The Doors - Down On Me - Oil Well RSC CD 117

The Doors - Down On Me
Oil Well RSC CD 117

1.Summer's Almost Gone 4:04
2.I'm A King Bee 5:20
3.Gloria 6:04
4.Break On Through 5:02
5.Summertime 9:42
6.Back Door Man 5:45
7.Alabama Song 3:30
8.The End 4:56

Note:
All songs by Morrison/Mankzarek/Krieger/Densmore unless noted.
Live in San Francisco, CA - March 10, 1967 - Vol.2

Tracks 1-7 recorded live at the Matrix on 10 Mar 1967
Track 8 recorded live at the Matrix on 7 Mar 1967.

Lineup:
Jim Morrison - vocals
Ray Manzarek - keyboards, organ and vocals
John Densmore - drums
Robby Krieger - guitars

This bootleg is a copy of disc four from The Complete Matrix Club Tapes (KTS BX 009).
This Oil Well version has a fine cover, fine quality. Limited to 200 copies only.
On the four nicely designed Oil Well midprice discs Summer's Almost Gone (RSC CD 114), Moonlight Drive (RSC CD 115), Shake Your Moneymaker (RSC CD 116) and Down On Me (RSC CD 117) you find the complete recordings of four sets at the Matrix Club, San Francisco, March 7th and March 10th, 1967. No wonder the first set of March 10th is still missed -  those discs were copied from the great KTS box The Complete Matrix Club Tapes. 

If you own the box The Complete Matrix Club Tapes (KTS BX 009) you should be aware that thism mid-priceCD is a copy of disc #4 from the box. The Complete Matrix Club Tapes is an excellent boxset including all the Matrix tapes!
Please note that this bootleg is one of the rarest from this italian bootleg label!

Audio quality: 
Quality content: 

© Official released material:
This concert has been released officially as Live at the Matrix 1967 in 2008 by Rhino - Bright Midnight Archives and as  Live At The Matrix 1967 The Original Masters (2023 Elektra – 603497835911, Rhino R2 698484) 3CDS
________________________________________________________________________

Live at the Matrix 1967 
Live at the Matrix 1967 is a double live album by The Doors, compiled and resequenced from recordings made on March 7 and 10, 1967 at The Matrix in San Francisco by club co-owner Peter Abram. The recording is notable because it is one of the earliest live recordings of the band known to exist: by March 1967, The Doors had recorded only one album (on January 4, 1967), "Light My Fire" had yet to be released as a single (on April 24, 1967), and they were still relatively unknown outside Southern California. This is part of previously unreleased material of the Bright Midnight Archives collection of live albums by The Doors.

On November 22, 2008, recording engineer Peter Abram revealed in an online posting the equipment he used to record The Doors at The Matrix. "I used an Akai tape recorder (tubes), 4 Calrad mics on the stage and a Calrad mic mixer on the instrumental channel. On the vocal channel: a Knight mixer with 3 Electrovoice 676 and Shure mics. The Calrad mics that I used on the instrumental track were model DM-21" said Abram. The original master 1/4 track stereo tapes were recorded at 7.5 ips on Abram's Akai reel-to-reel vacuum tube tape. PopMatters music critic Steve Horowitz observed in his review of Live at the Matrix 1967, entitled "Money...That's What I Want,"that the Rhino CD was not sourced from Peter Abram's master tapes; Rhino's press release stated that "first generation tapes" were used.

On December 2, 2008, Peter Abram allowed photos to be taken of his master tape boxes. These photos were published online at the Steve Hoffman Forums on December 4, 2008.
Abram's notations on the master tape boxes indicate that a 'jam' was performed between "Soul Kitchen" and "Get Out of My Life Woman" during the March 7, 1967 show.
For Record Store Day 2017, a condensed version was released for the 50th Anniversary. Only 10,000 copies were pressed.

Limited-edition version of Doors’ Matrix shows is the one to have

Like nearly every band that’s made it big, The Doors were inextricably linked to certain concert venues — for good and bad reasons.From May to August 1966, they were the house band at the hip and happening (and still open for business) Whisky a Go Go in Los Angeles. It’s where Jim Morrison, Ray Manzarek, Robby Krieger and John Densmore polished their sound and original material, and it’s also the place where The Doors won over Jac Holzman, the founder and president of Elektra Records.Flash forward to March 1, 1969: Established international stars at that point, The Doors were booked to perform at the Dinner Key Auditorium in Miami, Florida. It was a homecoming of sorts for Sunshine State native Morrison, but ultimately, the gig was more devastation than celebration. 

Morrison’s actions that night resulted in the singer’s arrest on felony and misdemeanor charges related to profanity and indecent exposure; the band as a whole were punished by way of canceled shows and a period of reduced radio airplay. Then there’s The Matrix, a small San Francisco club that counted Jefferson Airplane singer Marty Balin as one of its owners. And even though The Doors played way more San Francisco dates at the highly regarded Fillmore, The Matrix holds a distinct place in the band’s history.

That’s because Matrix co-owner Peter Abram recorded The Doors’ sparsely attended gigs there in March 1967, resulting in the circulation of bootleg tapes as well as official releases on CD (2008) and vinyl (2017 and 2018). The latest authorized collection from those shows is the limited-edition Live at The Matrix, 1967: The Original Masters, released Sept. 8.

As the title makes clear, first-generation tapes were used, and longtime Doors producer-engineer Bruce Botnick once again has worked his sonic magic. (Despite what Botnick wrote in the liner notes for 2008’s Live at The Matrix ’67, it turns out he actually used third-generation tapes for that two-CD collection.) Even so, the sound is slightly thin and distant, yet still clear, with the performance of each band member clearly audible at all times. There’s more music this time around, too. Eight tracks on the 2023 version — among them the instrumentals “Bags’ Groove” and “All Blues,” both of which are long and interesting — are listed as previously unreleased.

In the liner notes, written by veteran music journalist Joel Selvin, guitarist Krieger likens the band’s Matrix shows to “a paid rehearsal.” Actually, The Doors were focused and had their act together at The Matrix in early March 1967, two months after the release of their self-titled Elektra debut. If there’s an obvious rehearsal aspect to these concert recordings 50-plus years later, it has to do with the wealth of material they played that would ultimately appear on most of the subsequent Morrison-fronted studio albums. Such songs as “People Are Strange” and “My Eyes Have Seen You” (two eventual Strange Days cuts) are very close to their finished arrangements and tempos, and what these pre-studio renditions do is illuminate details and subtleties in the music.

While some songs appear multiple times on Live at The Matrix, 1967: The Original Masters, the band’s most famous tune appears just once, in the third set on March 7, 1967. More importantly, the lone rendition of “Light My Fire” (which was about four months away from topping the Billboard Hot 100) is performed without the signature keyboard intro — instead, Krieger starts by playing arpeggiated chords in a folky style. As Krieger told Goldmine for a 2017 special issue, “if you want to hear the original arrangement [to ‘Light My Fire’], it’s on the Matrix tapes.” And of the various versions of those tapes in circulation, Elektra/Rhino’s Live at The Matrix, 1967: The Original Masters is the definitive package.

Who are The Doors: a biography
The Doors were an American rock band formed in Los Angeles in 1965, with vocalist Jim Morrison, keyboardist Ray Manzarek, guitarist Robby Krieger, and drummer John Densmore. They were among the most controversial and influential rock acts of the 1960s, mostly because of Morrison's lyrics and his erratic stage persona, and the group was widely regarded as representative of the era's counterculture

The band took its name from the title of Aldous Huxley's book The Doors of Perception, itself a reference to a quote by William Blake. After signing with Elektra Records, the Doors released eight albums in five years, some of which are considered among the greatest of all time  including The Doors (1967), Strange Days (1967), and L.A. Woman (1971). By 1972 the Doors had sold over 4 million albums domestically and nearly 8 million singles. Morrison died in uncertain circumstances in 1971. The band continued as a trio until disbanding in 1973.

They released three more albums in the 1970s, two of which featured earlier recordings by Morrison, and over the decades reunited on stage in various configurations. In 2002, Manzarek, Krieger and Ian Astbury of the Cult on vocals started performing as the Doors of the 21st Century. Densmore and the Morrison estate successfully sued them over the use of the band's name. After a short time as Riders on the Storm, they settled on the name Manzarek–Krieger and toured until Manzarek's death in 2013.

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