]
1. Moonlight Drive 6:57 - 2. Back Door Man 5:30 - 3. Who Do You Love 3:49 - 4. Moonlight Drive (Mono) 6:57 - 5. Back Door Man (Mono) 5:30 - 6. Who Do You Love (Mono) 3:49 - 7. Light My Fire - 8:37 - 8. Light My Fire (Mono) 8:37 - 9. Rock Me 7:03 - 10. Carol 1:45
Tracks 1-2 (1967-03-04 Avalon Ballroom, San Francisco): MASTER > ANA2 > CDR > EAC > WAV > FLAC
Track 3 (1967-03-04 Avalon Ballroom, San Francisco): "It Crawled Out Of The Vaults Of The KSAN" Bootleg > EAC > WAV > FLAC
Tracks 4-6 (1967-03-04 Avalon Ballroom, San Francisco): Mono mixes of Tracks 1-3
Track 7 (1967-09-30 The Family Dog, Denver): "First Flash Of Eden" Bootleg > EAC > WAV > FLAC
Track 8 (1967-09-30 The Family Dog, Denver): Mono mix of Track 7
Track 9-10 (1970-02-06 Winterland Arena, San Francisco): MASTER > ANA2 > CDR > EAC > WAV > FLAC

A small compilation of Doors live recordings in the best quality available.
The first three tracks are from the Avalon Ballroom in San Francisco (the accepted date for these tracks is March 4, 1967 -- however, there's a chance they're actually from May 1967). The first two songs are sourced from a 2nd generation tape while "Who Do You Love" is sourced from a bootleg box set. This same version of "Who Do You Love" is often incorrectly included with copies of the March 7, 1967 Matrix show. The only change I made to "Who Do You Love" was swapping the channels to match the other two Avalon songs. Tracks 4-6 are simply mono mixes of Tracks 1-3 that I created for easier listening. It can be annoying to hear all the vocals in one channel and most of the instruments in the other. So, personally, I prefer to listen to the Avalon '67 tracks in mono and thought I'd include them as a bonus.

Track 7 is from The Family Dog in Denver (September 30, 1967) and is the best quality I've been able to track down. A version I obtained that was labelled a master clone was missing the opening and definitely had noise reduction applied to it. So it was either a bootleg source that someone tried to pass off as a low gen or an incomplete version of the master source with noise reduction applied -- either way, I'd rather circulate the "First Flash Of Eden" source as it's better quality all around and likely came from a very low gen source. The only change I made to this track was some speed-correction. The original track was 9:07 long and ran too slow. (Track 8 is simply a mono mix of Track 7.) According to Greg Shaw, who supposedly transferred the original tape, there is a possibility that the recording attributed to this date may actually be from one of The Doors' December performances at the Family Dog in 1967. Though the "First Flash Of Eden" bootleg states that this song is from The Doors appearance at the Denver University Student Union the night before (September 29, 1967), Shaw claims that this song is all that survives from an entire reel recorded at the Family Dog and that it was the last song performed that night. What leads some credence to the bootleg label, however, is that The Doors' performance at Denver University was professionally filmed for an ABC-TV special called "Bruce Morrow's Music Power." A few months later, in November 1967, ABC chose to air only one song from that night in the special. Which song did the network broadcast? "Light My Fire." To date, no recording of that television special has surfaced, leading some to wonder if this song could actually be from that program.

Rounding out this compilation are two songs from the Winterland Arena show on February 6, 1970. These come from a 2nd generation audience recording. For some reason, a lot of the versions out there of this source are cut. Thanks to "wha happened" at the Freedom Man forums, I was finally able to get a complete source with no cuts to share with everyone. So a big thank you to him for helping out with this source.

The doors - Stages - 4CDr

06-05-1965 (disc 1, tracks 1-6)

14-09-1967 (disc 1, track 7)

22-09-1967 (disc 1, tracks 8 & 9)

26-09-1967 (disc 1, tracks 10-12)

28-12-1967 (disc 1, tracks 13-14)

09-07-1967 (disc 2, track 1)

09-06-1967 (disc 2, track 2)

05-07-1968 (disc 2, track 3 & 4)

14-09-1968 (disc 2, track 5)

02-08-1968 (disc 2, track 6 & 7)

10-05-1968 (disc 2, track 8)

14-12-1968 (disc 2, track 9-12)

18-09-1968 (disc 2, track 13)

15-09-1968 (disc 2, track 14)

07-09-1968 (disc 3, track 1)

01-03-1968 (disc 3, tracks 2 & 3)

28-04-1969 (disc 3, tracks 4-10)

02-05-1970 (disc 3, track 11)

17-01-1970 (1st set) (disc 3, track 12)

13-09-1969 (disc 4, track 1)

29-08-1970 (disc 4, track 2)

01-05-1970 (disc 4, track 3)

02-05-1970 (disc 4, tracks 4 & 5)

18-01-1970 (2nd set) (disc 4, tracks 6-8)

Location: Los Angeles, Aura records (disc 1, tracks 1-6)

Toronto, CBC television studios (disc 1, track 7)

New York, Murray the K in New York (disc 1, tracks 8 & 9)

San Francisco, Winterland arena (disc 1, tracks 10-14)

Santa Clara, Continental ballroom (disc 2, track 1)

San Francisco, Fillmore auditorium (disc 2, track 2)

Los Angeles, Hollywood bowl (disc 2, track 3 & 4)

Frankfurt, Kongresshalle (disc 2, track 5)

New York, Singer bowl (disc 2, track 6 & 7)

Chicago, Chicago coliseum (disc 2, track 8)

Inglewood, L.A. forum (disc 2, track 9-12)

Copenhagen, Television-Byen (disc 2, track 13)

Amsterdam, Concertgebouw (disc 2, track 14)

London, The roundhouse (disc 3, track 1)

Miami, Dinner key auditorium (disc 3, tracks 2 & 3)

New York, PBS television studios (disc 3, tracks 4-10)

Pittsburgh, Pittsburgh civic arena (disc 3, track 11)

New York, Felt forum (disc 3, track 12)

Toronto, Varsity stadium (disc 4, track 1)

Isle of Wight, Isle of Wight festival (disc 4, track 2)

Philadelphia, THe spectrum (disc 4, track 3)

Pittsburgh, Pittsburgh civic arena (disc 4, tracks 4 & 5)

New York, Felt form (disc 4, tracks 6-8)

Source: original silver > SHN > trade > FLAC (level 8) (checked with EAC)

Quality: 07/10 (disc 1, tracks 1-6, disc 4, tracks 3-8)

08/10 (disc 1, track 7-9, disc 2, track 13, disc 3, tracks 4-12)

06/10 (disc 1, tracks 10-14, disc 2, tracks 1 & 5, disc 3, tracks 2 & 3, disc 4, tracks 1 & 2)

05/10 (disc 2, tracks 3, 4, 9-12 & 14, disc 3, track 1)

04/10 (disc 2, tracks 6-8)

10/10 (disc 2, track 2)

1. Soul train

2. Geraldine

3. Henrietta

4. Just for you

5. Big bucket 'T'

6. Rampage

7. The end

8. People are strange (false start)

9. People are strange

10. Back door man

11. Break on through (to the other side)

12. When the music's over

13. Wake up

14. Light my fire

Disc 2:

1. Soul kitchen

2. Interview by Lennart Wretund

3. Hello, I love you

4. Spanish caravan

5. Light my fire

6. When the music's over

7. Wild child

8. The crystal ship

9. Tell all the people

10. Love me two times

11. Who scared you

12. Touch me

13. The WASP (Texas radio & the big beat)

14. Break on through (to the other side)

Disc 3:

1. The end

2. Touch me

3. Love me two times

4. Tell all the people

5. Alabama song (Whisky bar)

6. Back door man

7. Wishful sinful

8. Build me a woman

9. Interview by Richard Goldstein

10. The soft parade

11. Roadhouse blues

12. Money

Disc 4:

1. The end

2. Break on through (to the other side)

3. Ship of fools

4. People get ready / Mystery train / Away in India / Crossroads

5. Someday soon

6. Goin' to New York

7. Maggie M'Gill

8. Gloria / Easy ride / My eyes have seen you

The Doors - Toronto, Varsity Stadium, Toronto Rock & Roll Revival 13.9 1969 - CDr - Master Reel > ANA1 > CDR > EAC > WAV > Flac Frontend > FLAC (lvl 8, SBE aligned)

1. When The Music's Over - 12:18

2. Break On Through - 3:52

3. Back Door Man - 6:58

4. The Crystal Ship - 3:09

5. Wake Up - 1:49

6. Light My Fire - 12:04

7. The End - 15:48

A rare audience recording from 1969 (rare in the sense that few recordings from 1969 exist since The Doors didn't play many shows in the aftermath of the Miami incident). This is a first generation recording. There are a few bootlegs out there that feature songs from this night and none of them sound quite this good. The drums come through terrifically and Jim's vocals are right up in the mix. The guy who taped this show must have been right near the stage.

This show contains a unique "Back Door Man" medley where Jim includes lyrics from "Roadhouse Blues" and "Maggie M'Gill." Definitely worth a listen. Though only 7 tracks, the show lasts for about an hour thanks in part to a long version of "The End," where Jim explains how proud he feels to be performing "on the same stage with so many illustrious musical geniuses."

Check out this informative essay on the 1969 Toronto Rock & Roll Revival Festival: http://www.robertchristgau.com/xg/music/toronto-69.php

Also see some rare shots of Jim backstage at the festival here: http://members.tripod.com/rockandrollrevival/photos.htm

Unfortunately, while much of the festival was filmed, it doesn't appear that The Doors' set was (rumors persist that footage exists but no concrete information has ever surfaced). The Doors were the last to go on that night after John Lennon and the Plastic Ono Band, and by all accounts, the camera crew was already packing its gear by then. The only footage that's known to exist are shots of The Doors arriving in their car during the opening sequence to D.A. Pennebaker's 1972 film "Sweet Toronto." Watch the opening here (http://www.youtube.com/watch?v=L4DcJSjR8K8) and see if you can spot Ray and Jim at about the 2:50 mark (Jim is in the front passenger seat with his back to the camera; Ray is directly behind him and spots the camera).

Ray Manzarek (Early Work) - Rick & The Ravens - Complete Singles - Aura Records / Posae Records - [Studio Recording] Plus: The UCLA Trio - March 29, 1961 (Wednesday) - The Lighthouse Jazz Club - Hermosa Beach, CA [Soundboard Recording]
1. Henrietta 2:02 - 2. Just For You 2:10 - 3. Soul Train 3:08 - 4. Geraldine 2:43 - 5. Big Bucket 'T' 3:05 - 6. Rampage 2:52 - 7. Circle Twist 2:03 - 8. Blow Top 1:43 - 9. Moanin' 7:29 - 10. Softly, As In A Morning Sunrise 7:13 - 11. Joey 6:21 - 12. Ikin Retnin 5:30 - 13. 'Round Midnight 4:39
Tracks 1-2: Original 45 Single > WAV > Flac Frontend > FLAC (lvl 8, SBE aligned) - Tracks 3-6: "Stages" Bootleg > EAC > WAV > Flac Frontend > FLAC (lvl 8, SBE aligned) - Tracks 7-8: Original 45 Single > ? > CDR > EAC > WAV > Flac Frontend > FLAC (lvl 8, SBE aligned) - Tracks 9-13 (UCLA Trio): Low Gen > CDR > EAC > WAV > Flac Frontend > FLAC (lvl 8, SBE aligned)
Here's a collection I've put together with the help of a few other Doors collectors to put out some of the best quality sources for Ray Manzarek's early recorded material. As many of you know, Ray was the organist for The Doors. Prior to forming The Doors, however, Ray was in a surf band with his brothers Rick and Jim Manzarek from 1962-1965 called Rick & The Ravens. During this time, the group recorded 8 singles for a subsidiary of World-Pacific Jazz Studios called Aura Records (and later Posae Records). These singles were released as promotional material for the label. In fact, it was due to this record deal at Aura Records that The Doors in late '65 were able to record their first demo (officially released on the 1997 Box Set). What's great about that early Doors demo is that, sonically, it's a combination of what The Doors sound would evolve into and Rick & The Ravens (both of Ray's brothers also performed on the Doors demo).

Rick & The Ravens featured Rick Manzarek on guitar (a Fender Jaguar to be exact), Jim Manzarek on keyboards, Pat Stonner on saxophone, Vince Thomas on drums, and Screamin' Ray Daniels (better known as Raymond Daniel Manzarek) on vocals. Ray's brother Jim takes lead vocals on "Circle Twist."

As bonus material on this torrent, I've included the earliest known tape of Ray Manzarek performing. It's a soundboard recording of The UCLA Trio, a college jazz group Ray fronted as vocalist and pianist with John Hallibertan on bass and Sam Beale on drums. The recording is from 1961 when Ray was 22. Most of the tunes are jazz covers. Only one, "Ikin Retnin," is an original. I've been told a 1st gen is what circulates, but I can't confirm that this is it.

All the singles have gone through ClickRepair and individual click/pop elimination to clean them up as much as possible without affecting the sound quality and without using any other hiss or noise reduction. Most of the "Stages" tracks also had several drop-outs and those were fixed as much as possible. "Henrietta" and "Just For You" were direct transfers done by jim4371 and, as a result, are the best sounding tracks here. In fact, the photos of that single included with this torrent are of the copy used in the transfer. Another interesting tidbit: The Byrds (or at least Roger McGuinn and Gene Clark) provide the backing vocals on "Henrietta" as they were studio musicians at the time.

The Doors - Danbury, Danbury High School Auditorium 10.11 1967 - CDr
1. Introduction - 2. Moonlight Drive - 3. Money - 4. Break On Through (to the other side) - 5. Back Door Man - 6. People Are Strange - 7. The Crystal Ship - 8. Wake up - 9. Light My Fire - 10. The Rnd

The Doors - Danbury, Danbury High School Auditorium 10.11 1967 (source 1) - CDr
1. Introduction / Moonlight Drive 7:41 - 2. Money 1:49 - 3. Break On Through (to the other side) 2:56 - 4. Back Door Man 20:45 - 5. People Are Strange 6:19 - 6. The Crystal Ship 4:58 - 7. Wake up 3:14 - 8. Light My Fire 3:47 - 9. The End 9:18
Total time: 60:47

The Doors - Danbury High School Auditorium 11.10 1967 - 2CDr
1. Intro - Moonlight Drive - Horse Latitudes (cuts) 6:05 - 2. Money 3:29 - 3. Break On Through - There You Sit (cuts) 4:43 - 4. Backdoor Man - I've Got the Right 5:08 - 5. People Are Strange 3:04 - 6. The Crystal Ship 3:26 - 7. Wake Up! 1:44 - 8. Light My Fire 10:36 - 9. The End - Names Of The Kingdom - Stop the Car, I'm Getting Out - Who Scared You 16:48
(Complete Source)
1. Intro - Moonlight Drive - Horse Latitudes 7:32 - 2. Money 3:31 - 3. Break On Through - There You Sit 5:39 - 4. Backdoor Man - I've Got the Right 5:08 - 5. People are Strange 2:40 - 6. The Crystal Ship 3:26 - 7. Wake Up! 1:44 - 8. Light my Fire 10:33 - 9. The End - Names of the Kingdom - Stop the Car, I'm Getting Out - Who Scared You 20:05

For some reason this particular show has been dated by many as being October 17, 1967. However, Rob Poodiack and Kevin N.Barry, writers for local Danbury newspaper The News-Times, had noted the date of this concert as being October 11. The Doors performance at Danbury had been sponsored and organised by the Fall Weekend Committee of Western Connecticut State College. "I hope you can be patient with us for a few moments. Our guests have arrived and there will be a fifteen minute intermission and I recommend that you sit in your seats and do not leave the auditorium.....and no smoking please....sit in your seats and if you get out then we will escort you to the door."

The crowd sounded excited as Robbie tuned in his guitar. The announcer continued:

"If you're ready to calm down, I will....." the announcer briefly paused and resumed while Ray tuned in his organ.

"All right now, I have a very special guest" the rest of the announcer's speech is cut. Apparently Jim's drinking buddy, Tom Baker, recited a poem prior to the beginning of the concert, but none of it was recorded - all that can be heard is Tom saying:

"The Doors, O.K ? "

The Doors then began with an interesting version of Moonlight Drive, where

Robbie played a good deal of slide guitar during this version then he normally would in most other performances. The group then played a blues cover song, "Money". The group's next song was "Break On Through" that was unfortunately cut off towards the end followed by an energetic "Back Door Man". The next song, "People Are Strange" is a fairly rare example of The Doors playing this song live. Listening to existing recordings, The Doors didn't seem to play this song frequently as part of their set even though it had been played live on The Ed Sullivan Show and also in the 2nd sets on March 7 and March 10 at the Matrix Club earlier in the same year.

"The Crystal Ship", "Wake Up" and "Light My Fire" were played before The Doors finished of their concert with "The End". Just before The Doors start playing "The End", Jim asked the crowd:

"Do you want us to do any more ?", he then paused for a moment and continued:

"Are you sure you want ? Yeah, O.K.", Robbie tuned his guitar and began to play "The End".

Halfway through this version of "The End", Jim sang a part of "Enseneda" and also included some of the lines from "Who Scared You":

I see you're riding, coming down the road, I see you're riding, coming down the road. He's got a burden, carrying a heavy load, One bag of silver and one sack of gold. So you won't get cold, so you won't grow old I'm gonna show you a place, Like to stay, So you won't go away.

During the group's rendition of "The End", Jim grabbed the microphone stand and started to smash it into the edge of the stage and broke the stand in half.

The recording finishes of with the announcer clapping whilst saying:

"Wonderful show ! Thank You !

The following day, principal P.J. Murnane had given a speech to his students telling them what a disgrace the performance had been.

The audience seemed to have a mixed reaction regarding their response to The Doors' performance. One audience member at the time, Rob Ultsch of Brookfield remembered that:

"Everybody just kind of sat there, amazed, and went 'WHOOOOOAAAA.' "

However Kevin Barry, The News-Times music reviewer at the time remembers things quite differently:

"I think my (negative) review spoke for most of the audience."

The group received a rather negative and scathing review by Kevin N. Barry, who based his comments on very little knowledge or appreciation of the music, as he commented that; "The Doors swung in and swung out of the Danbury High School Auditorium last night and it's good to know that the doors of D.H.S. also swing both ways."

An out of touch and misinformed (to say the least) Kevin N. Barry had also described "The End" as being "about a man ending an LSD trip" (which couldn't be any further from the truth) and simply (and blindly) described the music and atmosphere as being "loud, had a fast beat and the psychedelic theme was emphasised even more by the lighting effect."

In defence to the Doors music and performance which had been greatly overlooked for it's merits, Paul A. Gordon had written a letter to the editor explaining that Kevin N. Barry's review;

'was obviously out of touch with the performers, their music or the audience." and commented further that;

'Describing the music as "loud" and with a "fast beat" tells nothing, nor does sprinkling of the ingroupy sounding catch-all "psychedelic". The skill of organist Ray Manzarek, who played both organ and bass, was ignored, as was the effective and distinctive bottle neck styling of guitarist Robby Krieger.'

The Doors - Danbury, Danbury High School Auditorium 11.10 1967 ( source 2 ) - CDr - Source: PA system > 3rd gen > ? > WAV > FLAC > TTD > WAV > FLAC (level 8) (drop at 20 khz)
1. Introduction 1:04 - 2. Moonlight Drive 6:57 - 3. Money 3:49 - 4. Break On Through (to the other side) 6:05 - 5. Back Door Man 5:33 - 6. People Are Strange 2:57 - 7. The Crystal Ship 3:34 - 8. Wake up 1:52 - 9. Light My Fire 10:00 - 10. The End 20:55
Total time: 62:46

The Doors - Danbury, Danbury High School Auditorium 11.10 1967 (source 3) - Source: PA sytem > ? > original silver > WAV > FLAC > WAV > FLAC (level 8) (drop at 5,1 khz)
1. Introduction 0:53 - 2. Moonlight Drive 5:30 - 3. Money 3:51 - 4. Break On Through (to the other side) / Back door man	10:41 - 5. People Are Strange 3:02 - 6. The Crystal Ship 3:13 - 7. Wake up 1:52 - 8. Light My Fire 9:46 - 9. The End 19:09
Total time: 57:30

The doors - Danbury, Danbury High School Auditorium 11.10 1967 (source 4) - CDr - Source: ? > WAV > speed corrected > SHN > WAV > FLAC (level 8) (drops at 5,1 khz & 20 khz)
1. Introduction 0:59 - 2. Moonlight Drive 5:10 - 3. Money 3:49 - 4. Break On Through (to the other side)	04:56 - 5. Back Door Man 4:52 - 6. People Are Strange 2:56 - 7. The Crystal Ship 3:06 - 8. Wake up 1:49 - 9. Light My Fire 10:56 - 10. The End 17:02
Total time: 55:35

The doors - Highschool Confidential - CDr - Danbury, Danbury High School Auditorium 11.10 1967 (source 5) - CDr
1. Introduction / Moonlight Drive 6:06 - 2. Money 3:30 - 3. Break On Through (to the other side)	04:44 - 4. Back Door Man 4:41 - 5. People Are Strange 3:04 - 6. The Crystal Ship 2:44 - 7. Wake up 1:44 - 8. Light My Fire 10:05 - 9. The End 16:49
Total time: 53:27

The Doors - Flushing Meadows Park, Singer Bowl, Queens, New York 2.8 1968 - CDr - The New York Rock Festival at The Singer Bowl - 1st gen > flac (No cdr process were involved)
 - Introductory Instrumental (without Jim) - 1. Back Door Man 3:32 - 2. Five To One 4:40 - 3. Break On Through 3:40 - 4. When The Music's Over > 12:33 "Vast Radiant Beach" > "Dawn's Highway" > "The Royal Sperm" 5. Wild Child 2:46 - 6. Wake Up 1:36 - 7. Light My Fire 8:45 - 8. The End* 17:04
*Taken from an alternate source
Total running time 54:36

NOTES from Stephen Davis, Greg Shaw, Bill Tikellis and Billy Hadley
Excpert taken from Stephen Davis' book on Jim Morrison p. 272-276:
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When the Doors went back east with their film crew in early August 1968, Jim Morrison was primed. Although half drunk, ge played a riveting, focused show with his eyes closed in Bridgeport, Connecticut, on August 1, barely moving at all as a looming summer thunderstorm echoed over the Long Island Sound. the concert had a surreal vibe as Jim bore down, enunciating lyrics and poems with hyperbolic clarity. The audience sat transfixed, and left quietly after the encores "Little Red Rooster" and "The Unknown Soldier."

The next night, August 2, the film crew finally got its riot.

It was a steamy friday night in New York City. The Doors were headlining the Super Bowl, in Flushing Meadows, Queens. There was tension backstage. The opening act, the rip-roaring English band the Who, perhaps the most hottest group in the world that summer, were angry they weren't headlining, and demanded the Doors' gear not be onstage as they played their incendiary live show that ended in explosions and splintered guitars. During the Who's set, the Singer Bowl's revolving stage malfunctioned, leaving a large part of the audinece unable to see the performance and extremely annoyed.

Jim rode to the show in a limo with Jac Holyman and Ellen Sander, who later wrote: "Morrison and 'the boys' had grown apart. He was too crazy, too unreliable, too intellectual, too conceited, but mostly he was too insecure. They shummed him socially, and he retailated by terrorizing them with the threat that he'd quit. He was lonely, as all writers must be, and he often drank himself blind and created a scene. He was also a rather pleasant guy when he wasn't acting out."

On the ride to the gig Jim flipped through the Village Voice and mumbled about how bored he was in New York. The driver got lost. "Fucking anarchy," Jim said. He started singing "Eleanor Rigby." Sander told him he was weird, and Jim said, "I tries." In a traffic jam near the Singer Bowl, Jim opened the limo's window and let a mob of excited kids grope him.

"Will some of you chicks escort me backstage?" he asked. "I might get mobbed or something."

The backstage area was cramped and sterile. Checking the film crew was with him, Jim stepped out to the crowd and was surronded bykids who seemed afraid to get too close. He signed a few autographs and then disappeared backstage.

Pandenmonium ensued when the Doors finally appeared after an hour's delay, ushered through the fifteen-thousand-strong crowd by a newly hired phalanx of black Philadelphia private detectives in stingy-brim hats. Off-duty uniformed police repelled an initial assault on the stage, then formed into a defensive perimeter. Jim had to push his way through the line of though New York street cops in order to face the crowd.

"Cool down," he told them. "We are going to be here a long time."

He preached to them, screamed, moaned, collapsed, and pussy-footed along the rim of the stage. The kids infront tried to grab at him, and twenty cops onstage had to pry them away. Jim intercut familiar songs with long stretches of "Cleberation" and other snatches of surreal, ad-libbed poetry that mystified the restive Long Island teenagers. When the cops got rough with the kids upfront, wooden seats flow onto the stage, Jim picked them up and threw them back into the convulsive crowd. The film crew kept shooting and tried to duck the lying debris.

The last song of the night was "The End." The kids, who couldn't see were fustrated, upset, and very loud. Many tried to speak to Jim onstage. Others ket shouting "Sit down" at overwrought kids standing on chairs to see better.

"Shhhh," Jim whispered. "Hey, everyone! This is serious now. Everyone - get quiet, man. You're gonna ruin this thing. Shhhhh."

He kept interrupting the familiar flow of the recorded version with poetic interjenctions - "Fall down now, strange gods are coming" amd other improvistaions. At one point he shrieked, as if in a nightmare: "Don't come here! Don't come in!" When he began the Oedipal verses, the audience was way ahead of him, yelling "And he walked on down the hall" before Jim spoke the line himself. When Jim got to the climactic "Mother?" hundreds of young girls screamed in terror. As the band crashed into the finale, Jim collapsed onstage like he'd been shot, and the stadium exploded. Robby Krieger finished the set in the electric storm of reverb and feedback.

Jim wasn't finished yet. As the show was ending, he went to the edge of the stage and made a negative connection with a young Hispanic couple he"d been yeing down front. He looked at this big Puerto Rican guy and said, "Who's that Mexican slut you're with tonight?" The guy picked up his seat and heaved it at Jim. The whole stage area erupted in dozens of chairs came flying through the hot, humid air. Jim kept dancng and laughing hysterically. The cops tried to get him off the stage, but he layed down and they couldn't move him.

Finally the Afro-American bodyguards hustled the band toward the dressing room. the cops fought with the kids, and a miniriot ensued with a dozen arrests and several injuries, all reported in papers the next day.

The Doors road crew had to defend the amplifiers from being torn apart. After the crowd was cleared out, the Singer Bowl looked like it had been bombed.

Pete Townshend, the Who's flamboyouant, intellectuallead gutarist, watched this wild drama from the side of the stage. He saw Jim watching impassively as his bodyguards roughed up kids who just wanted to get near him. He thought he had seen it all by then, but he was amazed by Jim Morrison's calculated escalation of the crowd's mood adulation to rapture to chaos and violence. He wrote the song "Sally Simpson" soon afterward, in a backhand tribute to Jim.

Backstage, as the film crew"s camera rolled, Jim comforted a teenage girl who had been hit in the head by a flying chair. She was bleedingfrom a scalp wound and trying to stop crying as Jim put his arm around her.

"It's demoracy," Jim said shootingly, looking into the camera with a crooked smirk. "Somebody hit her with a chair. There"s no way to tell who"s did it." Tenderly, Jim wiped blood from her face. "It's already coagulating," he cooed. "She was just an innocent bystander."

When a groupie -looking chick shasayed by in a red dress, Jim grabbed her and stuck his hand up her dress for the benefit of the camera,smiling broadly. Later he said, "Did you think it looked phony, me talking to her liked that?"

On Saturday, August 3, 1968, "Hello, I Love You" was the top single in the country, blaring mindlessly from every car in America.

The Doors played the Cleveland Public Auditorium that night, with Jim again working the crowd forthe film crew. He arrived at the hall shit-faced, and let the band play "Break On Throgh" for five minutes without him. when Jim finally appeared, he was clutching a quart of Jack Daniel's in his right hand a nd giving the sold-out, nine-thousand seat a finger with his left. He began shouting and lurching around, singing incoherently as Krieger tried to drown him out with extraloud shards of feedback and echo. This got Jim mad. "I can't hear myself! I'm gonna give you a good time, but I want it real soft." He turned to the band. "If I can't hear myself, I'm gonna get a gun and kill some people here."

During a long, horrid version of "Five To One" he started talking with the kids upfront, drawing up in laughter, derivision, and applause. Then he yelled "Listen! Llisten! I want you to feel it. I'm not kidding! I want you to feel it!"

He missed all his vocal cues during "When The Music's Over," and Krieger kept trying to mask his petulant antics with washes of electronic noise. Jim came back to the microphone. "Softer, baby, softer. Gotta feel it inside. Take it deeep inside....Hey, listen. I want to give you a history of me. All right! All right! I have a few things to say, if you don't mind...I don't know where I am or how I got here, but I did." He began to recite his poems "Vast Radiant Beach" and "The Royal Sperm." He asked for a Marlboro and dozens of cigarettes landed at his feet. The band lit into "Soul Kitchen," but Jim was getting tired and wandered awaz from the microphone. He seemed to be vomiting at the side of the stage, which drew a loud burst of the applause. By the time the band lit into "Light My Fire," Jim's mind had left the building. He kept shouting, "Come on," during Ray's solo. As Robby began his, Jim was yelling as loud as he could:

"YOU KNOW I CAN'T TAKE IT! YOU KNOW THAT! I CAN'T TAKE IT ANYMORE! COME ON! YEAH! COME ON!"

Suddenly Jim dived into the crowd with his live microphone, and it looked like a footbal scrimmage. Fights started as he was passed over the heads of the audience, chanting the yippie yell: "DO IT! DO IT!" By the time he made it back to the stage, Jim's voice was gone and the band finished "Light My Fire" and ran off.

The kids kept chanting Jim's name but there was no necore. They started throwing chairs, wrecking the concession stands, and tearing heavy wooden doors to pieces in a wanton ritual of destruction.

The final show of that wild weekend was played at the Philadelphia arena at the Forty-sixth Market on Sunday night, August 4, and it was magnificent. Strolling onto the sweaty hockey arena's stage amid wild cheering and applause at ten-thirty, Jim appeared sober and in command; he even asked the audience to stop bothering the relatively young cops who were guarding the stage. As "Backdoor Man" bled into "Five To One," Jim bummed a beer and a cigarette from the audience. He stood back and watched as Robby played a brazen, distorted solo that soon turned into a flamenco guitar clinic on "Spanish Caravan."

"What do you want to hear? Jim asked before the last section of the show. Hundreds began shouting requests. "One at atime," Jim tried. "I can't hear you." So he recited "Texas Radio" with its preaching cadences and images of Negroes in the forest and other exotica. Then "Hello, I Love You" got a quick reading, followed by "Wake Up!" and "Light My Fire," during which Jim yelled and twitched and danced around the mike like a aman on fire. The crowd surged forward, and the cops formed a defensive perimeter, as the Doors finished the song and ran off.

The Doors took the rest of August 1968 off. Jim was obviously brain fried, and anyway Waiting For The Sun was selling on its own. Unexpectedly, this cobbled-together melange of pop tunes and art songs would be the number one album in America by early September.
Copyright © 2004
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NOTES according to Greg Shaw
setlist:
Introductory Instrumental (without Jim) - Back Door Man - Five To One - Break On Through - When The Music's Over - "Vast Radiant Beach" - "Dawn's Highway" - "The Royal Sperm" - When The Music's Over - Wild Child - Wake Up! - Light My Fire - The End - "Fall Down Now; Strange Gods Are Coming" - "The Sea Is Green" - "I'm coming; I hear you calling" - "The creature's nursing it's child; Leave this child alone!" - "Don't Come Here! Don't Come In!" - "Ensenada" - "The killer awoke before dawn..." - The End

Also performing: The Who; The Kangaroo
Filmed for Feast Of Friends
Promotion: Gary Kurfist & Shelley Finkel
Capacity: 17,500

Over the years there were numerous accounts of The Doors provoking riots at their performances. Some of these reports were clearly elaborate embellishments perpetrated for the express purpose of interfering with prospective performances at the venues. Other bands, such as the Jimi Hendrix Experience, found themselves engaged in the same controversy which was designed to obstruct the flourishing enterprise of live concert appearances. Wherever the truth resided, this issue raised a serious consideration: how to provide adequate security for maintaining a congenial atmosphere for all involved without arousing indignation from the audience or the performers.

At this time, however, Jim Morrison did not share the concerns surrounding their public appearances. In fact, he was intrigued by the mob mentality he had observed at their and other bands' performances. Aside from the exaggerated portraits of violence surrounding other concerts, accounts of this performance were undeniably valid. From the outset, the concert on this dreadfully hot and humid New York summer night had been plagued with difficulties. The opening band was poorly received by an unruly crowd impatient for the two main acts. It was a year before The Who's rock opera "Tommy" was released, and the band had yet to achieve legendary status in the States. Nevertheless, they were determined that the stage set-up specifically accommodate their presentation and were adamant that none of The Doors' equipment obstruct the stage. During The Who's performance, the rotating stage had broken down, leaving a section of the audience unable to adequately see the band. The Who put on a good, but not exceptional show, and exited the stage visibly annoyed. After their set, there was an hour-long interim before The Doors took the stage, and the delay further aggravated the already impatient audience.

As soon as The Doors appeared, they were greeted with a thunderous assault of screaming fans and segments of the crowd began rushing the stage. A column of policemen were stationed at the front of the platform to curtail this onrush of people, while Morrison fiercely jostled his way through them to face the crowd. The chaos escalated continuously during the performance, with fights erupting throughout the Singer Bowl. Morrison sang with a very precise and articulate emphasis on the lyrics, and actually appeared to be substantially more sober than the crowd he was facing.

Ellen Sander commented on the show's build-up in Trips: "A good portion of the audience still couldn't see and they were furious. Crowds stormed the front of the stage and were turned back by the police. Some were trying to scale the stage and others cheered them on. Morrison spun around and ground the songs out halfheartedly, ad libbing, improvising, doing an ominous dance. Hysteria was building. Morrison shrieked, moaned, gyrated, and minced to the edge of the stage, hovering. Hands reached out and grabbed him and the cops had to pry them away. The camera crew ducked a piece of broken chair which came flying onto the stage. Morrison caught it and heaved it back into the crowd. The Doors were hardly visible from any angle because there were about twenty cops onstage." (Ellen Sander, Trips, New York: Charles Scribners Sons, 1973)

By the time The Doors began to perform "The End," the crowd was in an incredible uproar. Morrison vainly attempted to "sssshhhh" the audience, but there was no response and he began appealing to them. "Hey, this is serious everyone! Get quiet man! You're going to ruin the whole thing."

Following the opening stanzas of the song, Morrison drifted into a expansive passage of poetry, beginning with "Fall down now; strange Gods are coming." With decidedly steady pacing, he advanced through a series of poems until he unexpectedly burst in a scream of "Don't come here! Don't come in!" Proceeding from this flare-up into "Ensenada," Morrison was continually assailed with clamorous screams of "Morrison is King!" from the crowd. He calmly began to recite the Oedipal section of the song, but when he paused at one significant part, the audience impatiently roared the delayed lyrics "he walked on down the hallway, baby!" The crowd momentarily became quiet again, until Jim reached the conclusion of the Oedipal section with "Mother, I want to..." and the Singer Bowl burst into pandemonium with the audience finishing the lyrics. The band accelerated into the musical passage and Morrison hit the stage, writhing in agony like the death knell of a hideous serpent while the crowd went wild. The instrumental passage climaxed with a horrendous blood-curdling scream from Morrison, followed by Krieger's guitar set on some wildly unrestrained echo. By now no one remained seated in the crowd and the police were forming a barricade in front of the stage. The audience was defiantly screaming "Sit down, cop!" as Krieger finished the song with a long trail of feedback.

Just before midnight, as The Doors concluded their performance, a horde of people began demolishing the wooden seating section in front and hurling portions of the the splintered benches at the stage. The debacle turned into a complete riot when the crowd charged the police barricade, forcing The Doors to abandon the stage amidst a torrent of plummeting debris. As the police struggled to regain control of the crowd, Vince Treanor and the equipment crew desperately tried to guard and defend their gear.

Peter Townshend, lead guitar player for The Who, observed the entire disturbance from the side of the stage and was both fascinated and appalled by Morrison's apparent indifference to the situation. According to Who biographer Dave Marsh, it was Morrison's aloof and mystifying demeanor in the face of intensifying chaos that prompted Townsend to write The Who's composition "Sally Simpson."
by Greg Shaw
 Copyright © 1997 The Doors On The Road
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Review by Bill Tikellis

The Singer Bowl was basically an arena built from the remains of New York’s World Fair that was in existence during the 1930’s. The concert was a double bill and a crowd of 17,500 people had come to see both The Who and The Doors which had it’s problems right even before The Doors had started to play. The limousine driver had lost his way and got stuck in traffic and when The Doors finally made it to the venue, there were fans thumping the limousine. As seen on the video "Soft Parade - A Retrospective", Jim had wandered through the arena and teenage kids were hanging around him while Jim tried to ignore them as he flicked through some magazines - even the photographers backstage clung to Morrison like parasites.

There may have been some tension between both bands as The Who had apparently refused to use the same equipment as The Doors. The concert was running late as it was and to make things worse, a third act called Kangaroo was placed on the bill at the last minute and opened up the show. The disasters didn’t stop here as the revolving stage had stalled during The Who’s performance. The repair men couldn’t get the stalled stage fixed and the stage was stuck for good. This meant that 1/4 of the audience couldn’t see the remaining concert.

After The Who had played a fairly bad set and smashed up their equipment at the end of a their performance, The Doors had come on stage about half an hour later and started to play but without Jim. Finally after five minutes, Jim made it to the mike as he purposefully took his time to go on stage and was escorted by an entourage of security personnel.

The Doors started off with their medley, "Back Door Man/Five To One" but things were not settling down as the audience had difficulty seeing The Doors perform. As heard on the audience recording of this show, the crowd yelled out:

"Sit down ! Sit down ! Sit down !"

"Sit down you whore!", some one else offensively remarked.

"Sit down before I knock you down !", as one guy screamed to some one else.

"Yeah, anything you want" replied the other person.

"Come on you cunt !" the first guy took up his challenge and a scuffle broke out between the two.

The Doors played "Break On Through" and "When The Music’s Over". Jim recited some of his poems during "When The Music’s Over":

"Vast radiant beach

and a cool jewelled moon

couples naked

race down by its quiet side

and we laughed

like soft mad children

smug in the woolly cotton brains of infancy.

Indians scattered on dawn's highway bleeding

Ghosts crowd the young child's fragile eggshell mind

We leap the wall, dog and I

to hang choking on fence collar chain

Dogs lick shit

Mexican girl whore sucks my prick.

Open windows on the town

Open pores on foreign air.

The car rasps quiet.

Motor destroys itself on rotten fuel

The pump is ill.

The hose has a steel nozzle.

We . . . we want

Oh keeper of the royal sperm

Please feed the king

or the king will die"

After completing "When The Music’s Over", Jim then spoke.

"You got it ?"; whilst Robbie tuned in his guitar for the next song.

Jim then announced to the crowd:

"Never.. Never, performed before on public stage."

"Yeah", Jim added as he reasserted his statement to the crowd. The group then played "Wild Child" for the first time in front of a live audience.

Jim made it real difficult for the audience to see him perform on stage as he purposefully threw himself on the stage as he writhed and jerked around the floor like a man possessed - as seen on the video "A Feast Of Friends" and "Soft Parade - A Retrospective".

According to Elektra’s publicist, Danny Fields; "This was when he started to self-destruct. And he did it in public, turning the audience against him".

Reviews for this concert certainly did not receive any appraisals to say the least, particularly Robert Somms of the New York Free Press;

"I would characterize their current act as wearisome, exaggerated, repitious and puerile. To some that would indicate a lack of effort on my part. But Morrison (and he is the reason the Doors can walk off the stage of the singer Bowl after a casual set $25,000 richer) is basically bad theater and worse theatrics.

Beyond the grade-school prurience, the nauseating politicizing, the grotesque strut, the absurd ponts, the deliberate gestures, the unimaginative offering of himself, Morrison and the Doors aren’t just playing some songs or constructing a sound exciting or innovative in itself. They are victimized by the success of a pose they assumed."

The last song on the audience recording is "Wake Up/Light My Fire" - however according to Riordan & Prochnicky (1991), The Doors had finished off the concert with their last song, "The End". Obviously "The End" did not make it’s way on to the audience recording and would’ve been interesting to hear what exactly had taken place. The riot really erupted when supposedly Jim had grabbed his crotch with both hands as he thrusted his body towards a girl in the front row and then made an obscene comment to her. It just so happened that the girl’s boyfriend was sitting next to her and he threw a chair at Jim and the crowd went berserk. Just after midnight when the Doors had finished playing "The End", Jim gave his final scream and fell onto the stage when 200 teenagers rushed onto the stage, throwing chair legs & chairs around and smashed up the equipment. Fifteen private police men couldn’t hold back the crowd and some even made it backstage and started bashing on the dressing room door. Jim was in the dressing room and trying to comfort a girl who had a cut on her face as a chair had been thrown at her.

The riot lasted for about an hour and by the end of it all 3 people were hospitalised for minor injuries and 2 arrests were made.

Unfortunately, the recording of this concert starts to flutter during the last song, but none the less we are fairly lucky that this recording of this concert survived the chaos that occurred there that night.
Copyright © 1999
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Review by Billy Hadley
The Doors headline with opening act The Who. Jim's limo driver gets lost before the show in the traffic of the crowd and the limo is mobbed by fans. Jim gets out and the fans go crazy grabbing his clothes and hair forcing items, necklaces, etc. into his hands. He finally makes it backstage and decides to take a walk around the arena. He gets 10 yards down the hallway and is swarmed by hundreds of fans and is forced to go backstage. The Who refuses to play with The Doors equipment on stage during their set. They get there way and go on but the rotating stage gets stuck and a quarter of the restless crowd cannot see the band furiating many of the audience. They finish the set smashing their equipment and the crowd is roaring. Pete Townsend walks off telling The Doors people that the crowd is ready to explode!

  The Doors wait 30 minutes and finally take the stage with Jim waiting even longer as the others jam. Jim comes out swarmed by security and his film crew. The fans who cannot see begin to storm the stage and are thwarted back by security. Jim is animated and growls songs while dancing and gyrating, hopping and twirling in a shamanic tide often rapping obscenities during breaks and between songs. The crowd is hot and Jim is in rare form. The tension builds with each song, each chant, each movement. Jim and the audience are one. He feels there emotions boiling and slowly turns up the heat. Jim throws himself down on the stage and crawls around on his belly driven by the music, the crowd, and his demons. The Doors finish with "The End" and as Jim sings the last note, falling back on the stage, the crowd as if being pulled back like an arrow, as if on cue, suddenly erupt and thunderously rush the stage. The crowd overtakes the stage and begins smashing the bands equipment. The riot rages on for over an hour with the band backstage drinking. Many fans are injured, hospitalized or arrested.
Copyright © 2006 The Doors Interactive Chronological History at www.doorshistory.com

The Doors - Long Beach, Sports Arena 7.2 1970 - 2CDr (2 sources) - First Source: Master Reel > Cassette > CDR > EAC > WAV > Flac Frontend > FLAC (lvl 8, SBE aligned)
Second Source: Master Reel > Cassette(2) > DAT > CDR > EAC > WAV > Flac Frontend > FLAC (lvl 8, SBE aligned)
Disc 1: First Source:
1. Roadhouse Blues 4:34 - 2. Alabama Song 1:48 - 3. Back Door Man 2:20 - 4. Five To One 5:58 - 5. Ship Of Fools 6:54 - 6. When The Music's Over 18:09 - 7. The Spy 5:28 - 8. Break On Through 4:23 - 9. Is There Any Left? 0:55 - 10. Peace Frog [cut] 3:05 - 11. Blue Sunday [cut] 2:26 - 12. Petition The Lord With Prayer 0:59 - 13. Light My Fire 13:37
Disc 2: First Source cont.:
14. Soul Kitchen 5:26 - 15. Turn Those Lights Off 1:16 - 16. Love Me Two Times 3:43 - 17. Maggie M'Gill 5:37
Second Source:
18. Roadhouse Blues 1:24 - 19. Ship Of Fools 4:58 - 20. When The Music's Over 13:16 - 21. The Spy 3:47 - 22. Break On Through 4:16 - 23. Is There Any Left? 0:25 - 24. Peace Frog 0:24 - 25. Petition The Lord With Prayer 0:38 - 26. Lig