Doors tribute Albums

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Nearly a dozen tributes on the market including the latest Jazz tribute....which one is worth even a cursory glance. Brilliant or bollocks....you decide!!

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RIDERS ON THE STORM
BREAK ON THROUGH
HELLO, I LOVE YOU
TOUCH ME
LOVE ME TWO TIMES
WINTERTIME LOVE
LIGHT MY FIRE
ROADHOUSE BLUES
SPANISH CARAVAN
PEOPLE ARE STRANGE
BREAK ON THROUGH (RHODES MIX)

www.lentriola.com/loulanza.htm
Go here for samples....

"The Doors were among the most jazz-influenced rock groups of the 1960s," explains Lanza, who recorded Opening Doors in 2002. "You had a rhythm section comprised of people who had either played jazz at some point, or at least enjoyed it. And then you had a lead singer, Jim Morrison, who liked to improvise. So you had a rock group that had a lot of improvisational qualities. The Doors used some of the modalities and blues forms of jazz."
On Opening Doors, Lanza is joined by some of the finest jazz musicians in Philly, including trumpeter John Swana, drummer Byron Landham (who regularly plays with organist/trumpeter Joey DeFrancesco) and guitarist Rob Budesa (among others). Orrin Evans, who is primarily a pianist, is heard on Hammond organ.
"

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Most jazz fans will tell you that there's nothing more boring than hearing an exact replica of a well-known song -- if you're going to embrace a song that someone else made famous, it's best to put your own spin on it and do some honest-to-God interpreting. And that rule of thumb doesn't just apply to jazz; it also serves rockers well. The thing that makes this Doors tribute so interesting is the fact that the artists make a point of bringing their own ideas to the table and give the Doors' classics serious makeovers. Cleopatra billed Darken My Fire as "a gothic tribute to the Doors," which doesn't describe the entire CD because a few of the selections are more industrial or alternative metal than goth rock. But regardless of whether a particular track is goth rock, alternative metal, or industrial, Darken My Fire is certainly a creative, risk-taking tribute. All of the artists bring something different to the Doors' classics, whether it's the Newlydeads on "Hello, I Love You," Rhea's Obsession on "End of the Night," Nosferatu on "People Are Strange," or Spahn Ranch on "Strange Days." The Electric Hellfire Club puts a metallic spin on "Light My Fire," while Ex-Voto has a very quirky take on "Riders on the Storm." Jim Morrison died in 1971, but Darken My Fire -- which was assembled in 1999 and released in 2000 -- demonstrates that the Doors' songs still have a variety of possibilities long after his death. ~ Alex Henderson, All Music Guide

Darken My Fire (A Tribute To The Doors) (Cleopatra)

What a decadently excellent choice for a Cleopatra tribute! Featuring several of the hottest bands in the genre, Darken My Fire will wow Goth fans while fascinating those Doors fans with wide bandwidth.
Two of my favorite Goth bands come up winners again here--Spahn Ranch is perfectly eerie channeling "Strange Days," and Mephisto Walz's "Peace Frog" illuminates the dark lyrics while still making the song irresistibly danceable. Eerie Von's "The Spy" sounds like Sparks and Kraftwerk having a fistfight. The Mission UK's "Love Me Two Times" retains the charm and pulse of the single while draping it with the appropriate dark cloud, as does Rhea's Obsession with the haunting "End Of The Night." Controlled Bleeding didn't have to stray too far from the original for "When The Music's Over" to fit right in.

Naturally, some tracks are not as accessible for the common ear. The Newlydead's rap/metal "Hello I Love You" turns the loopy lyrics on their ear, and The Electric Hellfire Club's "Light My Fire" makes Marilyn Manson sound like... well, Jose Feliciano.

You just know that Jim Morrison would have loved this. Hell, he probably heard some of the songs this way in his head! So whether you are a Doors fan, a Goth fan, or a reclusive 55-year-old man roaming Paris in black leather pants... check this out.
2000 Reviewed by Bill Holmes

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LOVE HER MADLY
New Women Artists Cover the Doors

"An album of superb tracks ... a must listen!"
— Russ Elliott, musicaldisoveries.com

" "A stunning new CD ... the perfect melding of old songs with new voices."
— Mary Damiano, The Express

"Amidst the several recent Doors tribute CDs that have come out in the last couple of years, this CD is the only one worthy of being talked about in our newsletter and should be checked out by anyone interested in hearing Doors cover tunes explored in new ways. I was really quite amazed!"
— Kerry Humpherys, The Doors Collectors Magazine

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Stoned Immaculate -- The Music of the Doors
(Elektra)



It's been almost 30 years since the Doors wrapped up recording their final album, L.A. Woman. One of the definitive rock bands of the sixties, the L.A.-based Doors exploded onto the charts with their self-titled debut album in 1967, which included "Light My Fire", the number one single during the Summer of Love. In July 1971, Doors lead singer and songwriter Jim Morrison died, his radical and controversial lifestyle rocketing him into fame and just as quickly extinguishing his life. Although he passed away young, Morrison's hauntingly poetic lyrics accompanied by the innovative jazz-blues fusion of organist Ray Manzarek, guitarist Robby Krieger, and drummer John Densmore refuses to fade. The Doors' hard, sensual sound has influenced countless musicians following in their wake. It seems only fitting and about time for a tribute album where those who wish to honor one of the rock's finest bands and its Dionysian leader can pay their respects while providing a forum for the three remaining Doors to reunite one more time. After five years in the making, the Doors tribute album, Stoned Immaculate -- The Music of the Doors finally hit stores in mid November.

Stoned Immaculate is the brainchild of producer Ralph Saul, who sought to make a tribute album unlike any others -- something more than a mere collection of covers by artists trying to score a hit off the coattails of former superstars. Stoned Immaculate features younger rock acts, including Stone Temple Pilots and Creed, playing their version of a favorite Doors song as well as older blues artists who were influences upon the Doors' music, such John Lee Hooker and Bo Diddley. Saul also includes a number of new songs created through sampling the Doors' classic studio and live recordings and mixing them with fresh music by the reunited Doors and guest artists. Perry Farrell and Exene lend their vocals to "Children of Night" and William Burroughs recites Morrison's words in "Is Everybody In?" And the Doors, following the tradition of An American Prayer, the spoken-word album featuring new music by Densmore, Manzarek, and Krieger overdubbed onto old tracks of Morrison reading his poetry, bring two "new" songs into the Doors' canon: "Under Waterfall" and "The Cosmic Movie".

It's inevitable for a controversy to spark whenever a band chooses to create new sounds using the recordings of a deceased member. The Beatles came under the gun for "Free As a Bird," a track from their Anthology which used John Lennon's vocals alongside new music. Motivations are questioned (is this only a marketing ploy?), integrity put at risk (how dare they make a new song when the deceased has no opportunity to polish his or her contribution?), and quality becomes an issue (this sounds horrible!). With digital technology, it's no hard task to produce a clean-sounding track from a little decades-spanning alchemy, but on Stoned Immaculate, it's a tad gratuitous. I'm sure Morrison would have no problem with Burroughs, one of his heroes, joining in on a Doors track or John Lee Hooker rapping with Morrison on "Roadhouse Blues", but repetitive tracks of Morrison saying one line over and over grows wearisome and it's fortunate the entire album doesn't comprise merely these uninspired mechanical remasterings.

The really new material, rearrangements of Doors' classics by the Doors' peers and proteges, makes for the finest sounds off Stoned Immaculate. While driving, prior to the album's release, a song came on the radio reminding me of the Doors yet sounding too modern. I thought to myself, "This might very well be the next great rock band", and listened intently. It took a few second before I realized this was Ray Manzerek himself stroking the organ, his wild and mesmerizing execution as top-notch as ever, in a new version of "Break on Through" with Stone Temple Pilots. STP's performance loses none of the darkly chaotic energy of the original and, as the first track on the album, heralds the promise of pleasurable productions, which Stoned Immaculate more than delivers.

Creed follows up with "Riders on the Storm", another masterful arrangement featuring Robby Krieger. Their cover issues an orgasmic climax lacking in the softer sound of the '70s version, but which you're sure would have manifested had the Doors the opportunity to polish it in concert. This is as close as any song can come in improving upon an original and is definitely the best showing on Stoned Immaculate. Days of the New also hold their own in taking on two of the Doors' most epic pieces: "L.A. Woman" and "The End". They stay true to their idols' originals while making the songs uniquely their own, no small accomplishment considering "The End" is the Doors' defining number.

Hands down, the worst attempt on the album comes from Train, who turn "Light My Fire" into Top 40, poppy mush, extracting the signature organ refrain that made the song the Doors' first success and overproducing it into forgetfulness. Aside from Train, the rest of the bands are up to the task, the Cult and Aerosmith providing the professionalism, musical aptitude, and powerful vocals the music of the Doors deserves. And for what may be the best treat for a Doors or blues fan, the three remaining Doors join with Bo Diddley on "Love Her Madly", reminding everyone that, at their core, the Doors are truly one of the great blues bands of all time.

Jim Morrison would certainly get a kick listening to the wide range of sounds the Doors have helped inspire, from blues to jazz, hard rock to punk, heavy metal to hip-hop. One of the most cutting edge band of music history remain so, and their songs, given new and different life by other talent, emerges in Stoned immaculate as eternal and majestic, a memorial to excellent music and intelligent art.
by Sabadino Parker
November 2000
PopMatters Film and TV Critic


Doors tribute not an 'Immaculate' collection

LOS ANGELES -- They say imitation is the sincerest form of flattery. Then again, sometimes it's best to leave a good thing alone.

At least that's the case with "Stoned Immaculate." The Doors were one of the most cherished and respected outfits of the '60s era of rock music, influencing countless musicians in following years. Since you can hear the band's signature creepy rock-blues blend in loads of different contemporary songwriting, you don't really need a tribute album to know that Jim Morrison and his musical compatriots were titans of the genre.

There's basically two categories of Doors covers: exact copies and really bad copies. Neither one really does much to advance the legacy of a band that's already been praised highly. Nonetheless, "Stoned Immaculate" certainly has a plethora of both.

Stone Temple Pilots and Creed, never accused of being particularly innovative bands, lead the way in the former category. Their respective covers of "Break on Through" and "Riders on the Storm" are flawlessly executed, but don't deviate from the originals at all. Sure, they're still good songs, but why bother when Morrison's version is just fine? Robby Krieger and Ray Manzarek, the Doors' original guitarist and organist, sat in on these remakes, adding too much of a direct link to the old days.

At least these exact facsimiles sound nice. Unfortunately, the same can't be said for Smash Mouth's "Peace Frog" or Ian Astbury's misguided "Touch Me." Neither does anything else on this new album approach the raw brilliance of the Doors' original takes of the songs on their albums.

While the album has a few small gems, most notably a well-crafted re-working of "Love Her Madly" by bluesmaster Bo Diddley, it largely falls flat. If you really want to pay tribute to Morrison's lizardly grace, just buy his albums.
By Brent Hopkins
Los Angeles Daily Bruin 2000

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Stoned Immaculate
On the other hand, there is Stoned Immaculate: The Music of The Doors. Overseen by compilation super-producer Ralph Sall (Common Thread: The Songs of The Eagles, Saturday Morning: Cartoons' Greatest Hits), the album reunites the surviving members of the famous Los Angeles band with some of today's big alt-rock acts. The final product is a terribly uninspired and boring tribute.

Still, Stoned Immaculate does give credit where credit is due. They make good use of the popular bands today who blatantly rip off the mood, energy and soul of The Doors. That's right, you'll find everyone from Creed to Days of the New to Oleander on this compilation. Fittingly, these bands hand over pretty mundane and routine interpretations of old psychedelic classics.

However, Stone Temple Pilots, perhaps the closest thing to The Doors in music today, do a little something special to "Break On Through." They add a hard-edged electric twist to the song's rhythm. Plus, some new arrangements on the organ, courtesy of Doors maestro Ray Manzarek, actually sounds brave. That's about as adventurous as Stoned Immaculate gets.

The inclusion of the surviving Doors doesn't help much. Manzarek, Robby Krieger and John Densmore pop up for a few guest spots on various tracks but don't do much to salvage their own material. In fact, the one cover they don't appear on Train's version of "Light My Fire" has some juicy funk-blues.

As always, the star of the show is Jim Morrison, whose poetry also punctuates much of the album. The late William S. Burroughs has reinvented Morrison's (also known as the Lizard King) poem, "Is Everybody In?" and with help from the band, makes it a spooky call from beyond the grave. Perry Farrell and Exene of X interpret "Children of the Night" with some nice percussion and sampled loops of Morrison.

For some reason, a band that was heavily responsible for bringing blues, rock and jazz together under one umbrella can't acquire the same heavy sonic manipulation those genres preach. Instead, we're forced to listen to relentlessly repetitive covers by Aerosmith (on "Love Me Two Times") and Smash Mouth ("Peace Frog"). Where did all the inspiration go? Has it faded like so much marijuana smoke?

Stoned Immaculate could have been saved with the presence of two blues legends: John Lee Hooker and Bo Diddley. Hooker joins a sampled Morrison for "Roadhouse Blues." What results sounds something like the scary antithesis to Frank Sinatra's Duets albums. Diddley's cover of "Love Her Madly" is fun but not fun enough.
By Matt Dentler
Daily Texan Staff
The Daily Texan 2000

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Notwithstanding all those eerie organ sounds and high-pitched guitar twangs, the Doors were most of all a blues-based group. Indeed, their unique sound is often labeled "psychedelic blues." In this blues tribute, covering an appropriate selection of the group's classic songs, there are no vocals, just a multi-instrument workout, with a separate bass player and much more. As on the original, a harmonica pumps prominently in "Roadhouse Blues," one of the best cuts, but it also dishes out the motif on "Break on Through." On "Alabama Song," it is a mandolin that communicates the Brechtian decadence. The songs in which sax or trumpet ("Love Me Two Times" has both) are employed have a jazzy as well as bluesy feel. The trumpet is often slow with a sexy texture, as on "L.A. Woman." However, the slowest cover of all, and the best, is "Love Her Madly," with its jazzy, soulful sax. By contrast, the sax work is livelier on "Moonlight Drive," which also contains a fine guitar solo. There are not that many outstanding moments on this CD, but each song is easy listening, fitting of covers of one of rock's most listenable groups.



Various groups perform covers of Doors songs on this CD, but as might be expected, the sound is not limited to synthesized electronic reproduction of Doors music. There are heavy overlays of sound effects: vibrating, shimmering, pulsating, chiming, texture changes of sounds, and space-invaders-type in-and-out blips. The staccato deliveries characteristic of electronic music are prominent. Of the ten tracks, four have vocals, three being female, and there is only minor "electronicization"--the singing is not nasal/whining, as in some other cases. The percussion can be relatively normal, but also experiments in what sounds like banging or tapping on metal, plastic, or walls, or clinking or tinny sounds.

The results are mixed. One song, "Spanish Fire Woman," is not a cover. By the name, one might think it is an attempt to recreate a Doors-like sound, but it does not and is unimpressive. The worst moment among the covers is the unappealing dirge of "Five to One." Also, while it is difficult for anyone to produce an unpleasant version of "The Crystal Ship," the song has extended electronic guitar improvisation completely out of its texture, and whose mediocrity does not measure up to the well-known brief but beautiful electric piano solo for which it was substituted. The two best tracks are longer songs: "Riders on the Storm" and "The End." They are not as long as the originals, however. "Riders" is very pleasant, free form music, with a pretty and smooth backdrop. "The End" is also excellent. Most notably, it features a continued, steadily vibrating and pulsating sound layer combined with electronic harpsichord, extensive visually moving sound blips, and fine singing by Roxanne Doyle of Bug Bunny Foundation. Overall, this CD is not outstanding, but it does reflect interesting original ideas and is certainly intermittently successful.


This seminal new age pianist has sold zillions of recordings with songs that reflect the quieter moments of the human spirit. It's clear from his phenomenal tribute to Vince Guaraldi and this irresistible tribute to the Doors that it takes the music of others to truly tap into a deeper place that gives variety, spunk, and magical energy to his playing. What makes this project so intense is the variety of moods he creates -- the imaginative way he modulates from dark and haunting, lower-register chord poundings and upper-register whimsy. The most dramatic example of this contrast comes in the first few minutes of "Riders on the Storm," which begins building with ominous horror movie-type tones, then adds a swirling wind of high-toned harmony on top of the dark melody. The opener, "Spanish Caravan," has a cavernous echo and a classical chamber music vibe, while the somber take on "The Crystal Ship" is more in the mainstream new age realm. "Love Street" is given a bright, meditative, upper-register quality, while "Love Me Two Times" and "Love Her Madly" are bouncy, stride-piano influenced, toe-tapping affairs. It's a tribute to Winston's honest love of the Doors' influence that he puts their trademark "Light My Fire" lower in the tracking, as if not to be overly commercial. He plays its ten minutes in split moods, from the funky mix of minor chords on the melody and major chords and high-register improvisation on the soloing section. Not to mess with success, but one hopes that Winston can always balance his own compositions with these types of labors of love. ~ Jonathan Widran, All Music Guide


Love him or hate him, Nigel Kennedy can play a mean fiddle. And on Riders on the Storm: The Doors Concerto, the violinist, arranger Jaz Coleman, and the Prague Symphony Orchestra pay energetic tribute to--who else?--the Doors. These instrumental string arrangements try their damnedest to avoid becoming elevator-music covers, but they only vaguely resemble the Doors' originals. The violinist loves a jam, and these arrangements thankfully give him plenty of room to solo. The longer tracks--"Light My Fire" and "The End"--work best, with Kennedy offering inspired playing and plenty of drama. Doors fans may be interested in hearing fresh takes on their favorite tunes ("Riders on the Storm," "Light My Fire," "The Unknown Soldier," and more), but those accustomed to Kennedy's more classical endeavors may be disappointed. Oddly enough, the living members of the Doors have nothing but great things to say about this disc. Strange days, indeed. --Jason Verlinde

[TheWallsScreamedPoetry]

My all time fave is the Goth tribute especially Rheas Obsession who do a wondrous version of End Of the Night which is the best cover of a Doors song I have ever heard. Not keen on Stoned Immaculate except for Days Of The News version of The End.....the rest I thought sucked bigstyle. The Electronic tribute is good but the blues one is total toss along with theclassical tribute which is bullshit......the girlie one is pretty cool though....

The only one I have not heard before is the jazz tribute and having just checked out the samples it sounds pretty cool. Lou Lanza has a nice voice not dissimilar to Morrison and it sounds like the interpretations have been done with a bit of thought.
ROTS and Wintertime Love sound as if they are worth exploring. I will look out for it here in the UK....

[ensenada]

some great info here! i like stoned immac, it has some great artists on there like aero smith etc My faves on there are ROTS, i cant remember who did it but it sounds very much like creedence clearwater revival's version of the song. la woman is good, roadhouse blues with bb king is ace, break on through is superb. i also like under waterfall. the songs i dislike on there are light my fire, by train as it sounds like gareth gates (shite!!) and i dont like love her madly by a very well known blues artist whom i cant quite remember at the mo, but i think its shite!
what woman artists are on love her madly? i wouldnt mind getting the goth tribute album.

[TheWallsScreamedPoetry]

Love Her Madly

19 classic Doors tunes performed by 19 up-and-coming indie women artists and female-fronted bands in a variety of styles ranging from straight-ahead rock to acoustic folk to blues to psychedelic and more.

1. Twentieth Century Fox - Rachael Sage
2. Alabama Song (Whiskey Bar) - Mars Arizona
3. I Looked At You - Krank
4. Take It As It Comes - 2 Tone Blonde
5. The End - Venus Envy
6. Love Me Two Times - Bernadette McCallion
7. Unhappy Girl - Amy Ketchum
8. People Are Strange - Wendy Ip
9. My Eyes Have Seen You - Idle Mirth
10. Hello, I Love You - Joe K's Kid
11. Summer's Almost Gone - Evelyn Downing
12. The Unknown Soldier - Brenda Anzelc
13. Touch Me - May Hart Band
14. Waiting For The Sun - EDENautomatic
15. The Soft Parade - The Saucers
16. The Spy - D'or Lata
17. Indian Summer - Lazy Lane
18. Love Her Madly - Simon Stinger
19. Riders On The Storm - Essra Mohawk


Here are some recent reviews:

An album of superb tracks ... a must listen!
- Russ Elliott, Musical Discoveries

An enjoyable and eclectic compendium of songs that serve as a showcase of contemporary talent exploring these time-tested songs.
- Tom Schulte, Outsite

A stunning new CD of Doors songs made over by edgy women artists ... "Love Her Madly" is a terrific CD, the perfect melding of old songs with new voices.
- Mary Damiano, The Express, Wilton Manors, FL

"Love Her Madly" brings the psychedelic '60s sound into the 21st century with power and imagination!
- Laura Turner Lynch, Kweevak.com

Some short samples here....
www.cdbaby.com/cd/lovehermadly

[ensenada]

havnt heard if any of those artists I am not being funny or anything, but i am not sure about this album..i mean hearing the doors performed by woman. dont kill me, i ant being sexist. i just think it may sound wierd. of course I should listen to it before making any comments to be fair.

[TheWallsScreamedPoetry]

Ensenada said:

havnt heard if any of those artists I am not being funny or anything, but i am not sure about this album..i mean hearing the doors performed by woman. dont kill me, i ant being sexist. i just think it may sound wierd. of course I should listen to it before making any comments to be fair.

You would think that wouldn't you ...girlies not great at doing Doors tunes....
but my fave cover of all time Canada's Rheas Obsession who do a truly amazing version of End Of the Night is in fact sung by a girl......Sue Hutton....
she kicks the ass of any bloke I have ever heard do a Doors song.....

[jym]

I've been thinking today how Stoned Immaculate is pretty much a testament of ego for R$ay & actually Robby & John too. Most tribute albums were done by record companies & had their artists do the covers but R$ay & company went to bands had them cover the songs & even participated in the recording. Now there were already a lot of bands that covered The Doors, I think I would have rather seen that.

Also, there was band in the late 80's or early 90's with a female lead singer that covered "I Can't see Your Face In My Mind" does anybody remember what group that was? It was a really cool cover

[ensenada]

hmm not heard that one.

[TheWallsScreamedPoetry]

jym said:

I've been thinking today how Stoned Immaculate is pretty much a testament of ego for R$ay & actually Robby & John too. Most tribute albums were done by record companies & had their artists do the covers but R$ay & company went to bands had them cover the songs & even participated in the recording. Now there were already a lot of bands that covered The Doors, I think I would have rather seen that.

Also, there was band in the late 80's or early 90's with a female lead singer that covered "I Can't see Your Face In My Mind" does anybody remember what group that was? It was a really cool cover

Soixsee and The Banshees mate....not a bad version either....

[jym]

Really, Siousie covered that? I gotta find it! Love "Cities in Dust"

[TheWallsScreamedPoetry]

jym said:

Really, Siousie covered that? I gotta find it! Love "Cities in Dust"

Got mixed up....Siouxsie did You're Lost Little Girl on Through the Looking Glass in 1987 not can't See Your Face....

[TheWallsScreamedPoetry]

Another tribute to The Doors comes out in April. This one by a string ensemble.....what next? The Kazoo tribute to the Doors or maybe a jugband or jaw harp tribute.... ;D


The String Tribute to The Doors

thedoors.thetributeto.com/web/8791/page.asp
check out a couple of snippets from the album

The String Tribute to the Doors proves that behind the tempestuous theatrics and psychedelic lights, Morrison and company were simply great songwriters. Violins, viola and cello turn in beautiful performances that distill the Doors’ sinister magic into ear-catching melodies and haunting harmonies.
Details:
Coming Soon! This CD will be available on April 19, 2005
The Doors opened, and the revolution rushed in. Inspired by lead singer Jim Morrison’s dark, dynamic poetry, electrified by his aura of sexual menace and fueled by his drive to expand our powers of perception, the Doors created life-changing rock. No one who hears the exhilarating organ intro to “Light My Fire” or Morrison’s soul-deep screams in “The End” can remain untouched or unmoved. Their career was blazing and brief, but their rebel attitude lives and their music plays on...

The String Tribute to the Doors proves that behind the tempestuous theatrics and psychedelic lights, Morrison and company were simply great songwriters. Violins, viola and cello turn in beautiful performances that distill the Doors’ sinister magic into ear-catching melodies and haunting harmonies. This String Tribute breaks on through to the outer limits of chamber music, drawing its style and energy from a band that lived for rock and roll freedom.
1 Hello I Love You
2 Light My Fire
3 Love Me Two Times
4 Break On Through
5 Riders On The Storm
6 People Are Strange
7 Touch Me
8 Twentieth Century Fox
9 Love Her Madly
10 Unknown Soldier
11 When The Music’s Over
12 Give It Up To Me

[jym]

OH God! Break On Through sounds horrible!

Light My Fire was pretty good. Didn't try Riders isn't that already pretty much the same?


Alex, you better watch out for what you ask for, there's probably a kazoo band warming up right now & it will be your fault. They're all probably were-otters at that.

[TheWallsScreamedPoetry]

It is pretty terrible.....just like that bloody awful classical crap with Brit idiot on fiddle Nigel Kennedy....
Never mind otters I think a family of flatulent Badgers could have probably produced more interesting interpretaions ....