The Doors - Go Insane
Oil Well - RSC 042 CD
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1 Alabama Song 1:36
2 Back Door Man 2:31
3 Five To One 2:46
4 I Can't See Your Face In My Mind 3:15
5 People Are Strange 2:18
6 Money 3:03
7 Who Do You Love 4:38
8 Summer's Almost Gone 3:53
9 I'm A Kingbee 3:52
10 Gloria 5:50
11 Summertime 8:45
12 Close To You 3:08
13 Rock Me Baby 8:35
14 Let It Bleed 2:15
15 The Hilldwellers 2:44
16 No Limits No Laws 8:39
17 Sunday Soon 2:47
18 Go Insane 2:26
2 Back Door Man 2:31
3 Five To One 2:46
4 I Can't See Your Face In My Mind 3:15
5 People Are Strange 2:18
6 Money 3:03
7 Who Do You Love 4:38
8 Summer's Almost Gone 3:53
9 I'm A Kingbee 3:52
10 Gloria 5:50
11 Summertime 8:45
12 Close To You 3:08
13 Rock Me Baby 8:35
14 Let It Bleed 2:15
15 The Hilldwellers 2:44
16 No Limits No Laws 8:39
17 Sunday Soon 2:47
18 Go Insane 2:26
Note:
All songs by The Doors unless noted.
Live in Los Angeles, December 22, 1967
Tracks 1,2,3 recorded live on 1968-07-05 Hollywood Bowl, Los Angeles
Tracks 4 -13,16 recorded live on 1967-03-07,10 Matrix Club, San Francisco
Track 14 recorded between July 1968–May 1969, Elektra Sound Recorders, Los Angeles, California
Track 14 recorded between July 1968–May 1969, Elektra Sound Recorders, Los Angeles, California
Track 15 recorded live on 1968-09-20 (early show) Konserthuset, Stockholm, Sweden
Track 17 recoded live on 1970-06-05 Center Coliseum, Seattle
Track 17 recoded live on 1970-06-05 Center Coliseum, Seattle
Track 18 recorded on 1965-09-02 Demo Acetate, World Pacific Studios, Los Angeles
Lineup:
Jim Morrison - vocals
Robby Krieger - guitars
Ray Manzarek - keyboards and vocals
John Densmore - drums
This album is a digital clone of: "Summer's Almost Gone" - Luna Records – LU 9205
This Oil Well version has a fine cover, fine quality.
On the front cover Jim Morrison performing live during a concert.
Limited to 200 copies only. Due to its rarity and good quality, this disc is recommended.
Please also note that: Rock Me Baby is Woman Is A Devil/Rock Me; No Limits No Laws is Summertime; Let it Bleed is Do it from The Soft Parade album.
Tracks 1,2,3 have been released officially on: Live At The Bowl '68
Tracks 4 -13,16 have been released officially on Live At The Matrix '67 - 2008 Rhino;
Track 14 has been released officially on The Soft Parade - 1967;
Track 17 has been released officially on: Behind Closed Doors: The Rarities - 2013;
Track 18 has been released officially on The Doors Anthology [Disc 1]
Moonlight Drive
_________________________________________________________________________
Who are The Doors?
The Doors, one of the most influential and controversial rock bands of the 1960s, were formed in Los Angeles in 1965 by UCLAfilm students Ray Manzarek, keyboards, and Jim Morrison, vocals; with drummer John Densmore and guitarist Robby Krieger.The group never added a bass player, and their sound was dominated by Manzarek's electric organ work and Morrison's deep,sonorous voice, with which he sang and intoned his highly poetic lyrics. The group signed to Elektra Records in 1966 andreleased its first album, The Doors, featuring the hit "Light My Fire," in 1967. Like "Light My Fire," the debut album was a massive hit, and endures as one of the most exciting, groundbreaking recordingsof the psychedelic era.
Blending blues, classical, Eastern music, and pop into sinister but beguiling melodies, the bandsounded like no other. With his rich, chilling vocals and somber poetic visions, Morrison explored the depths of the darkestand most thrilling aspects of the psychedelic experience. Their first effort was so stellar, in fact, that The Doors were hard-pressed to match it, and although their next few albums contained a wealth of first- rate material, the group also beganrunning up against the limitations of their recklessly disturbing visions. By their third album, they had exhausted their initialreservoir of compositions, and some of the tracks they hurriedly devised to meet public demand were clearly inferior to, andimitative of, their best early work. On The Soft Parade, the group experimented with brass sections, with mixed results.
Accused (without much merit) by muchof the rock underground as pop sellouts, the group charged back hard with the final two albums they recorded with Morrison,on which they drew upon stone-cold blues for much of their inspiration, especially on 1971's L.A. Woman.From the start, The Doors' focus was the charismatic Morrison, who proved increasingly unstable over the group's briefcareer. In 1969, Morrison was arrested for indecent exposure during a concert in Miami, an incident that nearly derailed theband. Nevertheless, The Doors managed to turn out a series of successful albums and singles through 1971, when, upon thecompletion of L.A. Woman, Morrison decamped for Paris. He died there, apparently of a drug overdose.
The Doors at Hollywood Bowl
On 5 July 1968, The Doors celebrated their own independent streak with a performance at the Hollywood Bowl which, like most things they did, has since passed into rock lore (and not just because Mick Jagger was in the crowd). While parts of it have been released before, this is the first ever CD/vinyl (and DVD) release of the entire show, from intro to, inevitably, The End. Modern technology has found a way to clean up tracks previously considered poorly recorded, including Hello, I Love You and Spanish Caravan. It’s a reverent restoration job.
At the time The Doors, in their third year, were on an almighty high. Hello, I Love You was a Kinks-influenced radio staple racing towards No.1. The band grasped the show’s importance and, unusually, rehearsed (something they rarely did). It shows in the pacing, as crowd-pleasing, beefy 12-bars rein in Jim Morrison’s poetic, sometimes indulgent ramblings just before they tilt into self-parody. What shows less is that the band took LSD before going onstage: Morrison sounds relatively cheerful, as if he’d had a big bag of barley sugars. If the musicians were all off their trolleys, one can only assume that rehearsals led to impeccable muscle memory. Ray Manzarek recalled they were “locked in”. Drummer John Densmore had even insisted on a planned set list, to be adhered to (again, something usually anathema to The Doors). There is a crisp, tight zip here, not always evident in the group’s cooed-over canon.
Possibly some of that is down to the new mix and edit. During Light My Fire you can hear firecrackers exploding: it sounds, as they say, like you are actually there, among the 18,000-strong congregation. So from the swing of When the Music’s Over and the sleazy lilt of Brecht/Weill’s Alabama Song, this is a band delivering, knowing they’ve arrived, swaggering without slobbering.
Moonlight Drive and Horse Latitudes are allowed to gleam and the night gathers momentum until that mother of all comedowns, The End, puts a wail in the tail. Love or loathe The Doors, this will polish the windows of your perception.
This Oil Well version has a fine cover, fine quality.
On the front cover Jim Morrison performing live during a concert.
Limited to 200 copies only. Due to its rarity and good quality, this disc is recommended.
Please also note that: Rock Me Baby is Woman Is A Devil/Rock Me; No Limits No Laws is Summertime; Let it Bleed is Do it from The Soft Parade album.
This album as most of Oil Well releases is a clone of another bootleg of the time. In particular this bootleg is a copy of Summer's Almost Gone that was the first one on the scene. Both CDs contain a total of 18 songs, the majority taken from the Matrix with a little Seattle and Stockholm thrown in.
Not only have both CDs mislabeled some songs but a major blunder is the double appearance of
the Summertime instrumental from the March 10, 1967 Matrix Club show. It shows up on track #11
and again on track #16, this time mislabeled as No Limits, No Laws.
Read below for more informations!
© Official released material:Read below for more informations!
Tracks 1,2,3 have been released officially on: Live At The Bowl '68
Tracks 4 -13,16 have been released officially on Live At The Matrix '67 - 2008 Rhino;
Track 14 has been released officially on The Soft Parade - 1967;
Track 17 has been released officially on: Behind Closed Doors: The Rarities - 2013;
Track 18 has been released officially on The Doors Anthology [Disc 1]
Moonlight Drive
_________________________________________________________________________
Who are The Doors?
The Doors, one of the most influential and controversial rock bands of the 1960s, were formed in Los Angeles in 1965 by UCLAfilm students Ray Manzarek, keyboards, and Jim Morrison, vocals; with drummer John Densmore and guitarist Robby Krieger.The group never added a bass player, and their sound was dominated by Manzarek's electric organ work and Morrison's deep,sonorous voice, with which he sang and intoned his highly poetic lyrics. The group signed to Elektra Records in 1966 andreleased its first album, The Doors, featuring the hit "Light My Fire," in 1967. Like "Light My Fire," the debut album was a massive hit, and endures as one of the most exciting, groundbreaking recordingsof the psychedelic era.
Blending blues, classical, Eastern music, and pop into sinister but beguiling melodies, the bandsounded like no other. With his rich, chilling vocals and somber poetic visions, Morrison explored the depths of the darkestand most thrilling aspects of the psychedelic experience. Their first effort was so stellar, in fact, that The Doors were hard-pressed to match it, and although their next few albums contained a wealth of first- rate material, the group also beganrunning up against the limitations of their recklessly disturbing visions. By their third album, they had exhausted their initialreservoir of compositions, and some of the tracks they hurriedly devised to meet public demand were clearly inferior to, andimitative of, their best early work. On The Soft Parade, the group experimented with brass sections, with mixed results.
Accused (without much merit) by muchof the rock underground as pop sellouts, the group charged back hard with the final two albums they recorded with Morrison,on which they drew upon stone-cold blues for much of their inspiration, especially on 1971's L.A. Woman.From the start, The Doors' focus was the charismatic Morrison, who proved increasingly unstable over the group's briefcareer. In 1969, Morrison was arrested for indecent exposure during a concert in Miami, an incident that nearly derailed theband. Nevertheless, The Doors managed to turn out a series of successful albums and singles through 1971, when, upon thecompletion of L.A. Woman, Morrison decamped for Paris. He died there, apparently of a drug overdose.
The Doors at Hollywood Bowl On 5 July 1968, The Doors celebrated their own independent streak with a performance at the Hollywood Bowl which, like most things they did, has since passed into rock lore (and not just because Mick Jagger was in the crowd). While parts of it have been released before, this is the first ever CD/vinyl (and DVD) release of the entire show, from intro to, inevitably, The End. Modern technology has found a way to clean up tracks previously considered poorly recorded, including Hello, I Love You and Spanish Caravan. It’s a reverent restoration job.
At the time The Doors, in their third year, were on an almighty high. Hello, I Love You was a Kinks-influenced radio staple racing towards No.1. The band grasped the show’s importance and, unusually, rehearsed (something they rarely did). It shows in the pacing, as crowd-pleasing, beefy 12-bars rein in Jim Morrison’s poetic, sometimes indulgent ramblings just before they tilt into self-parody. What shows less is that the band took LSD before going onstage: Morrison sounds relatively cheerful, as if he’d had a big bag of barley sugars. If the musicians were all off their trolleys, one can only assume that rehearsals led to impeccable muscle memory. Ray Manzarek recalled they were “locked in”. Drummer John Densmore had even insisted on a planned set list, to be adhered to (again, something usually anathema to The Doors). There is a crisp, tight zip here, not always evident in the group’s cooed-over canon.
Possibly some of that is down to the new mix and edit. During Light My Fire you can hear firecrackers exploding: it sounds, as they say, like you are actually there, among the 18,000-strong congregation. So from the swing of When the Music’s Over and the sleazy lilt of Brecht/Weill’s Alabama Song, this is a band delivering, knowing they’ve arrived, swaggering without slobbering.
Moonlight Drive and Horse Latitudes are allowed to gleam and the night gathers momentum until that mother of all comedowns, The End, puts a wail in the tail. Love or loathe The Doors, this will polish the windows of your perception.
The Doors Release Live at the Matrix 1967: The Original Masters
The Doors were only two months into the nationwide release of their eponymous first album when they played a five-night stand at San Francisco’s The Matrix in March 1967.
The band — singer Jim Morrison, keyboardist Ray Manzarek, guitarist Robby Krieger and drummer John Densmore — was still very much nascent on the national scene, and the Matrix gigs were only attended by a handful of people even though they had been causing a stir down the California coast in their native Los Angeles at clubs like the Whisky a Go Go and the London Fog. And by any other measure these five shows would have been long forgotten about after the van was packed up. However, Peter Abram — who co-owned The Matrix with Marty Balin of Jefferson Airplane — had a penchant for recording every show at the pizza parlor-turned-nightclub. Pirated copies of his tapes have become the stuff of bootleg lore, and these Doors shows were no exception.
Originally heard on the gray and black markets, the sound of these performances are raw and grainy from poor multi-generational copies floating around. But now for the first time, these concerts at The Matrix are available with a new sense of clarity and fidelity having been sourced from Abram’s original first generation master tapes.
The band — singer Jim Morrison, keyboardist Ray Manzarek, guitarist Robby Krieger and drummer John Densmore — was still very much nascent on the national scene, and the Matrix gigs were only attended by a handful of people even though they had been causing a stir down the California coast in their native Los Angeles at clubs like the Whisky a Go Go and the London Fog. And by any other measure these five shows would have been long forgotten about after the van was packed up. However, Peter Abram — who co-owned The Matrix with Marty Balin of Jefferson Airplane — had a penchant for recording every show at the pizza parlor-turned-nightclub. Pirated copies of his tapes have become the stuff of bootleg lore, and these Doors shows were no exception.
Originally heard on the gray and black markets, the sound of these performances are raw and grainy from poor multi-generational copies floating around. But now for the first time, these concerts at The Matrix are available with a new sense of clarity and fidelity having been sourced from Abram’s original first generation master tapes.
The Doors Live at the Matrix 1967: The Original Masters CD set
In a few months after these San Francisco shows, “Light My Fire” would propel The Doors to superstardom that saw them land an appearance on The Ed Sullivan Show as well as the top of the Billboard Hot 100. The Matrix tapes capture the Voodoo viscera of this band on the cusp of mainstream success, where they’re heard digging into bluesy jams on Slim Harpo’s “I’m A King Bee” and “Crawling King Snake” by Big Joe Williams, while getting lost in the complexities of such epic compositions as “When The Music’s Over” and “The End.”
They also performed half the songs destined for the group’s soon-to-be-recorded second album, Strange Days, including early performances of “Moonlight Drive” and “People Are Strange.” They even delivered an instrumental take of “Summertime,” not to mention telling covers of Lee Dorsey’s Allen Toussaint-penned screed “Get Out of My Life, Woman” and a version of Milt Jackson’s “Bag’s Groove” from March 7th that’s included on a 7-inch inside the vinyl edition of this collection.
“As they did as house band at the Whisky a Go Go a year before, The Doors fell comfortably into nightclub mode at the Matrix, trying out new songs and arrangements, improvising lyrics and instrumental parts, and extending songs with jams,” writes Joel Selvin in his expert liner notes. “The Doors were quite at home with three-set nights in front of drinking audiences.”
“They were young, enthusiastic, out to have fun,” the band’s longtime studio engineer Bruce Botnick, who worked on this new Matrix set, told Selvin. “They experimented a lot, changed arrangements around and played things they never did before.”
Rhino has yet to upload Live at the Matrix 1967: The Original Masters to Spotify, Tidal, Apple Music or any of those spots at press time, meaning the only way you’re gonna hear it is if you buy the CD or the vinyl (though be forewarned, the tracklist varies depending on the format). Either way, however, having these performances in such a definitive capacity as this great new box set, which comes out today, is well worth the investment if you’re a Doors fan.
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