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Post by TheWallsScreamedPoetry on Jan 15, 2005 11:27:30 GMT
The Doors Live Detroit 1970 DISC ONE 70:39 Total Time
1. TUNING 1:34
2. ROADHOUSE VAMP 1:31
3. HELLO TO THE CITIES 1:16
4. DEAD CATS, DEAD RATS 1:54
5. BREAK ON THROUGH (TO THE OTHER SIDE) 4:45
6. ALABAMA SONG (WHISKY BAR) 1:55
7. BACK DOOR MAN 2:24
8. FIVE TO ONE 6:44
9. ROADHOUSE BLUES 6:44
10. YOU MAKE ME REAL 2:57
11. SHIP OF FOOLS 7:23
12. WHEN THE MUSIC'S OVER 17:40
13. PEOPLE GET READY 0:36
14. MYSTERY TRAIN 7:03
15. AWAY IN INDIA 2:07
16. CROSSROADS 4:01
DISC TWO 64:24 Total Time
1. TUNING 1:59
2. CAROL 1:50
3. LIGHT MY FIRE 19:39
4. BEEN DOWN SO LONG 9:07
5. LOVE HIDES 1:45
6. MEAN MUSTARD BLUES 3:47
7. CAROL [REPRISE] 0:44
8. CLOSE TO YOU 1:38
9. I'M A KING BEE 2:37
10. ROCK ME BABY/HEARTBREAK HOTEL 5:40
11. THE END 17:35
Produced And Mastered By BRUCE BOTNICK
Every once in awhile, rather than performing the usual encore, if the audience was really lucky, Jim Morrison would throw away the time limits and perform until he couldn't stand up anymore. Jim had this thing about limits - he liked them best broken. This performance at Detroit's Cobo Arena was such a night. It easily contains the longest Doors' set ever performed and extends about an hour over the standard concert running time during this period.
It was performed when The Doors were working on 'L.A. Woman' in Los Angeles. On the weekends -Friday, Saturday and Sunday- the band would go out and play. 'Morrison Hotel,' the album they released before 'L.A. Woman,' was on the charts and the critics were hailing it as a comeback. So the band was into playing songs from 'Morrison Hotel' such as "Roadhouse Blues,""You Make Me Real" and "Ship Of Fools."
They were also returning to their musical roots. And in Detroit this was quite evident. Starting with "Crossroads" through "Carol" and into "Been Down So Long." And then onto "Been Away Baby," "Close To You,""I'm A King Bee," "Rock Me Baby" and "Heartbreak Hotel" where, on the latter tracks, they are joined by 'Morrison Hotel' "Roadhouse" harp player and ex-Lovin Spoonful member John Sebastian on both harmonica and guitar. The band, as you can hear, is clearly having a great time indulging in their love of The Blues.
Also notable is their performance of "The End" which is a real rarity among recorded live shows. I think three, maybe four, versions exist. On this one, Morrison, who always loved to poetically improvise, diverges from the song's published lyrics as heard on the first Doors' album: "Come with me, across the sea" unexpectedly jumping into the climactic "Come on, baby, take a chance with us" in a menacing voice. Fragments of what would later become the album 'An American Prayer' appear throughout this version. "A vast radiant beach..." "Everything is broken up and dances..." And his feverish call to the audience to "Wake Up!" which begins "Celebration Of The Lizard." Jim called to the audience to "Wake Up!" hundreds of times, taking his lead from playwright/performance artist/revolutionary Antonin Artaud who wrote "They are asleep, they do not know they are asleep and I want to awaken them from their self-imposed lethargy." Jim's admonition was a cry to take action towards a more conscious state of being.
During the concert, following the "Wake Up!" plea, Morrison exploded into a fury of motion, climaxing with his collapse on the stage as dozens of audience arms reached out in the attempt to make contact with the man already becoming myth. Union regulations demanded that the show end at midnight but Morrison pushed the envelope again. "Don't let them push us out!" he declares and the show goes an hour overtime. And Cobo Arena permanently bars The Doors from entering their doors again.
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Post by TheWallsScreamedPoetry on Jan 15, 2005 11:40:22 GMT
Once in a while, Jim Morrison would just forget about limits (he had a thing about limits, you know) and just keep performing into the wee hours. This early-'70s gig at Detroit's Cobo Hall was one such night: in fact, this 2-CD set documents easily the longest Doors set ever performed, stretching about an hour over the standard concert running time and resulting in the band being barred from ever playing Cobo Hall again! The band was working on 'L.A. Woman' at the time, so the vibe is very bluesy, though the show does include a rare performance of 'The End' with radically different lyrics. And John Sebastian guests on several songs, too-very much a night to remember! Includes a mini-poster, too!
Blind Records 2003
The Doors Live In Detroit
You may be looking at this record review and wondering why Live In Detroit is not released on Elektra Records, the Doors’ longtime label. Elektra put out six Doors studio albums, remastered versions, a handful of live recordings, a double greatest hits album and a boxed set. In a separate project, Robby Krieger, Ray Manzarek and John Densmore, along with Doors manager Danny Sugarman, have created an Internet-based record label called Bright Midnight records www.thedoors.com to provide unreleased Doors recordings to fans around the world. In a recent statement, the three remaining Doors members said, "Our goal is to give serious Doors fans the material they want, including professional eight-track recordings of concerts, some previously available only as overpriced and inferior-sounding recordings." One of Bright Midnight’s first releases, The Doors: Live In Detroit, recorded at Detroit’s Cobo Arena on May 8, 1970, is a true musical treat for Doors fans. Tickets prices for the show ranged from $2.50 up to a whopping $5.50. 31 years later, you can hear the entire show for $29.98 plus shipping, available only from the Bright Midnight Records website.
While the Doors were recording their legendary album LA Woman, the band would occasionally take long weekends and fly out to various cities to play live. At the time, their current record Morrison Hotel was on the charts, so much of the material from that album found its way into their set list. Always known for their electric live performances, the Doors impressively cranked up their performance at this particular show. Reportedly, this was the longest Doors set ever performed, with the band playing more than hour longer than their usual set. Something special was in the air that night and the sound engineers were ready, rolling the eight-track recorder and presumably grinning from ear to ear.
The Doors tune up and makes sure they’ve got their sound dialed in, playing a little part of "Roadhouse Blues" that they call "Roadhouse Vamp." Even though they performed in Detroit, Jim Morrison kicks off the evening by saying hello to most metropolitan U.S. cities, almost as if he knew that this evening was going to be something out of the ordinary and people across the county and around the world would be hearing it someday. The band then segues into the obscure "Dead Cats, Dead Rats," which is musically the same as "Break On Through (To The Other Side)." They jam on this for a bit and naturally transform it into "Break on Through." Morrison toys with the song’s lyrics more than on any other live recording of the Doors that I can remember, further letting the audience know that this not going to be your regular run-of-the-mill Doors show.
The bulk of the songs on Live in Detroit are the Doors’ bluesier tunes, straying away from the experimentalism of such numbers as "Not to Touch the Earth" and "The Soft Parade." Those are the kinds of Doors tunes that I prefer, but it’s also great to hear the Doors go back to their roots with gritty blues songs such as "Roadhouse Blues," "Five to One" and "Been Down So Long."
The experimental pop side comes out on songs such as the band’s seven-minute version of "Ship of Fools." Manzarek’s keyboard, always in the left channel throughout the album, trades off licks with Robbie Krieger’s fingerpicked guitar (historical note: Kreiger never used a guitar pick). This song starts off light-hearted and poppy, but does some musical twists and turns, using dissonant cords and notes to create a frantic feeling during the bridge. It then goes back to its pop feeling on the outro. This is what the Doors do best. They take you to one place, spin you around, and send you back home the same way you came, but you’re never quite the same as before.
After the show’s intermission, ex-Lovin’ Spoonfull member, John Sebastian, who played harp on "Roadhouse" on the album Morrison Hotel, joins the band on stage playing harmonica and guitar on Disc Two. The Doors have always covered a great deal of sonic ground with the four members and an occasional session bass player. When Sebastian hits the stage with the Doors, they take things up yet another notch, setting up the album's finale, a 17-minute-35-second version of "The End." It may seem like an obvious song to end a Doors show with, but the truth is, they rarely ever played the song live. It is believed that only three or four recorded live versions of the song even exist. Morrison improvises new lyrics all over the song in a way that only he could do.
The sound of "Live In Detroit" is outstanding for a 1970 live recording. There is incredible separation between the instruments, while Morrison’s voice is preset and clear. You can hear his deep baritone shift to high-pitched howls and grunts as the music washes over him. There is very little crowd noise, leading me to believe that all of the instruments we are hearing were taken straight from the mixing console to the eight-track machine. The liner notes from album producer Bruce Botnick support my hunch. Having the original master multi-track tape gave him the ability to mix the show and master it in 48kHz/24-bit resolution. Some of the original parts of the master eight-track tape were spliced out and subsequently lost. These few holes were filled in with a two-track analog archive. Bringing the entire show to the people was more important than the sound quality, but in the end, even the two-track segments sound quite good, just different than the eight-track ones.
This album is an absolute must have for hardcore Doors fans, but even casual fans who only know the band’s radio hits will enjoy this recording, because the hits appear on Live in Detroit. It makes a great introduction for uneducated Doors fans to songs they would probably never hear on their local classic rock stations.
Reviewed by Bryan Dailey
Music Editor - AudioRevolution.com
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Post by TheWallsScreamedPoetry on Jan 15, 2005 11:54:11 GMT
The Doors Live In Detroit
The second cd opens with a good spirited Jim Morrison relating the tale of a "little girl backstage" who presented him with an unusual song request. This number would prove to be the Chuck Berry standard "Carol." Opened with Krieger's searing guitar riffs, "Carol" was pure rock 'n' roll. The song was performed a number of times onstage in 1970 and The Doors covered it well.
Next came the number many had been waiting for, the classic "Light My Fire." The wait was well worthwhile as this extended version shone with some fine bluesy vocals by Jim and tight instrumentation by the other Doors. An interesting riff Robby Krieger often incorporated into performances of "Light My Fire" was John Coltrane's "My Favorite Things" which was, in itself, a jazzy interpretation of a number from the musical The Sound of Music. At one point, Jim speaks to the audience revealing his good nature and sense of humor. When he informs the audience, "I've been told, we gotta close it," Jim is greeted with a chorus of lamentation from the audience. Rather than break every heart he insisted the band play on and the audience erupted with cheers. Despite the fallout of the Miami incident from the previous year The Doors revealed that they could still reach their listeners and that they still had 'it.'
The Doors were joined by ex-Lovin' Spoonful member John Sebastian. Sebastian had provided harmonica on the studio version of The Doors' "Roadhouse Blues." During this concert he joined the band for a raw, bluesy live version of "Been Down So Long." The song was not recorded on vinyl until the LA Woman sessions the following year. This spontaneous live version that literally dripped with blues and sexuality was, in my view, infinitely superior to the somewhat stale studio version. This live take of "Been Down So Long" can also be heard on the Doors' Bright Midnight Sampler and is the only live version of this song ever to surface.
Still in its infancy was a fascinating improvisation of "Love Hides." Normally the song was performed within the framework of "Backdoor Man" but in this instance it served as a sorrowful and blusey introduction to a medley of blues covers. Jim passed the reigns of vocalist over to mad monk keyboardist Ray Manzarek who presented the audience with his own unique vocal style. Ray was in command with a blending of the bluesy covers "Mean Mustard Blues"/"Close To You" plus "I'm a King Bee." The Doors gave a true sexual twist to this song emphasizing the act of "stinging going on." With John Sebastian joining on guitar, Jim accompanied Ray as a back up vocalist. One thing this concert will certainly convey: The Doors loved to play the blues.
Next came the equally bluesy "Rock Me," a number The Doors had covered many times. Ray broke into this up-tempo version with a raw screaming vocal then it was over to Jim who requested the opposite, thus he sang: "…softer baby, you gotta slow it down." No doubt every girl in the audience thought Jim was singing to her, but he was, in a sense, giving tempo instructions to the band--a clever way to communicate with the other Doors while still performing. Jim's Elvis influences shone when he incorporated lyrics of "Heartbreak Hotel" into the framework of "Rock Me." Jim must have been an influence on Elvis as well since Elvis had adopted the full leather look for his '68 comeback special, a look which, at that time, was very much a Jim Morrison trademark.
The performances concluded with a simply spectacular version of "The End." "The End" was the Doors' ultimate canvas piece with each Door using his own respective instrument as a brush and the essence of his soul as the paint. The arrangement of lyrics was seemingly erratic--Jim opened the song with the closing lyrics. But there was a method in the madness with the incorporation of some fine poetry. The "Wake Up!" component of "Celebration Of The Lizard" made this version outstanding. During the climax of the song, Ray's haunting keyboard emitted sounds both mournful and joyous and spoke of both pain and delight.
Overall, this performance was spectacular. It offered rock and blues and demonstrated how the Doors' sound continued to improve and grow tighter with each passing year. Within this first-rate rock and roll perhaps the listener can find the keys to long-lost visions. Just put on these 2 CDs, close your eyes, and travel through time--let The Doors be the chariot to carry you free. "
My rating is A++++
Tarn Stephanos
"The veil of time is thin indeed, for despite 30 years since Jim Morrison's departure to the other side, his words, and the music upon which they flow remain as fresh and powerful as during Morrison's lifetime. Like the blind who were returned their sight by a prophet of an earlier age, The Doors awakened the third eye of enlightenment to scores of people--an eye that remains closed for those who shun the quest for inner freedom. To be an artist and a spiritual messenger whose words transcend the barriers of time serves as proof of the attainability of spiritual immortality. It is a curious irony that a great number of the most ardent Doors fans were born years after The Doors disbanded, yet they feel, and are moved by, the words and music with the same intensity as if they had been performed yesterday. As a musical force, The Doors featured an unearthly power that continues to grow and evolve. They planted a seed within the hearts of countless people. The seed has germinated and grown, and whether we partake of the fruit of knowledge or let our minds atrophy in a cloud of conformity is our own choice--the music of The Doors offers clarity so such choices can be made.
The Doors captured some of their finest creations on vinyl yet many of their contemporaries insist that the live venue was the most appropriate forum in which to experience The Doors at their best. Such was easy enough in 1970 but is a difficult task for the legions of fans born after Jim's sojourn across the river Styx.
The albums Absolutely Live, Alive She Cried, Live At The Hollywood Bowl and The Doors In Concert each offer various glimpses of the Doors' live experience but all present edited and sliced views of The Doors in concert.
For quite some time Doors fans have lamented that the 'good' unreleased live material would languish in obscurity forever. The epic 1970 Absolutely Live offered a decent impression of an 'average' night at a Doors concert but fans, with the knowledge that the album was pieced together from several different performances, yearned to hear these concerts in unedited form. Interestingly, Absolutely Live was planned to be representative of a typical night at a Doors concert yet the mood and convergence of spirits vary from performance to performance. The aftermath of the Miami incident was a parade of the grotesque with the ambrosia turning to brine, and such literally cancelled the Doors' Soft Parade tour overnight. But like a phoenix The Doors rose from the ashes and their message continued to shine like a beacon.
With the creation of the Doors' Bright Midnight label Doors fans may now rejoice at the planned release of previously unattainable concert performances and interviews on CD. The Bright Midnight live CD sampler offered a preview of some of the live performances soon to come, albeit some of the sampled songs have undergone very minor editing and pruning. Presumably, when the respective live CDs are released, these songs will appear in full, unedited form. With the 5/8/70 Detroit concert being the first uncut Doors performance in release, celebration is in order.
The Detroit performance was one of nearly a dozen recorded for Absolutely Live. The performance is powerful, energetic and bluesy including the pauses between songs and the chats with the audience. I liked the pauses, though I realize there are some who will not, preferring music to the sound of silence. The impression of being there is stronger than with any past live Doors release. This performance presents an 'as is' view of the Doors, in all its glory, with both the beauty and the grotesque, and glorious it is indeed! The Detroit set opens with some tuning and an instrumental vamp of Roadhouse Blues. Rather than break into the vocal of the song as one would expect, Jim Morrison brought the band to a halt and greeted the audience of this venue and of other cities on this Morrison Hotel tour. The first full number of the show was a stunning "Dead Cats Dead Rats"/"Break On Through," a performance which was included on the Absolutely Live album. A riveting rendition and a recreation of this performance of the song was in my view the highlight of the Oliver Stone film The Doors.
Next came the "Alabama Song"/"Backdoor Man"/"Five to One" medley which was a staple of nearly every live Doors performance. Even still, this rendition was fantastic with an intensity and focus not usually found in performances of the medley. Jim Morrison's vocal was spot on during "Backdoor Man" and during a superb "Five to One" Ray Manzarek joined Jim with the chorus, "Get together one more time!" Along with spectacular guitar work by Robby Krieger and fine Densmore drumming this may be one of, if not the best live take of "Five to One" caught on tape.
Roadhouse Blues was next--a number that best exemplified the Doors' leanings toward blues. Robbie Krieger's guitar work dominated this version though Morrison's vocal was a tad weak. Oddly enough, this was a song that, performed live, never quite matched the fine studio version. Even still, the performance was superb and thus, timeless. A very rare live "You Make Me Real" followed Roadhouse Blues-a song that had all the elements of a hit, yet never quite caught on, even amongst Doors fans. Even still, it was a fine number, with a hard driving intro, and it certainly came across well in the live venue.
"Ship of Fools" was performed regularly during the Morrison Hotel tour. It struck me as a surprisingly unremarkable song whose saving grace was an excellent instrumental solo.
A lengthy "When The Music's Over" followed. Vocally, it stayed very close to the spirit of the studio version. Instrumentally, the other three Doors commanded this performance proving the power of their combined efforts can still grip the imagination.
Next came a spectacular, albeit erratic work in progress, the "People Get Ready"/"Mystery Train"/"Away In India" medley although the train-theme didn't particularly follow any linear story or message. Instead it presented the message of the blues. The true magician within this lengthy medley was Ray Manzarek. His formal training becomes very apparent with classical sounds that have the effect of the blues on one's soul.
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Post by TheWallsScreamedPoetry on Mar 21, 2023 12:27:50 GMT
THE DOORS: LIVE IN DETROIT 1970
COBO HALL ARENA - May 8th, 1970
Set List
1. Roadhouse Blues (false start)
2. Break On Through
3. Alabama Song
4. Back Door Man
5. Five To One
6. Roadhouse Blues
7. You Make Me Real
8. Ship Of Fools
9. When The Music's Over
10. Mystery Train
11. Carol
12. Light My Fire
13. Jim dialog
14. Been Down So Long
15. Jim confronts heckler
16. Love Hides
17. Mean Mustard Blues
18. Carol (reprise)
19. Close To You
20. King Bee
21. Rock Me
22. The End
(tuning)
(Ray: Yeah.)
(applause)
(guitar intro to Roadhouse Blues)
Roadhouse Blues (false start)
(during extended intro)
Yeah! (Ray: Come on.)
Well, we're gonna stop the show.
(band stops playing)
(Jim talking to the audience)
We're gonna stop the show.
Hello Detroit.
(??: Hey Ray, turn the bass down.)
Hello Salt Lake.
Hello Washington D.C.
How ya doin?
Minneapolis, how ya doin?
Hey, Seattle.. nice to see ya!
Dallas, Texas. Hi y'all!
(drum/organ intro to Break on Through)
Break On Through
Dead cats. Dead rats.
Did you see what they were at, alright!
Dead cat in a top-hat.
Whoa!
Suckin' on a young man's blood.
Wishin' he could come, yeah.
Suckin' on the soldier's brain.
Wishin' it would be the same.
Dead cat. Dead rat.
Did you see what they were at?
Fat cat in a top-hat.
Thinks he's an aristocrat.
Thinks he can kill and slaughter.
Thinks he can shoot my daughter.
Yeah, right.
Oh yeah.
Oh right.
Yayyyyy-eh-ay-ehhhh.
Dead cats. Dead rats.
Think you're an aristocrat.
Crap. A dat's crap.
(Ray: Yeah.)
You know da day destroy the night.
Night divides the day.
Tried to run. Tried to hide.
Break on through to the other side.
Break on through to the other side.
Break on through to the other side.
Chased our pleasho' here.
Dug our treasho' there.
Still recall. Time we cried.
Break on through to the other side.
Break on through to the other side.
Break on through, yeah.
W'alright.
(organ solo)
Waaoh!
EEEEE!
Waaoh!
Uh!
Ev'rybo-day.. love my bay-beh. (Ray: Yeah!)
Ev'rybo-day.. love my bay-beh.
She get.
She get.
She get.
She get.
(Ray: Higher.) Oh.. yeah.
She get high. She get high. She get high-i-i-i-i-i. (Ray: yeah.) She get high.
(Ray: That woman get high.) Hiiiiiiiiigh. (Ray: The woman get high. My baby get high ,now.)
She get high.. yeah. (Ray: My baby get high, now.).
(Ray: My baby get high, now) She get high. (Ray: My baby get high, now.) She get high.
(Ray: The woman get high, now) She get high.
(Ray: Smokin' some grass, now) She get high.
(Ray: Talk some trash, now) She get high.
(Ray: Baby be so bad.)
(Ray: A baby get high, now) She get high.
(Ray: My baby get high, now.)
(Ray: My woman get high, now) She get high.
(Ray: She get high.)
(Ray: Whoa. She get high!) She get high.
She get high.
(band settles into groove)
I found an island in your arms.
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, yeah.
W'oh right.
(guitar solo)
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.
Break on through to the other side.
Break on through.
Break on through.
Break on through.
Break on through.
Oh yeah.. ehh.. oh.. ehh.. ehh.. oh.. ehh.. ehh.. yeah.. (Ray: yeh-yeh) oh.. (Ray: yeh-yeh) yeah.. (Ray: yeh-yeh) yeah.. (Ray: yeh-yeh) oh.. (Ray: yeh-yeh) yeah.. (Ray: yeh-yeh) oh.. (Ray: yeh-yeh) yeah.. (Ray: Yeh) yeah! (Ray: Whoa!)
Thank you. (applause)
Thank you very much.
(organ intro to Alabama song)
Alabama Song
Whoa show me.. the way.. to the next.. whisky bar.
Oh, don't ask why.
Oh, don't ask why.
Show me the way.. to the next.. whisky bar.
Oh, don't ask why.
Oh, don't ask why.
Show me the way.. to the next.. whisky bar.
Tell you we must try.
Tell you we must try.
Tell ya.
I tell ya.
Tell ya we must try.
Oh moon.. of Alaba-ma.. we now.. must say goodbye.
We've lost.. our good old.. momma..
And must have whisky or you know why.
Oh moon.. of Alaba-ma.. we now.. must say goodbye.
We've lost.. our good old.. momma.
And must have whisky or you know why.
Yehhhhhhhhhhhhhhh.
(transitions into Back Door Man guitar intro)
Back Door Man
(during intro)
Suck!
Waaaaaaaaaaa-eeeeaah!
Giiiiiiiiive me your love.
Whoa!
Yeahhhhhhhhhhh.
Huh.
Oh I aaaaaam!
Yeah. da back door man.
Back door man! (Ray: alright!)
The men don't know but the.. little girls.. understaaaaaaand.
Well all your people, now.. tryin' to sleep-uh.
I'm in 'dere makin' wit' a.. midnight creep, yeah-yeah.
Well.. back door man.
Da men don't know, but the.. little girls.. understaaaaaaand.
All right, yeah!
(guitar solo)
(transitions into Five To One organ/guitar intro)
Five To One
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, come on!
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)
Your ballroom days 'er over, baybeh.
Night is.. drawin' near.
Shadows of the evenin'..
Crawl across the years.
Ya walk across the floor with a flowa' in your hand.
Tryin' ta tell me no-one.. understands.
Trade in your hours for a handful a' dimes.
Gonna make it baybeh in our prime.
Get together.. one more time.
Get together.. one more time.
Lets get together.. one more time.
Get together.. one more..
(Ray and Jim) Get together.. one more time!
(Ray and Jim) Get together.. one more time!
(Ray and Jim) Get together.. one more time.
(Ray and Jim) Get together.. one more time, yeah-ahh.
Get together, got ta..
Get together.. got ta..
Get together.. got ta..
Get together, yeah.
(Ray: Whoa.)
(Ray: Yeah.)
(Ray: Oh man.)
Whaaa!
(Ray: Yeah.)
Come on, honey.
You go along home and wait for me, child.
I'll be there in just a little while.
Ya see.. I gotta go out in dis car with these people and get..
Fuuuuuucked uuuuuuuup!
(Ray and Jim) Get together.. one more time!
(Ray and Jim) Get together.. one more time!
(Ray and Jim) Get together.. one more time.
(Ray and Jim) Get together.. one more time, now..
Get together, got ta..
Get together, got ta..
Get get-gether, got ta..
Get together, got ta..
Get get-gether, got ta..
Get together, got ta..
Get ah-ta..wah-yeh.
WAHHHHHHHH-UH!
Get together. (Ray: Yeah.)
Now Detroit we gotta get ourselves together.. yeah. (Ray: mmmmm.)
Get it toge-ther, yeah.
Just.. (Ray: mmmmm.)
A one.. (Ray: mmmmm.)
More.
I say we gotta get ourselves together, now.
Just a one morrrrrre. (Ray: Come on!)
I said pull it all together, now. (Ray: Come on!)
Just a one.. (Ray: Yeah.)
More.. (Ray: Yeah.)
Time.
(song ends/applause)
(guitar intro to Roadhouse Blues)
Roadhouse Blues
(during intro) woooooooahhhh!
A-keep you eye'd on the road, you hand upon da wheel.
A-keep your eye'd on the road, you hand upon da wheel.
Goin' to da roadhouse, gonna have a real.. a-good time.
Yeah, da back a' da roadhouse they got some bungalows.
Yeah, da back a' da roadhouse they got some bungalows.
A-dats for the people like ta go down slowww.
Let it roll, baybeh roll.
Let it roll, baybeh roll.
Let it roll, baybeh roll.
Let it roll.
W'All night long.
Yeah, play it. Come on!
(guitar solo)
(band settles into groove)
Ya gotta roll, roll, gotta thrill my soul, w'alright.
Roll, roll, roll, gotta thrill my soul, ya gotta..
chocka-ku-konk-konk-adonta-cheetao.
bowp-bowp-babeebop-alula-caw-con.
chachee-no-no.. de-don-dontcha-chateet-na-chall.
paka-chu-kitah.
cana-nada-kukown-low-low-chow.
baht-chut-chown-bee-fah-coh-now.
chow-kiga-now-cho-maow-maow.
cha-cha-cha-cha-cha-key-gew.
cro-no-coleek-key-chachanugah.
atch-achien-inach-abath-amu-chow.
du-doan-no-lakey-na-chew-lao.
fao-fahva-kao-no-cho-ko.
a ko-ko-ko.
ch-cha-chao-chao.
konka-cho.
a chee-chao-che.. d'alright..
(band settles into groove)
Ashen lady.
Ashen lady.
Give up your vows.
Give up your vows.
Save our city.
Save our city..
A right now.
Well I woke up dis' mornin'.. got myself a beer.
Y'ell I woke up dis' mornin'.. I got myself a beer.
Yeah, the future's uncertain.. the end is always near.
Let it roll, baybeh roll.
Let it roll, baybeh roll.
Let it roll, baybeh roll.
Let it rolllll..
W'all night long.
(song ends/applause)
Jim: You Make Me Real.
John: Make Me Real.
Ray: Is that In 'C'?
Robby: In 'C'.. You Make Me Real.
(organ/guitar intro to You Make Me Real)
You Make Me Real
I really want you.
Really do.
Really need ya baybeh..
God knows I do.
Well I'm not real enough without you.
Whoa!
Make me real.
You make ma feel..
Like lovers feel.
You make me throw away mistake and misery.
Make me free love.
Make me ff.. WAAA-Oh, yeah!
(organ solo)
I really want you.
Oh really do.
Really need my momma.
God knows I do.
Well I'm not real enough without you..
WHOA!
You make me re-al.
Only you baybeh.. have that appeal.
So let me 'lide into your tender sunken sea.
Make me free love.
Make me..
WAAAO, come on.
(guitar solo) WAAAA-Ohhhhh, yeah!
You make me re-al.
Oh right!
You make me fe-el.
Oh yeah!
You make me throw mistake and misery.
Make me free love.
Make me free.
Make me free.
You make me..
Freeeeee-yeahhhh.
(bass intro to Ship Of Fools)
Ship Of Fools
The human race was dyin' out.
No one left ta scream and shout.
Yeah, people walkin' on the moon.
Smog'll get ya pretty soon.
Everyone was hangin' out.
Hangin' up and hangin' down.
Hangin' in and holdin' fast.
Hope our little world will last.
(extended organ solo)
(Ray: Yeah-yay!)
(Ray: Yeah!)
Yeah along came Mister Goodtrips.
Looking for a new ship.
Come up people better climb onboard.
Come on baybeh now.. go-in' ho-ome.
Ship of fooooooooools. Ship of fooooools.
Ship of fo-oooools. Ship of foooooooooooooooo-ahhh.
(guitar solo) Oh yeah!
Human race was dyin' out.
No one left ta scream and shout.
Yeah, people walkin' on the moon.
Smog gon' get you pretty soon.
Ship of foooooooools. Ship of foo-uls.
Ship of foooooooools. Ship of foo-uls.
Of foo-oo-oo-ools. Ship of foooooools.
Yeah, ship gonna leave yaaaaa.. way behind.
Ya better climb onboard.
Yeaaaaaaah, ship of foo-uls.
Ship of foooooooools. Ship of fools.
Ship of fooooo-oools. Ship of fools.
Yay.
(song ends/applause)
Jim: Music's Over.
(tuning)
(organ intro to When The Music's Over)
When The Music's Over
(Jim screams at end of intro) AHHHHHHHHHHHH-EAH!
When the music's over.
When the music's over, yeah.
When the music's over.. turn out the lights.
Turn out the lights.
Turn out the liiiiiiiights.
Yeahhhhh!
When the music's over.
When the music's over, yeah.
When the music's over.. turn out the lights.
Turn out the lights.
Turn out the liiiiiiiiights.
When the music.. is your.. only friend.
Dance on fire as.. it intends.
Music.. is your.. only frie-end.
Until the ennnnnnd.
'till the ennnnnnnnd.
Until the.. ehhhhhhhhhh-AAAHHHHFUCKEMINTHEAHHHHHHHH!
(guitar solo)
(band settles into groove)
Canthel my subscription to the.. resurrection.
Send my credentials to the.. house of detention.
I got some friends in-siiiiide.
The face in da mirror won't stop.
Da girl in da winda' won't drop.
A feast of friends.. alive she cried.
Waitin' for me.. out-siiiiiiide.
Before I sink, yeah.
Into the.. big sleep, yeah.
I want to hear.
I want to hear.
The scream.. of the.. butterfly.
Come back, baybeh.
Back into my.. arms.
We're getting tired of.. hangin' around, yeah.
Waitin' around with our.. heads to the ground, yeah.
I hear a very.. gentle sound.
Very near yet.. very far.
Very soft and ..very clear.
Come today, babe.. come today-yeah.
What have they done to the Earth-uhh.
What have the done to our fair sista'.
Ravaged and plundered and ripped her and bit her.
Stuck her with knives in the.. side of the dawn and..
Tied her with fences annnnnnd..
Dragged her down.
I hear a very gentle sound.
With cho' ear down.. to the ground-duh.
(pause)
(audience claps along with beat)
We want the world and we want it! (audience: Now!)
AHHHHHHHHHHHHHHHHHHHHH-OW!
(organ intro)
(band settles into groove)
So when the music's over.
When the music's over.
When da music's over.. turn out the lights.
Turn out the lights.
Turn out the liiiiiiiights.
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 ennnnnnnd.
Un-til the..
Ehhhhhhhhhhhhhhhhhhhhhh.
(song ends/applause)
(Ray: Yeah!)
(Jim talks to audience) Yeah! Let's get up and on our feet!
(guitar tuning)
('People Get Ready' bass chords used to tune guitar)
(audience shouts out requests)
(bass/guitar/drum intro to People Get Ready)
Mystery Train
People get ready there's a-train a-comin'.
Ya don't need a ticket.
You just cli-imb.. on-board.
(music starts)
(Jim imitates train whistle) WOOO-WOOO-AHHHHHH!
(Ray: Oh, let's get the train goin' now.)
(Ray: Oh, yeah.)
(Ray: On the tracks.)
(Ray: On the tracks.)
(Ray: Oh, yeah.)
(tempo gets faster and faster)
Train I ride.. sixteen coaches long.
Train I ride.. sixteen coaches long.
Mean ole evil train, he took my baybeh, he gone.
Train-train.. comin' round da bend.
Train-train.. comin' round da bend.
Well dat mean old evil train.. took my one and only friend.
Train-train.. comin' down the line.
Train-train.. comin' down the line.
Well that mean old evil train.. took the only friend of mine.
WOO-WOO.. Yeah!
(instrumental verse)
Train-train.. comin' down the track.
Train-train.. comin' down the track.
Well they took my baybeh.. said he's never comin' back.
Whoa.. WHOA!
(extended organ solo)
(Ray: Yeh!)
(Ray: Whoa!)
(transitions into "Away in India")
(Ray: Yeah!)
Ehhhhhhhhhhhhhhhhh in India.
Away.. away.. away.. away in India.
Away.. away.. away.. away in India.
Away.. away.. away.. away in India.
Awaayyyyyyyyyyyyyy in India.
Dat's right! Dat's right! Way!!
(band settles into groove)
Well I woke up dis' mornin' got the crossroads on my mind.
Well I woke up dis' mornin' got da crossroads on my mind.
Take a walk 'ith me and everything'll work out fine.
Well I woke up dis' mornin' got da junk-man on my mind.
Well I woke up dis' mornin' got da junk-man on my mind.
Take a walk 'ith me n' everything'll work out fine.
Well I woke up dis' mornin' got the H-Bomb on my mind.
'ell I woke up dis' mornin' got dee H-Bomb on ma mind.
Take a walk with me, everything.. everything'll work out fine.
YAAOH!
(instrumental verses)
Well I woke up dis' mornin' got the crossroad on my mind.
'ell I woke up dis' mornin' got the crossroad on my mind.
And a-take a walk with me..
Ev'athing.. ev'athing.. ev'athing.. ev'athing.. yeah.. work out FIIIIII-Yeah!
WA-WAAOO!
(tempo slows to a stop)
(song ends/applause)
(tuning/requests from audience)
(Jim shakes maracas as audience shouts requests)
(Jim talks softly to audience)
You know there was a little girl backstage.
She had an unusual request for a song that we hardly ever play in public..
And.. Gosh-darn.. (laughter from audience)
(Ray: Shucks.)
Such a pretty little thing like that.. with a.. such a strange request.
(Jim sighs) My-my-my.. mmm-mmm!
(Jim jokingly sings beat of Touch me) bowp-bowp-bah-boo-boo-bowp-ba-bah-bah boop-bah-bahb..
(Jim stops and talks to band).
Oh, I know what we can do. We can do Carol and then ?? Just.. just.. just 12 bars okay?
(guitar intro to Carol)
Carol
Oh, Carol!
Don't let ma stea' your heart away.
Yeah, love ya little darlin', take me all night and day.
Heat cooled down.
Motor cooled down.
I hear that highway sound.. Oh Carol!
Let me steal your heart away.
Well I love ya little darlin, take me all night and day.
Heat cooled down.
Motor cooled down.
I can hear that highway sound, yeah.
Alright.
Whoa, I love you little darlin, take me all night and day.
Uuuah!
WAAAAOOH Carol!
Make me stea' your heart away.
uuh!
uuh!
Wahhhoooo-Carol!
Yeah, make me steal your heart away.
Love ya little darlin, take me all night and day.
(song ends/applause)
(tuning)
Woooo! (Ray: Alright let's play it!) Wooo! (Ray: Whoo)
(Ray: One.. Two.. uh.. uh ..uh)
(drum crack/organ intro to Light My Fire)
Light My Fire
You know that it would be untrue. (Ray: yeah!)
You that I would be a liar.
If I was ta say to you.
Gir' wa couldn't get much higher.
Come on baybeh light my fire.
Come on baybeh light my fire.
Try to set the night on fire.
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 to set the night on.. FIRRRRRRE-AAO! Come on!
(organ solo)
(guitar solo)
(band settles into groove)
(Robby adds a few more guitar licks)
Softer baybeh.
Bring it way on down.
Sompm' I have to tell ya, baybeh.
Bring it way on down.
I'll lay it on the line.
I been told, yeah.
We got close, yeah. (boos from audience)
(talking to audience)
Now we're willin' to pick up the extra.. bread for uh another hours worth of music. (cheers from crowd)
Just don't let 'em chase us out, man. (more cheers)
(sings)
Just getting' started, baybeh.
Just gettin' started, girl.
Just gettin' warmed up, now.
Yeah, alright.
(talking to audience)
When this song is over don't leave 'cause we got about an hour's left in us, come-on.
(Ray: Yeah.)
(transition into final chorus)
(organ turnaround)
The 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 pyre.
Come on baybeh light my fire.
Come on baybeh light my fire.
Try to set the night on.. 'IRE!
(Ray sings with Jim for rest of song)
Time to..(Ray: You know that it would be untrue.)
You know that it would be a liar. (Ray: You know that I would be a liar.)
If I was to say to you.
Girl we couldn't get much higher.
Come on baybeh.. light my fire.
'ome 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-ehhhh.
(song ends/applause)
Alright. Alright. Alright. Alright. Alright.
Alright, let's have some fun now, alright? (cheers)
(crowd shouts out requests)
Alright, Alright. Hey listen. I don't know if you know it, but, uh, if
we're going to continue playing you guys are going to have to.. sit down just
where you are, right?
(organ/guitar noises/tuning)
Hey, listen.
If our friend John Sebastian's out there somewhere in the audience I wish you'd come up and join us man and jam a while. (applause)
Alright!
Yeah.
Yeah.
Hey listen, uh..
Among all you people, has anybody got an 'A' harp out there?
Anybody? This is, you know.. or a 'D' harp. 'D' harp?
Come on, man. Get it up here. (applause)
(misc drumming/guitar/organ riffs)
Alright.
Hey, ladies and gentlemen. This is one secret I didn't want to unveil. But.. hey dig this. Dig this. You see that little table there with lights on it and everything? Right. If you push that over. We're trying to do a live concert here in Detroit. If you push that over we blow the whole thing. So.. stay back, alright? We might get something good man.
(fan in crowd) Jim! Tell us about your movie! Let's here about the movie!
Well we're all in the cosmic movie, you know that.
That means the day you die you gotta watch your whole life.. recur.. recurring eternally, forever. Right?
In Cinema-scope.
3-D.
So you better have some good incidents happenin' in there.
And a fitting climax.
(guitar intro to Been Down So Long)
Been Down So Long
(John Sebastian on harmonica)
Well I been down so goddamn long.. (Ray: yeah!)
That it looks like up ta me.
Well I been down so very damn long..
That it looks like up ta me.
Well why don't some you people..
Come on.. ya gotta set me free.
Well warden, warden, warden..
Won't ya break your lock and key.
I said warden, warden, warden..
Won't ya break your lock and key.
Won't you come along here mister.
Oh.. Say please to me.
Come on.
(harp solo)
Well now darlin, darlin, sister..
Won't ya dump your load on me.
I said darlin, darlin, sister..
Won't ya dump your load on me.
Won't ya shed upon me bye-bye.
Come on.. sister, I love thee, yeah-yeah, come-on.
(organ solo)
Well I said baybeh, baybeh, baybeh..
Won't ya give your love to me.
Baybeh, baybeh, baybeh.
Won't ya give your love ta me.
Won't you come along here darlin'.
Come on, a-give.. head ta me.
Eat me.
One more.. yeah!
I been down so goddamn long!
That it looks like up ta me.
Well I been down so goddamn long.
That it looks like up ta me.
Yeah, why don't one of you people..
Come on.
Set me free, yeah!
(song ends/applause)
Alright. Alright. Alright.
Alright.
A little more blues. A little more blues.
(tuning/audience yells requests)
(band talks in background about what song to play next)
Jim: Lets do Crawling King Snake.
(Person in crowd) Hey, are you guys breaking up? Are you breaking up?
Are you breaking up?
(Jim to person in crowd) Have you taken a good shit lately? (applause)
Love Hides
(singing a capella)
Wellllll uuuhhhhh-love hides.
Love hides-ah in familiar places, yeah.
Love hi-i-ides.. in narrow corners, baybeh.
Yeah, love hiiiides.. in forgotten faces, momma.
Love hi-ides.. until you seek it.
Love hides inside the rainbow, yeah.
Love hides in molecular structures, yeah.
Lookin' for love, baybehhhhhh.
Lookin' for love all year round, yeah.
Welllll.
(transition onto Mean Mustard Blues organ intro)
Mean Mustard Blues
(Ray on vocals, Jim on harp, John Sebastian on guitar)
Well baybeh..
You been away so long woman.
I said baybeh..
You been away so long.
Well, come on back baybeh.
'cause your man wants you home.
I got a fine little baybeh..
Weighs about 500 pounds.
I got a fine little baybeh..
Weighs about a 500 pounds.
Well my woman makes love..
Boys you aught ta come around.
(guitar solo)
Well we're fightin' in a war..
Pyoopig-on-the-boar.
Said-sount-konk-a-cheeta-alll-right-outta-baybeh.
Well that's alri-ight.
I'm goin' home..
Back where I belong.
(combined organ/harp solo)
Yeah. (Jim: Yeah!)
Oh Detroit.
You're lookin' good tonight.
I feel good in Detroit-city.
Make those Cadillac's..
And make those other cars.
You know what the blues is..
You know.
I know you people know out there.
Cuz I can feel ya.
I can feel ya boogyin' all night.
(Jim harp solo)
(Jim: Yeah!)
(transition into Carol organ music)
Carol
(Ray on vocals)
Oh Carol.
Don't let him steal your heart away.
Well you're gonna make em dance, baybeh if it takes you all night and day.
(transition into Close To You music)
Close To You
(Ray on vocals)
I want to get close to you baybeh like-a.. black on white.
A-close to you baybeh like a.. heat in the iron.
A-close to you baybehhhhh.
Well close to you baybeh, oh lord we done messed this song up.
(song falls apart slowly)
But we're going to continue and play, uh, some , uh, more, uh, blues, uh, to, uh ,night, uh. uh.
(Jim Yeahhhh!) uh, uh.
Yea-eah, sing a song.
(song ends/applause)
(tuning)
(Jim singing: Yeahhhhhhhh.)
King Bee
(Ray on primary vocals, Jim on secondary vocals, John Sebastian on guitar)
Well.. I'm a king bee.
Want you to be.. my queen.
Well I'm.. (Jim: Well I'm a king bee, baybeh.)
Want you to be.. my queen. (Jim: Want you ta be.. my queen.)
Together we can make honey. (Jim: Gonna make honey, baybeh.)
World have.. never seen. (Jim: Now the world has seen.)
I'm young and able..
To buzz all night long.
I'm young and able.. (Jim: Young and able..)
To buzz all night long. (Jim: Ta buzz all night long)
We're gonna make a little honey..
Hear.. my song.
John Sebastian play the guitar.
(guitar solo)
Well I'm a king bee.. (Jim: King bee.)
Can buzz all night long. (Jim: Buzzin' round your hive.)
Well, I'm a king bee baybeh..
Can buzz all night long. (Jim: Comin 'round your hive.)
When you hear me buzzin' baby..
Some stingin' goin on.
Oh let's play it. (Jim: Alright, yeah.)
(guitar/organ solo)
I'm a king bee. (Jim: Well, I'm a king bee, baybeh.)
Take it Jim. (Jim: Whoa, yeahhhhhhhhhhh.)
(Jim: Ahhhhhhh-yeah!)
(Jim: ch-cha-konk-konk-konk-dew-yallright.
(Ray starts singing Rock me)
Rock Me
(Ray and Jim on vocals)
I want you to rock me, baybeh.
Rock me all.. night long.
Want you ta rock me, baybeh.
Rock me all night long.
I want to ya rock me, baybeh..
'till my back ain't got no bone.
Go ahead Jim.
(Jim on vocals for rest of song)
Softer baby.
Softer sweetheart.
Would you slow it down.
I got to tell you somethin', right.
You got to slow it down, yeah.
Ya got soft.
(tempo slows)
You gotta rock me, baybeh.
Rock me.. all night long.
Rock me, darlin.
Rock me all.. night long.
Rock me, pretty momma.
' till I.. end my song.
Yeah, since my baybeh left me..
Well I found a new house to dwell.
Since my baybeh left me..
Found a brand new house to dwell.
Out on the end of tomorrow street..
And I.. wish her well.
One more.
Want you ta rock me, pretty baybeh.
Rock me all.. night long.
Want you ta rock me, pretty baybeh.
Rock me all.. night long.
Want you to rock me, momma.
All night long.
Yeah!
(song ends/applause)
(requests from audience)
(Jim talks talking to audience)
Hey wait a minute! Wait a minute! Wait a minute!
Now we got time for one more song, what do you guys want to hear? (crowd shouts out requests)
(tuning)
(Jim to band) You sure you don't want to do The End?
Yeahhhhhhhh.. love ya Detroit!
Ahright.
(guitar/organ intro to The End)
The End
This is the end..
My only friend.
This is the end..
My only friend.
Of our elaborate plans.
Everything that stands.
It hurts.. to set you free.
But you'll never.. follow me.
The ennnnnnd.. of laughter and soft lies.
The ennnnd of nights we tried to die.
This is the end.
Come.. follow me.
Cross the sea.
Endlessly.
So happy.. we will be.
Cross the sea.
Endlessly.
Come on baybeh take a chance with us.
Come on baybeh take a chance with us.
(Ray: Here we go! Stop the car!)
Come on baybeh take a.. chance with us. (Ray: Stop the car.)
Meet me at the back of the.. blue bus.. yeah.
(Ray: Stop the car. Stop the car.)
A vast, radiant beach.. and a cool, jeweled moon.
Couples.. naked, race down by it's quiet side.
And we laugh.. like soft, smug children, warm.. in the wooly brains of infanticide.
Come they croon the ancient ones.
Come again they croon..
Beneath the moon beside the lake.
Capture the sweet wish, come with us.
Enter the hot dream.
Everything is broken up, and dances.
Wake up!
I 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's no.
Young.
Her dark.. red.. hair.
The white soft skin.
Nowwwww..
Run to the mirror in the bathroom, look!
She's coming in here!
I can't stop moving through each slow century of her wisdom.
I let my cheek slide down.. the cool, smooth tile.
Feel.. the good, cold, stinging blood.
The smooth..
Hissing..
Snakes..
Of rain!
(extended instrumental section)
UH-UH-WAY!
UCK-FUCK!
(feedback)
AAAAAAAHHHHHH!
WAAAAAAAHHHHH!
WAAAAAAAHHHHH!
WAAA!
(band settles into groove)
(Jim plays harmonica)
This is the end..
Beautiful friend.
This is the end..
My only friend.. the end.
It hurts to set you free.
But you'll never.. follow me.
The end.. of laughter.. and soft lies.
The end.. of nights.. we.. tried to.. die.
This.. is.. the..
Ehhhhh-ehhhhhhhhhnd.
(song ends/applause)
Thank you! Thank you!
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