Post by TheWallsScreamedPoetry on Jul 28, 2005 22:07:19 GMT
Live in Europe and Doors Are Open are filmed in B/W true as it was cheaper back then than colour film. The Doors were nobody special in Europe so it was hardly worth filming a group that would be forgotten in a year or two in colour...... The performances on the Euro footage are the best that are available anywhere of The Doors in concert. Hollywood Bowl is pretty static and IOW is dark and Morrison was in a mood so just stood there. The Euro 68 footage shows The Doors as they were in concert and apparently there is a bit of colour footage from some of the gigs....be nice to see it..... Sadly very little exists of the band on film except for a few poor quality snippets and the TV stuff......we should be glad of the Euro guys because thats the nearest to seeing The Doors live most of us will ever get!
Post by TheWallsScreamedPoetry on Feb 4, 2012 10:34:10 GMT
Live In Europe' (Eagle Rock, 60 mins) ***** There can be no middle ground with Doors releases of a visual nature. When crammed with classic songs shown in their entirety, they can be unmissable viewing. When largely dominated by short, frustrating bursts of crackling clips and indulgent quotes from stoned former fans, they can be tedious at best. Fortunately, this release contains anecdotes from two people with something to say. Despite the absence of interviews with surviving Doors members Ray Manzarek, Robby Krieger and John Densmore, it offers some revealing quotes from Jefferson Airplane's Grace Slick and Paul Kantner, which makes for a refreshing angle for this DVD release, previously available on video. The bulk of the 60 minutes is live material from the quartet's 1968 European tour. The Airplane were on the same tour and Slick recalls the details remarkably well for someone who admits she had her own fair share of indulgences. Most notable is her recollection of the time both bands were strolling through the streets of Amsterdam. "Kids would come up to us and offer us drugs - everything. But you don't take everything you're given or you'll be dead. Jim, on the other hand, took everything that was given to him, on the spot." Equally amusing is her description of Morrison's occasional inability to make it to the stage on account of his excesses. "I don't know of another band with a singer who was that erratic. We were sort of erratic but we were generally on stage." However, these insights are merely a prelude to the main picture. Once the chaotic 60s scene has been painted clearly by Slick and Kantner, clips and narration take a welcome back seat to entire live renditions of absolute classics, including the poetic 'Texas Radio And The Big Beat', 'Love Me Two Times', 'Hello I Love You' and the amazing 'When The Music's Over'. The latter is performed impeccably by all four members and runs to its entire 11 minutes, making it a definite high point. Other notable classics which render this release essential viewing include the dramatic 'Unknown Soldier', again sung with complete precision by Morrison and 'Light My Fire', performed by contrast, with the singer in an apparently drug-laden and clearly unpredictable state. The only low point is the closing scene depicting Jim's grave in Paris, where the surviving Doors members sign autographs for teenage fans who weren't even born when Morrison died in 1971. Someone clearly thought it would be a nice touch, but another excellent live number would have been preferable. Thankfully though, this brief depressing segment is a tiny blemish on what is otherwise a must-have purchase for every Doors fan. Christina Neal Classic Rock Magazine July 2000
"That's the trouble with reality!.... it's taken far too seriously! I do hope God is good to me and Santa Claus to the children! Celebrate...this parties over...I'm going home!"