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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The Doors - Shake Your Moneymaker - Oil Well RSC CD 116

The Doors - Shake Your Moneymaker
Oil Well RSC CD 116

1.My Eyes Have Seen You 3:58
2.Soul Kitchen 6:15
3.I Can't See Your Face In My Mind 3:23
4.People Are Strange 2:22
5.When The Music's Over 12:27
6.Money 3:31
7.Who Do You Love 4:50
8.Moonlight Drive 6:04

Note
All songs by Morrison/Mankzarek/Krieger/Densmore unless noted.
Live in San Francisco, CA - March 10, 1967 - Vol.1

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

This bootleg is a copy of The Complete Matrix Club Recordings CD3 (KTS BX 009).
If you own the box The Complete Matrix Club Tapes (KTS BX 009) you should be aware
that this mid-price CD is a copy of disc #3 from the box. Fine cover, fine quality.
On the front cover Robby Krieger and Jim Morrison performing live.
Limited to 200 copies only.

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 Archive and as Live At The Matrix 1967 The Original Masters (2023 Elektra – 603497835911, Rhino R2 698484) 3CDS
_______________________________________________________________________


Live at the Matrix 1967
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.

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 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.

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 UCLA film 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 and released its first album, The Doors, featuring the hit "Light My Fire" in 1967.

From the start, the Doors' focus was the charismatic Morrison, who proved increasingly unstable over the group's brief career. In 1969, Morrison was arrested for indecent exposure during a concert in Miami, an incident that nearly derailed the band. Nevertheless, the Doors managed to turn out a series of successful albums and singles through 1971, when, upon the completion of L.A. Woman, Morrison decamped for Paris. He died there, apparently of a drug overdose. The three surviving Doors tried to carry on without him, but ultimately disbanded. Yet the Doors' music and Morrison's legend continued to fascinate succeeding generations of rock fans: In the mid-'80s, Morrison was as big a star as he'd been in the mid-'60s, and Elektra has sold numerous quantities of the Doors' original albums plus reissues and releases of live material over the years, while publishers have flooded bookstores with Doors and Morrison biographies. In 1991, director Oliver Stone made The Doors, a feature film about the group starring Val Kilmer as Morrison.

London Fog 1966The remaining three members of the Doors -- Manzarek, Densmore, and Krieger -- were involved in various musical activities in the decades following Morrison's death but never saw successes approaching the levels of the original Doors. After the turn of the millennium, Manzarek and Krieger performed live under the name Doors of the 21st Century with singer Ian Astbury of the Cult handling vocals; a legal battle ensued when Densmore filed suit against his former bandmates over use of the Doors name. Ray Manzarek died in May 2013 in Rosenheim, Germany after battling bile duct cancer; he was 74 years old. On February 12, 2016, Krieger and Densmore reunited in tribute to Manzarek at the benefit concert Stand Up to Cancer. Later that year, the earliest known live tapes of the Doors were released as London Fog 1966, and early in 2017 the Doors celebrated their 50th anniversary with deluxe reissues of their debut album and Strange Days, along with a new compilation called Singles. Over the next two years, 50th anniversary editions of Waiting for the Sun and The Soft Parade followed.

Break on Through: The Doors Re-Enter The Matrix in Restored Live Set

One of the most legendary live recordings from The Doors is finally coming out in its most definitive form. Live At The Matrix 1967: The Original Masters, due September 8, is the last word on the group's pivotal dates at the San Francisco club The Matrix - among the earliest concert recordings of the group. The 3CD or 5LP/7" box set will include, for the first time, all of club owner Peter Abram's surviving original master tapes of the performances, remastered by the band's longtime engineer Bruce Botnick.

The Doors' instantly recognizable stage presence can be felt on these performances, only months after the release of their self-titled debut and predating the breakthrough single release of that album's "Light My Fire" (which would feature in their controversial national television debut on The Ed Sullivan Show that fall). In addition to the lauded songs from The Doors - among them "Break On Through (to the Other Side)," "The Crystal Ship" and the epic "The End" - singer Jim Morrison, keyboardist Ray Manzarek, guitarist Robby Krieger and drummer John Densmore were already integrating into their set songs that would be recorded on that year's follow-up Strange Days, including "People Are Strange," "Moonlight Drive" and "When the Music's Over."

Abram knew he had something special with the Matrix recordings he captured, but it would be decades before anyone heard any of them officially. After years of bootlegs, two tracks made it onto a 1997 career-spanning box set. A decade later, to mark the 40th anniversary of the shows, a 2CD set offered many of the Matrix performances for the first time - but fans and critics debated the quality of the sources used (and ultimately discovered that the set was created from third-generation copies of the original tapes). Restoration was finally underway a decade after that, with 15 tracks selected for a pair of Record Store Day exclusive LPs released in 2017 and 2018. Now, all 37 performances completely fill a gap in the story of one of the most defining bands of their era.

Rhino's supplied track listing reflected the vinyl release, in which "Bags' Groove" is included on a separate single-sided 7". The CD should put everything in chronological order. The label also indicated the set will be limited to 14,000 numbered copies on vinyl and 21,000 on CD. 

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The Doors – Moonlight drive Oil Well – RSC 115 CD

The Doors – Moonlight Drive
Oil Well – RSC 115 CD

1 Twentieth Century Fox 2:59
2 Moonlight Drive 6:41
3 Summer's Almost Gone 3:53
4 Unhappy Girl 4:12
5 Woman 8:36
6 Break On Through 4:25
7 Light My Fire 8:36
8 The End 14:29

Note
All songs by Morrison/Mankzarek/Krieger/Densmore unless noted.
Live in San Francisco, CA - March 7, 1967 - Vol.2

Tracks 1-6 recorded live at the Matrix, 7 Mar 1967,
Tracks 7-8 recorded live at Matrix 10 mar 1967

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

This album is a digital copy of disc two from The Complete Matrix Club Tapes.
Due to its rarity and good quality, this disc is recommended.
On the front cover two pictures of The Doors, one from the Morrison Hotel photo session.
Please note that  track 5 here noted as Woman is a medley of: Me And The Devil Blues/Sittin' Here Thinkin'/Rock Me Baby

Audio quality: 

Quality content: 

 © Official released material:
This bootleg 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 - BBC Review
So long after their explosive heyday The Doors and Jim Morrison retain their gold-standard of cool. Like all major acts they’ve been incorporated, corporatized and accessorised to the nth degree – a pair of Doors-branded Coverse All-Stars anyone? Of course not everyone however buys into the myth of Morrison as the epitome of rock n' roll shaman dispensing visionary wisdom. As David Crosby caustically wrote about such myth-making in his 1998 CPR song, Morrison, "I've seen the movie and it wasn't like that."Strip away the fables surrounding Morrison and The Doors and what are we left with? The answer, or at least something approaching part of it, tantalisingly hovers in and out of view on this 2 CD live bootleg.

Although these tapes will be well known by hardcore Doors fans, this is the first time they’ve seen the official light of day. Massaged into life by Bruce Botnik (engineer on those original Paul Rothschild produced albums), they offer a glimpse, as Ray Manzarek observes, of the band having fun. Playing a sizable chunk of their first album and half of their follow up record (yet to be laid down in a studio), the rest of the set is upholstered with a few greasy-spoon standards.
Just a few weeks on from the release of their debut, word about the band’s impending canonisation does not appear to have reached the handful of punters who turned up to Marty Balin’s nightclub in San Francisco, and who can be heard offering only the politest of applause between numbers.
Without the catalyst of audience reaction and in the face of such indifference, the sparks rarely fly and despite Manzarek's assertion about the extent to which this meant the band could stretch out and experiment, we have a performance that only occasionally smoulders, never quite ever catching fire. In truth, ther'’s little evidence here of a group that matches essayist Joan Didion’s description of The Doors as "the Norman Mailers of the Top Forty, missionaries of apocalyptic sex." Morrison’s celebrated "wardrobe malfunction" was still a couple of years off

Though he would become the patron saint of the rock-star-in-leather-trousers look, here Morrison stands awkwardly at the microphone oozing something between lounge-singer schmaltz and half-hearted karaoke chutzpah that’s a few shot-glasses short on Dutch courage.
Die-hard Morrisonologists will however be cheered by the inclusion of alternate words grasped from his poetic writings and scattered about in songs such as a pulsing cover of the old Them stomper, Gloria and their sinuous classic, The End.

With Kreiger's blazing guitar solo on When The Music's Over, and Manzarek's faux-classical noodling, there's a lot of potential waiting to be called upon. However, at The Matrix we’re in the company of a somewhat quaint and reserved bar band, prone to stretches of timorous research, rather than anyone dropping their trousers in the face of the establishment. That would all come later and with it, quite literally in the case of The Doors, the stuff of legend.

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 UCLA film 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 and released 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 recordings of the psychedelic era. Blending blues, classical, Eastern music, and pop into sinister but beguiling melodies, the band sounded like no other.

With his rich, chilling vocals and somber poetic visions, Morrison explored the depths of the darkest and 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 began running up against the limitations of their recklessly disturbing visions. By their third album, they had exhausted their initial reservoir of compositions, and some of the tracks they hurriedly devised to meet public demand were clearly inferior to, and imitative of, their best early work.

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’ ‘Live at the Matrix'

By March of 1967, the Doors had been in existence for the better part of two years and their eponymous debut album had been out for two months. But the record—which would ultimately spend more than two years on Billboard’s Hot 100, peaking at No. 2—still hadn’t charted. Moreover, the release of its big No. 1 single, “Light My Fire,” was still more than three months away.

As such, the band was little known when it took the stage for five nights—March 7 to 11—at San Francisco’s tiny but important Matrix Club, where acts like the Velvet Underground and Jefferson Airplane also played. The venue could seat about 120 but was reportedly almost empty for the Doors shows, two of which were recorded by Peter Abram, who co-owned the club with the Airplane’s Marty Balin.

A couple of tracks from these recordings—which were among the first of the quartet’s concerts to be preserved on tape—appeared on The Doors: Box Set in 1997, and a two-CD 2008 release featured 24 of the songs that had been taped. However, these albums did not draw on the original master tapes. And while there have also been bootlegs, these have evidenced inferior sound quality as well. Those shortcomings are addressed on the new Live at the Matrix 1967, a limited-edition three-CD (or five-LP) set that is drawn from the first-generation seven-inch tape reels and includes all 37 songs that Abram recorded. Eight of them were previously unreleased, while most of the others have not previously been available from first-generation tapes (though 15 such tracks were offered as Record Store Day vinyl exclusives in 2017 and 2018).
The program, which runs well over three hours and includes two complete shows, is wide-ranging. It embraces eight of the 11 songs from the Doors’ debut LP, among them “The Crystal Ship,” “Light My Fire,” “Twentieth Century Fox,” and two versions each of “Alabama Song (Whisky Bar),” “Back Door Man,” “Break on Through,” “The End,” and “Soul Kitchen.” Also featured are early versions of six of the 10 tracks that would show up on Strange Days, whose release was still more than half a year away: “Unhappy Girl,” plus two renditions each of “I Can’t See Your Face,” “Moonlight Drive,” “My Eyes Have Seen You,” “People Are Strange,” and “When the Music’s Over.” In addition, there are two readings of “Summer’s Almost Gone,” which wouldn’t surface on disc until nearly a year and a half later with the release of Waiting for the Sun.

That’s not all. The setlists include a variety of blues and R&B covers, among them Willie Dixon’s “Close to You,” John Lee Hooker’s “Crawling King Snake,” Van Morrison’s “Gloria,” James Moore’s “I’m a King Bee,” Bo Diddley’s “Who Do You Love,” B.B. King’s “Rock Me Baby,” and Allen Toussaint’s “Get Out of My Life Woman.” Believe it or not, the Doors also offer an instrumental take on “Summertime,” the George Gershwin and Dorothy and Dubose Heyward standard.

Perhaps most intriguing are previously unheard instrumental covers of two jazz numbers, Miles Davis’s “All Blues” and Milt Jackson’s “Bags’ Groove,” both of which incorporate elements of the Doors’ trademark sound. As for the group’s original material, most of it features arrangements, instrumentation, and vocals that are not far removed from what you hear on the now well-known studio recordings. There are exceptions, though, such as on “Light My Fire,” which in the Matrix version is missing the Ray Manzarek keyboard intro that launches the studio rendition so powerfully.

The music is consistently excellent. Just don’t expect it to be particularly revelatory—except to the extent that it shows how fully formed the Doors’ vision was early on.

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