Stony Brook U Men's Gym Long Island NY, September 23, 1967

[TheWallsScreamedPoetry]

A rare concert program for The Doors and Tim Buckley, September 23, 1967 at the State University of New York at Stony Brook.
The four page program includes photos and credits, surreal notes by future rock critics & Blue Öyster Cult song writers Richard Meltzer and Sandy Pearlman (credited as Applejack Meltzer and Memphis Sam Pearlman,) and an ad for the Doors on the back.
The pair are credited for bringing The Doors to Stonybrook U which was home to several students who would form Blue Öyster Cult.

[TheWallsScreamedPoetry]

The concert is sold out beyond capacity with over 3,000 overzealous college students that almost unknowingly overpower the under manned security staff. The band throughout the evening uses the energy of the crowd incorporating long passages of silence creating tension and drama. During "The End" the band pauses for over 3 minutes in producing extreme restlessness and just at the point of chaos the band jumps back into the song and finishes their performance for the evening. This was always one of The Doors most theatrical devices in which Jim would often take a little too far as he became less in tune with the audiences due to overindulging often to the point of absurdity sometimes losing the theatrical effect. He was often on a much different level!


The Stony Brook Student Newspaper The Statesman provides a couple of articles from the gig.

27-9-1967
The Statesman Stony Brook University Stony-Brook New York


Jim Morrison live at Stony Brook University Gymnasium - September 23, 1967.


20-9-1967
The Statesman Stony Brook University Stony-Brook New York





27-9-1967
The Statesman Stony Brook University Stony-Brook New York

[TheWallsScreamedPoetry]

September 23rd 1967 Stony Brook University New York

The Doors are the first concert of the State University at Stony Brook's academic year and the unanticipated crowd fills the Long Island gymnasium well beyond capacity.
The security service force is severely overtaxed by the large turnout. The Doors have begun to introduce long passages of silence at select points in songs to step up the dramatic tension.

They maintain the suspense to the breaking point - until the room
seems ready to explode. And just at the point when the tension becomes unbearable, the band breaks back into the song. This is what happens during their performance of "The End" at tonight's show.
The band suddenly goes silent and remains motionless for a full three or four minutes as the confused crowd becomes increasingly restless and then - right at the flashpoint - the band bursts back into the number.
This was one of the most effective and stunning of the band's theatrical
devices.


The university's Statesman publishes this review of the show:
"During the Doors' 'People Are Strange,' some California prototypes mimed the whole song in the front aisle. Nobody was pulled off the stage this time, but at least one bemused spectator was shoved around
by an uptight kid Executive for trying to listen to the music.
Perhaps it was in time to the music - the Doors, with their Viet Cong rock, seemed to orchestrate all the latent psychosis around them. During 'The End,' that forest of electronic nerve-endings, they
stopped.
The pause was meant to serve as brackets around some tremendously potent imagistic assaults but people got angry, walked out - the clever ones shouted 'Louder.'
Eventually cooler heads prevailed, as they say, and for those who could stop with them the group conducted their broken Black Mass.
The strength of the Doors' performance can be synthesized from the potency of their fragments. The story-book instrumental in 'Light My Fire,' and the narrative of 'The End,' for example, entranced as always, and the only obstacle to full catharsis was a nagging desire to see how Frankie Valli fans were holding up."
John Eskow, "Doors Orchestrate Latent Psychoses of Audience," The Statesman, Sept. 27th 1967

Michael Horowitz quotes Gloria Stavers's (editor of Sixteen magazine) commentary on the show for Crawdaddy magazine: "I remember one concert in Stony Brook, he was really going to jive their heads. The audience was just too enthusiastic, you know what I mean? They were just too clapping. So in the middle of one number - I think it was 'The End' - he stopped. Cold.
You could just feel the tension building up. I thought there was gonna be an ex-ploh-sion! And then, when it was totally silent, he made that sound - I don't know the sound he makes, a sound from the abyss, it's just a shriek!
Later, he told me, 'You have to have them. They can't have you. And if you don't have them, you have to stop and get them.'"

Michael Horowitz, "The Morrison Mirage," Crawdaddy Magazine, April 1969
Doors On The Road