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BAM Magazine
The California Music Magazine
Issue No. 107
July 3 1981
Page 10
California Vinyl - The Doors
by Blair Jackson
Since there has been such massive interest in The Doors recently, I thought it might be helpful to potential record buyers to take a look at the entire Doors catalog from a critical perspective. In BAM we don’t normally assign ratings for albums, but I felt that where a large body of work was being discussed, a grading system might be helpful.
The Doors (1967): Cut live in the studio on a three track recorder, this record captures The Doors at their visceral best. Side One, “Break On Through” (to the other side), to understand why The Doors is one of the most popular albums of all time. Throughout, Manzarek, Densmore and Krieger show amazing power for a threesome, and Morrison’s vocals are absolutely awesome, spanning a range of emotions from vulnerbility to sheer arrogance. The record contains several acknowledged classics, including the “long version” of “Light My Fire” (always overrated in my opinion), 20th Century Fox, Soul Kitchen, (before it was mangled by X) and “The End,” which remains perhaps the group’s single most powerful composition. That song, more than any other, separated The Door from other bands of the day, merging as it did Morrison’s powerful poetic gifts, the band’s improvisation skills, and the overpowering sense of mystery The Doors alone could weave. The unheralded masterpeice of the album is Side Two’s haunting “End of the Night”, which Morrison based on a poem by William Blake. “Alabama Song” and “I Looked At You” are the weak links here. A-
Strange Days (1967): Though it didn’t match the sale of its predecessor, Strange Days shows The Doors at their most powerful. The key to its strength, aside from the uniform excellence of the songs, is the album’s overall flow. The six songs on Side One seem to evolve out of each other both musically and lyrically. There is none of the album’s occasional jumpiness. Instead, there is real thematic consistency. Producer Paul Rothchild brings out new textures from the band by having Manzarek play a greater variety of keyboards (not to mention marimba on the brilliant “I Can’t See Your Face In My Mind”) and by letter Krieger investigate more different styles on his guitar. “Strange Days” which features rare for the period electronic voice processing by Bernie Krause on Morrison’s vocal stands with The Doors’ finest songs, as does the spooky “Moonlight Drive” and, of course, the album’s show piece, “When The Music’s Over.” “Horse Latitudes” is a one minute, thirty second poetic freak out. The album’s hit was “People Are Strange,” another eerie tune that furthered The Doors’ image as moody outsiders. “Love Me Two Times,” was also a popular song of the day. If I were to recommend that someone pick up one Doors album, it would be this one. Together with the first, though, you have most of what you need to own by The Doors. A
Waiting For The Sun (1968): Believe it or not, it was not until this third Doors LP was released that the group had a Number One album (the first two stalled in the Top Five, however). “Hello I Love You” was the hit this time out, a strange but compelling ditty. The album is an eclectic and strangely disjointed collection of songs. “Spanish Caravan” opens with a flamenco guitar passage before rolling into an Iberian-tinged rocker. “Yes, The River Knows” has some of the feel of a lounge song, but ominous lyrics delivered by Morrison’s sultriest baritone: “I’m going but I need a little time/I promised I would drown myself in mystic heated wine.” “The Unknown Soldier” is Morrison’s largely successful attempt at writing an anti-war anthem. (It includes Morrison being shot by a firing squad.) “My Wild Love” is an a capella poem/chant with satanic overtones. The inside of the album’s gatefold introduced the world to the poem “Celebration of the Lizard,” and one song from that work appears on the record, the sinster rocker “Not To Touch The Earth”. There is undeniably great power in the performances on this record, but it is uneven and contains a couple of clinkers (“Wintertime Love,” “We Could Be So Good Together”) for the first time. The strongest track is probably the album closing, “Five To One” (whose first line contains the now famous “No one here gets out alive”). B
The Soft Parade (1969): Released a few months after Morrison’s Miami bust (which led to a nationwide boycott of Doors records and the cancellation of dozens of gigs), The Soft Parade was the group’s attempt to make a mainstream rock and roll record. Not surprisingly, it is their worst album. “Touch Me,” a 1968 single that had strings, horns and a sax break, foreshadowed the direction the group would take here. “Tell All The People,” a ludicrous anthem by Krieger, finds Morrison crooning about a wall of horns; and though I personally like “Wishful Sinful” for its vocal, the strings and woodwind arrangement sounds foolish. Krieger handles some vocals on his song “Runnin’ Blue,” an almost blue grassy tune that invokes memory of the soul singer Otis Redding (you figure it). “Shaman’s Blues,” is a relatively potent Morrison song with some good imagery (“cold, grinding grizzly bear jaws hot on your heels”). “Touch Me,” and that singles flip side, “Wild Child” stand up well too. The lengthy title track is a hodge podge of vaguely connected song fragments by Morrison, some of which show Morrison in top form, and others of which are more puerile than anything he’d written before. The Soft Parade came at the nadir of The Doors career and is certainly dispensible. C-
Morrison Hotel (1970): This was an outstanding comback for the group, which had been written off by almost everyone following Miami and The Soft Parade. Revitalized, the group goes back to basics for this generally engaging collection. “Roadhouse Blues” is a chugging boogie that rocks relentlessly. “Waiting For The Sun,” written for the third album, recaptures some of the groups early mystical feeling. “Peace Frog” stands as a stunning mix of political comment and autobiography: “Blood in the streets in the town of Chicago/Blood stains the roofs and the palm trees in Venice.” “Blue Sunday” is a syrupy buts strangely moving ballad. “Indian Summer” uses a musical figure similar to “The End”s but is just a simple, lovely ballad. The album has a few weak tracks too, “Ship Of Fools” misses the mark as an indictment of pollution and waste, and “Maggie McGill” is hopelessly overwrought for its lyic shallowness. Still, a strong album. B
Absolutely Live (1970): The Doors were an erratic live band and so I guess it is fitting that they put out abn erratic live album. Side One is lifeless for the most part. After a respectable, though hardly incendiary, version of Bo Diddley’s “Who Do You Love,” the group plods through a medley of old Doors songs like “Back Door Man,” “Alabama Song,” and “Five To One.” Other classics here include “Soul Kitchen” (well done), “When The Music’s Over” (interesting, if only for the reactions of the adoring New York crowd), and “Break On Through” (altered heavily but still hot). Interestingly, there is no version of “Light My Fire.” The real piece of note here is the side long “Celebration of the Lizard” which appears nowhere in The Doors catalog. A studio version without the intrusion of a crowd would have been preferable, but this reading/playing of the work is still stunning in parts. Actually, a better live album could be constructed out of the various bootlegs available. This is not The Doors at their best. C
LA Woman (1971): Two songs from this final Doors LP (Morrison died shortly before its release) still garner considerable airplay on FM stations, ten years later: “Riders On The Storm,” and extended mood piece somewhat remoniscent of the early Doors, and “LA Woman” which is a driving rocker bubbling with great riffs and Morrison’s best late period singing. Unfortunately, much of what remains is weak, particularly the strangely syncropated “L’America” and “Hyacinth House.” “Cars Crawl Past My Window” and “Crawling King Snake” are fair blues at best. I’vbe always liked “The Wasp (Texas Radio and the Big Beat), though I seem to be virtually alone in that opinion. The arrangement of this old Morrison poem is definitely unusal, but I think it represents some of Morrison’s best reading. Morrison’s voice is gruff and gravelly on much of the record. The production, by Bruce Botnick and The Doors (Paul Rothchild dropped out because he didn’t like the material) is very clean and punchy. C+
An American Prayer (1978): Not a “Doors” album per se, this disc features Jim Morrison reading his poetry with contemporary accompaniment by the three surviving Doors. Morrison always wanted to be known more as a poet than a rock superstar, and this album was assembled to showcase that side of his talent. It’s an exceptionally well put together record. Morrison’s poetry is alternately dense and simple, humorous and dark, and The Doors have come up with generally appealing musical backdrops that at once sound contemporary and like The Doors of old. In addition to unreleased poetry, the record seamlessly integrates bits of old Doors songs and creates something of an audio documentary about Morrison and The Doors. A live version of “Roadhouse Blues” at the beginning of Side Two is an added treat. Paul Rothchild and others have complained that the poetry on this album has been butchered, and indeed it does not conform to original edited tapes of Morrison reading his poetry. Perhaps this isn’t what Morrison had in mind when he went in to record his poetry album, but I think it is brillant anyway, among the most interesting records released in the past several years. B+
ANTHOLOGIES
I am not, as a rule, a fan of “Hits” packages, mainly because they tend to emphasize commerical songs, which are not necessarily a group’s most artisic songs. This is particuarly true in the case of The Doors, who singles never matched the best material on their albums.
13 (1970): This is probably the best of the hits packages, concentrating as it does on The Doors’ first couple of albums. Included are “Light My Fire,” “Peope Are Strange,” “Touch Me,” “Moonlight Drive,” “Wild Child,” and several others. There are no “bad” choices here, a rarity among hits packages. B
Weird Scenes Inside The Goldmine (1972): This was the first anthology released after Morrison’s death, and it offers a lot of good material over two records. Extended pieces like “The End” and “When The Music’s Over,” are here, as well as more obscure gems like “The Wasp,” “The End of the Night,” and “Spanish Caravan.” Unfortunately, the LP also includes some vintage stinkers by the group, including the abominable B-Side called, (You Need Meat) “Don’t Go No Further,” “Runnin’ Blue,” and “Maggie McGill.” The sequencing makes no sense at all chronologically, perhaps because the anthologizers realized the first two sides would totally outclass the second two. For the price, you could buy the first two Doors albums and get more good music. C
Greatest Hits (1980): This collection, which includes remastered versions of some of The Doors biggest hits, was a huge best seller last year. Like 13, there are no really bad choices, though certainly the chief sin here is one of omission. “Not To Touch The Earth” the only remotely adventurous inclusion. Still, it’s not a bad introduction to The Doors. B
COLLECTABLES
A hard to find record that probably is not worth the search is The Best of the Doors, a quadrophonic record released in 1973. Perhaps the 50 people nationwide foolish enough to buy quad systems enjoyed this record, but without the quad effects, the record is poorly-designed jumble of fair to good material.
“The End” has new life breathed into it on the double LP soundtrack for Apocalypse Now. The tune was re-mixed by David Rubinson from the original three track master and features Morrison’s voice more prominently in the raga-esque middle section where Morrison chants (audibly for the first time) “FUCK, FUCK, FUCK” in staccato, percussive bursts. The song also has the film’s synthesized helicopter noises on it, as well as some fine percussion touches by Mickey Hart and the Rhythm Devils. The rest of the album is an almost literal soundtrack of the film, dialogue and all. A version without the dialogue was prepared for European release (and I was lucky enough to get a tape copy) but I’m not sure if ever came out.
There are several Doors bootleg albums in existence, though all are very difficult to find. The quality of the recordings is only fair, and I can recommend these only for hardcore collectors. (Bootlegging is a nasty business, of course, but the fact is serious fans of a band sometimes want to own everything available on that band.)
For a long time, the only Doors boot available was The Scream of the Butterfly, crudely recorded at San Francisco’s Matric Club in ’67. It includes twelve Doors’ songs, most performed in a style fairly close to the recorded versions, though several pre-date their appearance on albums. Rarer is The Doors Critique, which includes the entire soundtrack of Richard Goldstein’s 1969 PBS special about The Doors. That show featured performances (good ones, too) of several songs from the Soft Parade, an interview with the band, and Morrison reading poetry. Also on the album are two songs recorded at London’s Roundhouse Club in ’68, most likely taken from a BBC TV special called The Doors Are Open.
A double LP bootleg called Resurrection is a mixture of live material from several sources, including the Roundhouse and a ’68 concert in Stockholm. There are two different, and very hot, versions of “Light My Fire” a pair of good “Five To One”s and a medley of “Alabama Song/Back Door Man,” that opens with an hilarious version of “Mack The Knife.” This record is foreign made and very difficult to find.
The boot that has been turning up most frequently of late is Mr. Mojo Risin, a two record set put out by an LA company calling itself Towne Records. Sides One and Two are the literal soundtrack of Feast Of Friends, which includes some interesting interview material, but little of note musically. Only a version of “The End”, recorded at the Hollywood Bowl, is particuarly noteworthy. The sound quality is medicore, but even with bad fidelity, this “End” is a killer. Sides Three and Four offer a hodge podge of Doors performances from another good version of “The End,” this one from a Canadian show, I’m told, to recordings of the Smothers Brothers Show and Ed Sullivan Show telecasts. The interview portion of Goldstein’s show is here, as well.
END.
See more on calendar
BAM magazine 1981
The California Music Magazine
Issue No. 107
July 3 1981
Page 10
California Vinyl - The Doors
by Blair Jackson
Since there has been such massive interest in The Doors recently, I thought it might be helpful to potential record buyers to take a look at the entire Doors catalog from a critical perspective. In BAM we don’t normally assign ratings for albums, but I felt that where a large body of work was being discussed, a grading system might be helpful.
The Doors (1967): Cut live in the studio on a three track recorder, this record captures The Doors at their visceral best. Side One, “Break On Through” (to the other side), to understand why The Doors is one of the most popular albums of all time. Throughout, Manzarek, Densmore and Krieger show amazing power for a threesome, and Morrison’s vocals are absolutely awesome, spanning a range of emotions from vulnerbility to sheer arrogance. The record contains several acknowledged classics, including the “long version” of “Light My Fire” (always overrated in my opinion), 20th Century Fox, Soul Kitchen, (before it was mangled by X) and “The End,” which remains perhaps the group’s single most powerful composition. That song, more than any other, separated The Door from other bands of the day, merging as it did Morrison’s powerful poetic gifts, the band’s improvisation skills, and the overpowering sense of mystery The Doors alone could weave. The unheralded masterpeice of the album is Side Two’s haunting “End of the Night”, which Morrison based on a poem by William Blake. “Alabama Song” and “I Looked At You” are the weak links here. A-
Strange Days (1967): Though it didn’t match the sale of its predecessor, Strange Days shows The Doors at their most powerful. The key to its strength, aside from the uniform excellence of the songs, is the album’s overall flow. The six songs on Side One seem to evolve out of each other both musically and lyrically. There is none of the album’s occasional jumpiness. Instead, there is real thematic consistency. Producer Paul Rothchild brings out new textures from the band by having Manzarek play a greater variety of keyboards (not to mention marimba on the brilliant “I Can’t See Your Face In My Mind”) and by letter Krieger investigate more different styles on his guitar. “Strange Days” which features rare for the period electronic voice processing by Bernie Krause on Morrison’s vocal stands with The Doors’ finest songs, as does the spooky “Moonlight Drive” and, of course, the album’s show piece, “When The Music’s Over.” “Horse Latitudes” is a one minute, thirty second poetic freak out. The album’s hit was “People Are Strange,” another eerie tune that furthered The Doors’ image as moody outsiders. “Love Me Two Times,” was also a popular song of the day. If I were to recommend that someone pick up one Doors album, it would be this one. Together with the first, though, you have most of what you need to own by The Doors. A
Waiting For The Sun (1968): Believe it or not, it was not until this third Doors LP was released that the group had a Number One album (the first two stalled in the Top Five, however). “Hello I Love You” was the hit this time out, a strange but compelling ditty. The album is an eclectic and strangely disjointed collection of songs. “Spanish Caravan” opens with a flamenco guitar passage before rolling into an Iberian-tinged rocker. “Yes, The River Knows” has some of the feel of a lounge song, but ominous lyrics delivered by Morrison’s sultriest baritone: “I’m going but I need a little time/I promised I would drown myself in mystic heated wine.” “The Unknown Soldier” is Morrison’s largely successful attempt at writing an anti-war anthem. (It includes Morrison being shot by a firing squad.) “My Wild Love” is an a capella poem/chant with satanic overtones. The inside of the album’s gatefold introduced the world to the poem “Celebration of the Lizard,” and one song from that work appears on the record, the sinster rocker “Not To Touch The Earth”. There is undeniably great power in the performances on this record, but it is uneven and contains a couple of clinkers (“Wintertime Love,” “We Could Be So Good Together”) for the first time. The strongest track is probably the album closing, “Five To One” (whose first line contains the now famous “No one here gets out alive”). B
The Soft Parade (1969): Released a few months after Morrison’s Miami bust (which led to a nationwide boycott of Doors records and the cancellation of dozens of gigs), The Soft Parade was the group’s attempt to make a mainstream rock and roll record. Not surprisingly, it is their worst album. “Touch Me,” a 1968 single that had strings, horns and a sax break, foreshadowed the direction the group would take here. “Tell All The People,” a ludicrous anthem by Krieger, finds Morrison crooning about a wall of horns; and though I personally like “Wishful Sinful” for its vocal, the strings and woodwind arrangement sounds foolish. Krieger handles some vocals on his song “Runnin’ Blue,” an almost blue grassy tune that invokes memory of the soul singer Otis Redding (you figure it). “Shaman’s Blues,” is a relatively potent Morrison song with some good imagery (“cold, grinding grizzly bear jaws hot on your heels”). “Touch Me,” and that singles flip side, “Wild Child” stand up well too. The lengthy title track is a hodge podge of vaguely connected song fragments by Morrison, some of which show Morrison in top form, and others of which are more puerile than anything he’d written before. The Soft Parade came at the nadir of The Doors career and is certainly dispensible. C-
Morrison Hotel (1970): This was an outstanding comback for the group, which had been written off by almost everyone following Miami and The Soft Parade. Revitalized, the group goes back to basics for this generally engaging collection. “Roadhouse Blues” is a chugging boogie that rocks relentlessly. “Waiting For The Sun,” written for the third album, recaptures some of the groups early mystical feeling. “Peace Frog” stands as a stunning mix of political comment and autobiography: “Blood in the streets in the town of Chicago/Blood stains the roofs and the palm trees in Venice.” “Blue Sunday” is a syrupy buts strangely moving ballad. “Indian Summer” uses a musical figure similar to “The End”s but is just a simple, lovely ballad. The album has a few weak tracks too, “Ship Of Fools” misses the mark as an indictment of pollution and waste, and “Maggie McGill” is hopelessly overwrought for its lyic shallowness. Still, a strong album. B
Absolutely Live (1970): The Doors were an erratic live band and so I guess it is fitting that they put out abn erratic live album. Side One is lifeless for the most part. After a respectable, though hardly incendiary, version of Bo Diddley’s “Who Do You Love,” the group plods through a medley of old Doors songs like “Back Door Man,” “Alabama Song,” and “Five To One.” Other classics here include “Soul Kitchen” (well done), “When The Music’s Over” (interesting, if only for the reactions of the adoring New York crowd), and “Break On Through” (altered heavily but still hot). Interestingly, there is no version of “Light My Fire.” The real piece of note here is the side long “Celebration of the Lizard” which appears nowhere in The Doors catalog. A studio version without the intrusion of a crowd would have been preferable, but this reading/playing of the work is still stunning in parts. Actually, a better live album could be constructed out of the various bootlegs available. This is not The Doors at their best. C
LA Woman (1971): Two songs from this final Doors LP (Morrison died shortly before its release) still garner considerable airplay on FM stations, ten years later: “Riders On The Storm,” and extended mood piece somewhat remoniscent of the early Doors, and “LA Woman” which is a driving rocker bubbling with great riffs and Morrison’s best late period singing. Unfortunately, much of what remains is weak, particularly the strangely syncropated “L’America” and “Hyacinth House.” “Cars Crawl Past My Window” and “Crawling King Snake” are fair blues at best. I’vbe always liked “The Wasp (Texas Radio and the Big Beat), though I seem to be virtually alone in that opinion. The arrangement of this old Morrison poem is definitely unusal, but I think it represents some of Morrison’s best reading. Morrison’s voice is gruff and gravelly on much of the record. The production, by Bruce Botnick and The Doors (Paul Rothchild dropped out because he didn’t like the material) is very clean and punchy. C+
An American Prayer (1978): Not a “Doors” album per se, this disc features Jim Morrison reading his poetry with contemporary accompaniment by the three surviving Doors. Morrison always wanted to be known more as a poet than a rock superstar, and this album was assembled to showcase that side of his talent. It’s an exceptionally well put together record. Morrison’s poetry is alternately dense and simple, humorous and dark, and The Doors have come up with generally appealing musical backdrops that at once sound contemporary and like The Doors of old. In addition to unreleased poetry, the record seamlessly integrates bits of old Doors songs and creates something of an audio documentary about Morrison and The Doors. A live version of “Roadhouse Blues” at the beginning of Side Two is an added treat. Paul Rothchild and others have complained that the poetry on this album has been butchered, and indeed it does not conform to original edited tapes of Morrison reading his poetry. Perhaps this isn’t what Morrison had in mind when he went in to record his poetry album, but I think it is brillant anyway, among the most interesting records released in the past several years. B+
ANTHOLOGIES
I am not, as a rule, a fan of “Hits” packages, mainly because they tend to emphasize commerical songs, which are not necessarily a group’s most artisic songs. This is particuarly true in the case of The Doors, who singles never matched the best material on their albums.
13 (1970): This is probably the best of the hits packages, concentrating as it does on The Doors’ first couple of albums. Included are “Light My Fire,” “Peope Are Strange,” “Touch Me,” “Moonlight Drive,” “Wild Child,” and several others. There are no “bad” choices here, a rarity among hits packages. B
Weird Scenes Inside The Goldmine (1972): This was the first anthology released after Morrison’s death, and it offers a lot of good material over two records. Extended pieces like “The End” and “When The Music’s Over,” are here, as well as more obscure gems like “The Wasp,” “The End of the Night,” and “Spanish Caravan.” Unfortunately, the LP also includes some vintage stinkers by the group, including the abominable B-Side called, (You Need Meat) “Don’t Go No Further,” “Runnin’ Blue,” and “Maggie McGill.” The sequencing makes no sense at all chronologically, perhaps because the anthologizers realized the first two sides would totally outclass the second two. For the price, you could buy the first two Doors albums and get more good music. C
Greatest Hits (1980): This collection, which includes remastered versions of some of The Doors biggest hits, was a huge best seller last year. Like 13, there are no really bad choices, though certainly the chief sin here is one of omission. “Not To Touch The Earth” the only remotely adventurous inclusion. Still, it’s not a bad introduction to The Doors. B
COLLECTABLES
A hard to find record that probably is not worth the search is The Best of the Doors, a quadrophonic record released in 1973. Perhaps the 50 people nationwide foolish enough to buy quad systems enjoyed this record, but without the quad effects, the record is poorly-designed jumble of fair to good material.
“The End” has new life breathed into it on the double LP soundtrack for Apocalypse Now. The tune was re-mixed by David Rubinson from the original three track master and features Morrison’s voice more prominently in the raga-esque middle section where Morrison chants (audibly for the first time) “FUCK, FUCK, FUCK” in staccato, percussive bursts. The song also has the film’s synthesized helicopter noises on it, as well as some fine percussion touches by Mickey Hart and the Rhythm Devils. The rest of the album is an almost literal soundtrack of the film, dialogue and all. A version without the dialogue was prepared for European release (and I was lucky enough to get a tape copy) but I’m not sure if ever came out.
There are several Doors bootleg albums in existence, though all are very difficult to find. The quality of the recordings is only fair, and I can recommend these only for hardcore collectors. (Bootlegging is a nasty business, of course, but the fact is serious fans of a band sometimes want to own everything available on that band.)
For a long time, the only Doors boot available was The Scream of the Butterfly, crudely recorded at San Francisco’s Matric Club in ’67. It includes twelve Doors’ songs, most performed in a style fairly close to the recorded versions, though several pre-date their appearance on albums. Rarer is The Doors Critique, which includes the entire soundtrack of Richard Goldstein’s 1969 PBS special about The Doors. That show featured performances (good ones, too) of several songs from the Soft Parade, an interview with the band, and Morrison reading poetry. Also on the album are two songs recorded at London’s Roundhouse Club in ’68, most likely taken from a BBC TV special called The Doors Are Open.
A double LP bootleg called Resurrection is a mixture of live material from several sources, including the Roundhouse and a ’68 concert in Stockholm. There are two different, and very hot, versions of “Light My Fire” a pair of good “Five To One”s and a medley of “Alabama Song/Back Door Man,” that opens with an hilarious version of “Mack The Knife.” This record is foreign made and very difficult to find.
The boot that has been turning up most frequently of late is Mr. Mojo Risin, a two record set put out by an LA company calling itself Towne Records. Sides One and Two are the literal soundtrack of Feast Of Friends, which includes some interesting interview material, but little of note musically. Only a version of “The End”, recorded at the Hollywood Bowl, is particuarly noteworthy. The sound quality is medicore, but even with bad fidelity, this “End” is a killer. Sides Three and Four offer a hodge podge of Doors performances from another good version of “The End,” this one from a Canadian show, I’m told, to recordings of the Smothers Brothers Show and Ed Sullivan Show telecasts. The interview portion of Goldstein’s show is here, as well.
END.
See more on calendar
BAM magazine 1981