The Doors - Summer's Almost Gone Oil Well - RSC 114

The Doors - Summer's Almost Gone
Oil Well - RSC 114

1. Back Door Man 5:49
2. My Eyes Have Seen You 3:00
3. Soul Kitchen 4:19
4. Get Off My Life 4:25
5. When The Music's Over 13:09
6. Close To You 3:08
7. Crawling King Snake 5:08
8. I Can't See Your Face In My Mind 3:27
9. People Are Strange 2:22
10. Who Do You Love 3:57
11. Alabama Song 3:48
12. The Crystal Ship 3:16

Note:
All songs by Morrison/Mankzarek/Krieger/Densmore unless noted.
Live in San Francisco, CA - March 7, 1967 - Vol.1

Track 1 to 5:The Matrix, San Francisco (CA), United States. 7th March 1967, 1st show
Tracks 6 to 12: The Matrix, San Francisco (CA), United States. 7th March 1967, 2nd show

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

This album is a copy of disc one (1) from The Complete Matrix Club Tapes.
Due to its rarity and good quality, this disc is recommended.
Summary Italian limited edtion release, only 200 copies available.
Finishing off the set of The Complete Matrix Club Tapes copies are: Moonlight Drive, Shake Your Moneymaker, and Down On Me.
Please note that this bootleg is one of the rarest from this italian bootleg label!

Audio quality: 
Quality content: 

 © Official released material:
Tracks 1-12 have been released officially as Live at the Matrix 1967 in 2008 by Rhino
________________________________________________________________________

Live at the Matrix 
The Doors were still a club band in the late winter and spring of 1967 — not yet stars, not quite spectacle, reliant on blues and R&B covers to get through a whole evening on the bandstand. Stuck in a long limbo between the January release of their debut album, The Doors, and the summertime explosion of their second single, “Light My Fire,” the group played discothèques in Los Angeles and New York and, during a legendary engagement that March, more than a dozen sets over five nights at the Matrix, a tiny seated club in San Francisco. This two-CD set is the first official release of the widely bootlegged tapes made there, and barring the discovery of previously unknown reels from the band’s 1966 learning curve on the Sunset Strip, the two dozen rough but vivid tracks on Live at the Matrix are the closest we will get to hearing the live Doors in their early heated maturity, before singer Jim Morrison’s addiction to abandon turned their arena shows into hit-and-miss theater.

Even with a year’s gigging and that perfect first album behind them, Morrison, organist Ray Manzarek, guitarist Robby Krieger and drummer John Densmore seem at times like a band in transition, not yet done working out the kinks in their interplay. “Light My Fire” opens like a wet match, in low bossa-nova gear — Manzarek’s famous intro lick doesn’t show up until after the first verse. But more often, the Doors sound sure of their gifts — they perform half of their next LP, Strange Days — and stretch out with a unique, muscular cohesion, despite the lack of a conventional bassist. Densmore’s military snap, Krieger’s metallic-sinew sustain and Manzarek’s meaty, rolling-Bach surge in the midsection of “Soul Kitchen” and the long climax of “Moonlight Drive” are punchy psychedelic funk. After Morrison improvises new lines midway through “The End” (“Can you stand by and watch the pictures burn….”), the band swerves in kind, with a brief, jolting shift in the tense raga flow.

There is an unusual restraint in Morrison’s vocals, a concentration rare on later live recordings, as if he didn’t have enough room to perform at the Matrix. But he was never better, onstage or on record, than when he was in control of his impulses, and Morrison directs his eruptions in the dark march of “The Crystal Ship,” the hellbent charge of “My Eyes Have Seen You” and the pure lust of Them’s “Gloria” with a feral will and melodic clarity. The sparse, polite applause on these recordings suggests the Doors were not, in March 1967, the hottest thing in town. Everything else shows why that would change — soon.

Who are The Doors 
The Doors arrived in 1967, the same year as Sgt. Pepper’s Lonely Hearts Club Band; both were psychedelic touchstones and among the first major rock discs that truly stood as albums, rather than collections of songs. But whereas the Beatles took a basically sunny view of humanity, the Doors’ debut offered the dark side of the moon. Their sound was minor-keyed and subterranean, bluesy and spacey, and their subject matter — like that of many of rock’s great albums — was sex, death and getting high. On “End of the Night,” the band invited you to “take a journey to the bright midnight.”

The key to the band’s appeal was the tension between singer Jim Morrison’s Dionysian persona and the band’s crisp, melodic playing. Keyboardist Ray Manzarek and guitarist Robby Krieger’s extended solos on the album version of “Light My Fire” carried one to the brink of euphoria, while the eleven-minute epic “The End” journeyed to a harrowing psychological state. Scattered among these lengthier tracks are such nuggets as “Soul Kitchen” (“learn to forget”) and Morrison’s acid-drenched takes on the blues (“Back Door Man”) and Kurt Weill (“Alabama Song”). Though great albums followed, The Doors stands as the L.A. foursome’s most successful marriage of rock poetics with classically tempered hard rock — a stoned, immaculate classic.

Long available on bootleg, Live at the Matrix captures the Doors in the period just before Light My Fire made them stars. Here they perform their debut, some blues standards and much of what would become Strange Days in a near-empty LA nightclub. There's a ghostly, eerie atmosphere as storming renditions of Soul Kitchen and The Crystal Ship are met with polite applause. Although Back Door Man hints at sexual deviance, Jim Morrison has not yet discovered the Dionysian power that made him such an explosive (if excessive) performer; he sounds focused, innocent and eager. The instrumental flights of Ray Manzarek, John Densmore and Robbie Krieger show the Doors were a mighty force even without him, although Morrison's poetry and ad-libs dwelling on death hint at what's to come.

The Doors, one of the most influential andcontroversial rock bands of the 1960s 

The Doors, one of the most influential andcontroversial rock bands of the 1960s, were formedin Los Angeles in 1965 by UCLAfilm students RayManzarek, keyboards, and Jim Morrison, vocals;with drummer John Densmore and guitarist RobbyKrieger.The group never added a bass player, andtheir sound was dominated by Manzarek's electricorgan work and Morrison's deep,sonorous voice,with which he sang and intoned his highly poeticlyrics. The group signed to Elektra Records in 1966andreleased its first album, The Doors, featuringthe hit "Light My Fire," in 1967.Like "Light My Fire," the debut album was a massivehit, and endures as one of the most exciting,groundbreaking recordingsof the psychedelic era.Blending blues, classical, Eastern music, and popinto sinister but beguiling melodies, thebandsounded like no other. With his rich, chillingvocals and somber poetic visions, Morrisonexplored the depths of the darkestand mostthrilling aspects of the psychedelic experience.

Their first effort was so stellar, in fact, that The Doors were hard-pressed to match it, and althoughtheir next few albums contained a wealth of first-rate material, the group also beganrunning upagainst the limitations of their recklessly disturbingvisions. By their third album, they had exhaustedtheir initialreservoir of compositions, and some ofthe tracks they hurriedly devised to meet publicdemand were clearly inferior to, andimitative of,their best early work.On The Soft Parade, the group experimented withbrass sections, with mixed results. Accused(without much merit) by muchof the rockunderground as pop sellouts, the group chargedback hard with the final two albums they recordedwith Morrison,on which they drew upon stone-coldblues for much of their inspiration, especially on1971's L.A. Woman.From the start, The Doors'focus was the charismatic Morrison, who provedincreasingly unstable over the group's briefcareer.

In 1969, Morrison was arrested for indecentexposure during a concert in Miami, an incidentthat nearly derailed theband. Nevertheless, TheDoors managed to turn out a series of successfulalbums and singles through 1971, when, uponthecompletion of L.A. Woman, Morrison decampedfor Paris. He died there, apparently of a drugoverdose. The three survivingDoors tried to carryon without him, but ultimately disbanded. Yet TheDoors' music and Morrison's legend continuedtofascinate succeeding generations of rock fans: inthe mid-'80s, Morrison was as big a star as he'dbeen in the mid-'60s, andElektra has sold numerousquantities of The Doors' original albums plusreissues and releases of live material over theyears,while publishers have flooded bookstoreswith Doors and Morrison biographies. In 1991,director Oliver Stone made The Doors,a feature filmabout the group starring Val Kilmer as Morrison.The remaining three members of The Doors --Manzarek, Densmore, and Krieger -- were involvedin various musical activitiesin the decadesfollowing Morrison's death but never sawsuccesses approaching the levels of the originalDoors. After the turnof the millennium, Manzarekand Krieger performed live under the name Doorsof the 21st Century with singer Ian Astbury oftheCult handling vocals; a legal battle ensued whenDensmore filed suit against his former bandmatesover use of the Doorsname. Ray Manzarek died inMay 2013 in Rosenheim, Germany after battling bileduct cancer; he was 74 years old

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