THE AQUARIUS THEATRE PERFORMANCES

[TheWallsScreamedPoetry]

THE AQUARIUS THEATRE PERFORMANCES



The Doors at the Aquarius Theater:

July 21, 1968 - Elektra records has rented the Aquarius Theater inexpensively for a series of "Dark Mondays" during the run of Hair in order to produce an affordable series of concerts to highlight the Elektra talent roster. These highly acclaimed shows are uniformly regarded as the Doors' comeback performances. The music is fluid, exceptionally tight and dynamic, and the entire band radiates an unprecedented musical maturity and revitalized atmosphere of assurance and conviction.

Jim dispenses with the rock star persona, sporting a full beard, and delivering a vocal performance which is nothing short of outstanding. He skillfully interacts with the audience in an unusually casual and easygoing manner, sometimes seated on a stool at center stage. His introduction to the audience goes something like this: "For a long time, we've wanted to record a live album. Tonight's the night...but, we're going to keep it loose and almost casual. ready? Let's go!"

The shows are recorded for a forthcoming double live album and the sound is acoustically superb throughout the theater. Morrison's only attempt at theatrics comes during the second show at the opening of Celebration of the Lizard when he appears in the right balcony illuminated solely by a deep blue light, and then grasps a rope and swings down onto the stage. Artistically, these Aquarius shows are a real stepping stone for the band. Aside from being much more congenial onstage, they have re-embraced their roots in authentic American blues music.

These are the first of a series of shows recorded for the upcoming Absolutely Live album. The cover of that album features a photograph from these performances with another photograph of Morrison superimposed on it. It is later determined that additional shows will be recorded because, as is often the case with live recordings, an extraordinary performance does not always translate successfully to tape.

*After the show, the Doors present Feast of Friends to the remaining audience.

*Jim Morrison's recent poem Ode to L.A. While Thinking of Brian Jones, Deceased is distributed at each of the Aquarius shows. The poem was printed at Jim's expense. It is a dark green type on light green paper. Brian Jones, a founding member of The Rolling Stones, drowned in his swimming pool at his home in England on July 3rd.

*The Aquarius shows replace the scheduled appearance at the Whisky May 19 - 22, where the Doors originally planned to record a live album.
Greg Shaw


DISC ONE Approximately 56:40 Total Time
Track times approximate
1. TUNING 1:09
2. JIM'S INTRODUCTION 0:54
3. BACK DOOR MAN 5:38
4. BREAK ON THROUGH (TO THE OTHER SIDE) 4:49
5. WHAT DO WE DO NEXT? 0:18
6. SOUL KITCHEN 4:44
7. YOU MAKE ME REAL 3:11
8. TUNING 1:09
9. I WILL NEVER BE UNTRUE 3:50
10. THE CROWD HUMBLY REQUESTS 0:59
11. WHEN THE MUSIC'S OVER 11:32
12. UNIVERSAL MIND 4:39
13. THE CROWD REQUESTS THEIR FAVORITES AND TUNING 1:20
14. MYSTERY TRAIN/CROSSROADS 6:45
15. BUILD ME A WOMAN 5:35

DISC TWO Approximately 35:30 Total Time
Track times approximate
1. TUNING 0:37
2. WHO DO YOU LOVE (FALSE START) 0:37
3. WHO DO YOU LOVE 6:40
4. LIGHT MY FIRE 10:53
5. THE CROWD REQUESTS MORE 1:15
6. THE CELEBRATION OF THE LIZARD 15:28



In July 1969 THE DOORS played two concerts to packed audiences at the Aquarius Theatre on Sunset Boulevard in Hollywood, California. In addition, the day after the two concerts, THE DOORS used the Aquarius Theatre stage, still loaded with their equipment from the night before, to conduct a private rehearsal. Both of these concerts, as well as the private rehearsal, were recorded. Bright Midnight Archives will release four titles made from these Aquarius Theatre recordings. This is the first of these titles. This 10-track single disc of recordings made during these two July 1969 Aquarius theatre concerts contains tracks which have been selected by Bruce Botnick and the band.

An Excerpt From Danny Sugerman's Sleeve Notes:

If you like The Doors now, and never saw them live, I'm here to tell you about the word on the street back in the late 1960s. It was "If you think their albums are good, you've got to see these guys live". The same integrity they captured so well as recording artists was always present, except that in concert, you never knew what Jim Morrison was going to do. The Doors were performance rock like no one ever before or since. Morrison's charisma and power came pouring off the stage, entranced, like the rest of us by the Doors music. Morrison appeared possessed, or, it was even whispered, insane... Everyone in the audience believed The Doors nailed it at The Aquarius. No more concert recordings would be necessary. But upon listening to the playbacks producer Paul Rothchild thought they could do better. Cautiously, more concert dates were booked to be recorded. These additional concerts, preserved on one-inch 8-track master tapes, will all be released in their entirety on Bright Midnight Archives. Because The Aquarius Theatre started the process, Bright Midnight picks up here.


LIVE AT THE AQUARIUS THEATER: THE FIRST PERFORMANCE

THE AQUARIUS THEATER, HOLLYWOOD - July 21, 1969

Soundcheck/First Show

Setlist - Soundcheck

1. Maggie M'Gill Instrumental Jam
2. Maggie M'Gill

Setlist - First Show

1. Jim introduction
2. Back Door Man
3. Jim dialog
4. Break On Through
5. Band discussion
6. Soul Kitchen
7. You Make Me Real
8. I Will Never Be Untrue
9. When The Music's Over
10. Universal Mind
11. Mystery Train
12. Build Me A Woman
13. Who Do You Love (false start)
14. Who Do You Love
15. Light My Fire
16. Celebration Of The Lizard


SOUNDCHECK

(tuning/Jim shakes maracas)
(tape cuts out/back in middle of instrumental jam)

Maggie M'Gill Instrumental Jam

(band jams for about 2 minutes)
(one of soundmen interrupts) I'm all in the back. This is the new mic.
(band stops playing and talks)

What's that?
John: Paul.
Yeah. Yeah.
(Control panel) Listen up.
John: Well what do you want us to do?
(Control Booth) Talk to us in here I can't hear ya.
John: Hello?
Ray: What do you want from John?
John: Paul?
(control booth) We have you down John, what do you say?
John: What do you want us to play?
(Ray laughs)

(Band starts blues jam again. Jim starts singing Maggie M'Gill lyrics)

Maggie M'Gill

mmm-Blues man.
You understand.
w'Old blues man.
d'I think you u-understand.
Been just like this.
Evr' since the world began.

(organ solo)

Maggie M'Gill.
Lived on a hill.
Daddy got drunk and left her no will.
She went down..
Ta Tan-gy Town.
Where the people'.
Like ta get it on.

(instrumental section)
(song ends/band talks)

Ray: Oh it's much too soft. I can't hear you.
Ray: It's still.. Yeah, right.
??
(Ray laughs)
??
Hey Doors?
Ray: Oh yeah? No vocal. No, we got some.
John: Oh, Vince.

FIRST SHOW

(tuning)
Jim: (exhales) You in tune? Got it?
(more tuning)

(Jim speaking) Uh.. For a long time.. we've.. wanted to, uh, record a live.. album. And, uh.. that's what we're going to do tonight. That's why, uh.. there are a lot of.. hassles.. and.. delays. Yeah. Yeah. Yeah. Uh.. We're going to.. keep it.. very loose.. and.. almost casual.
(Jim shakes maracas, casually whistles, crowd laughs)
Okay, let's go.

(guitar intro to Back Door Man)

Back Door Man

Whoa Am.
Yeah, were back door man.
Yeah.. back door man.
Men don't know but.. da little girls.. understand.

Well all your people.. tryin' ta sleep.
Out 'dere makin' wit' our.. midnight creep, yeahhh.
Back door man.
Men don't know, but.. the little girls.. understand.
Alright!

(guitar solo)
(band settles into groove)

IIIIIIII am an old.. blues.. man.
And I think you understand.
Singin' the blues.. ever since the world began.
Yeeeeaaaaah.
I aaaammmmm an old blues man.
And I hope you will understand.
Singin' the blues ever since the world bega-aa-aan.
That's who I aaammm.

You men eat yer dinner, eat your.. pork and beans.
I eat more chicken any man ever seen, yeah!
Back door man.
Men don't know, but the.. little girls.. understand.

I'm a back door man.
Call me da back door man.
Yeeeaaahh, bay-beh..
Eh-door back door man.
Men don't know but the.. little girls.. under-stand.

(song ends/applause)

Thank you.

(Jim talks to audience)
How did that sound? Was that okay?
Okay. Let's do another old.. song.

(drum/organ intro to Break On Through)

Break On Through

You know da day destroy da night.
(Ray joins in singing rest of verse)
Night divides the day.
Tried to run. Tried ta hide.
Break on through to the other side.
Break on through to the other side.
Break on through to the other side.

Yeah, chased our pleasures here.
(Ray joins in singing rest of verse)
Dug our treasures there.
Still recall. Time we cried.
Break on through to the other side.
Break on through to the other side.
Break on through, yeah!
Ah!

(organ solo)

Ev'rybo-day.. love my bay-beh.
Ev'rybo-day.. love my bay-beh.
She get.
She get.
She get. (Ray: She get high!)
She get. (Ray: She get higher!)
High-yeh.

I found an island in your arms.
(Ray joins in singing rest of verse)
Country in your eyes.
Arms that chained us, eyes that lied.
Break on through to the other side.
Break on through to the other side.
Break on through, yay.. Alright.

(guitar solo)

Ray: Made the scene.. (started early)

(Ray joins in singing)
Yeah, made the scene.
Week to week. Day to day. Hour to hour.
Gate is straight, deep and wide.
Break on through to the other side.
(Ray stops singing)
Break on through to the other side.
Break on through.
Break on through.
Break on through.
Break on through.
Oh yeah.. yeah.. eah.. yeah.. yeah.. oh.. yeah.. yeah.. yeah.. yeah.. yeah.. yeah.. oh..
(Ray: yay-yay-yay-yay-yay-yay-yay-yay-yay-yay-yay-yay-yay-yay)

(song ends/applause)
(band discusses what song to play next)

Jim: Lets do.. Soul Kitchen.
Ray: Wanna do that? Well.. I say lets do that Albert King song. Let's not do Soul Kitchen. Sounds too much like The Music's Over. (John and Ray laugh)
John: Not Albert King. Not Yet.
Ray: Okay. (laughs)

(organ intro to Soul Kitchen)

Soul Kitchen

Well the clock said it time ta close.. now.
I know I better go.. now.
Really like ta stay here.. all night.
The cars crawl past all stuffed with eyes.
Streetlights shed theh'wu hollow gold.
Your brain seem bruised with.. numb surprise.
(Ray sings along for most remaining verses)
Still one place to go.
Still one place to go.

Let me sleep all night.. in your.. soul kitchen.
Warm my mind ta your.. gentle stove.
Turn me out. Wander, babe.
Stumblin' in the neon..

Roads. Your fingers weave quick.. minarets.
Speakin'.. secret.. alphabets. I..
Light another.. cigarette.
Learn to forget.
Learn to forget.
Learn.. to forget.
Learn.. to forget.

Let me sleep all night.. in your.. soul kitchen.
Warm my mind to your.. gentle stove.
Turn me out. Wander babe.
Stumblin' in the neon.. (Ray: stumblinnnnnnnnnn')
Whoaaalright!

(guitar solo)

Now I lay me.. down ta sleep.
Pray the lord my soul ta keep.
If I die before I wake.
Pray the lord my soul to take.
Take me..
All night long.
Baybeh hear my song.
Love ya all night long.

Well da clock said it time to close.. now.
I know I have to go.. now.
Really wanna stay here.. all night.
All night.
All.. night.

(song ends/applause)
(guitar intro to You Make Me Real)

You Make Me Real

I really want you.
Really do.
Really need ya, babe.
God knows I do.
Well I'm not real enough without you.
Ohh.. what can I do.

You make me real.
Only you, darlin..
Have that appeal.
You make me throw away mistake and misery.
Make me free, love.
Make me free.
AAAHHHHHO-Yay!

I really want ya.
Really do.
Really need ya, babe.
Really do.
Well I'm not real enough without you.
Uh.. what can I do.

You make me real.
Make me feel.. like lovers feel.
So let me slide into your tender sunken sea.
Make me free love.
Make me free.
UHAAAAHHHHH-Yeah!

(combined guitar/organ solo)

You make me re-al. Oh Yeah!
Only you, baybeh.. have that appeal.
You make me throw away mistake and misery.
Make me free, love.
Make me free.
Make me free.
You make me.. freeeee-yeah.

(song ends/applause)
(Ray: Alright let's play I Will Never Be Untrue)
(Jim: Lets do ??)
(tuning)
(guitar intro to I Will Never Be Untrue)

I Will Never Be Untrue

I will never.. be untrue.
Do everything you want me to do.
I won't stay out drinkin'..
No later than.. two.

I will never.. treat you mean.
I won't cause no kinda scenes.
Tell you all the people, all the places..
Everywhere I have been.

(combined guitar/organ solo)

Never.. be unkind.
Try ta give you.. peace of mind.
Only you'd tell me that you need me..
One more time.

Don't be sad.
Don't walk out when you get mad.
Or you'll lose the best friend.
The best old friend you ever had.

I will never.. be untrue.
I'll always be faithful.. to you.
Bring all my lovin' all my money.
Bring em' all.. home ta you.

(song ends/applause)
(tuning/audience shouts out requests)
(organ intro to When The Music's Over)

When The Music's Over

(Jim screams at end of intro) EEEHHHHHHHHHH!

When the music's over.
When the music's over, yeah.
When the music's over.. turn out the light.
Turn out the lights.
Turn out the lights.

When the music's over.
When the music's over, yeah.
When da music's over.. turn out the light.
Turn out the light.
Turn out the light-ah.
When the music.. is your.. special friend.
Dance on fire as.. it intends.
Music.. is your.. w'only friend.
Un-til the end..
Until the end.
Until the.. eeeeeehhhhhhhh.

(guitar solo)
(band settles into groove)

Sometin' wrong, sometin' not quite right.
Sometin' wrong, sometin' not quite right.
Sometin' wrong, sometin' not quite right.
Touch me, baybeh, all through the night, yeah.

Before I sink..
Into the.. big sleep-eh.
I want to hear.
I want to hear.
The scream..
Of the.. butterfly.

Come back baybeh..
Back into my arms.
We're gettin' tired of hangin' around.
Waitin' around with our.. heads to the ground.
I hear a.. very gentle sound.
Very near yet.. very far.
Very soft and.. very clear.
Come today babe.. come today.

What have they done to the Earth-uh.
What have they done to our.. fair sister.
Ravaged.. and plundered.. ripper her and bit her.
Stuck her with knives in the.. side of the dawn and..
Tied her with fences and.. dragged her down.
I hear a.. very gentle sound.
With your ear down.. to the ground-uh.

We want the world and we want it.. tuh..
nahhhhhhhhh.
AAAAAAAAHHHHHHH-OOWWWWWW!

(organ solo)
(band settles into groove)

So when the music's over.
When the music's over, yeah.
When da music's over.. turn out the lights.
Turn out the lights.
Turn out the light.

'cause the music.. is your .. special friend.
Dance on fire as.. it intends.
Music.. is your.. only frie-end.
Un-til the end.
Until the end.
Until the.. ehhhhhhhhhhhhhhhhhhhh-nd.

(song ends/applause)

Thank you.

(guitar intro to Universal Mind)

Universal Mind

I was doin' time in the universal mind.
I was feelin' fine.
I was turnin' keys, I was settin' people free.
I was doin' alright.
Then you came along with a.. suitcase and a song.
Turned my head around.
Now I'm.. so alone.
Just lookin'.. for a home..
In ev'ry face I see.
I'm the.. freedom man.
I'm da.. freedom man.
I'm da.. freedom man.
I'm da.. freedom man.

I was doin' time in the universal.. mind.
I was.. feelin' fine.
I was turnin' keys, I was settin' people.. free.
I was.. doin' alright.
Then you.. came along..
With a suitcase.. and a song.
Turned my.. head around.
Now I'm.. so alone..
Just lookin'.. for a home..
In ev'ry face I see.
I'm the.. freedom man.. yeah.

(combined guitar/organ solo loosely based on Coltrain's Afro Blue.)

I was doin'.. time in the universal mind.
I was.. feelin' fine.
I was.. turnin' keys, I was settin' people free.
I was doin' alright.
Then you.. came along.. with a suitcase.. and a song.
Turned my.. head around.
Now I'm.. so alone..
Just lookin'.. for a home..
In ev'ry face I see.
I'm the.. freedom man.
Yeah, freedom man.
Freedom man.
I'm the.. freedom maaaaaaan.

(song ends/applause)

Thank you. Thank you.

(crowd shouts out requests/slide guitar tuning)

Ray: That's is. That's it. Alright.

(cymbal/guitar/organ intro to Mystery Train)

Mystery Train

Train I ride.. sixteen coaches long.
Train I ride.. sixteen coaches long.
Well that old black train, take my baybeh and gone.

Train-train.. comin' ro-ound the bend.
Train-train.. comin' round the bend.
That mean old evil train, he took my one and only friend.
(Jim imitating train steam whistle) Woo-Wooo!
Yeeaaahhhh!

(combined slide guitar/organ solo)

Woke.
Woke up this mornin' got the crossroad on ma' mind.
Woke up dis' mornin' got the crossroad.. on my mind.
Take a walk with me everything gonna work out fine.

Woke up dis' mornin' got the H-Bomb on my mind.
Woke up dis' mornin' got the H-Bomb on my mind.
Yeah, take a walk with me everything gonna w.. yeah.
Yeah.

Mystery train.. uhhh.. comin' round da bend-ahuh.
Get on a train..
Oooooooo.
Goin' back home..
On the train.

Well, I woke up dis' mornin' got the crossroads on my mind.
Yeah, woke up dis' mornin' got the crossroad on my mind.
Woh, take a walk with me, yeah.

(instrumental section transitions into Build Me A Woman guitar/organ intro)
(applause)

Build Me A Woman

Build me a woman.. ten feet tall.
Don't make her ugly.
Don't make her small.
Build me a woman.. ten feet tall.
Build me someone I can.. ball all.. night long.

Sunday trucker, christian.. mother fucker, yeah.
Sunday trucker, christian.. mother fucker, yea-heh.
Why I'm just a.. three-eyed boy..
Lookin' for a twelve-toed girl.. yeah.

(guitar solo)

Five day Jesus and I.. know my mind.
Five day Jesus.. and I know my mind.
I'm just a three-eyed boy..
Lookin' for a twelve-toed girl.
All right Ray.

(organ solo)

Build me a woman make her.. ten feet tall.
Build me a woman.. ten feet tall.
Build me a woman.. I can ball all.. night long.

(song ends/applause)
(crowd shouts out requests/tuning)
(drum/guitar intro to Who Do you love)

Who Do You Love (false start)

(John breaks a drum stick, stops)

John: Wait a minute.
Ray: oh.. (crowd laughter/applause)
(Ray and John laugh)
John: Well, you know.. if it breaks, it breaks.

(drum/organ/guitar intro to Who Do You Love)

Who Do You Love

Walk a-forty near mile a' barb-wire.
Cobra 'nake a-for a necktie.
Brand new house a-by da road-side.
Made from rattlesnake hyde.
Brand new chimney made on top.
Made outta human skull.
Come on baybeh take a walk with me.
Tell me who do you love.
Who.. do ya love.
Who.. do ya love.
Who.. do a love, now.
Who baybeh.. who do ya love.

(combined guitar/organ solo)
(band settles into groove)

Jus' twenty-five and I don't mind dyin'.
Come on baybeh, no.. give me no jive.
Rode around the town I use a rattle-snake whip.
Come on baybeh don't gimme no lip.
Who.. do ya love, now.
Who.. do ya love, baayyy.
Who.. do ya love, yeah.
Who.. do you love.

Night was dark but da sky was blue.
Down de alley de ice-wag' flew.
Hit a bump, and somebody scream.
Should-a heard a-jus' what I seen.
Who.. do ya love, now.
Who.. do ya love, babe.
Who.. do ya love-uh.
Who.. do ya lo-ove.
Do ya love him.
Do ya love 'er.
Do ya love it?
Who baybeh, who do ya love?

(combined guitar/organ solo)
(band settles into groove)
Ray: Ask Robby if we're going into Money.
(extended organ/guitar improvisation)
(Ray changes key, slows, transitions into Light My Fire drum crack/organ intro)
(applause)

Light My Fire

Know that it would.. be untrue.
Ya know that I would.. be a liar.
If I was to say ta you.
Girl we couldn't get much higher.

Come on baybeh.. light my fire.
Come on baybeh light my fiire.
Try ta set the night on.. fire.

Time t'you hesitate is through.
No time to wallow.. in the mire.
Try now we can on-ly lose.
And our love become a fun'ral pyre.

Come on baybeh.. light my fire.
Come on baybeh.. light my fire.
Try ta set the night on.. fire, yeah-yeah.

(organ solo)
(guitar solo)
(band settles into groove)

Suck-suck-suck-suck!

(organ turnaround)

Time to hesitate is through.
No time to wallow in the mire.
Try now we can on-ly lose.
And our love become a fun'ral pyre.

Come on baybeh light my fire.
Come on baybeh light my fire.
Try ta set the night on.. fire.

Know that it would be untrue, yeah.
Know that I would be a liar.
If I was ta say ta you.
Girl we couldn't get much higher.

Come on baybeh.. light my fire.
Come on baybeh light.. my.. fire.
Try ta set the night on fire.
Try ta set the night on fire.
Try ta set the night on fire.
Try ta set the night on.. fire!

(song ends/applause/shouts for more)
(cheers)
(Jim shakes maracas)
(audience shouts requests/tuning)
(intro maraca/tambourine shakes of Celebration Of The Lizard)

Celebration Of The Lizard

(Jim, mumbles something under his breathe)
ehhh.. ehhh.. ehhh.. ehhh.
All the way out.
(lights are dimmed/applause)

Lions in the heat in roaming.
Dogs in heat, rabid, foaming.
A beast caged in the heart of the city.
The body of his mother rotting in the summer ground, he fled the town.
Went down south and crossed the boarder.
Left the chaos and disorder back there over his shoulder.

One morning he awoke in a green hotel with a strange creature groaning beside him.
Sweat oozed from it's shinny skin.

Is everybody in? (crowd shouts)
The ceremony is about to begin.

Wake Up!
You can't remember where it was.. had this dream stopped.
The snake was pale, gold, glazed and shrunken.
We were afraid to touch it.
The sheets were hot, dead prisons.
And she was beside me.
Old, she no. Young.
Her dark, red hair.
The white soft skin.
Now..
Run to the mirror in the bathroom! Look!
She's coming in here!
I can't live through each slow century of her moving.

I let my cheek slide down.. the cool, smooth tile.
Feel the good, cold, stinging blood.
The smooth.. hissing.. snakes.. of rain!

("A Little Game" organ intro)

Once a had..
A little game.
I like ta crawl..
Back in my brain.
I think you know..
The game I mean.
I mean the game..
Called go insane.
Now you should try..
This little game.
Just close your eyes..
Forget your name.
Forget the world.
Forget the people.
And we'll erect..
A different steeple.

This little game..
Is fun to do.
Just close your eyes.
No way to lose.
And I'm right here.
I'm goin' to..
Release control.
We're breakin' through-ah.

("Hill Dwellers" music)

Way.. back deep into the brain.
Way.. back past the realm of pain.
Back.. where there's never.. any.. rain.

And the rain falls gently on the town.
An' over the heads of all of us.
And in the labyrinth of streams beneath.
The quiet.. unearthly presence.. of nervous hill dwellers of the gentle hills around.
Reptiles abounding.
Fossils.
Caves.
Cool air heights.

Each.. house repeats a mold.
Win-dows rolled.
A beast car locked in against morning.
All now sleeping.
Rugs silent.
Mirrors vacant.
Dust.. blind under the beds of lawful couples.. wound in sheets.
And daughters.. smug with semen.
Eyes in their nipples.

Wait!
There's been a slaughter here!
Don't stop to speak or look around.
Your gloves and fan are on the ground.
We're getting out of town.
We're going on the run.
And you're the one I want to come.

("Not To Touch The Earth" organ intro)
(applause)

Not ta touch the Earth.
Not ta see the sun.
Nothin' left to do but run-run-run, let's run.
Let's run.

House upon da hill.
Moon is lyin' still.
Shadows of the trees..
Wittnessin' the wild breeze.
Come on baby run.. with.. me.

Let's run.
Run with me.
Run with me.
Run with me.
Let run.
Ahhhhh.

The mansion is warm at the top a' the hill.
Rich are the rooms and the comforts there.
Red are the arms of luxuriant chairs..
And you won't know a thing 'till ya get inside.

Dead president's corpse in the driver's car.
The engine runs on glue and tar.
Come on along, not goin' very far.
Ta the east.. ta meet the tsar.

Run with me.
Run with me.
Run with me.
Let's run.
Uh..
Ah!

(Ray: whoa!)

Some outlaws live by da side of a lake.
The minister's daughter's in love with the snake.. (Ray: whao!)
Who lives in a well by da side a' da road.
Wake up girl.. we're almost home, yeah!

Sun-sun-sun.
Burn-burn-burn.
Moon-moon-moon.
I.. will get.. you..
Soon.
Soon.
Soon.

("Rivers and Highways" music)

I am the lizard king.
I can do anything.

We-e came do-wn the rivers.. and highways.
We-e came do-wn from.. forests and falls.
We-e came do-wn from.. Carson and Springfield.
We-e came do-wn from.. Phoenix enthralled.

And I can tell you.. the names of the.. kingdom.
I-I can tell you.. the things.. that you know.
Listening fo-r.. a fist-full of silence.
Cli-imbing va-alleys in-to the.. shade.

For seven years I dwelt in the loose palace of exile..
Playing strange games with the girls of the island.
Now I have come again to the land of the fair and the strong and the wise.
Brother and sisters of the pale forest, children of night.
Who among you will run with the hunt.
Now night arrives with her purple legion.
Retire now to your tents and to your dreams.
Tomorrow, we enter the town of my birth..
I want to be ready.

(song ends/applause)

[TheWallsScreamedPoetry]

Aquarius Theater Show Reviews:


"The Doors, fully cleansed from the unfortunate after-effects of the highly publicized Miami exhibition, emerged from many months of self-exile to give to a native Los Angeles crowd one of the best and most powerful exhibitions of music performance ever witnessed locally. Morrison came back, and then some. His new visual appearance and new ease of stage presence combined to create a new image...sort of a 'thinking man's singer.' Morrison can no longer be stereotyped as a 'rock singer.' Of the ample new material the Doors displayed, it ran the gamut from hard rock to up-tempo blues to ballads...all led by the new, more confident Jim Morrison. They ended their set, an encore, with a rare performance of their chilling (literally) theatrical piece, 'The Celebration of the Lizard,' which combined poetry and song in a truly sardonic (but artistically successful) mixture."
P.S. The Doors, Cash Box, Aug 2, 1969

"The Doors are an assertive, demanding group. They preach revolution. They reach out for love. They play beautiful rock 'n' roll. Robby Krieger is a beautiful, eclectic and often volcanic guitarist. The Krieger, Manzarek-Densmore instrumental passages are among the most intelligently conceived among contemporary popular music. As an encore - or perhaps an afterthought - Morrison performed one of his tortured paranoid poems set to music. He slowly left the stage, telling the audience to 'retire not to your dreams.' And what dreams the Doors inspire. They are controlled, compressed nightmares."
Michael Ross, The Exciting Doors Record a Live Album, Los Angeles Herald-Examiner, July, 1969


This album, I'm sure, will convince everyone that the Doors have gotten it together, because the electricity in the air, the magic that was created that evening, was a testament to the fact that whatever it was the Doors had once upon a time, when they and their world were younger, they not only had again in spades but had the added virtue of being as sublime and self - assured as they were once brash and vulgar. There was Jim Morrison, more the Rabbinical student than the Sex God, and looking more comfortable in his new guise. Seeming less self-conscious, but singing, if anything, better than even his greatest fans thought he could sing. How can Morrison be accused of singing less well just because the hostility and the sensuality have given way to something richer textured, fuller, more aggressively grim? They have approached Art, no matter how much they have offended, amused or even thrilled the rock critics. The standards by which their art must be measured are older and deeper."
Harvey Perr, Stage Doors,
Los Angeles Free Press, Aug 8, 1969)


DISC ONE Approximately 65:30 Total Time
Track times approximate
1. CONCERT INTRODUCTION AND TUNING 2:06
2. JIM'S INTRODUCTION 0:11
3. BACK DOOR MAN 4:35
4. BREAK ON THROUGH (TO THE OTHER SIDE) 3:53
5. WHEN THE MUSIC1S OVER 12:07
6. TUNING 0:57
7. YOU MAKE ME REAL 3:05
8. TUNING 0:25
9. UNIVERSAL MIND 4:42
10. THE CROWD HUMBLY REQUESTS 2:15
11. MYSTERY TRAIN/CROSSROADS 5:59
12. THE CROWD AGAIN REQUESTS 0:12
13. LITTLE RED ROOSTER 6:28
14. TUNING 0:49
15. GLORIA 10:02
16. TUNING 0:51
17. TOUCH ME 3:29
18. THE CRYSTAL SHIP 3:26

DISC TWO Approximately 72:15 Total Time
Track times approximate
1. TUNING 0:48
2. LIGHT MY FIRE 13:53
3. THE CROWD REQUESTS THEIR FAVORITES 0:57
4. THE CELEBRATION OF THE LIZARD 14:59
5. A REQUEST OF THE MANAGEMENT 6:45
6. SOUL KITCHEN 6:51
7. JIM INTRODUCES RAY 1:01
8. CLOSE TO YOU 4:29
9. A CONVERSATION WITH THE CROWD 2:12
10. PEACE FROG [INSTRUMENTAL] 2:36
11. BLUE SUNDAY 2:38
12. FIVE TO ONE 5:47
13. THE CROWD AGAIN REQUESTS THEIR FAVORITES 0:44
14. JIM INTRODUCES THE MOVIE 1:06
15. ROCK ME BABY 7:38



An Excerpt From Danny Sugerman's Notes:

It is my opinion that on a good night Morrison was the rock & roll equivalent of the brilliant and crazed Russian ballet dancer, Nijinsky. He was literally possessed by a force he could somehow tap into once the band started playing and the spotlight hit him. Words like mesmerizing, hypnotic, horrifying, ecstatic, otherworldly all apply here.

And it was reputation, and of course the hit singles, several of which are contained here, that inevitably led to the bigger auditoriums. Bill Graham once told the band "You can't share shit in those barns" in an attempt to keep them at the smaller-sized Fillmore. But with Jim giving each performance everything he had, and because the demand for tickets was so high, it simply made more sense to do what so many other bands had done, and that was to graduate from the Fillmore Auditoriums to larger halls and play one show instead of six.

Live albums had become a big money maker about this period and rather than force out their upcoming studio material, The Doors consented to Elektra Records' request to record the band on tape in concert. It seemed a natural, The Doors, one of the best concert performers of their era, captured on tape.

LIVE AT THE AQUARIUS THEATER: THE SECOND PERFORMANCE

THE AQUARIUS THEATER, HOLLYWOOD - July 21, 1969

Second Show

Setlist

1. House Announcer/Band chatter/Jim intro
2. Back Door Man
3. Break On Through
4. When The Music's Over
5. You Make Me Real
6. Universal Mind
7. Mystery Train
8. Little Red Rooster
9. Gloria
10. Touch Me
11. The Crystal Ship
12. Jim LMF intro
13. Light My Fire
14. Jim Celebration intro
15. Celebration of the Lizard
16. House Announcer

Encore

17. Jim dialog
18. Soul Kitchen
19. Jim introduces Ray
20. Close To You
21. Close To You falls apart
22. Peace Frog Instrumental
23. Blue Sunday
24. Five To One
25. Jim dialog
26. Rock Me
27. Ray dialog

SECOND SHOW

(House Announcer)
We're really proud tonight to have a great group here.. at the Aquarius Theater.
The Doors
(applause)
(tuning)

Ray: John. Hit the.. Hit the side.. Oh, it's starting to feedback already. (applause)
Yeah base.. base drum. John.. let's here that. (Ray laughs) Play the side toms. The side toms.

Jim: Yeah. Yeah. Well we've wanted to.. uh.. record a live album in our home town.. for a long time. So we're gonna do it tonight. (applause)

(guitar intro to Back Door Man)

Back Door Man

(Ray: Yeah)

W'I aaa-aam.
Yeah, were back door man.
Back door man.
Men don't know but da.. little girls.. understand.

Well all your people.. tryin' ta sleep.
Out 'dere makin' wit' our midnight creep, yeah!
Back door man.
Men don't know but da.. little girls.. understand.
Alright, yeah!

(guitar solo)
(band settles into groove)

ehhhhhhahhhhmmmmmgehhaaaaaaaaa.
An old.. blues.. man.
Been.. singin' the blues.. ever since.. the world began.
Hey-ehhhohhhhhhhooo.

You men eat your dinner eat your pork and beans.
I eat more chicken any man ever seen, al-right.
'Cause I'm a back door man.
Yeah, da men don't know but da.. little girls..
You understand.. don't 'cha honey.

Well I'm a back door man.
I'm a back door man.
Ohh.
Backdo' ma'
Men don't know but da.. little girls.. understand.
Yeah.

(song ends/applause)
(drum/organ intro to Break On Through)

Break On Through

Ya know da day destroy da night-mmm.
Night divides the day.
Tried to run. Tried ta hide.
(Ray joins Jim in singing rest of verse)
Break on through to the other side.
Break on through to the other side.
Break on through to the other side.

Yeah, chased our pleasho' here.
Dug our treasures there.
(Ray joins Jim singing the rest of the verse)
Still recall.. time we cried.
Break on through to the other side.
Break on through to the other side.
Break on through, yeah.. whaoo!

(organ solo)
Eh!

Ev'rybo-day.. love my bay-beh.
Ev'rybo-day.. (Ray joins in) love my bay-beh.
She get..
She get. (Ray: high)
She get. (Ray: high)
She get.(Ray: higher)
Oh-eah.

I found an island in yo' arms.
(Ray sings rest of song with Jim)
Country in yer eyes.
Arms that chained us, eyes that lied.
Break on through to the other side.
Break on through to the other side.
Break on through, yeah.. whoh-right!

(guitar solo)

Yeah, made the scene.
Week to week. Day ta day. Hour ta hour.
Gate is straight, deep and wide.
Break on through to the other side.
Break on through to the other side.
Break on through.
Break on through.
Break on through.
Break on through.
Oh yeah.. yeh.. eh.. eh.. yeh.. yo.. yeh.. eh.. oh.. yeh.. yeh.. yeh.. yeh.. yeh.. yeh.. yo.. yeh.

(song ends/applause)
(organ intro to When The Music's Over)

When The Music's Over

(Jim screams at end of intro) EHHHHHHHHH!

When da music's over.
When da music's over, yeah.
When da music's over.. turn out the lights.
Turn out the lights.
Turn out the lights.
ehhhhhhhh.

When da music's over.
When da music's over.
When da music's over.. turn out the lights.
Turn out the lights.
Turn out the liiiiiiights.

When the.. music.. is your.. special friend.
Dance on fire as.. it intends.
Music.. is your.. only frie-end.
Un-til the end.
Until the end.
Un-til the.. yeeehhhhhahhFUCKERINTHEASS!

(guitar solo)
(band settles into groove)

Cancel my subscription to the.. resurrection.
Send my credentials to the.. house of detention.
Got some friends.. in-side.

The face in the mirror won't stop.
The girl in the winda' won't drop.
A feast of friends. Alive, she cried.
Waitn' for me.. out-side.

Before I sink.
Into the.. big sleep.
I want to hear.
I want to hear.
The scream.. of the.. butterfly.
Come back, baby.
Back in-to my.. arms.
We're gettn' tired of hangin' around.
Waitin' around with our.. heads to the ground.
I hear a.. very gentle sound.
Very near yet.. very far.
Very soft and.. very clear.
Come today, babe.
Come today.

What 'ave they done to the Earth.
What 'ave they done to our.. fair sister.
Ravaged.. and plundered.. ripped her and bit her.
Stuck 'er with knives in the.. side of the dawn and..
Tied her with fences and..
Dragged her down.
I hear a very gentle sound.
With your ear down.. to the ground-a.
We want the world and we want it..

(organ solo)
NAAAAAAAAAAAAAA!
Persian night, babe.
See the light, babe.
Save us.
Save us.

(band settles into groove)

So when the music's over.
When da music's over, yeah.
When the.. music's over.. turn out the lights.
Turn out the lights.
Turn out the liiiiiiiiiight.

When the music.. is yo'.. special friend.
Dance on fire as.. it intends.
Music.. is yo'.. w'only friend.
Un-til the end.
Until the end.
Un-til the.. ehhhhhhhhhhhhhhhhhhh-nd.

(song ends/applause)
(tuning/band talks to each other/laughs)

Come on.. let's do it.

(guitar intro to You Make Me Real)

You Make Me Real

I really want you.
I really do.
Really need ya, babe.
Yeah.
Well I'm not real enough without you.
Uh.. what can I do.

You make me real.
Only you.. have that appeal.
You make me throw away mistake an' mystery.
Make me free, love.
Make me free.
Waahhh, yeah!

(guitar solo)

I really want you.
Really do.
Really need ya, babe.
God knows I do.
'cause I'm not real enough without you.
Uh.. What can I do.

You make me re-al.
Ya make me feel..
Like lovers feel.
So let me slide into your tender sunken sea.
Make me free, love.
Make me free-whaaaa-aahhright.

(guitar solo)
Ehhhhhh!

You make me real.. ahh, yeah.
You make ma' feel..
Like lovers feel.
You make ma' throw away mistake and misery.
Make me free, love.
Make me free.
Make me free.
You make me..
Freeeeee.

(song ends/applause)
(tuning)
(guitar intro to Universal Mind)

Universal Mind

I was doin' time in the universal mind.
I was feelin' fine.
I was turnin' keys. I was settn' people free.
I was doin' alright.
Then you.. came along with a.. suitcase and a song.
Turned my head around.
Now I'm so alone.. just lookin'.. for a home..
In ev'ry face I see.
I'm the.. freedom man.
I'm the.. freedom man.
I'm the.. freedom man.
That's how.. lucky I am.

I was doin' time in da universal mind.
I was feelin' fine.
I was turnin' keys. I was settn' people.. free.
I was doin' alright.
Then you.. came along.. with a suitcase.. and a song.
Turned my.. head around.
Now I'm.. so alone.. just lookin'.. for a home..
In ev'ry face I see.
I'm the freedom man.

(organ/guitar combined solos based on Coltrain's Afro Blue)

I was doin' time.. in the universal mind.
I was.. feelin' fine.
I was.. turnin' keys.
I was.. settn' people free.
I was.. doin' alright.
Then you.. came along.. with a suitcase.. and a song.
Turned my.. head around.
Now I'm.. so alone.
Just.. lookin'.. for a home.
In ev'ry face I see.
I'm the.. freedom mannnnn.
Yeah.. that's how lucky I am.
I'm the.. freedom man.
I'm the.. freedom man.

(song ends/applause)
(crowd shouts out requests/tuning)
(Ray:All-right.)
(cymbal/guitar/bass intro to Mystery Train)

Mystery Train

Yeah.
Train I ride.. sixteen coaches long.
Train I ride.. sixteen coaches long.
Well dat old black train.. took my baybeh and gone.

Train-train.. comin' 'round the bend.
Train-train.. comin' 'round da bend.
Well dat mean old train.. took my one and only friend.
Wooo-wooo!

(short combined organ/guitar solo)
eeeeeee-yoo-hoo!

Well I woke up dis mornin' got da crossroads on my mind.
Yeah, woke up dis mornin' got da crossroads on my mind.
Yeah, take a walk with me ev'rything gonna.. work out fine.

Well I woke up dis mornin' got de' H-bomb on my mind.
You know.. woke up dis mornin' got de' H-Bomb on my mind.
Yeah, take a walk with me, ev'rything gonna work out fine.

Well I woke up dis mornin' got the junk-man on.. my.. mind.
Ehhh, woke up dis mornin' got the junk-man on my mind.
Yeah, take a walk with me yeah..
Yeah-yeah. whoh-whoh.
Ev'rything. Ohhhh, work out fine.
Woo-woo.

Mystery traiiiiiiiiin..
Get onboard alright.. okay.. ah-huh.. yeah-yeah.
Mystery traiiiiinnnnnn.
Comin'..
Get that train, babe.
Get onboard.. alright.. okay.. yeah-yeah-yeah-yeah.

Well I woke up dis mornin' got the crossroads.. on my mind.
Yeah, woke up dis mornin' got crossroad.. oh.
Take a walk with me, ohhh.
Everything.. everything, ah.

(song ends/applause)
(crowd shouts out requests)
(slide guitar intro to Little Red Rooster)

Little Red Rooster

Well I'm da little red rooster.
Too lazy ta crow.. for days.
Little red rooster.
Too lazy ta crow for days.
Keep ev'athing in da barnyard..
Upset.. in every wa-ay.

Da dogs begin ta bark.
Da hounds.. begin ta.. howl.
Dog begin ta bark.
Hounds.. begin ta'.. ho-owl.
Look out strain' cat people.
Little red rooster's on da prowl.
Ahright, play awhile.

(guitar solo)

Ah' begin ta bark, ow-ow!
Da hounds.. begin ta.. howl.
Dog begin ta bark, ow-ow!
Da hounds.. begin ta howl.
Look out strange cat people.
The little red rooster.. 's on da prowl.
Play it!

(organ solo)

See my little red rooster.
Come on and.. drive him home.
See my 'wed rooster, honey.
Please.. drive him home.
Ain't been no peace in da barnyard..
Since that little.. roosta' been gone.
One mo'.

Well I'm the little.. red rooster.
Too lazy ta crow.. for days.
I'm da little red rooster.
Too lazy ta.. crow for days.
Keep everything in da barnyard..
Ups-et in every.. wayyyyyy.

(song ends/applause)
(tuning)
(bass/guitar intro to Gloria)

Gloria

Te' 'bout my baybeh..
No she.. come around.
Come 'round here.
With her head to the ground.
Come 'round here..
Just about midnight.
Make me feel so good.
Make me feel alright.
Come 'round here..
Jist a-bout midnight.
Make me feel so good.
Make me feel al-right.
Come 'round my street.
She comes to my house.
Knock on my door.
Climbin' up my stairs.
One-two-tree-fo'uh.
Here she is in my room, yeah.
A-won't you come inside.
Tell me your name, babe.
How old are you?
Where'd ya go ta school?
Clo-ser.
Clo-ser.
Touch me, babe.
Well, now that we know each other.. a little bit better..
Make me feel alright! (Ray: Glo-ria)
(Ray and Jim) Glo-ria.
Glor-ia (Ray: yehhh.)
Glor-ia (Ray: eeh-ahhhh!)
Glor-ia (Ray: beh-ohhh)
Shout all night, shout all day.
All right. Okay.

(band settles into groove)

Gotta meet me..
At the crossroad.
Gotta meet me..
At the edge of town.
Outskirts of the city.
Better come alone.
You and I..
And da evenin' sky.
Better bring your gun.
Gonna have some fun, yeah.

Coda queen now.. be my.. bride.
Rage and darkness by my side.
Seize the summer.. in your pride.
Take the winter.. in your stride, let's ride.

(combined guitar/organ solo)
(band settles into groove)

You were my queen and I was your fool.
Ridin' home.. after school.
Took me home.
Nobody there.
Your father's at work and your mother's out shoppin' around.
Took me in..
In ta your house.
Back in your room, yeah.
Show'd me your thing, alright.
Oh no, ahh!
It's too late now.
(tempo slows down)
Softer.
Gettn' hard, yeah.
Get on up.
Can't go back.
It's gettin' har-der.
(tempo starts to speed up)
It's gettin' too darn fast, uhhh.
Too late now.. this is too late now.
Make me feel alright, yeah! (Ray: Glo-ria)
(Ray and Jim) Glo-ria.
(Ray and Jim) Glo-ria.
(Ray and Jim) Glo-ria.
AHH-ria! (Ray: Glo-ria. Glor-ia)
All day. All night. (Ray: Yeah, my love.)
All day. All right-eh.

(song ends/applause)
(tuning)
(guitar intro to Touch Me)

Touch Me

Come on, come on, come on, come on now touch me, baybeh.
Can't you see.. I am not afraid.
What was that promise that you made.
Why won't you tell me what she said.
What was that promise that you made.
I'm.. gonna love ya.. 'till the.. heavens stop.. rain.
I'm.. gonna love ya.. 'till the sta's fao' from da sky.
You and I.
C'mon!

Come on, come on, come on, come on now touch me, babe.
Can't you see.. I am not afraid.
What was dat promise that you made.
Why won't you tell me what she said.
What was that promise that you made.
I'm.. gonna love ya.. 'till the heavens stop the rain.
I'm.. gonna love ya.. 'till the stars fall from the sky.
You and I.
I'm.. gonna love ya.. 'till the heavens stop the rain.
I'm.. gonna love ya.. 'till the stars.. fao.. from.. the sky.
You and I.. Alright!

(instrumental ending)
(song ends/applause)
(guitar intro to The Crystal Ship)

The Crystal Ship

Be-fore you.. slip into.. unconsciousness, I'd..
Like to have a-nother kiss.
'no-ther.. fla-shing.. chance.. at bliss a-nother kiss.
Another kiss.

Oh tell me where.. your freedom lies.
The streets are.. fields that.. never die.
Deli-ver.. me.. from.. rea-sons why you'd.. rather cry.
I'd rather fly.

(organ solo)

The days are bright.. and filled with pain, en-
Close me in your.. gentle reign.
Time we ran was too.. insane, we'll.. meet again.
We'll meet again.

The crystal ship.. is being filled.
A thousand girls. A thousand thrills. A..
Mill-ion ways to.. spend.. your time. When..
We get back, I'll drop a.. line.

(song ends/applause)

Thank you.

(tuning)

(Jim introduces next song)
As they say in.. Spanish.. Enciende del fuego..

(drum crack/organ intro to Light My Fire)

Light My Fire

Ya know that it will be untrue.
Ya know that I would.. be a liar.
If I was ta say to you.
Girl we couldn't get much higher.

Come on baybeh.. light my fire.
Come on baybeh light my fire.
Try ta set the night on.. fire.

Time to hesitate is through.
No time ta wallow.. in the mire.
Try now we can only lose.
And our love become a fun'ral pyre.

Come on baybeh.. light my fire.
Come on baybeh.. light my fire.
Try ta set the night on.. ehhhahh, come on, honey.

(organ solo)
(applause)
(guitar solo)
(band settles into groove)
(Robby, John and Ray 'trade fours')

Fuck-fuck-fuck-fuck!
Ahhck-fuck-fuck-fuck-hey!

(organ turnaround)

Time to hesitate is through.
No time ta wallow.. in the mire.
Try now we can on-ly lose.
And our love become a fun'ral pyrrre.

Come on baybeh.. light my fire.
Come on baybeh.. light my fire.
Try to set the night on.. fire!

Know that it will be untrue.
You know that I would be a liar.
(Ray joins in singing)
If I were to say ta you.
Girl we couldn't get much higher.

Come on baybeh light my fire.
Come on baybeh light my fire.
Try ta set the night on fire.
Try ta set the night on fire.
Try ta set the night on fire. (Ray: ahhhhhhh!)
Try ta set the night on.. fire!

(song ends/applause)
(audience shouts out requests)
(Jim shakes maracas)

Ray: Okay, take the mics down a little bit. This.. Take these down.

(Jim starts reciting Celebration Of The Lizard from upper balcony)

Celebration Of The Lizard

Lions in the street in roaming.
Dogs in heat. Rabid, foaming.
A beast caged in the heart of the city.
The body of his mother rotting in the summer ground..
He fled the town.
He went down south and crossed the boarder.
Left the chaos and disorder..
Back there.. over his shoulder.
One morning he awoke.. in a green hotel..
With a strange creature groaning beside him.
Sweat oozed from it's shiny skin.
Is everybody in? (crowd: yeah!)
The ceremony is about to begin.

Wake up!
You can't remember where it was.. had this dream stopped.
The snake was pale, gold.. glazed and shrunken.
We were afraid ta touch it.
The sheets were hot, dead prisons.
And she was beside me.
Old.. She's no.
Young.
Her dark, red hair.
The white, soft skin.
Now..
Run to the mirror in the bathroom! Look!
She's coming in here.
I can't live through each slow century of her moving.
I let my cheek slide down.. the cool.. smooth tile.
Feel the good, cold, stinging blood.
The smooth.. hissing.. snakes.. of raaaaiiinn!

("A Little Game" organ intro)

Once I had.
A little game.
I like to crawl.
Back in my brain.
I think you know.
The game I mean.
I mean the game.
Called go insane.

You should try.
This little game.
Just close your eyes.
Forget your name.
Forget the world.
Forget the people.
And we'll erect.
A different steeple.

This little game.
Is fun to do.
Just close your eyes.
No way ta lose.
And I'm right here.
I'm goin' to.
Release control.
We're breakin' through.

(extended "Hill Dwellers" intro)
(This is where Jim swings on a rope from the balcony to the stage)
(crowd cheers)
(Jim continues from stage)

Way.. back deep into the.. brain.
Back.. where there's never.. any rain.
And the rain falls gently on the town and over the heads of all of us.
And in the labyrinth of streams beneath.
The quiet, unearthly presence of nervous hill dwellers..
In the gentle hills around.
Fossils abounding.
Reptiles.
Cool air heights.
Each.. house repeats a mold.
Win-dows rolled.
A beast car locked in against morning.
All now sleeping.
Rugs silent.
Mirrors vacant.
Dust.. blind under the beds.. of lawful couples.. wound in sheets.
And daughters.
Smug with semen.
Eyes in their nipples.
Wait!
There's been a slaughter here.
Don't stop to speak or look around.
Your gloves and fan are on the ground.
We're going out of town.
We're going on the run.
And you're the one.. I want ta come.

("Not To Touch The Earth" bass intro)

Not to touch the Earth.
Not ta see the sun.
Nothin' left ta do but.. run, run, run, let's run.
Let's run.

House upon da hill.
Moon is lyin' still.
Shadows of the trees.
Witnessin' da wild breeze.
Come on baybeh run.. with.. me.
Let's run.
Run with me.
Run with me.
Run with me.
Let's run.
Ahhh!

The mansion is warm at the top a' the hill.
Rich are the rooms and the comforts there.
Red are the arms of luxuriant chairs..
a'.. won't know a thang 'till ya get inside.

Dead president's corpse in da driver's car.
The engine runs on glue and tar. (Ray: whoo)
Come on along not.. goin' very far.
Ta the East.. ta meet the tsar.
Run with meeee.
Run with me.
Run with me.
Let's run.
Ahhh..
AHHHHHH!

Some outlaws live by da side of a lake.
The minister's daughter.. love with the snake.
Who lives in a well by da side a' the road.
Wake up girl.. we're almost home, yeah.

Sun-sun-sun.
We should see.. the gates.. by mornin'.
We should be in-side by evenin'.
Burn-burn-burn.
Moon. Moon. Moon.
I will get you..
Soon.
Soon.
Soon.

I am the lizard king.
I can do anything.

("Rivers and Highways" music)

We-e came do-wn the rivers and highways.
We came do-wn from forests and falls.
We-e came do-wn from.. Carson and Springfield.
We-e came do-wn from.. Phoenix enthralled.

And I can tell you.. the names of the kingdom.
I-I can tell you.. the things.. that you know.
Listening fo-or a fist full of.. silence.
Cli-imbing va-alleys.. into the sha-ade.

For seven years I dwelt in the loose palace of exile.
Playing strange games with the girls of the island.
Now I have come again to the land of the fair.. and the strong.. and the wise.
Brothers and sisters of the pale forest.
Children of night.
Who among you will run with the hunt.

Now night.. arrives with her purple legion.
Retire now to your tents.. and to your dreams.
Tomorrow we enter the town of my birth.. and I want.. to be ready.

Goodnight.

(song ends/applause)

(House Announcer)
Ladies and gentlemen if I could have your kind attention for just one moment. If I could have your kind attention. Not to add any.. shall we say.. Could we have s..
(microphone connection lost/long pause)
Ahh. We were temporarily disconnected. I'm sorry for the inconvenience. The management has asked me.. to.. have the aisles cleared. Have you regain your seats again. Mr. Morrison said that he'd be delighted to come out and do another number without house lights. But may we ask you please now as a request of the management if you would, once again, take seats even though they're not your own. Please cooperate. Let people pass in front of you. And if you ju.. if you would mind staying in your seats for this number there should be no problem again with the management. And may I relay their thanks to you for this. Unfortunately there can be no seating in any aisle. That you must be in.. the proper seats. So if you would we shall continue.
(applause)

ENCORE

(band appears/applause)
(tuning)

(Jim talks to lighting person)
Hey Chip let's keep it.. pretty dark this set, okay? Ahright?
Hey we can play.. uh.. it's a.. thi.. this evening is.. open end. We can stay here as long as.. everybody's having fun, right?
Alright!

(extended organ intro to Soul Kitchen)

Soul Kitchen

(Jim does something to get the crowd cheering)

Well da clock said it time ta close.. now.
I guess we'd better go.. now.
But I'd really.. like ta stay here.. all night. (crowd cheers)
The cars crawl past all stuffed with eyes.
Streetlight shed their hollow gold.
Your brain seemed bruised with.. numb surprise.
Still one place to go.
Still one place to go.

Let me sleep all night.. in yo'.. soul kitchen. (Ray: Soul kitchen.)
Warm my mind to yo'.. gentle stove. (Ray: Warm my mind to your.. stove.)
Turn me out.. wander, babe. (Ray: Turn me out.. wander, babe.)
Stumblin' in da neon. (Ray: stumbliiiiiiiahhhhh.)

Wheh fingers weave quick.. minaret.
Speakin'.. secret.. alphabets. I..
Light another.. cigarette. (Ray: Another cigarette.)
Learn.. to forget. (Ray: Learn.. to forget.)
Learn.. to forget. (Ray: Learn.. to forget.)
Learn.. to forget.
Learn.. to forget.

Let me sleep all night.. in your .. soul kitchen. (Ray: Let me sleep all night.. in your .. soul kitchen.)
Warm my mind to yo'.. gentle stove. (Ray: Warm my mind to yo..)
Turn me out'n I'll wander, babe. (Ray: Turn me ouuuuuuu.)
Stumblin' in da neon.. waaaaaa-yeah! (Ray: Stumblinnnnnn'.)
(Ray: whoh!)

(guitar solo)
(band settles into groove)

Your fingers weave quick.. minarets.
Speakin'.. secret.. alphabets. I..
Light another.. cigarette.
Learn.. to forget.
Learn.. to forget.
Learn.. to forget.
Learn.. to forget.

Lemme sleep all night.. in your.. soul kitchen. (Ray: Let me sleep all night.. in your .. soul kitchen.)
Warm my mind to yo'.. gentle stove. (Ray: Warm my mind to your gentle stove.)
Turn me out'n I'll wander babe. (Ray: Turn me ouuuuuuu..)
Stumblin' in da neon. (Ray: Stumblin'. Yeah.)
Whoh-yeah-hey!

(organ solo)
(band settles into groove)

The cop said it time ta close.. now.
I know I have ta go.. now.
Really wanna stay here.. all night. (Ray: Really wanna stay here.. all night.)
All night. (Ray: All night.)
All.. night. (Ray: Ahhhhooo)

(song ends/applause)

Alright. Alright. Alright. Alright. Alright.
Thank you. Thank you.

(Jim talks to audience)

Jim: But now, ladies and gentlemen, I would like to.. introduce..
Ray: Oh , Jesus Christ.. (John laughs)
Jim: No.. No.. Ah, never mind..
Ray: Alright. Let's get down to it. Let's find out..
John: Come on Ray, come on..
Jim: We have.. we have the honor.. the distinguished.. pleasure.. this evening.. of hearing some of the authentic.. blues.. performed by a master of that art. (Ray/John laugh)
Jim: Out of Chicago.. now Los Angeles..
Ray: Uh, Let's do 'Close To You'
Jim: The exciting! The soulful! The fantastic! What's your name man?
Ray: I'm not gonna.. nope. .(laughs)
Jim: Come on Ray, let's do it.
Ray: Okay..
Jim: You gotta get him mad a little bit..
Ray: (clears throat) Okay.. Got it. (sighs)

(organ intro to Close to you)
(Jim: Yeah-heh)

Close To You

(Ray on vocals)

Well, I wanna get close to you, baybeh.
I wanna get close.
Come on, baybeh.
Feel close.
Close to you baybeh.. I can get.

(organ solo)
Alright!
Yeah!

(Ray talks to band)
Let's uhhh.. play it.. in the key of.. 'A'.

(band changes to 'A')
That's code talk. Musicians code.
Yeah!
(Jim: ehhAlright!)

Came to Los Angeles.. 'bout nine years ago.
I came to the city.. 'bout nine years ago.
I think I found it. No place else to go.

Saw the sun. Saw the beach.
Saw the people.. on the street.
I came to Los Angeles, 'bout nine years ago.
Been all around the world. No place else ta go.

Listen baybeh. Just take it easy.
Just ride in your car.
Go.. 'round the strip.. and.. uh.. all the other places.

People lookin' good.. everywhere I go.
Long hair.. fancy clothes.
Must be the start..
Must be the start of something new.

So I get close to you baby, close as.. I can get.
(Jim: Close) Close to you baybeh, like-a.. water's wet.
(Jim: Close) Close to you baybeh like an egg is to a hen.
Close to ya baybeh like Siamese twin.
I wanna get close to ya, baybeh.
(Ray and Jim ) Close to ya, baybeh.
(Jim: Close) Close to ya ,baybeh..
Don't know what ta say or do.

I wanna get close to you baybeh, like a fire's to smoke.
Close to ya baybeh like a.. pig is to poke.
A-close to you ba.. (Ray stops singing/playing. Song stops)

Ray: No. no-no.. St-stay on "A".
Jim: W-wa-wait-wait a minute. Wait a minute.
Ray: See we haven't done these songs in a long time and no-one.
Jim: No..
Ray: We haven't done them since the Whisky actually..
Jim: No.. that.. that..
Ray: So as filler, we're stuck.
Jim: No, that.. that. was pretty good, Ray. Really. Really. (applause)
Ray: I thought it was nice.
Jim to audience: Didn't you's think so? Yeah.
Ray: It was a nice try anyway. You know.. The effort was sincere. Well now we'll try and do.. uh..
(Crowd shouts out requests. One person keeps shouting for 'Do It')
Ray: Oh.. Do it. Do it. Instrumental. Vince.

(tuning/crowd shouts requests)

Ray: Okay, we have a crowd pleaser now.

(more tuning)
(Jim talks to crowd)
Uh.. Is there anything in particular anyone out there would like us to do?
(crowd shouts out favorites)
Now wait a minute. Wait a minute. One at a time. I can't hear anything.
Please, one at a time.

(tuning)
(opening guitar lick of Peace Frog)

Peace Frog Instrumental

(two and half minute Peace frog instrumental)
(transitions into Blue Sunday organ intro)

Blue Sunday

I.. found my own.. true love was..
On.. a.. blue Sunday.
She.. looked at me and.. told me..
I.. was the only..
One in the world.
Now I have found.. my girl.
My girl.. awaits for me in ten-der time.
My girl is mine.
She is the world.
She is.. my.. girl.

(combined organ/guitar solo)

My girl.. awaits for me in tender.. time.
My girl is mine.
She is the world she.. is my girrrrrrrl.

(song ends/applause)
(drum/guitar intro to Five To One)

Five To One

Let's keep the lights out for this one, alright?

Five to one, baybeh.
One in five.
No one here.. gets.. out alive, now.
You get yours, momma.
I'll get mine.
Gonna make it baybeh if we try, yeah.

The old get old and the.. young get stronger.
May take a week and it.. may take longer.
They got the guns but.. we got the numbers.
Gonna win, yeah we're.. takin' over. Come on.

(guitar solo)

You're ballroom days 'er over, baybeh.
Night is.. drawin' near.
Shadows.. of the.. evenin'..
Crawl across the year.
Ya walk across the floor wit' a.. flower in your hand.
Try'n ta tell me no one.. understands.
Trade in you hours fo' a handful a' dimes.
Gonna make it baybeh in our prime.
Get together.. one more time.
Get together.. one more time.
Get together.. one more time.
Get together..
GET TOGETHER.. ONE MORE TIME!
GET TOGETHER.. ONE MORE TIME!
Get together.. one more time. (Ray: ..er.. one more time.)
Get together.. one more time. (Ray: Get together.. one more time.)
Get together got ta.. get together got ta (Ray: ..gether oahh one more time.)
Get together got ta.. (Ray: Get together baybeh one more time.)
Whooaaaaaaaaaahhehhh!

Come on honey ahh. (Ray: get together. get together..)
You get along home. (Ray: one more time)
I'll be there in just a little while. (Ray: Get together)
You see.. I gotta go out in this car with these people.
And get.. (Ray: Say it)
FUCKED UP!
(Ray: yeah)
Get together.. one more time! (Ray: Get together.. one more time!)
Get together.. one more time! (Ray: Get together.. one more time!)
Get together.. one more time. (Ray: Get together.. one more time!)
Get together got ta.. get together got ta.. (Ray: Get together.. one more time.)
Get together got ta.. get together got ta..
get together got ta.. yee-ahhh.

Get to-gether.
Just a one more. (Ray: Yeah.. mm-mm)
Time-uh.

(song ends/applause)
(crowd shouts out requests)
(tuning)

Okay, listen.. uh.. we're gonna do one more.. and.. uh.. (person in crowd: "One more set") uh, we'll see.. but.. anyway, we.. we got this.. uh.. we got a movie. That, uh.. anybody that doesn't want to leave when the place closes, whenever that is, I mean.. when this.. the music.. live music part.. closes.. there's a good movie if you want to stay.. and watch it.

(applause)

It's an underground smash.
Yeah.
Alright. This is something for.. anyone who is sleepy right now.
Leave the lights out.

(guitar/organ intro to Rock me)

Rock Me

Want you ta rock me.
Rock me all.. night long. (Ray: Yeah.)
Come on and rock me, pretty baby.
Rock me all night.. long.
Rock me, woman.
'till I.. end my song.
(Ray: Alright.)

Sun goin' down..
The moon begin.. to rise.
See da sun goin'.. down. (Ray: Yay.)
Little moon begin to rise.
Rock me, baybeh..
Rock me 'till I'm satisfied.
Alright, let's rock a while.

(guitar solo)
Yaoo!

Sun goin' down, da..
Moon begin.. ta-riiiiiise.
See da sun goin'.. down.
Moon begin to.. rise, child.
Rock me..
'till I'm satisfied.
Alright play it. Yeah.

(organ solo)

Alright, let's get it way down now.

Throw your arms around me.
Circle 'round da' sun.
Throw your arms around me. (Ray: Alright)
Circle 'round da' sun.
Then you gotta rock me. (Ray: mmm)
'cause I'm the.. only one.
Ah-kay.

You gotta rock me, Aow! (Ray: Yeah!)
Rock me.. all night long! (Ray: Oh!)
Rock me, baybeh!
Rock me.. all night long! (Ray: Yeah!)
You gotta rock me, pretty woman! (Ray: ehhhh-eh)
Rock me all night.. long.. yeah.
Ahh-right.

(song ends/applause)

Ray: It's movie time. So bring on the screen.
Jim: Thank you very much. Thank you. We'll see ya later.
Ray: Where's the screen?

[TheWallsScreamedPoetry]

DISC ONE Approximately 51:35 Total Time
Track times approximate 1. WE'RE ROLLING 0:08
2. I WILL NEVER BE UNTRUE 5:57
3. PEACE FROG [INSTRUMENTAL] 2:50
4. BLUE SUNDAY 4:09
5. MAGGIE McGILL 4:48
6. ARRANGING (YOU NEED MEAT) DON'T GO NO FURTHER 1:16
7. (YOU NEED MEAT) DON'T GO NO FURTHER 3:52
8. ARRANGING CLOSE TO YOU 0:21
9. CLOSE TO YOU 3:47
10. ARRANGING GLORIA 0:57
11. GLORIA 8:58
12. MYSTERY TRAIN REHEARSAL 4:43
13. MYSTERY TRAIN/CROSSROADS 9:48

DISC TWO Approximately 37:50 Total Time
Track times approximate 1. CONTINUED 0:15
2. THOUSANDS OF DOLLARS REST UPON THIS DAY 0:22
3. I'M YOUR DOCTOR 2:37
4. HYPER YACHTING 0:31
5. BUILD ME A WOMAN 6:56
6. YACHTING 3:59
7. CARS HISS BY MY WINDOW 10:08
8. MONEY BEATS SOUL 0:47
9. MENTAL FLOSS 5:17
10. JAZZY MAGGIE McGILL [INSTRUMENTAL] 2:04
11. JAZZY MAGGIE McGILL 4:49

An Excerpt From Bruce Botnick's Notes:

The day after our two shows, Paul Rothchild decided that it would be a good idea, since we were already setup from the previous nights concert, to record without an audience with the hope that we could get some great performances and cut them into the live takes. This was a recording procedure that Jac Holzman came up with years earlier and used to great effect. Not to be dishonest but to try and give the best performance to the record buying public. The idea being that if the live performance wasn't up to snuff, a version was recorded later without the audience, in the same venue and would be cut in from just after the first note to the last note, leaving the applause. It worked if you were disciplined, The Doors weren't. Never could toe the line. So why Dangerous? The best plans of mice and men go down in the sea in ships. Our ship never got out of harbor and our captain and his fellow shipmates proceeded to rehearse, talk, cajole and for a little intellectual fun verbally tear down the corporate establishment that was the record company.

[TheWallsScreamedPoetry]

Doors: Live At The Aquarius Theater-The First Performance
The first show from their July 1969 stand at the Aquarius Theatre in Hollywood, complete, mixed and mastered from the original multitracks stored in the Doors Archive! No edits, either-exactly as you would have heard them front row center. Includes 'Back Door Man; Break on Through (to the Other Side); Soul Kitchen; You Make Me Real; I Will Never Be Untrue; When the Music's Over; Universal Mind; Mystery Train/Crossroads; Build Me a Woman; Tuning; Who Do You Love (false start); Who Do You Love; Light My Fire', and a 15-minute-long 'Celebration of the Lizard'.

Doors: Live At The Aquarius Theater-the second performance
Another unedited Doors show straight from the original multitracks, this time the second of their two July 1969 shows at Hollywood's Aquarius Theatre! Notice the differences in the set, too (they always were a blues band!): 'Back Door Man; Break on Through (to the Other Side); When the Music's Over;; You Make Me Real;; Universal Mind; Mystery Train/Crossroads; Little Red Rooster; Gloria; Touch Me; The Crystal Ship; Light My Fire; The Celebration of the Lizard; Soul Kitchen; Close to You; Peace Frog (instrumental); Blue Sunday; Five to One', and 'Rock Me Baby'.

DOORS: Backstage & Dangerous-The Private Rehearsal
The day after the Doors finished their two-night stand at the Aquarius Theatre in Hollywood in July 1969 (documented on other Bright Midnight releases), they used the Theatre's stage to conduct a private rehearsal, and this 2-CD set gives a behind-the-scenes look at the band in full creative ferment. No audience, no roadies, nobody but the Doors-uncensored, unedited and unreleased! Includes 'I Will Never Be Untrue; Peace Frog (Instrumental); Blue Sunday; Maggie McGill; Arranging (You Need Meat) Don't Go No Further; Arranging Close to You; Close to You; Arranging Gloria; Mystery Train/Crossroads; I'm Your Doctor; Hyper Yachting; Build Me a Woman; Yachting; Cars Hiss by My Window; Money Beats Soul; Mental Floss; Jazzy Maggie McGill (instrumental)', and more. About 90 minutes!
Blind Records 2003

[TheWallsScreamedPoetry]

"YOU’RE A BIG MAN, BUT YOU’RE OUT OF SHAPE"
The dark, seductive psychodrama of The Doors was built around the myth of singer Jim Morrison. But by 1969 he was the counter-culture’s Elvis: fat, mad, but weirdly watchable.

THE DOORS ‘Live In Hollywood’

Few fallen rock martyrs are perceived as being quite so intriguingly enigmatic as the late, and occasionally great, Jim Morrison. And it is perhaps for this very reason that – unlike such lauded icons as, say, Jimi Hendrix and Kurt Cobain – both the precise nature and retrospective import of The Doors’ unpredictable lead vocalist’s enduring legend have never been truly set in stone.

The listening public’s attitudes toward Morrison’s mercurial personality and artistic legacy have always been irregular to say the very least. Even before his mysterious, lonely demise – in the bath in a Paris hotel room on July 3, 1971 – the self-proclaimed Lizard King of Los Angeles had found himself in and out of favour with the burgeoning counter-culture of the late 60s.

Doors keyboard player Ray Manzarek may have been immediately impressed by Morrison’s poetic pretensions upon their first fateful meeting, but potential sidemen were far harder to convince. And by the time guitarist Robbie Krieger and drummer John Densmore finally completed The Doors line-up in 1966, the band’s singular, art-rock bohemianisation of the blues-based, garage band form was seen as the very antithesis of LA pop cool by the Sunset Strip in-crowd.

Morrison soon managed to turn the tide, however. Newly whippet-lean from cavalier narcotic ingestion, he preened like a leather-clad Adonis and, using media manipulation skills he’d previously picked up at UCLA film school, carefully crafted his live performances into dark, seductive psychodramas as yet unseen on the contemporary rock stage.

There was nothing underground about The Doors – ‘Light My Fire’ and ‘Hello, I Love you’ both hit US No. 1 – but Morrison constantly craved subterranean credibility. Consequently he set about courting controversy. With an ego disfigured by titanic drug and alcohol abuse, he incited audiences to riot, became increasingly handy with his fists, and when all else failed whipped out his celebrated dong in Miami.
America was outraged. All Doors gigs were immediately cancelled. Jim, summarily demoted from pop star to pariah, sulked, drank, got fat and grew a beard. And this is where we come in.

The Doors were in a creative slump I July ’69, and a time-marking live album was called for. And so, following an enforced, three-month performance lay-off, they decamped to a relatively small, hometown theatre in the shape of the Hollywood Aquarius to celebrate their lizard once more.

The audience, somewhat shocked by Jim’s surprisingly bloated and bearded appearance (notice that the marketing mob have used a much earlier shot of a svelte, clean-shaven Jimbo on the cover), were uncharacteristically subdued, but The Doors play for their very lives – and in this album lies the aural evidence.
Morrison’s naïve, self-aggrandising, sixth-form poetry and mock-heroic vocal theatrics allied to The Doors’ extensively overblown, organ-led cinematic soundscapes may seem, in essence, intrinsically twee to 21st-century ears, but ‘Back Door Man’, ‘Break On Through’, ‘When The Music’s Over’ and ‘Light My Fire’ retain an undeniable abundance of seismic, elemental power and brooding, lascivious sexuality.

The Doors perform with workmanlike reliability, but it’s essentially Morrison’s show. Though deemed ultimately unworthy for stand-alone release at the time (its highlights were latterly cherry-picked for 1970’s ‘Absolutely Live’ collection), ‘Live In Hollywood’ is a fascinating, warts-and-all snapshot of Mr Mojo Risin’ in electrifying flagrante delicto.

IN A NUTSHELL:
60s legends live and not musically at their best, but with their iconic frontman in smouldering, lascivious full flow.
by Ian Fortnum
Classic Rock August 2002

[TheWallsScreamedPoetry]

These highly acclaimed Aquarius shows are
uniformly regarded as the Doors' definitive "comeback"
performances. The music is fluid, yet exceptionally tight and dynamic, and the entire band radiates an unprecedented musical maturity and revitalized atmosphere of assurance
and conviction. Jim Morrison dispenses with his rock
star persona, sports an outlandish full beard, and
delivers a vocal performance that is nothing short of
outstanding. He skillfully interacts with the audience in an unusually casual and easygoing manner, sometimes amiably seated on a stool at center stage. His introduction to the audience goes something like,
"For a long time we've wanted to record a live album. Tonight's the night... but, we're going to keep it loose and almost casual. Ready? Let's go!"
The shows are being recorded
for a forthcoming double live album and the sound is
acoustically superb throughout the theater. Morrison's only attempt at theatrics comes during the second show at the
opening of "Celebration of the Lizard" when he appears in
the right balcony iluminated solely by a deep blue
light and then grasps a rope and swings down on stage.
Artistically, these Aquarius shows are a real stepping stone
for the band. Aside from being much more congenial
onstage, they have reembraced their roots in authentic
American blues music.
These are first of a series of
shows recorded for the upcoming Absolutely Live album.
The cover of that record features a photograph from
these performances with another photograph of Morrison
superimposed on it.
It is later determined that additional
shows will be recorded because, as is periodically the
case with live recordings, an extraordinary
performance does not necessarily translate successfully to tape.
After the second show, the Doors present Feast of
Friends for the remaining audience.
Jim Morrison's recent poetic remembrance, "Ode to L.A. While Thinking of Brian Jones-Deceased" is distributed at each of the Aquarius shows at his own expense. Brian Jones, a pivotal member of the Rolling Stones, drowned in the swimming pool at his home in England on July 3.
The Aquarius Theater shows replaced the scheduled appearances at the Whisky A Go Go on May 19 through 22, where the Doors originally planned to record a live album. Despite this cancellation, the Doors are still quite
interested in doing some minimally advertised appearances at
the Whisky at a later date.
The Doors On The Road

[TheWallsScreamedPoetry]

Tickets for both Doors shows had been sold out
for weeks and on July 21, the hip L.A. fans turned up
to see just what it was that had made those Miami
kids lose their cool. It was during the sound check
for these shows that The Doors did "Gloria" which
fortunately was not only recorded, but preserved for later
release on Alive She Cried. It was yet another Jim
Morrison who climbed on the stage that night at the
Aquarius. With his full beard, slight paunch, tinted
glasses, and no leathers, he looked more like a rabbinical
student than the Sex God of Rock. Those who arrived early
were suprised to find Morrison calmly sitting on a
stool at center stage as he finished the sound check
and this laid-back attitude prevailed through most of
the show. That night Morrison sang better than many
people thought he could. He sang with a sensual
intensity and deliberate phrasing that made for an
extremely powerful delivery. The truth was that Morison
projected more real sexual allure this way than he ever had
with preplanned writhing and groaning. This is not
to say that the two ninety-minute sets did not
contain some theatrical excitement-one time Morrison left
the stage for a few minutes and then suddenly
appeared bathed in blue light, high above the audience,
teetering atop a scaffold from the Hair set. As the crowd
strained their necks to see him, he snarled out "The
Celebration of the Lizard." When finished, he grabbed a
nearby rope and swung out over the crowd and the
amplifiers like Zorro, completing the maneuver with a
perfect double kick that placed him square in the center
of the stage. The audience reaction was overwhelming
at the shows. The crowd seemed to sense that
Morrison was trying something different and they were with
him. Rothchild taped the entire concert and later
selected "The Celebration of the Lizard" and "Soul
Kitchen," which was the encore, to be included on
Absolutely Live. Morrison had made a reverse fashion
statement with the heavy beard, white sport shirt, and
loose, carpenterlike pants. By getting rid of all the
old symbols, he hoped to prove he was more than a
rock star sex symbol, more than a black leather
madman, and much more than a Miami incident. Morrison had
resolved to show the world that he was an artist first and
foremost even if he did slip into madness now and then
from the booze. At the Aquarius he took a major step
toward accomplishing that goal.
Break On Through: Riordan & Prochnicky

[TheWallsScreamedPoetry]

THE DOORS
Live In Hollywood: Highlights From The Aquarius Theater Performances

As with all Doors releases the inevitable Best Of always makes an appearance and not to be dissapointed 'two' Best Of The Aquarius albums appeared for the retail market. Both with the more marketable 'slim/pretty' Jim Morrison on the front cover taken from a concert a year earlier and not even in Los Angeles rather than the fat/bearded Jim of the actual concert.


1 Welcome 0:22
2 Back Door Man 3:35
3 Break on Through (To the Other Side) 2:27
4 When the Music's Over 10:58
5 You Make Me Real 2:53
6 Universal Mind 4:55
7 Touch Me 3:10
8 Soul Kitchen 3:35
9 Jim Introduces Ray 0:55
10 Close to You 5:27
11 What You'd Like to Hear?
12 Peace Frog [Instrumental] 2:53
13 Blue Sunday 2:13
14 Five to One 4:19
15 Celebration of the Lizard 19:46
16 Light My Fire


Disc 1
1 Introductions
2 I Will Never Be Untrue 3:59
3 Build Me a Woman 3:33
4 Who Do You Love? 6:03
5 Little Red Rooster 6:16
6 Gloria 6:19
7 Touch Me 3:10
8 Crystal Ship 2:34
9 Close to You 5:27
10 Rock Me Baby


Review of "Live In Hollywood" CD

"Live in '69 - the year of Morrison's 'lewd and lascivious' public misdemeanor charge.
Subtitled "Highlights From The Aquarius Theater Performance," this captures The Doors taking over a Sunset Boulevard venue that was home to that other time-sensitive musical, Hair -- hence the many daft references to the "Age Of Aquarius" in the sleevenotes.
It now transpires that most of the shows which became Absolutely Live have been recovered and, if they maintain this standard, Doors fans will go gaga. Contrary to legend, Jim Morrison was far from a bearded stumblebum. His vocal control and whiplash delivery soak through the usual hits but are even more appreciated once "Blue Sunday," "You Make Me Real" and the call-to-arms bellow of "Five To One" are spat out.
This particular show is famous for the fact that Jimbo sat on stage watching the audience file in -- thus cementing his legend as a prankster and a universal mind control expert.
Can't wait for them to get to Philadelphia."
UNCUT MAGAZINE September 2002
Max Bell

‘Live In Hollywood’: Highlights
From The Aquarius Theatre Performances

In late July 1969, less than four months after Jim Morrison's infamous, alleged willy-flashing incident at Miami, the Doors shacked up at the Aquarius Theatre in Hollywood, CA, for the first of two performances intended for release on a lucrative live album. The recording eventually spanned two years and six cities, becoming Absolutely Live. Here, for the first time, is a complete performance cobbled together from the Aquarius shows, just as originally intended.
The venue was smaller than the stadiums that the Doors were used to -- Hair was playing a six-day week there, so both Doors performances took place in one day. Gone was the leather-trousered Lizard King who'd apparently become such a sexual menace to society, and in his place was a portly, bearded man in slacks and baggy jacket. Thanks to the adverse publicity generated by the Miami incident, the band were more restrained than usual, though they were consequently able to focus on their musicianship, while Morrison's voice was starting to take on the gravelly, guttural quality later showcased on 'LA Woman'.
The recording isn't as powerful as the effect of Absolutely Live, and the later release of the In Concert double-CD, as well as live selections included on the box set, has rendered more live releases unnecessary to all but the most die-hard fans. But the Doors' official Bright Midnight imprint has always aimed their releases at the hardcore fanbase -- the same folk who've shelled out for a plethora of shoddily-packaged and atrocious-sounding bootlegs over the years. And they won't be disappointed by the sound quality or tracklisting of any Bright Midnight release.
As any Doors fan will know, bootleg-buying has always been fraught with danger thanks to the general unavailability of decent portable recording equipment in the late 60s. Combine this with erroneous venue and track details, and Bright Midnight clearly represent long-awaited salvation.
This CD is no exception, with highlights of the set including typically rambling versions of 'When The Music's Over' and 'Light My Fire', among lesser-known gems such as 'Blue Sunday' and 'Universal Mind'. Poetry fans among us should also enjoy the brief excerpt of 'Celebration of The Lizard' that introduces 'Light My Fire', though for the full gothic dramatic performance you're still better off with the In Concert recording.
The packaging is embellished with informative and lengthy sleevenotes from Danny Sugerman and Doors-producer Bruce Botnick, as well as a contemporary gig review lifted from the Los Angeles Times. There's even a paragraph of technical information for those who understand it (that doesn't include me). Interestingly, though, the packaging is illustrated with a selection of shots of the Doors as we remember them best -- slim Jim in snakeskin trews, whereas the overall faithfulness of the package surely begs for photographs from the Aquarius.
Then again, bearded Jim has never sold as well as the hollow-cheeked Adonis of yore, so forget that minor quibble -- if you're a hardcore Doors fan after another great-sounding historic performance, you won't be disappointed. Fairweather fans can feel free to miss this, though.
by James R. Blandford
Record Collector - August 2002

[TheWallsScreamedPoetry]

[TheWallsScreamedPoetry]

Though the concert wouldn't start for another hour, the line outside the Aquarius Theater stretched far down Sunset Boulevard. Tickets for both shows (which were being recorded for an album) had been sold out for weeks. The Doors are a hot item. Ever since their first album, The Doors, particularly Morrison, have been involved in controversy. Tight black leather pants became Morrison's trademark. His almost panting vocals were often punctuated with sudden body movements that excited the teenage girls and outraged others. The themes of The Doors' songs often dealt with such subjects as death, violence, fear or, above all, sex.
All this emotion and theatrics reached a peak last spring when Morrison was accused of indecent exposure during a Miami concert. The Miami affair has continued to follow Morrison. When the group played Chicago recently, one writer started his
review: "Jim Morrison didn't 'do it.'" Well, as you
may have heard by now, Morrison didn't do it last
week at the Aquarius either. He looked anything but a
sex symbol as he sat almost motionless on a stool at
centre stage. Puffing slowly on a cigar while the sound
system was being tested, Morrison stroked his new, full
beard and stared through tinted glasses into the
auditorium darkness. He was wearing loose carpenter-like pants and a white sport shirt. He seemed only
remotely interested as the theater doors opened at a
little past 7:30 P.M. and the stream of fans moved
inside. Two girls, who were in the first wave, were
walking by the front of the stage when they realized the
bearded guy was Morrison. They finally com- posed
themselves long enough to take a picture. A
seventeen-year-old, who sat next to me clutching a $2 ticket that she bought from a scalper for $5, seemed puzzled by Morrison's new beard. "It ruins his looks," she said at first. A few moments later, she added "Before he looked like a devil. Now he looks holy. It's all right. He's so exciting."
At 8:15, the concert began,
Morrison cupped his hands around the microphone, closed his eyes, moved his mouth next to his hands, and
began singing "Back Door Man," a gutty song from his
first album. The other Doors- Robbie Krieger (who
writes many of the group's songs) on guitar, Ray
Manzarek on organ, and Johm Densmore on drums- play simple but solid rock support.
Morrison's range as a vocalist is limited, but he has a sensual intensity and deliberate phrasing that make his delivery powerful. The reaction was overwhelming at the first show. The audience seemed to sense Morrison was trying something different and it was with him.
By ridding himself of all the old symbols, Morrison was trying to demonstrate that he is more than a black leather freak, more than a rock sex symbol, more than a Miami incident. Perhaps more mature and more serious, Morrison is concerned
with a higher ambition. He wants to be recognized as
an artist. Without doubt, he was an artist last
Monday. If he continues in his new bag, Morrison may
prove that, far from being as bad as much of his past
publicity would have one believe, he is as good as his many fans have long felt that he is. He took a giant stride in that direction at the Aquarius.
Robert Hilburn Los Angeles Times July 28, 1969


There was Jim Morrison, more the rabbinical student than the Sex God and looking more comfortable in the new guise. Seeming less selfconscious, but singing, if anything, better than even his greatest fans thought he could sing, and projecting truer sex than he ever did when he writhed calculatedly, because the sex was warmer, more secure.
Not that he wasn't capable of the old theatrical excitement as he proved in one electrifying moment when he disappeared from the stage for a few minutes, then showed up suddenly in a blue flame (all right, so it was only a blue light shining on him!) above the audience's head, growling out "The Celebration Of The Lizard."
For me it was the personal pleasure of seeing what Morrison could really do, since the only other live appearance of The Doors that I had seen was the Hollywood Bowl concert, which was a
drag. It was the excitement of seeing them live up to an image that had become all but distorted, for surely the bum-rapping The Doors have received in the past year was as out of proportion to the reality of their talent as perhaps the early praise was. That,
indeed, may be the real tragedy of their public image,
the fact that they were praised too much too soon and were forced almost immediately, before getting a chance to move on in their own direction, to become a commercial commodity, to have to live up to an already overblown success image.
Harvey Perr after the Aquarius Theatre gigs
The Los Angeles Free Press August 8,1969

[TheWallsScreamedPoetry]

STAGE DOORS
The art of The Doors is, more and more, removed from those standards of art by which rock music is measured. It is, therefore, understandable that The Doors keep getting the worst imaginable reviews from those who put them on some sort of rock pedestal in the first place. It is also understandable that The Doors are still around and are likely to remain forever, despite all that crap, their art surviving all their critics.

The trouble is that The Doors have not conformed to fashion and have not, as almost every other major rock group has done, made a fetish of growing, changing, developing, and reverting to form. They have, instead, played out their own fantasies at their own pace in their own way, saying the hell with everyone else. The result was a subtler, deeper growth than that of almost all of their contemporaries. But, as I said, it is not as a rock group that these changes have taken place; it has become increasingly clear that their art is the art of restlessness and rebellion, the art of getting through that restlessness and that rebellion by personal investment, by piling up of obsessive, compulsive images; the art, finally, of poetry and drama, where the personal and the obsessive are the shrines at whose feet true artists always worship.

Where The Doors have arrived, in terms of maturity, and of making some new statement about themselves and on their restless art, was there for all to see in their two appearances recently at the Aquarius Theater, where they recorded a live album. This album, I'm sure, will convince everyone that The Doors have gotten it together, because the electricity in the air, the magic that was created that evening, was a testament to the fact that whatever it was The Doors had once upon a time, when they and their world were younger, they not only had again in spades but had the added virtue of being as sublime and self-assured as they were once brash and vulgar (not vulgar in the bad sense, since the best rock n roll has always had more than a trace of real vulgarity, which after all is a true American trait, and not necessarily one to be ashamed of or to avoid on artistic terms).

There was Jim Morrison, more the rabbinical student than the Sex God and looking more comfortable in the new guise. Seeming less selfconscious, but singing, if anything, better than even his greatest fans thought he could sing, and projecting truer sex than he ever did when he writhed calculatedly, because the sex was warmer, more secure. Not that he wasn't capable of the old theatrical excitement as he proved in one electrifying moment when he disappeared from the stage for a few minutes, then showed up suddenly in a blue flame (all right, so it was only a blue light shining on him!) above the audience's head, growling out "The Celebration Of The Lizard."

For me it was the personal pleasure of seeing what Morrison could really do, since the only other live appearance of The Doors that I had seen was the Hollywood Bowl concert, which was a drag. It was the excitement of seeing them live up to an image that had become all but distorted, for surely the bum-rapping The Doors have received in the past year was as out of proportion to the reality of their talent as perhaps the early praise was. That, indeed, may be the real tragedy of their public image, the fact that they were praised too much too soon and were forced almost immediately, before getting a chance to move on in their own direction, to become a commercial commodity, to have to live up to an already overblown success image.

I'm not altogether sure that my own admiration of The Doors has anything to do with their music. Some of it is terrible, but I find the degree to which they give themselves to banality is more strikingly impressive than the degree to which lesser artists consciously avoid banality. It seems to me that if a group has truly reached the poetic heights, they should enjoy the luxury of making gross mistakes; too few do either one or the other. It's like Morrison's poetry; some of it is the work of a genuine poet, a Whitman of a revolution-ready 60s, and some of it is embarrassingly sophomoric. There is no crime in going from one artistic extreme to another; these are, after all, human flaws, and there is no art if there is no humanity.

But again, it's not their music at all, and maybe not even the poetry or the musicianship or the charisma, neither the albums nor the Aquarius concert, all of it as strange and beautiful and exciting as it is, that really makes me admire The Doors. Instead it's the vibes I get from them because of the thing I feel they're trying to get into and get us into, a world that transcends the limited one of rock, and moves into areas of film and theater and revolution. Seeing Morrison not on stage, but living his life, in those quieter moments; seeing him at a production of Norman Mailer's The Deer Park, at every performance of The Living Theater, at the opening of The Company Theater's James Joyce Memorial Liquid Theater; always at the right place at the right time, involved furiously in the kind of art that is pertinent rather than tangential to living. That kind of person doesn't have to have poetry in him but if he does, when he does, you tend to look at it more closely, take it more seriously. In the case of Jim Morrison and The Doors, it is worth the trouble. They have approached Art, no matter how much they have offended, amused, or even thrilled the rock critics. The standards by which their art must be measured are older and deeper.
by Harvey Perr 1969
The Los Angeles Free Press August 8, 1969

[TheWallsScreamedPoetry]

Classic Rock August 2002

[TheWallsScreamedPoetry]

These scans are from the ridiculously titled Backstage & Dangerous album.
Ridiculous because it once again smears Morrison as some sort of insane mental case. It was neither backstage or dangerous but an attempt by Paul Rothchild to defraud the Doors fans by recording music the next day and replacing songs on the recording of the Aquarius dates with these fake live tracks.
Luckily Jim Morrison was not having any of Rothschild's games and the whole thing descended into farce as it rightly deserved.
The use of photos from Miami which had nothing to do with these LA recordings adds injury to the insult and Backstage & Dangerous has to be the most shameful of the BMR releases. Considering one of them was Boston then that says something.

[TheWallsScreamedPoetry]

Scans of the first show from the Aquarius.

[TheWallsScreamedPoetry]

Scans of the second show from the Aquarius.

[TheWallsScreamedPoetry]

Bit cheap that the Aquarius I & II booklets were mostly exactly the same.

Considering the prices of these 40 year old concerts, and they weren't cheap, one would have thought that a bit of effort would go into the packaging. The useless use of Miami photos on the Not Backstage Or Even Slightly Dangerous disc and this duplication for the other two a pitiful effort from this bunch of greedy bastards.
But then The Doors have never been known as a band that gives value for money
They basically don't give a rats ass.

[wplj]

I actually like Backstage & Dangerous since it shows a side of the band you wouldn't normally get ... And it does have a few good moments ... I love the instrumental arrangement of Peace Frog and the excellent performance of I Will Never Be Untrue.

The title and packaging are unfortunate ... looking at those scans, I see they recycled several of those photos for the Soft Parade deluxe edition CD booklet (2007). Cheap!

[TheWallsScreamedPoetry]

BACKSTAGE AND DANGEROUS: THE PRIVATE REHEARSAL

THE AQUARIUS THEATER, HOLLYWOOD - July 22, 1969

Setlist

1. I Will Never Be Untrue
2. Band dialog #1
3. Peace Frog Instrumental
4. Blue Sunday
5. Band dialog #2
6. Maggie M'Gill
7. You Need Meat (Take 1)
8. You Need Meat (Take 2)
9. You Need Meat (Take 3)
10. Band dialog #3
11. Close To You
12. Band dialog #4
13. Gloria
14. Band dialog #5
15. Arranging Mystery Train
16. Mystery Train (Take 1)
17. Mystery Train (Take 2)
18. Mystery Train (Take 3)
19. Band dialog #6
20. I'm Your Doctor
21. Band dialog #7
22. Build Me A Woman
23. Band dialog #8
24. Freeform Blues
25. Morrison Random Musings


(sound engineer) We're rolling? ??
John: Does this seem small to you? Sometimes it's too big.

(guitar intro to I Will Never Be Untrue)

I Will Never Be Untrue

I will never.. be untrue.
Do anything you want me to.
Never stay out drinkin'..
No later than two.
Two-thirty.

I will never.. treat you mean.
I won't cause no kinda scene.
Tell you all the.. people.
All the places..
I have been.

(combined organ/guitar solo)

I will always.. treat you kind.
Try ta give you.. peace of mind.
If only you tell me.. that you love me.
One more time.

Now darling.
Please, don't be sad.
Don't run off.. like that when you get mad.
'cause if you do..
You gonna lose the best friend..
That you ever had.
An' that's no lie.

I will never.. be untrue.
Do ever'thing you want me to do.
Bring all.. my lovin'.. all my money.
Bring it all.. home.. to you.

(song ends)
(Jim says something.. John laughs)

(engineer talks through the PA) Right. Can anybody hear me?
Ray: Yeah.
John: Yeah.
(engineer continues) Yeah. Why don't ya just do it as you feel it. Whatever you feel like doing. Just kinda do a.. do a set of those tunes.
John: Okay. Okay, what else we got here. Ummm.. You Make Me Real, Blue Sunday, Universal Mind, Rollin' and Tumblin', Ten Foot Woman, Gloria, Lizard. You got 'em.
Robby: All right. All right. How 'bout ah.. ??
John: No he wants..
??
Jim: Let's do crossroads.
Robby: They don't want us to do that.
??
John: Um.. there's nothin' el.. well.. Gloria with that guitar.
Robby: Now what.. what was the second one on the list again?
(John imitates Peace Frog opening guitar lick/drum beats)
Robby: Yeah that one. Wanna try that one? Blue Sunday.
John: They said we gotta.
Jim: That one's great. But I don't sing it too good.
Robby: I don't know. I don't think ??
??
John: Alright well let's do it. Just have it down. It won't take long.
Jim: And then we have to make a choice later, right?. Which of the two is exactly right one. We have to decide which one we want to do.
John: We'll know the minute we hear it.
Jim: ??
John: Well, let's do it. Let's just try it.
??
(tuning)
??
(John laughs)
John: Well let's just do it like we did last night.
Jim: Let's just go out a play.
John: Just.. It's not gonna matter. Yeah.
Ray: I'll get ya warm. All right.
John: Hey. ahh.. You got.. aahh. Last night. Actually really loud. I.. I.. I can't get very much volume. We don't need.. We don't need the volume now. Okay, we're going to do another.

(more talking)
(opening guitar licks of Peace Frog)

Peace Frog Instrumental

(almost three minutes of Peace Frog instrumental)
(transitions into Blue Sunday organ intro)

Blue Sunday

I.. found my own true love was..
On.. a blue Sun-day.
She.. looked at me and told me..
I.. was the only..
One in the world.
Now I have found my girl.
My girl.. awaits for me in ten-der time.
My girl is mine.
She is the world.
She is my girl.

(combined organ/guitar solo)

My girl.. awaits for me.. in tender.. time.
My girl is mine.
She is the world.
She is my girrrrl.

(song ends)

Jim: Why don't we.. uh.. save Blue Sunday.. for the studio ??.
Ray: It should be with the piano too. It's going to be a nice song.
Ray: mm-hmm. (laughs)
John: Well. The only other thing.. You Make Me Real and Universal Mind are done.
Ray: Want to try Land Ho?
John: Gloria.. He said not to. That's why he said not to.
Ray: Well.. all right.
John: Uh, the only other thing is Gloria.
(Ray starts playing, then stops)
Ray: I like that one.
John: Yeah, I do to, but I think that's gonna be another Wild Child.
Ray: Oh you do huh.
Ray: It's silly.
John: Vonnie says, we're the most serious band in the world.

(Ray starts playing the music, rest of band joins in)

Maggie M'Gill

Maggie M'Gill, yeah, she lived on a hill.
Her daddy got.. drunk.. and he left her no will, so..
She went down to..
Tangy Town.
That's where the people.. really.. get it on.

When I'm down.. and I'm.. feelin' blue.
Go out and buy myself a new pair a' shoes and..
I go down..
To Tangy Town.
The folks down there really know how.. ta.. get it on, yeah.

(guitar solo)

So if.. you're ever sad and.. feelin' blue.
Go out and buy a new.. pair a' shoes and..
Get yourself down..
To Tangy Town.
People down there, yeah, they.. really like ta.. get it on.
Let's get it, come on.

(organ solo)

Meet Miss.. Maggie M'Gill who.. lived on the hill.
Her daddy got.. drunk.. and.. let her no will, so..
She went down.
Down ta Tangy Town.
That's where the people.. know.. how ta get it on.
One more.. time.

(combined organ/guitar ending)
(song ends)

John: Well of it.
Ray: Last night.
John: The, uh, pedal broke.
Ray: uhhhhhahhhhh.
Ray: ahhh you need meat, go to the market. I need, Jack Daniels..
John: Come on you.. blues.. lover.. fucker. (laughs)
Ray: So what key do we do that in?
John: ahhh.

(Ray starts to play "You Need Meat" blues riff)

You Need Meat (Don't Go No Further) Take 1

You need meat..
Go to da market.
You need bread. Okay we'll do it that way.
Try the bakery.
You need love.
No, let's not do it in "E".
(Ray stops playing/singing)
"E" is too high.
It's getting lower and lower. Eventually it's going to be way d..
I don't know.
Let's try it in "C".

(Ray starts playing and singing again)

You Need Meat (Don't Go No Further) Take 2

You need meat.
ehh. Go to da market.
You need bread.
Try the bakery. (Jim: Oh No!)
You need lovin'.
Look for me, baybeh.
Just bum on home to me. (John: Man, let's start. Let's start at the top.)
I got ta love someboday.

(Ray and Robby stop playing)

John: Go ahead and start it.
Ray: I did start it. What do you think I was doing? (laughs)

(Ray starts playing again. John joins in)

You Need Meat (Don't Go No Further) Take 3

You need meat.
Go to da market.
You need bread.
Try the bakery.
You need love.
Look for me, baybeh.
'cause I got juz what you need.
I got to love some-body.
I got ta love some-body.
I.. gotta love some-body-ohhahh.
Somebody, gon' love me.

You need grits.
Go to da grocer.
You need bread.
Try the bakery.
You need a doctor.
Come on here, baybeh.
A hot beef injection is a-what you need.
I got ta love some-body (Jim: Whoa!)
Well love somebody.
I gotta love somebody-ahhoo.
Somebody better come here and love me.
Yeah.

(organ solo)
Yeah, alright.

You need fish.
Go to the ocean, baybeh.
You need some honey.
Go find.. the bees.
You need a good time.
Come on here, baybeh.
'cause I got.. jus.. mmm-what you need.
I gotta love.. some-body.
I gotta love.. some-body.
I gotta love.. some-boday-ohhh.
mmmm-hmmm-somebody.
mmmmm-hmmmm-hmmmm----(growl) hmmmm.
Somebody. ahhh.
Somebody.. gon' love me.

(song ends)

John: A hot beef injection? What's that? (Ray laughs) That's great. Do Gloria.
Ray: Okay. Alright. Let's see. Maybe we aught to try that.. "C" seemed really high yesterday. Let see.
(Ray plays intro to Close To You in 'C' and sings a few lines)
Oh yeah.
I wan' get close to you.
Yeah, let's.. maybe in 'A' (Ray plays it in "A")
I wan' get close to you baybeh, like.. yeah.
(stops playing)
Okay.. three.. four.

(organ intro to Close To You)

Close To You

I won' get close to you, baybeh, close as.. I can get.
Close to you, baybeh, like a.. water's wet.
Close to you, baybeh, like a.. egg is to a hen.
Close to you, baybeh, like Siamese twin.
I won' get close to you, baybeh. (Jim: Close to ya, baybeh.)
I won' get close to ya, baybeh. (Jim: Close to ya, baybeh.)
I wan' get close to you baybeh, tell you..
Don't know what to say or do.

I won' get close to you, baybeh, like the.. sight of your eyes.
Close to you, baybeh, like a.. heat is ta fire.
Close to you, baybeh, like the.. fire's to smoke.
Close to you, baybeh, like a pig is to poke.
I wanna get close to ya, baybeh. (Jim: Close to ya, babe.)
I said close to you, baybeh . (Jim: Close to ya, baybeh.)
I wanna get close to ya, baybeh, yeah you.
Don't know what to say or do.
Ah, play it, once.

(guitar solo)

I gotta get close to ya, baybeh, close as.. I can get.
Close to ya, baybeh, like a.. water's wet.
Close to ya, baybeh, like a.. egg is to a hen.
Close to ya, woman, like Siamese twin.
I won' get close to you, baybeh. (Jim: Close to ya, babe.)
I said close to ya, baybeh. (Jim: Close to you, baybeh.)
I wanna get close to ya, baybeh, tell you..
Don't know what to say or do.
Ah, one time, let's play it.

(organ solo)
Yeah!

Well, I said.. closer and closer, baybeh. (Jim: Closer and closer, baybeh.)
Closer and closer, baybeh. (Jim: Closer and closer, baybeh.)
Well, closer and closer, baybeh. (Jim: Closer and closer, baybeh.)
Yeah, closer and closer, baybeh. (Jim: Closer and closer, baybeh.)
I wanna get close to ya, baybeh, tell you..
Don't know what to say or do.

(song ends)

John: Yeah, might as well.
Ray: Yeah, starting to get a little warm now.
John: Well, I mean, we could do it after.
??
Ray: ahh, before we do Gloria.. what are the chord changes on uh.. glo-ria? What are you playing?
(John laughs)
(Robby plays chords)
E, B, A, ehhh.
(Ray plays bass notes)
It's the same thing all the way. Didn't we used to change it somehow. Nah? I swore there was something a little.. turned around.

(guitar tuning)
(Robby plays opening chords of Gloria)

Gloria

Ehhhh-right!

Teh y'bout my baybeh.
She come around.
Sh' come 'round here.
Her head to the ground.
Come 'round here.
A-just about midnight.
Make ma feel so good.
Make me feel alright.
Come 'round here.
A-just about midnight.
She make me feel s'good.
Make me feel alrighttttt.
She come 'round my street now.
She come ta my house, an..
Knock upon my door.
Climbin' up my stairs one, two, 'tree, a-four.. tocka..tick-ch-come on-a.. baybeh..
mmmmmm-here she is in my room. Oh.. boy. (Ray: Whoo)
A-won't ya step inside.
A-won't ya take a little ride, all right, okay, yeh-yeh, hey-hey, what the.. oh-right.
Hey, what's your name.
How old are you.
Where'd ya go ta school.
uh-huh.
yeah.. uh-huh.. yeah.
ahh.. ah-yeah.. oh-yeah.. oh-huh.. mm-hmm-hmm.
Well, now that we know each other a little bit better.
Why don't you come over here..
MAKE ME FEEL ALL RIGHT! (Ray: Glo-ria.)
Glo-ria! (Ray: Glo-ria.)
Glo-ria! (Ray: ah-Glahh-ia.)
Glo-ria! (Ray: Glo-ria.)
Glo-ria! (Ray: Glo-riahhhhhhhhhhh-ohh-right.)
Glo-ria!
All night. All day. All right. Okay, yay.

(band settles into groove)

You were my queen, and I was yer fool.
Ridin' home.. after school.
Ya took me home, babe.
To your house.
Your father's at work.
Yer momma's out shoppin'.. around.
Took me inta your room.
Showed me your thing.
Why'd ya do it, baybeh.
Why'd ya show me your thing.
Ohhhhhhh.. no.
Too much.
Ohhhhhhh.
Can't stop now.
We can't back out.. all right.
ahhhhhhh.
Sof-ter.
Sof-ter.
Soft.
Ehhh.. slow it down. I gotta feel it down. All right. Okay. All right. Hey-hey. What the hell.
mmmahh gettin' softerrrrr.
Slow it down.
Sof-ter.
Get it down.
Now you show me your thing.
Now why don't you wrap your.. lips around my cock, baybeh. (Ray: Whoo!)
Yehhhhhh (Ray: Suck it. Taste it.)
Wrap your legs around my neck. (Ray: Eat it.)
Wrap your arms around my feet, yeahhh. (Ray: Lick it.)
Wrap your hair around my skin. (Ray whistles)
Yeahh.
Gonna eat ya, honey, yeah. (Ray: Come on.)
I'm gonna eat ya baybeh, yeah.
I'm gonna huhhh-right.
ohhh-kay, yeah.
It's gettn' harder.
(Ray: It gettn' harder.)
Gettn' faster too, now. (Ray: Gettn' longer.)
It's gettn' too darn fast. dahh.
It gotta wiggle around.. too much. (Ray: Work it.)
It's gettn' har-der.
It gonna rip you in two, honey. (Ray: Whoo!)
All right.
Come on love la.. let's get it on.
Whoo. Too late. Too late. Too late. Too late. Too late. Too late. Can't stop. AOO!
Make me feel alright, babe!
L.O.. R.I.A.
G.L.O.. R.I.A.
All night.
All day.
All right.
Oh-kahhhhey.
Glo-ria.
Glo-ria.
Glo-ria. (Ray: Glo-ria.)
Ahh yay . (Ray: Glo-ria.)
ohh right. (Ray: Glo-riahhhh.)
Keep the whole thing goin' babe. (Ray: Glo-ria.)
ooh right!

ahhhhhhhhhhhhhhhhhhhhhhhhhh-uhhhhh.
FUHHH!

(song ends)

(Jim makes noise in microphone/band laughter)

John: ??
Ray: But it got good. There were some good parts. Save it.
(Ray talks to control booth)
Ray: Wh.. If I turn the bass up out here will it mess you up in there?
(Ray starts playing Mystery Train. John and Robby join in)
(tuning)
John: Oh-kay.. Here we go again.
(John imitates mystery train music) din-dun-dehh du-dit-duh-dit.
Ray: No. Two. Two. Mystery Train. Three..
Jim: Crossroads.
Ray: Rolling and.. Yeah.
Jim: ??
Ray: At the last one.

Jim: Come back down on mean old train.
Ray: Yeah. Stay on the train. The train'll stay down. When we come back down after that (Ray plays) and we'll just (Ray imitates music) din-dun-dehh du-dit-duh-dit and then..
Jim : On Crossroads, the problem is it has multiple changes.
Ray: No.. one.. one more train.. when the train is d.. when it's down. After.. after the three..
Robby: Yeah, but without the changes.
Ray: Without the changes.
(Jim says something)
Jim: Right.
Ray: Right. Right.
Jim: I knew that all along.
(band laughs)
John: Okay, all aboard. ha-ha.
Ray: Maybe they're not ready yet.
Engineer: We're ready.. We're rolling.
(Jim talks to Robby about changing the opening guitar sound of Mystery Train)
Jim: Robby, maybe you could do that turn that into a little more.. conventional guitar (??)
John: Can't you do a .. Can't you do the California Zepher.. or somethin'?
(Robby tries a few different sounding licks)
Ray: Ehh. Just make it. make it sound like a train. (laughter) Just..
John: Never mind.
Ray: do a.. do a.. more conventional thing.
(John imitates Mystery Train music and snaps)
Ray: We're rollin' on the Orange Blossom Special. Headin' down ta New Orleans.
(John starts playing cymbals)
(Jim sings)
Yeah, wish I was back in New Orleans. Whoo. Whoo.
John: That was the shittiest high-hat I've ever heard in my life.

(John starts high hat again, rest of band joins in)

Mystery Train - Take 1

(Ray: yeah. Oh yeah)
Woo.
Woo.
Woooooo.
I'm a train.
Woo-woo-woo.

Train I ride. Let's do it all over.

(band stops)

Ray: Want to do the change right there?
John: You could skip it.
Ray: I would say.. I would say let's not do that change. Let's do it on the next one.
John: I like that, yeah.
(Ray plays change and sings) Train train.. train.. train.
Jim: Wait. Wait. Wait. Train-train, ah.. Mystery Train. Oh, train.. is it train I ride.. comin 'round..
Ray: Train I ride.. sixteen coaches long.
Jim: Yeah, right. Yeah, that's it.

(John starts high hat again, rest of band joins in)

Mystery Train - Take 2

(falls apart/band stops playing)

Ray: Let's do another one.
John: That was me.
Jim: When you make a mistake, now just apologize and.. and start all over again. 'cause we'll all forgive you.

(John starts high hat again, rest of band joins in)

Mystery Train - Take 3

Train I ride.. sixteen coaches long.
Train I ride.. sixteen coaches long.
Well dat old black train ahh 'dey got my baybeh, he gone, long gone.

(Jim imitates train whistle) Whoa-whoa.

Train-train.. comin' 'round da bend.
Train-train.. comin' 'round da bend.
Well dat dirty old train-a.. took my one and only friend, ahh.

Ride dat train.
It's your only chance, c'mon.

Well, I woke up dis mornin' got the crossroad.. on my mind.
Yeah, woke up dis mornin got the crossroads.. on.. my mind.
Yeah, take a walk with me ev'rathing gonna.. work out fine.

Well, woke up dis mornin' got the H-bomb on my mind.
Well, woke up dis mornin' got the H-bomb on my mind.
Yeah, take a walk with me ev'athing.. work out fine.

I woke up dis mornin' got the junk-man on my mind.
Oh, woke up dis mornin' got the junk-man on my mind.
Yeah, take a walk with me ev'thing.. ev'athing.. ev'athing.. ev'athing.. ev'athing.
Gonna work out fine.
If you ride my train.
ohh-ohhhh.
Dat's a good ole' train. yeah.
Dat train's been ta Baltimore.
Get on my train-ah.
Get on da train.
ehhhhhhhhh-ahhhhhh.
hah.
What a train.. we're on, awe-hahhoo.
(Jim makes panting noises) heh-heh-heh-heh-heh-heh-heh-heh-heh-heh-heh-heh-heh-heh-heh.
ohhhhh-weeoo-weeoo.
oh.
eeheheheheheheohhhheeeaaoooo.
Hoo. Hoo.
Yeah.
My-stery traaaaaaiinnnn.
Mystery traaaaaaiinnnn.
Gonna take us.. home.
Come on, baybeh, got ta get onboard, goin' home.
yeah.
Goodbye we's goin' home, oh.
So.. long.. people.

Well.. woke up dis' mornin' got the crossroads.. on my mind.
Yeah, woke up dis' mornin got the crossroads.. on m' mind.
Yeah, take a walk with me ehh..
oh huh.
ohh right.
yeah.
ahhh.
Ahhhhhhh!

(song ends)

Ray: mm-hmm.
Ray: Ahh. yeah. Want to stick an ending on right now? C'mon. (laughs) After those three (Ray plays part of Mystery Train) and we'll just do a fade.
Robby: Oh, they can do that.
Ray: No we don't. Ohhh c'mon, let's do an ending right now.
Robby: W-W-Why a fade? ??
Ray: Oh, I don't know. Because it's the right way to end that song.
Robby: No.
Ray: You know what we can do. We can do a fade and they can do a lap dissolve. They can do a crossover as we're fading out the applause starts coming in.
(someone makes a loud noise into mic)
(someone whistles)
John: Wow! Man.
Ray: Hey Baby..
(Jim says something and everyone laughs)
Jim: Let's go to the house cast from there.
(??Ahh) Wait I haven't finished (feedback) to get into my costume
Ray: Don't call us.
(John goes into control room)
John: Well how's it goin' in there?
Engineer: It's pretty good. Sound like you're just starting to warm up.
John: Yeah, I went in there a little earlier and he said "Well we haven't scored yet" and I was going to choke him.
Engineer: You know what it is man. It's the energy. The natural energy.
??
(John comes back to the stage)
??
You wanna eat?
??
Jim: Whoa! Hey Ray! Quit screwin' around man.
John: ehhhaaahhhh.
Jim (yells): Thousands of dollars rest upon this day! Do you realize that? Money! Money! Money!
There will be no resting here.
Money is the root of all evil.
(John) We gonna play more or are we gonna eat?
Jim: We're gonna play, man.. and then we're gonna eat.

(Ray starts to play and sing I'm Your Doctor)

I'm Your Doctor

Headache strike you baybeh.
You begin to feel so feel so gloan.
Ain't nothin' you need..
But a double dose of love.
Woman, I'm your doctor.
And oh yes, I know just what ya need. (Jim: Let me see your credentials.)
I.. got my doctor's certificate. (Jim: PHD or MD or RX?)
I got it right here.. in my pants. (Jim: Whooaaa. Show it to me.)

Listen here, baybeh.
You're not feelin' so good.
I know what ya need.
Double-dose a' love.

Woman, I'm your doctor. (Jim: Prove it!)
And I know.. what you need. (Jim: Waa-wow!)
You need a hot-beef injection.
And whoa yes, it have to come from me. (Jim: Is that like gettn' a hot dick?)

You wake up in da mornin'..
Girl you're not feelin' so good.
You need a man ta love you.
Just like you knew you would.

Listen, baybeh.
Well, I'm your doctor.
And I know.. what ya need.
You need a Polish sausage.
Whoa yeah, baybeh, have to come from me.

Cut.

(song ends)

Jim: I could go along with everything except the Polish sausage. What does that got to do with it, man?
Ray: Well, just that little sausage.
A polish ??.
Ray: Magnificent ivory.
John: That's right that was toxic, man.

Jim: ?? This is it.
John: Alright, Ten Foot,.. ah.. Woman. Yeah.
Robby: ?? (Ray Laughs)

(slide guitar intro to Build Me A Woman)

Build Me A Woman

Build me a woman.. make her.. ten feet tall, yeh-heh.
Don't make her ugly.
Don't make her small.
Build me a woman.. ten.. feet.. tall.
Build me someone I can ball..
All.. night.. long.

Sunday trucker, Christian.. motherfucker, yeah. (Ray: yay!)
Sunday trucker, Christian.. motherfucker, yeah.
Just a 'tree-eyed boy.. lookin' for a twelve-toed girl.
Ahh-right.

(slide guitar solo)

I don't know what I'm.. talkin' about.
And neither do you.
I'm just a stupid motherfucker just like you are, ha-ha!
So why don't you take that.. little riddle..
And stuff it up your ass, all right! (Ray: Whoo!)
Play the blues, yeah.

(organ solo)

This song makes me sick to my stomach baby, yeah!
If it ever gets played you're all a bunch a' dumb cock-suckers, yeah, alright.
If the music don't improve, I'm gonna.. take a trip around the world, yeah.
Play it, baybeh!

(combined organ/guitar solo)
(Ray: Yeah.)

Sometime I wonder how long the blues is gonna last.
'cause every song sound like the one before last. (Ray: yeh-heh)
And you can take those lyrics and shove them up your ass. (Ray: whoa!)
I'd rather go out and.. lie on the grass and..
Think about some pussy or some.. good old.. rock and roll.
Alright!

(combined organ/guitar solo)

Build me a woman make her.. ten feet tall. (Ray: Alright!)
Build me a woman make her.. ten feet tall.
Don't make her ugly, baybeh.
Don't make her small.
Build me a woman.. ten.. feet.. tall.
Build me a woman I can.. ball.. all night long.

(song ends)

(Ray laughs)
(Robby plays "Don't Be Cruel" guitar lick)
Ray: Come on.. stretch it out.
(Ray joins in and they jam)
Jim: Hey listen.. hey, wh.. (band stops)
Jim: Why don't we just ahh.. play for about a half hour.. then go eat.
Ray: All right.
Jim: Let's make it better. Start with John Lee Hooker.
Ray: Do you want to do.. you wanna try it again or would you rather hear it first.
Jim: mmmm not the same thing. This one we'll call.. ahh.. jazz.
Ray: Jazz in the rock. Oh, maybe I can play g.. Robby, can you play that uh.. bottleneck in "E"
Robby: "E"?
Ray: Yeah, cause I could play guitar.
Robby: E..
Ray: I guess not, yeah. You'd have to cable it..
Robby: ahh.. I could play it in "F" tuned down.
Ray: Yeah, Oh well, to hell with it.
John: What were you thinking about playing?
Jim: Just playing.. straight for about a half hour.. and going to.. and getting something to eat. And something to drink.
Robby: Why a half hour straight?
Jim: Just ahh.. a half hour of music. ??
Ray: Maybe you aught to get the other guitar for that.
Robby: Yeah.
??
Ray: I think earlier than that. I heard three o'clock.
??
(background conversation/tuning)
Jim: Whoo!
(??) Remember that place?
John: You mean Parkers? Right across from.. that big man that was spinning the tire place.
Jim: ??
John: Okay, freeform. A half an hour of free form.
Jim: Yeah, but just keep it.. umm. Nobody try and push anybody.
Ray: At some point we can go (Ray imitates playing really fast and panting)
John: No.. slow, Ray..
Well if this is going to be for ah.. for an album. The live album?
Ray: This IS the live album. (laughter)
I mean, if it is they're not going to blip the fucks and shits out are they?
Jim: Well someone's gotta do it man.
Ray: This is.. Oh.. They can blip 'em though. It's even better if you can blip 'em. You know.
??
Ray: Well. That's all right. Don't worry about it.
Jim: When I hear a "fuck" I see dollar signs flash above my eyebrows.
Depends what business you're in.
Jim: Business is business. Let's take care of business. Ah, are you recording.. Bob?
She's been rollin' steady.
Ray: Okay.. this terminates the contract.
Hey, Jim. Are you singing. I don't know. Let me ask him. Hey..

(Robby starts playing slow blues riff)

Freeform Blues

I live.. uptown.
Downtown.
All around.

I had some money.
I had none.
Never been so low.. that I.. couldn't leave town.
I'm a Changelin', yeah.
Come on an.. watch me.. change.

Crosses by my window like da waves down on.. da beach.
Crosses by my window like da waves down on da beach.
Got dis girl beside me but she's.. ohhh.. outta reach.

Dogs a' roamin' in da.. cruel.. mornin' yard.
Dogs out 'dere roamin' in da cruel.. mornin' yard.
To lose your love and keep her, well that's.. mmmmore than hard.

The woman is a devil.
That's what I.. been told.
Devil is a woman, yeah.
That's how the old story goes.
Take all your money.
Then she'll steel all your gold.

(guitar solo)

Well I sought a new life so I..
Bought me a wife and a new car.
Crossed the boarder, went down ta..
Juarez, Tijuana.. Mexico.
Lost my baybeh.
Lost my money and my name.

I wish I could get outta this trip 'n get back ta civilization.

(extended guitar solo)

Sometimes when I'm sad.
I buy a bottle and I drink myself to sleep.
Whisky's like a woman, yeah.
She's good when she's cheap.
Miss my baybeh.
But more than that I miss my.. bottle a' wine.

(extended guitar solo)

In too many ways a man can go.
One leads to money and the other leads to soul.
Money beats soul.
Money beats soul.. every time.
Hard fact a' life boy, but the..
Money beats your soul every time.
Ain't it the truth now.

(song ends)
(tape cuts out/back in with Ray playing and with John playing high hat)
(Jim starts talking)

Morrison Random Musings

All deserters will be shot.. at five o'clock tomorrow morning.
So get yer-selves together.
And quit messing around.
No more nonsense.

(band stops playing)
(Jim continues talking)

The assassination occurred at three-thirty.
No one was there to witness it.

(Ray plays "church-like" organ notes)

Even the breviaries had left their tapestries on the window.
And we were all silenced.. by the sad, mildewed cloud that followed around.
(Jim sings) Ahhhhhahuhhhhhhh.
I wish I was back in the land of the..
Of the..
Of the..
I wish I was back..
Innnnnnn..
I wish..
Ahhhmmmmmm

(Jim continues talking)

You can't pin that one on me.
I didn't do a god-damn thing.
I was just standing there.
And a bunch a' guys came up an started laying all of this shit on me.
Now what am I supposed to do.
I'm an American.
You can't touch me.

Did you know all nuns are forty-two? And their eyes are blue?
Did you know all tablecloths are white in France?
Did you know women wear underpants?
Well they do.
(John: Wait a minute I got..)
How does a musician imitate the sound of underpants sliding over a woman's thighs, down over her ankles, and over her little toes, and the rings on her toes, and her unclipped.. toenails.

Lightning struck.. the magic.. purse.
And the horse ran away with the spoon.
Ooo.
I wish I was on the moon, too.

I didn't do a damn thing, man. I was just standin' there in front of the delicatessen.
And all these.. Rabbis ran up 'n a bunch 'a Indians 'n freaks 'n monsters 'n ..just.. started.. talkin' in all these.. weird languages. What oo..-w-what could I say?

(Jim sings)

I want to go back where I came from.
Back were everything's just diddly-dumb, alright.

(Jim talks)

Hey! I'm tired of being a freaky.. musician. I want to be Napoleon.
Let's have some more wars around here.
What a stinking, shitty little war we have.. running over there.
Let's get a big one.
A real big one.
With a lot of.. killings and bombs and blood.
Like..

(Jim sings and plays tambourine)

Sc-hool days. School days.
Good old.. fashioned rule days.
School days. School days.
Good old fashioned rule days.