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Post by TheWallsScreamedPoetry on Jul 9, 2024 20:51:28 GMT
The Doors at the Aquarius Theatre: July 22, 1969.
"Backstage & Dangerous: The Private Rehearsal" It wasn't a 'Private Rehearsal' as that dishonestly glosses over the reason they were there the next day.
This was no rehearsal.
This was an attempt by Rothchild to defraud the public who had spent their hard earned cash the night before
on the concert they attended.
The 2 set gig was recorded with a view to releasing it as a live LP.
But The Doors producer wanted to re-record last nights songs and slip them into the audience soundtrack.
Of course doing so meant nothing to Elektra but fans who would treasure the concert they attended as a live release
would have been robbed of what they saw replaced by Rothchild's chicanery.
Thankfully Morrison was having none of it and refused to play Paul's game resulting in a useless mess
## Also it has to be questioned why the band thought a photo of Jim seemingly stomping on a tiny Robby Krieger during the March 1969 Miami concert had anything to do with the LA gigs
4 month later.
A shameless attempt to show Morrison as 'dangerous' adding to the duplicity The Doors began 50 years previously. DISC ONE Approximately 51:35 Total Time
1. WE'RE ROLLING 0:08
2. I WILL NEVER BE UNTRUE 5:57
3. PEACE FROG [INSTRUMENTAL] 2:50
4. BLUE SUNDAY 4:09
5. MAGGIE McGILL 4:48
6. ARRANGING (YOU NEED MEAT) DON'T GO NO FURTHER 1:16
7. (YOU NEED MEAT) DON'T GO NO FURTHER 3:52
8. ARRANGING CLOSE TO YOU 0:21
9. CLOSE TO YOU 3:47
10. ARRANGING GLORIA 0:57
11. GLORIA 8:58
12. MYSTERY TRAIN REHEARSAL 4:43
13. MYSTERY TRAIN/CROSSROADS 9:48
DISC TWO Approximately 37:50 Total Time
1. CONTINUED 0:15
2. THOUSANDS OF DOLLARS REST UPON THIS DAY 0:22
3. I'M YOUR DOCTOR 2:37
4. HYPER YACHTING 0:31
5. BUILD ME A WOMAN 6:56
6. YACHTING 3:59
7. CARS HISS BY MY WINDOW 10:08
8. MONEY BEATS SOUL 0:47
9. MENTAL FLOSS 5:17
10. JAZZY MAGGIE McGILL [INSTRUMENTAL] 2:04
11. JAZZY MAGGIE McGILL 4:49
 An Excerpt From Bruce Botnick's Notes:
The day after our two shows, Paul Rothchild decided that it would be a good idea, since we were already setup from the previous nights concert, to record without an audience with the hope that we could get some great performances and cut them into the live takes. This was a recording procedure that Jac Holzman came up with years earlier and used to great effect. Not to be dishonest but to try and give the best performance to the record buying public. The idea being that if the live performance wasn't up to snuff, a version was recorded later without the audience, in the same venue and would be cut in from just after the first note to the last note, leaving the applause. It worked if you were disciplined, The Doors weren't. Never could toe the line. So why Dangerous? The best plans of mice and men go down in the sea in ships. Our ship never got out of harbour and our captain and his fellow shipmates proceeded to rehearse, talk, cajole and for a little intellectual fun verbally tear down the corporate establishment that was the record company. ### "not to be dishonest Bruce?"
But of course it was dishonest cheating an audience of the concert they attended by faking the set the next day after they had gone home.
A cut and paste Rothchild special was one thing such as AL but to present an audience with a fraudulent live concert recorded the next day sans audience was so dishonest you both should have gotten jail time.A couple of more recent covers for BS&D.
The Jim Miami stomp has made it's way to the front cover on one of them.
As if there were no decent photos from the actual gig to be the cover.
Of course that would not do for the Dangerous element of the title. 
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Post by TheWallsScreamedPoetry on Jul 9, 2024 20:57:01 GMT
BACKSTAGE AND DANGEROUS: THE PRIVATE REHEARSAL
THE AQUARIUS THEATER, HOLLYWOOD - July 22, 1969
Setlist
1. I Will Never Be Untrue
2. Band dialog #1
3. Peace Frog Instrumental
4. Blue Sunday
5. Band dialog #2
6. Maggie M'Gill
7. You Need Meat (Take 1)
8. You Need Meat (Take 2)
9. You Need Meat (Take 3)
10. Band dialog #3
11. Close To You
12. Band dialog #4
13. Gloria
14. Band dialog #5
15. Arranging Mystery Train
16. Mystery Train (Take 1)
17. Mystery Train (Take 2)
18. Mystery Train (Take 3)
19. Band dialog #6
20. I'm Your Doctor
21. Band dialog #7
22. Build Me A Woman
23. Band dialog #8
24. Freeform Blues
25. Morrison Random Musings
(sound engineer) We're rolling? ??
John: Does this seem small to you? Sometimes it's too big.
(guitar intro to I Will Never Be Untrue)
I Will Never Be Untrue
I will never.. be untrue.
Do anything you want me to.
Never stay out drinkin'..
No later than two.
Two-thirty.
I will never.. treat you mean.
I won't cause no kinda scene.
Tell you all the.. people.
All the places..
I have been.
(combined organ/guitar solo)
I will always.. treat you kind.
Try ta give you.. peace of mind.
If only you tell me.. that you love me.
One more time.
Now darling.
Please, don't be sad.
Don't run off.. like that when you get mad.
'cause if you do..
You gonna lose the best friend..
That you ever had.
An' that's no lie.
I will never.. be untrue.
Do ever'thing you want me to do.
Bring all.. my lovin'.. all my money.
Bring it all.. home.. to you.
(song ends)
(Jim says something.. John laughs)
(engineer talks through the PA) Right. Can anybody hear me?
Ray: Yeah.
John: Yeah.
(engineer continues) Yeah. Why don't ya just do it as you feel it. Whatever you feel like doing. Just kinda do a.. do a set of those tunes.
John: Okay. Okay, what else we got here. Ummm.. You Make Me Real, Blue Sunday, Universal Mind, Rollin' and Tumblin', Ten Foot Woman, Gloria, Lizard. You got 'em.
Robby: All right. All right. How 'bout ah.. ??
John: No he wants..
??
Jim: Let's do crossroads.
Robby: They don't want us to do that.
??
John: Um.. there's nothin' el.. well.. Gloria with that guitar.
Robby: Now what.. what was the second one on the list again?
(John imitates Peace Frog opening guitar lick/drum beats)
Robby: Yeah that one. Wanna try that one? Blue Sunday.
John: They said we gotta.
Jim: That one's great. But I don't sing it too good.
Robby: I don't know. I don't think ??
??
John: Alright well let's do it. Just have it down. It won't take long.
Jim: And then we have to make a choice later, right?. Which of the two is exactly right one. We have to decide which one we want to do.
John: We'll know the minute we hear it.
Jim: ??
John: Well, let's do it. Let's just try it.
??
(tuning)
??
(John laughs)
John: Well let's just do it like we did last night.
Jim: Let's just go out a play.
John: Just.. It's not gonna matter. Yeah.
Ray: I'll get ya warm. All right.
John: Hey. ahh.. You got.. aahh. Last night. Actually really loud. I.. I.. I can't get very much volume. We don't need.. We don't need the volume now. Okay, we're going to do another.
(more talking)
(opening guitar licks of Peace Frog)
Peace Frog Instrumental
(almost three minutes of Peace Frog instrumental)
(transitions into Blue Sunday organ intro)
Blue Sunday
I.. found my own true love was..
On.. a blue Sun-day.
She.. looked at me and told me..
I.. was the only..
One in the world.
Now I have found my girl.
My girl.. awaits for me in ten-der time.
My girl is mine.
She is the world.
She is my girl.
(combined organ/guitar solo)
My girl.. awaits for me.. in tender.. time.
My girl is mine.
She is the world.
She is my girrrrl.
(song ends)
Jim: Why don't we.. uh.. save Blue Sunday.. for the studio ??.
Ray: It should be with the piano too. It's going to be a nice song.
Ray: mm-hmm. (laughs)
John: Well. The only other thing.. You Make Me Real and Universal Mind are done.
Ray: Want to try Land Ho?
John: Gloria.. He said not to. That's why he said not to.
Ray: Well.. all right.
John: Uh, the only other thing is Gloria.
(Ray starts playing, then stops)
Ray: I like that one.
John: Yeah, I do to, but I think that's gonna be another Wild Child.
Ray: Oh you do huh.
Ray: It's silly.
John: Vonnie says, we're the most serious band in the world.
(Ray starts playing the music, rest of band joins in)
Maggie M'Gill
Maggie M'Gill, yeah, she lived on a hill.
Her daddy got.. drunk.. and he left her no will, so..
She went down to..
Tangy Town.
That's where the people.. really.. get it on.
When I'm down.. and I'm.. feelin' blue.
Go out and buy myself a new pair a' shoes and..
I go down..
To Tangy Town.
The folks down there really know how.. ta.. get it on, yeah.
(guitar solo)
So if.. you're ever sad and.. feelin' blue.
Go out and buy a new.. pair a' shoes and..
Get yourself down..
To Tangy Town.
People down there, yeah, they.. really like ta.. get it on.
Let's get it, come on.
(organ solo)
Meet Miss.. Maggie M'Gill who.. lived on the hill.
Her daddy got.. drunk.. and.. let her no will, so..
She went down.
Down ta Tangy Town.
That's where the people.. know.. how ta get it on.
One more.. time.
(combined organ/guitar ending)
(song ends)
John: Well of it.
Ray: Last night.
John: The, uh, pedal broke.
Ray: uhhhhhahhhhh.
Ray: ahhh you need meat, go to the market. I need, Jack Daniels..
John: Come on you.. blues.. lover.. fucker. (laughs)
Ray: So what key do we do that in?
John: ahhh.
(Ray starts to play "You Need Meat" blues riff)
You Need Meat (Don't Go No Further) Take 1
You need meat..
Go to da market.
You need bread. Okay we'll do it that way.
Try the bakery.
You need love.
No, let's not do it in "E".
(Ray stops playing/singing)
"E" is too high.
It's getting lower and lower. Eventually it's going to be way d..
I don't know.
Let's try it in "C".
(Ray starts playing and singing again)
You Need Meat (Don't Go No Further) Take 2
You need meat.
ehh. Go to da market.
You need bread.
Try the bakery. (Jim: Oh No!)
You need lovin'.
Look for me, baybeh.
Just bum on home to me. (John: Man, let's start. Let's start at the top.)
I got ta love someboday.
(Ray and Robby stop playing)
John: Go ahead and start it.
Ray: I did start it. What do you think I was doing? (laughs)
(Ray starts playing again. John joins in)
You Need Meat (Don't Go No Further) Take 3
You need meat.
Go to da market.
You need bread.
Try the bakery.
You need love.
Look for me, baybeh.
'cause I got juz what you need.
I got to love some-body.
I got ta love some-body.
I.. gotta love some-body-ohhahh.
Somebody, gon' love me.
You need grits.
Go to da grocer.
You need bread.
Try the bakery.
You need a doctor.
Come on here, baybeh.
A hot beef injection is a-what you need.
I got ta love some-body (Jim: Whoa!)
Well love somebody.
I gotta love somebody-ahhoo.
Somebody better come here and love me.
Yeah.
(organ solo)
Yeah, alright.
You need fish.
Go to the ocean, baybeh.
You need some honey.
Go find.. the bees.
You need a good time.
Come on here, baybeh.
'cause I got.. jus.. mmm-what you need.
I gotta love.. some-body.
I gotta love.. some-body.
I gotta love.. some-boday-ohhh.
mmmm-hmmm-somebody.
mmmmm-hmmmm-hmmmm----(growl) hmmmm.
Somebody. ahhh.
Somebody.. gon' love me.
(song ends)
John: A hot beef injection? What's that? (Ray laughs) That's great. Do Gloria.
Ray: Okay. Alright. Let's see. Maybe we aught to try that.. "C" seemed really high yesterday. Let see.
(Ray plays intro to Close To You in 'C' and sings a few lines)
Oh yeah.
I wan' get close to you.
Yeah, let's.. maybe in 'A' (Ray plays it in "A")
I wan' get close to you baybeh, like.. yeah.
(stops playing)
Okay.. three.. four.
(organ intro to Close To You)
Close To You
I won' get close to you, baybeh, close as.. I can get.
Close to you, baybeh, like a.. water's wet.
Close to you, baybeh, like a.. egg is to a hen.
Close to you, baybeh, like Siamese twin.
I won' get close to you, baybeh. (Jim: Close to ya, baybeh.)
I won' get close to ya, baybeh. (Jim: Close to ya, baybeh.)
I wan' get close to you baybeh, tell you..
Don't know what to say or do.
I won' get close to you, baybeh, like the.. sight of your eyes.
Close to you, baybeh, like a.. heat is ta fire.
Close to you, baybeh, like the.. fire's to smoke.
Close to you, baybeh, like a pig is to poke.
I wanna get close to ya, baybeh. (Jim: Close to ya, babe.)
I said close to you, baybeh . (Jim: Close to ya, baybeh.)
I wanna get close to ya, baybeh, yeah you.
Don't know what to say or do.
Ah, play it, once.
(guitar solo)
I gotta get close to ya, baybeh, close as.. I can get.
Close to ya, baybeh, like a.. water's wet.
Close to ya, baybeh, like a.. egg is to a hen.
Close to ya, woman, like Siamese twin.
I won' get close to you, baybeh. (Jim: Close to ya, babe.)
I said close to ya, baybeh. (Jim: Close to you, baybeh.)
I wanna get close to ya, baybeh, tell you..
Don't know what to say or do.
Ah, one time, let's play it.
(organ solo)
Yeah!
Well, I said.. closer and closer, baybeh. (Jim: Closer and closer, baybeh.)
Closer and closer, baybeh. (Jim: Closer and closer, baybeh.)
Well, closer and closer, baybeh. (Jim: Closer and closer, baybeh.)
Yeah, closer and closer, baybeh. (Jim: Closer and closer, baybeh.)
I wanna get close to ya, baybeh, tell you..
Don't know what to say or do.
(song ends)
John: Yeah, might as well.
Ray: Yeah, starting to get a little warm now.
John: Well, I mean, we could do it after.
??
Ray: ahh, before we do Gloria.. what are the chord changes on uh.. glo-ria? What are you playing?
(John laughs)
(Robby plays chords)
E, B, A, ehhh.
(Ray plays bass notes)
It's the same thing all the way. Didn't we used to change it somehow. Nah? I swore there was something a little.. turned around.
(guitar tuning)
(Robby plays opening chords of Gloria)
Gloria
Ehhhh-right!
Teh y'bout my baybeh.
She come around.
Sh' come 'round here.
Her head to the ground.
Come 'round here.
A-just about midnight.
Make ma feel so good.
Make me feel alright.
Come 'round here.
A-just about midnight.
She make me feel s'good.
Make me feel alrighttttt.
She come 'round my street now.
She come ta my house, an..
Knock upon my door.
Climbin' up my stairs one, two, 'tree, a-four.. tocka..tick-ch-come on-a.. baybeh..
mmmmmm-here she is in my room. Oh.. boy. (Ray: Whoo)
A-won't ya step inside.
A-won't ya take a little ride, all right, okay, yeh-yeh, hey-hey, what the.. oh-right.
Hey, what's your name.
How old are you.
Where'd ya go ta school.
uh-huh.
yeah.. uh-huh.. yeah.
ahh.. ah-yeah.. oh-yeah.. oh-huh.. mm-hmm-hmm.
Well, now that we know each other a little bit better.
Why don't you come over here..
MAKE ME FEEL ALL RIGHT! (Ray: Glo-ria.)
Glo-ria! (Ray: Glo-ria.)
Glo-ria! (Ray: ah-Glahh-ia.)
Glo-ria! (Ray: Glo-ria.)
Glo-ria! (Ray: Glo-riahhhhhhhhhhh-ohh-right.)
Glo-ria!
All night. All day. All right. Okay, yay.
(band settles into groove)
You were my queen, and I was yer fool.
Ridin' home.. after school.
Ya took me home, babe.
To your house.
Your father's at work.
Yer momma's out shoppin'.. around.
Took me inta your room.
Showed me your thing.
Why'd ya do it, baybeh.
Why'd ya show me your thing.
Ohhhhhhh.. no.
Too much.
Ohhhhhhh.
Can't stop now.
We can't back out.. all right.
ahhhhhhh.
Sof-ter.
Sof-ter.
Soft.
Ehhh.. slow it down. I gotta feel it down. All right. Okay. All right. Hey-hey. What the hell.
mmmahh gettin' softerrrrr.
Slow it down.
Sof-ter.
Get it down.
Now you show me your thing.
Now why don't you wrap your.. lips around my cock, baybeh. (Ray: Whoo!)
Yehhhhhh (Ray: Suck it. Taste it.)
Wrap your legs around my neck. (Ray: Eat it.)
Wrap your arms around my feet, yeahhh. (Ray: Lick it.)
Wrap your hair around my skin. (Ray whistles)
Yeahh.
Gonna eat ya, honey, yeah. (Ray: Come on.)
I'm gonna eat ya baybeh, yeah.
I'm gonna huhhh-right.
ohhh-kay, yeah.
It's gettn' harder.
(Ray: It gettn' harder.)
Gettn' faster too, now. (Ray: Gettn' longer.)
It's gettn' too darn fast. dahh.
It gotta wiggle around.. too much. (Ray: Work it.)
It's gettn' har-der.
It gonna rip you in two, honey. (Ray: Whoo!)
All right.
Come on love la.. let's get it on.
Whoo. Too late. Too late. Too late. Too late. Too late. Too late. Can't stop. AOO!
Make me feel alright, babe!
L.O.. R.I.A.
G.L.O.. R.I.A.
All night.
All day.
All right.
Oh-kahhhhey.
Glo-ria.
Glo-ria.
Glo-ria. (Ray: Glo-ria.)
Ahh yay . (Ray: Glo-ria.)
ohh right. (Ray: Glo-riahhhh.)
Keep the whole thing goin' babe. (Ray: Glo-ria.)
ooh right!
ahhhhhhhhhhhhhhhhhhhhhhhhhh-uhhhhh.
FUHHH!
(song ends)
(Jim makes noise in microphone/band laughter)
John: ??
Ray: But it got good. There were some good parts. Save it.
(Ray talks to control booth)
Ray: Wh.. If I turn the bass up out here will it mess you up in there?
(Ray starts playing Mystery Train. John and Robby join in)
(tuning)
John: Oh-kay.. Here we go again.
(John imitates mystery train music) din-dun-dehh du-dit-duh-dit.
Ray: No. Two. Two. Mystery Train. Three..
Jim: Crossroads.
Ray: Rolling and.. Yeah.
Jim: ??
Ray: At the last one.
Jim: Come back down on mean old train.
Ray: Yeah. Stay on the train. The train'll stay down. When we come back down after that (Ray plays) and we'll just (Ray imitates music) din-dun-dehh du-dit-duh-dit and then..
Jim : On Crossroads, the problem is it has multiple changes.
Ray: No.. one.. one more train.. when the train is d.. when it's down. After.. after the three..
Robby: Yeah, but without the changes.
Ray: Without the changes.
(Jim says something)
Jim: Right.
Ray: Right. Right.
Jim: I knew that all along.
(band laughs)
John: Okay, all aboard. ha-ha.
Ray: Maybe they're not ready yet.
Engineer: We're ready.. We're rolling.
(Jim talks to Robby about changing the opening guitar sound of Mystery Train)
Jim: Robby, maybe you could do that turn that into a little more.. conventional guitar (??)
John: Can't you do a .. Can't you do the California Zepher.. or somethin'?
(Robby tries a few different sounding licks)
Ray: Ehh. Just make it. make it sound like a train. (laughter) Just..
John: Never mind.
Ray: do a.. do a.. more conventional thing.
(John imitates Mystery Train music and snaps)
Ray: We're rollin' on the Orange Blossom Special. Headin' down ta New Orleans.
(John starts playing cymbals)
(Jim sings)
Yeah, wish I was back in New Orleans. Whoo. Whoo.
John: That was the shittiest high-hat I've ever heard in my life.
(John starts high hat again, rest of band joins in)
Mystery Train - Take 1
(Ray: yeah. Oh yeah)
Woo.
Woo.
Woooooo.
I'm a train.
Woo-woo-woo.
Train I ride. Let's do it all over.
(band stops)
Ray: Want to do the change right there?
John: You could skip it.
Ray: I would say.. I would say let's not do that change. Let's do it on the next one.
John: I like that, yeah.
(Ray plays change and sings) Train train.. train.. train.
Jim: Wait. Wait. Wait. Train-train, ah.. Mystery Train. Oh, train.. is it train I ride.. comin 'round..
Ray: Train I ride.. sixteen coaches long.
Jim: Yeah, right. Yeah, that's it.
(John starts high hat again, rest of band joins in)
Mystery Train - Take 2
(falls apart/band stops playing)
Ray: Let's do another one.
John: That was me.
Jim: When you make a mistake, now just apologize and.. and start all over again. 'cause we'll all forgive you.
(John starts high hat again, rest of band joins in)
Mystery Train - Take 3
Train I ride.. sixteen coaches long.
Train I ride.. sixteen coaches long.
Well dat old black train ahh 'dey got my baybeh, he gone, long gone.
(Jim imitates train whistle) Whoa-whoa.
Train-train.. comin' 'round da bend.
Train-train.. comin' 'round da bend.
Well dat dirty old train-a.. took my one and only friend, ahh.
Ride dat train.
It's your only chance, c'mon.
Well, I woke up dis mornin' got the crossroad.. on my mind.
Yeah, woke up dis mornin got the crossroads.. on.. my mind.
Yeah, take a walk with me ev'rathing gonna.. work out fine.
Well, woke up dis mornin' got the H-bomb on my mind.
Well, woke up dis mornin' got the H-bomb on my mind.
Yeah, take a walk with me ev'athing.. work out fine.
I woke up dis mornin' got the junk-man on my mind.
Oh, woke up dis mornin' got the junk-man on my mind.
Yeah, take a walk with me ev'thing.. ev'athing.. ev'athing.. ev'athing.. ev'athing.
Gonna work out fine.
If you ride my train.
ohh-ohhhh.
Dat's a good ole' train. yeah.
Dat train's been ta Baltimore.
Get on my train-ah.
Get on da train.
ehhhhhhhhh-ahhhhhh.
hah.
What a train.. we're on, awe-hahhoo.
(Jim makes panting noises) heh-heh-heh-heh-heh-heh-heh-heh-heh-heh-heh-heh-heh-heh-heh.
ohhhhh-weeoo-weeoo.
oh.
eeheheheheheheohhhheeeaaoooo.
Hoo. Hoo.
Yeah.
My-stery traaaaaaiinnnn.
Mystery traaaaaaiinnnn.
Gonna take us.. home.
Come on, baybeh, got ta get onboard, goin' home.
yeah.
Goodbye we's goin' home, oh.
So.. long.. people.
Well.. woke up dis' mornin' got the crossroads.. on my mind.
Yeah, woke up dis' mornin got the crossroads.. on m' mind.
Yeah, take a walk with me ehh..
oh huh.
ohh right.
yeah.
ahhh.
Ahhhhhhh!
(song ends)
Ray: mm-hmm.
Ray: Ahh. yeah. Want to stick an ending on right now? C'mon. (laughs) After those three (Ray plays part of Mystery Train) and we'll just do a fade.
Robby: Oh, they can do that.
Ray: No we don't. Ohhh c'mon, let's do an ending right now.
Robby: W-W-Why a fade? ??
Ray: Oh, I don't know. Because it's the right way to end that song.
Robby: No.
Ray: You know what we can do. We can do a fade and they can do a lap dissolve. They can do a crossover as we're fading out the applause starts coming in.
(someone makes a loud noise into mic)
(someone whistles)
John: Wow! Man.
Ray: Hey Baby..
(Jim says something and everyone laughs)
Jim: Let's go to the house cast from there.
(??Ahh) Wait I haven't finished (feedback) to get into my costume
Ray: Don't call us.
(John goes into control room)
John: Well how's it goin' in there?
Engineer: It's pretty good. Sound like you're just starting to warm up.
John: Yeah, I went in there a little earlier and he said "Well we haven't scored yet" and I was going to choke him.
Engineer: You know what it is man. It's the energy. The natural energy.
??
(John comes back to the stage)
??
You wanna eat?
??
Jim: Whoa! Hey Ray! Quit screwin' around man.
John: ehhhaaahhhh.
Jim (yells): Thousands of dollars rest upon this day! Do you realize that? Money! Money! Money!
There will be no resting here.
Money is the root of all evil.
(John) We gonna play more or are we gonna eat?
Jim: We're gonna play, man.. and then we're gonna eat.
(Ray starts to play and sing I'm Your Doctor)
I'm Your Doctor
Headache strike you baybeh.
You begin to feel so feel so gloan.
Ain't nothin' you need..
But a double dose of love.
Woman, I'm your doctor.
And oh yes, I know just what ya need. (Jim: Let me see your credentials.)
I.. got my doctor's certificate. (Jim: PHD or MD or RX?)
I got it right here.. in my pants. (Jim: Whooaaa. Show it to me.)
Listen here, baybeh.
You're not feelin' so good.
I know what ya need.
Double-dose a' love.
Woman, I'm your doctor. (Jim: Prove it!)
And I know.. what you need. (Jim: Waa-wow!)
You need a hot-beef injection.
And whoa yes, it have to come from me. (Jim: Is that like gettn' a hot dick?)
You wake up in da mornin'..
Girl you're not feelin' so good.
You need a man ta love you.
Just like you knew you would.
Listen, baybeh.
Well, I'm your doctor.
And I know.. what ya need.
You need a Polish sausage.
Whoa yeah, baybeh, have to come from me.
Cut.
(song ends)
Jim: I could go along with everything except the Polish sausage. What does that got to do with it, man?
Ray: Well, just that little sausage.
A polish ??.
Ray: Magnificent ivory.
John: That's right that was toxic, man.
Jim: ?? This is it.
John: Alright, Ten Foot,.. ah.. Woman. Yeah.
Robby: ?? (Ray Laughs)
(slide guitar intro to Build Me A Woman)
Build Me A Woman
Build me a woman.. make her.. ten feet tall, yeh-heh.
Don't make her ugly.
Don't make her small.
Build me a woman.. ten.. feet.. tall.
Build me someone I can ball..
All.. night.. long.
Sunday trucker, Christian.. motherfucker, yeah. (Ray: yay!)
Sunday trucker, Christian.. motherfucker, yeah.
Just a 'tree-eyed boy.. lookin' for a twelve-toed girl.
Ahh-right.
(slide guitar solo)
I don't know what I'm.. talkin' about.
And neither do you.
I'm just a stupid motherfucker just like you are, ha-ha!
So why don't you take that.. little riddle..
And stuff it up your ass, all right! (Ray: Whoo!)
Play the blues, yeah.
(organ solo)
This song makes me sick to my stomach baby, yeah!
If it ever gets played you're all a bunch a' dumb cock-suckers, yeah, alright.
If the music don't improve, I'm gonna.. take a trip around the world, yeah.
Play it, baybeh!
(combined organ/guitar solo)
(Ray: Yeah.)
Sometime I wonder how long the blues is gonna last.
'cause every song sound like the one before last. (Ray: yeh-heh)
And you can take those lyrics and shove them up your ass. (Ray: whoa!)
I'd rather go out and.. lie on the grass and..
Think about some pussy or some.. good old.. rock and roll.
Alright!
(combined organ/guitar solo)
Build me a woman make her.. ten feet tall. (Ray: Alright!)
Build me a woman make her.. ten feet tall.
Don't make her ugly, baybeh.
Don't make her small.
Build me a woman.. ten.. feet.. tall.
Build me a woman I can.. ball.. all night long.
(song ends)
(Ray laughs)
(Robby plays "Don't Be Cruel" guitar lick)
Ray: Come on.. stretch it out.
(Ray joins in and they jam)
Jim: Hey listen.. hey, wh.. (band stops)
Jim: Why don't we just ahh.. play for about a half hour.. then go eat.
Ray: All right.
Jim: Let's make it better. Start with John Lee Hooker.
Ray: Do you want to do.. you wanna try it again or would you rather hear it first.
Jim: mmmm not the same thing. This one we'll call.. ahh.. jazz.
Ray: Jazz in the rock. Oh, maybe I can play g.. Robby, can you play that uh.. bottleneck in "E"
Robby: "E"?
Ray: Yeah, cause I could play guitar.
Robby: E..
Ray: I guess not, yeah. You'd have to cable it..
Robby: ahh.. I could play it in "F" tuned down.
Ray: Yeah, Oh well, to hell with it.
John: What were you thinking about playing?
Jim: Just playing.. straight for about a half hour.. and going to.. and getting something to eat. And something to drink.
Robby: Why a half hour straight?
Jim: Just ahh.. a half hour of music. ??
Ray: Maybe you aught to get the other guitar for that.
Robby: Yeah.
??
Ray: I think earlier than that. I heard three o'clock.
??
(background conversation/tuning)
Jim: Whoo!
(??) Remember that place?
John: You mean Parkers? Right across from.. that big man that was spinning the tire place.
Jim: ??
John: Okay, freeform. A half an hour of free form.
Jim: Yeah, but just keep it.. umm. Nobody try and push anybody.
Ray: At some point we can go (Ray imitates playing really fast and panting)
John: No.. slow, Ray..
Well if this is going to be for ah.. for an album. The live album?
Ray: This IS the live album. (laughter)
I mean, if it is they're not going to blip the fucks and shits out are they?
Jim: Well someone's gotta do it man.
Ray: This is.. Oh.. They can blip 'em though. It's even better if you can blip 'em. You know.
??
Ray: Well. That's all right. Don't worry about it.
Jim: When I hear a "fuck" I see dollar signs flash above my eyebrows.
Depends what business you're in.
Jim: Business is business. Let's take care of business. Ah, are you recording.. Bob?
She's been rollin' steady.
Ray: Okay.. this terminates the contract.
Hey, Jim. Are you singing. I don't know. Let me ask him. Hey..
(Robby starts playing slow blues riff)
Freeform Blues
I live.. uptown.
Downtown.
All around.
I had some money.
I had none.
Never been so low.. that I.. couldn't leave town.
I'm a Changelin', yeah.
Come on an.. watch me.. change.
Crosses by my window like da waves down on.. da beach.
Crosses by my window like da waves down on da beach.
Got dis girl beside me but she's.. ohhh.. outta reach.
Dogs a' roamin' in da.. cruel.. mornin' yard.
Dogs out 'dere roamin' in da cruel.. mornin' yard.
To lose your love and keep her, well that's.. mmmmore than hard.
The woman is a devil.
That's what I.. been told.
Devil is a woman, yeah.
That's how the old story goes.
Take all your money.
Then she'll steel all your gold.
(guitar solo)
Well I sought a new life so I..
Bought me a wife and a new car.
Crossed the boarder, went down ta..
Juarez, Tijuana.. Mexico.
Lost my baybeh.
Lost my money and my name.
I wish I could get outta this trip 'n get back ta civilization.
(extended guitar solo)
Sometimes when I'm sad.
I buy a bottle and I drink myself to sleep.
Whisky's like a woman, yeah.
She's good when she's cheap.
Miss my baybeh.
But more than that I miss my.. bottle a' wine.
(extended guitar solo)
In too many ways a man can go.
One leads to money and the other leads to soul.
Money beats soul.
Money beats soul.. every time.
Hard fact a' life boy, but the..
Money beats your soul every time.
Ain't it the truth now.
(song ends)
(tape cuts out/back in with Ray playing and with John playing high hat)
(Jim starts talking)
Morrison Random Musings
All deserters will be shot.. at five o'clock tomorrow morning.
So get yer-selves together.
And quit messing around.
No more nonsense.
(band stops playing)
(Jim continues talking)
The assassination occurred at three-thirty.
No one was there to witness it.
(Ray plays "church-like" organ notes)
Even the breviaries had left their tapestries on the window.
And we were all silenced.. by the sad, mildewed cloud that followed around.
(Jim sings) Ahhhhhahuhhhhhhh.
I wish I was back in the land of the..
Of the..
Of the..
I wish I was back..
Innnnnnn..
I wish..
Ahhhmmmmmm
(Jim continues talking)
You can't pin that one on me.
I didn't do a god-damn thing.
I was just standing there.
And a bunch a' guys came up an started laying all of this shit on me.
Now what am I supposed to do.
I'm an American.
You can't touch me.
Did you know all nuns are forty-two? And their eyes are blue?
Did you know all tablecloths are white in France?
Did you know women wear underpants?
Well they do.
(John: Wait a minute I got..)
How does a musician imitate the sound of underpants sliding over a woman's thighs, down over her ankles, and over her little toes, and the rings on her toes, and her unclipped.. toenails.
Lightning struck.. the magic.. purse.
And the horse ran away with the spoon.
Ooo.
I wish I was on the moon, too.
I didn't do a damn thing, man. I was just standin' there in front of the delicatessen.
And all these.. Rabbis ran up 'n a bunch 'a Indians 'n freaks 'n monsters 'n ..just.. started.. talkin' in all these.. weird languages. What oo..-w-what could I say?
(Jim sings)
I want to go back where I came from.
Back were everything's just diddly-dumb, alright.
(Jim talks)
Hey! I'm tired of being a freaky.. musician. I want to be Napoleon.
Let's have some more wars around here.
What a stinking, shitty little war we have.. running over there.
Let's get a big one.
A real big one.
With a lot of.. killings and bombs and blood.
Like..
(Jim sings and plays tambourine)
Sc-hool days. School days.
Good old.. fashioned rule days.
School days. School days.
Good old fashioned rule days.
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