Doors European Tour 1968: London England September 6/7th

[TheWallsScreamedPoetry]

England Tour 1967
A 1967 tour of England is talked about but never materialises.

Royal Albert Hall London England Easter April 1968
A concert at the Albert Hall was considered for an Easter weekend date but again never materialises.


23-1968
KRLA Beat

Royal Albert Hall London England September 19th 1968
A concert at the Royal Albert Hall is shelved and the band play The Roundhouse.

Chalk Farm Roundhouse, Camden, London England September 6/7th 1968

The Doors arrive in London via Air India on Tuesday 3rd September and are met by a Granada TV film crew.
Granada, not to be mistaken for the BBC, is an independent TV company and part of ITV based in the Manchester area.
They already had their own idea as to what The Doors were and this is reflected in the end product which insinuates Doors=Violence which is not remotely true.

After a days rest they trundle across to the BBC Centre to record an edition of Top Of The Pops which is the premiere TV music show hosted by BBC radio DJ's.
Decades later BBC would become embroiled in the Jimmy Saville investigation as the pervert hosted TOTP and many other BBC shows.
Who introduced The Doors is unknown as the episode was taped over but Jim was not impressed as he did not like miming.
See the thread in the TV section.


August 31 1968

Fri. Sept. 6th - Sat. 7th: The Chalk Farm Roundhouse Camden London, England
The Doors do two shows a night selling out all 10,000 seats of the remodeled train station's 2,500 seat concert hall. Both concerts on Friday are filmed by Granada Television for the British television program "The Doors Are Open." (Note: The program airs on October 4th and only footage of the 2nd show is used) The concerts go extremely well. Jim is somewhat reserved in his performances but very involved and in good voice, control, and appearance. On the first night: The Doors open for The Jefferson Airplane. These Friday shows are attended by many London music scene artists, such as members of the Rolling Stones and Traffic. Jim is fabulous and sober!
On the 2nd night: The Jefferson Airplane opens up for The Doors. Jim would later state that this 2nd show on Saturday night was probably one of the band's
all-time best performances.


"The audience was one of the best we've ever had. Everyone seemed to take it so easy. It's probably the most informed, receptive audience I've ever seen in my life."
Jim Morrison 1968



THE EXPLOSIVE JIM MORRISON
Jim Morrison lives in exaggerations- the dragged-out half stumble and the sloth-like stance on stage, the upturned, pouting face with eyes clenched shut, the ponderous but precise speaking voice which is out of the best Brando mould. James Douglas Morrison, Superstar, Poet, and idol of America's rising generation, would be a perfect target for the satirist. That apart, he is not as black as he has been painted. Already prewarned by colleagues of Morrison's erratic behaviour to ward the British press during The Doors' recent and eventful stay here, it did not cool my apprehension any to read, on my way to see Mr. Morrison, his publicist's claim that he can be civil, polite, even erudite one day; yet gross or, as Jim says, "primitive" the next. Which extreme was I about to face?
"He's been quite good today", said his British publicist at Polydor- Elektra Records, with the air of a keeper talking about London Zoo's naughtiest lion. I was ushered into a small room containing The Doors sundry people flitting back and forth with no apparent purpose. Most of them were hovering on the edge of Morrison's conversation and it was Jim, in open-necked shirt and tight black leather jeans, who dominated the room.
Among those present with some purpose were three gentlemen in a Granada Television team filming the whole Doors visit with a rare degree of dedication.


A bored-looking Robbie Krieger, Doors' guitar man, was to tell me later that they had even followed one of them to the toilet! Next to Robbie was drummer John Densmore, an active Maharishi student, colourfully attired, who was sitting cross-legged on his chair, saying little and watching the chaos that was supposed to be a press conference. In another corner sat Ray Manzarek with a polite smile on his face and a polite line in answers.
Krieger, hiding behind dark glasses and an uncontrolled growth of beard had some interesting things to say about Morrison in the short interview which came to a sharp end at the sight of a Granada man crawling along the floor and pushing a huge mike up into our faces. A camera was mean while probing the recesses of my left ear.
What of Jim's reported moods? "It depends," said Robbie, "which day of the week you get him. It is just the way he is. I think I understand him as well as anybody through being with him for three years, but I still don't understand him completely."
Morrison certainly knows how to project himself and has an actor's feel for presence. Questions are met by prolonged periods of deep thought accompanied by closed eyes and an intense expression downward. He can often take so long to answer that the poor interviewer finds he's lost track of his precise inquiry. Answers themselves, delivered in a half-stumbling tone reminiscent of Jim's movements on stage, are accompanied by intense glances skyward.
He first wished to extend his praise for the behaviour of the audience during The Doors' two London concerts at the Roundhouse. "They were one of the best audiences we've ever had. Everyone seemed to take it so easy. It was like going back to the roots again and it stimulated us to give a good performance. They were fantastic. That's all I can say. Except that we enjoyed playing at the Roundhouse more than any other date for years."

While on the subject of their stage act, I asked Jim how important the sex angle was. "Sex is just one part of my act. There are a lot of other factors. It is important I guess, but I don't think it is the main thing, although all music is a very nature-based thing. So they can't be separated. But the sex thing has been picked out because it sells papers."

How important were politics in his writing? "I don't think so far politics has been a major theme in my songs. It is there in a few songs, but it is a very minor theme. Politics is people and their interaction with other people, so you cannot really separate it from anything."
I became aware at this point that there was a hint, only a hint, about Morrison that he was reluctant to take himself seriously. The journalist faithfully transcribing Morrison's thoughts to paper would be well advised to glance up from his work for a second- and there you may see just the trace of an inward smile on the handsome countenance. Jim acknowledges that Elvis Presley along with other giants of the era, Little Richard, Jerry Lee Lewis, Fats Domino, Gene Vincent, was an early and strong influence on him. He says: "Their influence was due to their music and the fact I heard them at an age when I was kinda ready for an influence."
Jim was courteous enough to me. But a glimpse of what the "primitive" Morrison could be like came out at the questioning of one persistent reporter who asked him first about the comparisons between him and Mick Jagger. "I've always thought comparisons were useless and ugly. It is a short cut to thinking," replied Jim, in what seemed to be too glib an answer to an off-the-cuff comment. He went into deep thought, with eyes closed and down, and finally replied, "Well, how do you see yourself?" The questioner pressed for an answer. More deep thought. "That's a rhetorical answer. You might as well ask me how do I see my left palm."
I asked him if he found the group's followers coming to him to be taught how to live. "I get incredible letters," he replied, "but they teach me how to live rather than me teach them. My fans are intelligent youngsters and very sensitive.
"On a par with Morrison's writing is his stage performance- often described as evil. Jim prefers the term primeval. "I was less theatrical, less artificial when I began," he says, "but now the audiences we play for are much larger and the rooms wider. It's necessary to project more. I think when your a small dot at the end of a large arena, you have to make up for that lack of intimacy with expanded movements."
by Mike Grant 1968

[TheWallsScreamedPoetry]

Sept 6, 1968 - The Roundhouse

Both of these performances at the Roundhouse go exceptionally well. The band is in terrific form and Morrison,
although a tad reserved in comparison to the summer performances, is in fine voice.
The late show opens with irrepressible energy from the band, with Morrison adding his graveliest snarl to the lyrics.
The usually staid British audience breaks into applause at the introductory notes of "When the Music's Over" and Krieger rips into some
fascinating Indian mantra-style leads during the piece. Morrison is quite animated during the gutsy "Back Door Man" and integrates
"Crawlin' King Snake" into the midpoint of it while the band maintains the "Back Door" beat.
Of note is their inclusion of a moderately abridged rare version of "Celebration of the Lizard."
They conclude with a medley of "Moonlight Drive" intersecting with "Horse Latitudes" and wrapping up with the
classic "Money."



Melody Maker September 7 1968


14-9-1968
NME



London's Melody Maker comments on the early show: " He walked majestically on stage clad in a
tight black leather suit, white shirt and brown shoes.
The crowd applauded him and Morrison, taking a stance at the mike, smiled briefly and belted into his
first song. His singing is every bit as powerful as the Doors albums suggest, while the backing trio of
organist Manzarek, drummer Densmore, and Krieger, guitar, are really together and play with precision and
timing that are quite remarkable.
The Doors are undoubtedly one of the most professional groups on the scene
anywhere.
Everything hangs together well and there is an underlying feel of calculation and presentation which
projects the music to its full [sic]."
Melody Maker, Sept. 14, 1968

Both of these performances were filmed by Granada Television for the Doors Are Open
special telecast on October 4, although the program used only footage from the second show.
On their first night, the Doors open for Jefferson Airplane, and on the following night the Airplane open for the Doors. The first
night's performances are delayed while negotiations as to which band will appear first continue past 10:30 p.m.
Initially, it had been determined that the Airplane would be first on the stage, but Granada Television pleads for
the Doors, and the ensuing discussions continue for
several hours while the audience remains remarkably patient.
Advertisements for the shows announced the performance time as from 7:30 till dawn, so the audience was
already anticipating a long night.
These shows are attended by many London music scene luminaries, including members of the Rolling Stones, Traffic, and the Crazy
World of Arthur Brown.
The Doors On The Road

[TheWallsScreamedPoetry]

On the morning of the 2nd show the band attend a press session at the ICA (Institute for Contemporary Arts) in The Mall
Again Granada are in attendance filming for their documentary.

Sept 7, 1968 - The Roundhouse
The early show opens with some strong vocals and blistering guitar work on "Five to One." It sets the stage
for the evening, which continues in the same vein.
During "When the Music's Over," Krieger erupts into a grinding, twisting, note-bending guitar solo and Morrison's
voice is coarse and sharp with precise inflections.
This is a well-executed show right through to "The End, where Krieger again bursts into dramatic, crashing guitar chords with a twisting and churning that
evokes a free-falling plunge.
Near the conclusion of the song the difference between the British and American audience becomes evident.
The British remain politely still during the quiet passage following the instrumental climax, while American audiences usually erupt
into cheers.
Jim Morrison later stated that he thought the late show on their second night at the
Roundhouse was probably one of the band's best performances:

"The audience was one of the best we've ever had. Everyone seemed to take it so easy.
It was different because in the States they are there as much to enjoy themselves as to hear you.
Whereas at the Roundhouse, everyone was there to listen. It was like going back to the roots again and it stimulated us to do a good
performance. They really took me by surprise. I expected them to be a little resistant, a little reserved, but
they were fantastic. That's all I can say. I enjoyed playing at the Roundhouse more than any other date for
years."








14-9-1968
NME

In 1969, Jim reflected on the Doors' European tour: "Well, a lot of people had cautioned us that there'd be a lot of hostilities towards an American group,
but it didn't happen that way. The Germans were really boorish, but, other than that, the audiences were really great.
Especially London, they were fantastic. It's probably the most informed, receptive audience I've ever seen in my life, the one at the Roundhouse.
An old converted railway roundhouse now used for theatrical performances." Hank Zevallos, "Jim Morrison," Poppin magazine, 1969
The Doors On The Road

[TheWallsScreamedPoetry]

Broadcast on October 4th 1968 by Granada TV to several of the ITV regions but not the whole country. (We would not see it in my region for ten years.)

This special is an earnestly designed semi-documentary that seeks to equate the Doors with the emotional political climate of the time. Although the inclusion of provocative newsreel footage
from various demonstrations adds an excitement to the
visual components of the show, it frequently creates a
distraction from the band's music. As a historic document, however, it does well, placing the band in the context of the times. At the height of their only European tour, The Doors Are Open is a fitting portrait of the band from a British perspective.
The Doors On The Road

# I chatted to one of the cameramen from Granada on their website around about 2003/4.
He told me they recorded the first set on the first night and then returned to their hotel to review their work.
To their horror they realised the film was damaged and unusable.
So they returned the next night and filmed the early show.
This was fine and on their return they edited the film down to what we saw on the documentary.
Any remaining film was either binned or reused so there were no out takes.
It was 1978 when I saw it in my Tyne/Tees TV region.
I thought it was great but it wasn't until the video came out that I saw how they had used stock footage of protester violence
that I realised they had done a bit of a hatchet job with The Doors.
The Roundhouse shows were performed to an intelligent audience and no violence at all occurred.
But I guess Granada came to London with that view of The Doors hence their finished product.

The Doors/Jefferson Airplane: The Roundhouse, London


THE RUMOURS were flying. Doors drummer John Densmore was missing. The groups were arguing as to who would go on first. There was some speculation as to whether they would go on at all.
The Friday night Doors/Jefferson Airplane concert was scheduled to start at 9.30 pm. The audience, over two thousand of them, had been sitting patiently since 7.30, and they had to wait a further two hours before the action began. Deejay Jeff Dexter kept things moving with records and Pete Drummond gave him a hand.
Then the stage darkened and the audience cheered as dim figures appeared and took up positions behind drums, organ and on guitar. The stage lights went up and as John Densmore, Ray Manzarek and Robbie Kreiger launched into ‘Back Door Man’ to herald the arrival of the front Doors man, Jim Morrison.

He walked majestically on stage clad in a tight black leather suit, white shirt and brown shoes. The crowd applauded him and Morrison, taking up a stance at the mike, smiled briefly and belted into his first song.
His singing is every bit as powerful as the Doors’ albums suggest, while the backing trio of organist Manzarek, drummer Densmore and Kreiger, guitar, are really together and play with precision and timing that are quite remarkable.



Wasting little time, Morrison went on to ‘Break On Through’, ‘When The Music’s Over’, the Brecht-Weill ‘Alabama Song’ ‘Hello I Love You’ and ‘Natural Child’ breaking into a knockout version of ‘Money’.
For the ritualistic ‘The End’, Morrison asked for the lights to be put out. Eventually after pleading, and finally shouting, lie got the lights off and the Doors became vague, shadowy figures with a backdrop of red dots formed by the lights on the group’s bank of amplifiers.
The song began and a dramatic effect was building up when a spotlight suddenly came on, killing the whole thing. Understandably, Morrison walked off but the group kept on playing. The light went out and Morrison returned to finish the song.
During ‘Light My Fire’ he leapt down into the fenced-off space between the stage and the audience, which was being used as a TV camera run. This caused confusion with the cameraman becoming tied up in Morrison’s mike wire. Morrison screamed into the mike and then held it into the audience for girls to scream into.
‘Unknown Soldier’ became a real production number, with Morrison acting out the part of the prisoner facing the firing squad. Densmore played a roll and then Morrison crashed to the floor, "dead". He lay on the floor and it seemed as though he had knocked himself out but then he leapt up and finished the song with its triumphant "The war is over!" last line.

The Doors are undoubtedly one of the most professional groups on the scene anywhere. Everything hangs together well and there is an underlying feel of calculation and presentation which projects the music to its full.
Densmore, Manzarek and Kreiger are very good musicians and Morrison, with his great sense of showmanship and stage presence, provides a dynamic entity to the act. When he saw the Roundhouse for the first time he said, "This is going to be fun. This is the place for us". After the show on Saturday, he commented, "This is the greatest audience. It was just like starting again."
The six-strong Jefferson Airplane, second on on Friday, first on Saturday, lost some impact because the vocals were often inaudible against the strong backing.
Like the Doors, the programme for each of their four sets followed pretty much the same lines each time. The Airplane’s presentation is looser and more casual, but any lack in visual effect was more than made up by their amazing light show.
The Airplane were swamped in colour as slides and film clips created a restless, seething backdrop to their music. Two guitars, bass and drums built up layers of sounds against the hard vocal work of Grace Slick, Marty Balin and Paul Kantner.
Lead guitarist Jorma Kaukonen plays thoughtful, well-constructed solos and doesn’t rely on speed for effect. Bassist Jack Casady and drummer Spencer Dryden underpin the whole thing very well. Dryden is a particularly fine drummer who drives things on well on the faster numbers.
It’s been said that it is impossible to get the Doors and Jefferson Airplane together on the same stage in the USA. Last weekend Middle Earth achieved the impossible.
NME, September 1968

[TheWallsScreamedPoetry]

Karl Dallas,
3rd August 1968
Melody Maker



September 14 1968
Melody Maker,

[TheWallsScreamedPoetry]

Melody Maker September 14th 1968


Melody Maker September 21st 1968



From Newswire services.

Shows how easy it is to get things out of proportion.
Add this to the crazies who got in touch with special branch and reported that a strange new Cult called The Doors was coming to Britain and it shows 1968 was a crazy year.

[annaikard]

His name has been bold on the board of rock and roll music. Although as a person he has been a different sort of individual who writes well but looks quite dangerous.
wardrobe valet

[TheWallsScreamedPoetry]

9-9-1968
The Guardian UK











21-7-1968
NME