|
Post by TheWallsScreamedPoetry on Mar 22, 2011 9:19:31 GMT
LA Woman signed by John Densmore
|
|
|
Post by casandra on Mar 29, 2011 17:04:23 GMT
On the Official Forum, the group "What is the next?" can speak and speculate very much the next months. Jeff Jampol has done one of his mysterious ads for the upcoming release of this year. After months of speculations about the Matrix tapes, planned for the second or third quarter of this year, a new release Hollywood Bowl DVD, and hundred and hundred things more... the next release is a special edition of LAW (40th anniversary) and a LAW DVD.
March 23, 2011, Doorsmanagement said:
Hi:
There's been a lot of flux in the industry lately, Rhino has been completely upended, there are very few places LEFT to buy physical product - especially Box Sets or multi-disc collections - and, well....it's been a struggle.
I've been fighting the "good fight," and I've had a lot of success, and a lot of help from Rhino, and while there are changes underway, and some crappy news, there's a lot of good news, too.
The bad news is that there is much lower demand for multi-disc sets, and a lot smaller orders from the retailers that remain, which means that the "P & L" ("profit & loss") calculations that labels do have been hammered, and it means there is less product that they can issue. It also means that we have to space releases out a bit, and can't have multiple products in the marketplace at the same time anymore (with a few exceptions, as outlined below).
Sooooo..........here's what I know:
1. The 40th Anniversary Edition of LA Woman WILL come out this year, in the 4th Quarter. Bruce Botnick has - gasp - unearthed a bunch of multitrack outtakes, alternate takes and loads of studio chatter between Jim and the guys, all of which was heretofore believed long-gone. He's also working on some veeeerrrrry interesting special additions as well. All I can tell you is, he's been talking to Marc Benno and Jerry Scheff. And Holzman. We also have some really, reeeeaaaally interesting stuff to present to you guys, some special products around LA Woman - stay tuned;
2. Eagle Vision is in pre-production on a special "The Making Of LA Woman" DVD in their "Classic Albums" series - it will come out this year in the 4th Quarter as well, at the same time as the album;
3. The Matrix Box Set and the recut, remastered, Blu-Ray Hollywood Bowl WILL come out - but, in light of some of the news above, probably not this year. THIS year is the only year we can do LA Woman stuff, and we neither Rhino nor Eagle Vision are willing to have too many products in the market at once. Therefore, since we can't get HB or Matrix ready to come by May or June of this year, we have will almost certainly have to push all non-LA Woman stuff back a few months after LA Woman releases, which will take us into 2012.
Once we lay out the 2012 and 2013 calendars, we'll see where everything slots in, but HB and Matrix should be first up.
Oh, and we're talking about remastering the entire catalog of original mixes on analog 2-track, with Steve Hoffman, for a special Box Set at the end of 2012, so stay tuned on that one - nothing's been firmed up yet, but, we're discussing. We will discontinue all 40th Anniversary Remix versions sometime before that. As of now, the Felt Forum package is discontinued - whatever's out there now is all there will be, as we sold out of all inventory. We MAY repackage the release in a less expensive package and keep it available, but again, nothing's been decided. The Perception Box - in both "peephole" and slipcase versions - is also sold out, and will be discontinued. Whatever's out there is it, so if you want one for a collector's item, now's the time to grab it!
Lastly, we just produced a REALLY cool piece for Record Store Day in April - it's a 7" vinyl single with ROTS on Side A, and on Side B an original MONO mix of ROTS that was never released, except to AM radio stations(!) We found three original sleeves (one in Spanish) from the original ROTS single release, and we've produced all three sleeves and used them randomly, so, if you're a collector or completist, there'll be three to get your hands on - VERY limited production, ONLY for Record Store Day, and ONLY available at RSD participating retailers. No online, no Doors store, hell WE don't even have any (except ONE ref copy of each version for approval purposes). This vinyl single will be our official "kickoff" of the LA Woman 40th Year campaign, leading up to the 4th Quarter releases of the album and DVD.
|
|
|
Post by TheWallsScreamedPoetry on Mar 29, 2011 17:22:00 GMT
Probably a reasonably well done Pirate copy of Workshop Session.[/font] Jampol is a liar plain and simple. These people are destroying The Doors fanbase with their constant regurgitaion of the same old shit. They always seen to discover some lost shit around times like this. We had the same old speil from Sugerman with the LA Woman DVD version and its extra verse to CHBMW, although I respected him as a fan whilst this asshole is a lying piece of shit. I can remember when it was stated that nothing worthwhile from LAW existed. I think that was in Jampols time and on his ask Jeff part of LL. They will flog the shit out of LAW this year and sell us a few new bits and pieces that they kept up their sleeve when they told us that the 40 year remixes were the definitive article. The amount of lies Jampol has told in the last 12 months is staggering if any Doors fans are left who believe this lying idiot then they need urgent medical help as they are obviously suffereing from terminal stupidity. I notice this idiot is still banging on about an IOW BluRay. I have not seen any evidence that The Doors IOW concert was even filmed. Of course we have seen the 15 minutes of footage the BBc used for their IOW documentary but it is very dark and as far as I am aware the gig was not filmed anywhere near it's entirety anymore than Free or Jethro Tull were filmed. Lies upon lies from Jampol.
|
|
|
Post by darkstar3 on Mar 29, 2011 17:30:53 GMT
In 1999 Danny Sugarman, then Doors Manager, began talking about a Doors internet record label for CDs' to be released through the Doors Official Website. Sugarman joined in a conversation in 1999 to set the record straight about The Doors and Commericalism.
After reading Sugarmans' statements from 1999, (see below) it seems he cared a great deal for the new direction the Doors were going with their Official Website. .
FROM THE DOORS GOOGLE MESSAGE BOARD - COMMENTS FROM DANNY SUGARMAN:
From: DSugerman Subject: re: Danny Sugerman
Newsgroups: alt.music.the-doors Date: 1999/08/18
After staying out of this conversation, I decided to jump in and simply go on the record, semi officially. First off, I want to say, before there was the movie, before there were the books, before there was any market for the Doors, Ray Manzarek and I were working to introduce people to the Doors and the story and the brilliance of Jim Morrison. That was my job in 1974. And it's still my job. I also try and protect the Doors copyrights, which might not jibe well with other Doors website but they have to understand while I understand they are doing their own tribute, they are competing with the Doors own website which is trying to get a new line of never before released materials, including 25 titles never before relleased of music, radio specials, interviews, etc. Now, I don't have anything against anyone who loves the Doors. But the Doors and I both have problems with fans who try and profit illicitly off the Doors--people like Rainer Moddemann who has never been a Doors rep but who is a liar, and a thief. He helped us get in touch with one tv station and gave us the phone number of a photographer. Compared with what he's taken, and bootlegged, he should be satisfied. But he's not. He wants the glory. And he deserves none. He rips fans off with crappy bootlegs. Robby Krieger let him do some pr when Robby was in Germany five years ago. Rainer has nothing to do with the Doors and if I had my way he'd be in jail. A lot of nasty shit gets said about people on this site and I think Jim Morrison would be disqusted with the pettiness and name-calling. Despite what you may have heard, I knew Jim and Jim knew me. Jim hired me, with the rest of the Doors and their manager Bill Siddons when I was a kid. Pam had nothing to do with it. I didn't get a chance to know Pam until shortly before she left for Paris. I knew her sister, Judy, who ran Pam/Jim's store, Themis...so this business I read about Jim hiring me cause Pamela asked him to is bullshit. I got hired in ten minutes one afternoon after I'd been thrown out of the office for getting in the way (I was 14 years old). Also...No One Here Gets Out Alive was dedicated to Jim and Ray. Jim for believing in me as a writer and for telling me to write what I know, which at the time was him and the Doors. And Ray for supporting me while I wrote it and put together the Doors Greatest Hits and coordinated An American Prayer. The idea was introduce Jim as a poet with AP, tell his wild story of a poet who veered between genius and madness, and whom I loved deeply (I guess no onewill ever know what I meant to him but I can tell you this and I can back it up: He gave me all his privately published editions of poetry to send to fans who sent him poetry and to send to the rock writers I'd become friendly with); delete the quad Best Of, the Weird Scenes (new fans couldn't tell the difference between Strange Days and Weird Scenes) and 13 (which Jim hated) and release a traditional Greatest Hits album. That would, I believed, help put the Doors catalog into top condition, shave all off the fat, and hopefully lead to some sort of new recognition of Jim and the Doors. That it worked as well as it did was overwhelming. But I wasn't surprized. I believed in what I was selling. And I didn't do No One Here for the money. Hopkins and I split $1,200. Jim believed and I believe that if you do something for the love of it and it's successful, you're set, but if you do something for money you don't love, either way, you're unfulfilled. I followed his advice. So don't believe what people say. You can write to me or the Doors or myself c/o thedoors.com anytime. I personally read all the mail. I don't think I'll be back here. Except maybe to nail Rainer to the wall. Break on through, Danny Suger,man
Source: groups.google.com/groups?hl=en&lr=&ie=UTF- 8&th=a69cd4cca3147b38&seekm=19990729210524.13372.00003451%40ng- bd1.aol.com#link21
musicNEWS: New CD's coming from The Doors Ant-Music News
12-04-00 Press Release
LOS ANGELES, Calif.—Bright Midnight Records, a label formed by The Doors Music Company will make available from The Doors’ archives nearly 30 hours of mostly live, unreleased material as well as some rare studio-recorded gems.
The initial CD release, due out this week, is The Doors’ The Bright Midnight Sampler: 14 Songs/8 Concerts, which features eight Doors concert highlights from 1970 recorded at a variety of venues throughout the U.S. In addition, the second release, The Doors Live in Detroit, is now available to order and the third release, No One Here Gets Out Alive, is set to go on sale the week of November 27. All Bright Midnight Records releases are manufactured and distributed by Rhino Handmade, Rhino Entertainment’s Internet-only label. They are available exclusively at www.thedoors.com and will not be sold in stores.
Recently discovered when consolidating the band’s audio and film works which were scattered around the world in various record company storage facilities, this material completes the full archive of Doors’ sound and film recordings which is now secured in West Hollywood, Calif.
As a result, dozens of hours of never before released performance recordings have come to light and the highlights will be released in the years to come.
The process of sifting through the treasure trove of Doors live masters began during the production of The Doors Box Set (Elektra, 1997) which included a disc, Live in New York. The disc featured the best of the material recorded by the band during four concerts at New York’s Felt Forum. In all, The Doors recorded approximately 14 concerts in nine cities, with some tracks having been released in Absolutely Live (Elektra, 1970.) For nearly three decades, additional concert recordings sat on the storage shelves undiscovered. Following the overwhelmingly positive response to the Live in New York disc, savvy Doors fans became aware that over a dozen concerts had been professionally recorded and demanded to know what had become of those tracks.
Subsequently the three Doors—John Densmore, Robby Krieger and Ray Manzarek—and their manager Danny Sugerman, began the task of reviewing every live tape and were impressed with what they heard. These concert recordings, while not altogether perfect by today’s commercial standards, successfully capture a wide range of exciting Doors music live-from a drunken over-the-top Boston concerts, to an intense, bluesy show in Detroit, to a stunning performances in Hollywood. Bright Midnight’s aim is to make available all of these concerts ? More than 30 hours of live Doors music, 90 per cent of which has never been heard before. All releases will be produced by original Doors engineer Bruce Botnick.
The new live Doors releases will be presented in their entirety and unedited, culled primarily from the tours that was recorded in 1969 to produce Absolutely Live. The label has also procured additional concert tapes recorded directly from the sound board. The primary goal is to release the best sounding recording and the highest quality artwork at the lowest possible price. The Doors commitment to high standards and excellence will not be compromised.
Bright Midnight Records will release three titles every six months for a period of six years. The first three releases slated are:
The Bright Midnight Sampler: 14 Songs/ 8 Concerts
A sampler of live recordings, highlighting performances from almost every city The Doors visited on their 1970 tour. This volume, released this week, will give fans a taste of what is to come on Bright Midnight Records.
The Doors Live in Detroit
A double CD capturing The Doors in a mesmerizing performance lasting over two hours before a packed house at Detroit’s Cobo Hall.
No One Here Gets Out Alive
The first syndicated Doors radio special where all three Doors were interviewed regarding Jim Morrison’s death and legacy. Originally released to 135 radio stations in 1980, the show appears in four 45 minute segments. On the bootleg market, third and fourth generation copies go for up to $500. It is regarded as the definitive Doors radio production, hosted by Jim Ladd, who also wrote and produced the presentation. These four vinyl discs are reissued on three CD’s.
According to Densmore, Krieger and Manzarek, “Our goal is to give serious Doors fans the material they want, including eight-track recordings of concerts, some previously available only as overpriced, inferior sounding recordings.”
Doors manager Danny Sugerman added, “From 1969, when the Doors recorded their last album (Morrison Hotel) with producer Paul Rothchild, any unreleased audio material was literally untouchable. Paul controlled the audio archive. No one, not even The Doors, knew what was stored or where. When Rothchild passed away and The Doors, along with longtime engineer Bruce Botnick, began production for what would become The Doors’ box set (1997), the archive was opened and we were all blown away by the plethora of Doors material which had been, for the most part forgotten. ‘Should this be released or not?’ was the question. Commercially we decided no. However, for the real Doors fans, this music deserved to be heard, and the Internet provided the ideal outlet.”
The Doors Official Web Site (http://www.thedoors.com) provides news on upcoming releases and interviews with the band members, as well as the only place where each release will feature songs for streaming. It is their hope that this material will surprise, shock, amaze and delight Doors fans.
www.antimusic.com/news/2000/dec/item1.shtml
THE DOORS ROCK AGAIN ON THE INTERNET
Mar 1, 2001 12:00 PM, Blair Jackson MIX - Professional Audio & Distributed in 94 countries, Mix is the world's leading magazine for the professional recording and sound production technology industry. Mix covers a wide range of topics including: recording, live sound and production, broadcast production, audio for film and video, and music technology.
Music Production
“There's gold in them thar' tape vaults!”
Old and new bands alike are increasingly finding that the relatively low cost and high-profit margin of manufacturing CDs and marketing them primarily on the Internet is a good way to get music that might not ordinarily be heard out to their hardcore fan bases. In a sense, it's easy money — but it's also a godsend to fans to be able to tap into a mother lode of an artist's previously unheard live or studio tapes…or at the very least, replace mediocre bootleg tapes/CDs with sonically superior, formally mastered CDs.
One of the most interesting recent examples in this area is Bright Midnight Records, an Internet-only venture by The Doors, whose career effectively ended when lead singer Jim Morrison died in Paris in 1971, but whose legacy still generates millions of dollars for the surviving former members. During Morrison's lifetime, The Doors released only seven albums — six studio LPs and a live set — and in the three decades since his death, there have been only a few peeks into the band's archives: a couple of authorized videos, a Morrison poetry album (American Prayer, which included some new music from the living Doors), a single live disc and 1997's Doors box set, which included a live disc culled from three shows in New York in early 1970.
The interesting thing about surround sound is that there isn't one way to go about handling it. Tricks may be fun to play with in your studio, but are they advancing the idea behind the music? — Bob Clearmountain
The fact is, there aren't a lot of live tapes of The Doors in circulation, because the band didn't record their shows on a regular basis. There are some soundboard and monitor tapes in The Doors' archives and, thanks to their fans, some bootleg audience tapes that have survived. But the best quality recordings The Doors have in their vault come from the winter 1970 tour (supporting Morrison Hotel) that became the basis for the double-LP Absolutely Live. These shows will be the heart of Bright Midnight's ambitious release program: The company is committed to putting out three titles a year for the next six years — mostly complete, unedited concerts, remixed from the original 8-track masters by the man who originally recorded them, Bruce Botnick (who engineered all of The Doors' studio albums, as well). They are being sold exclusively through the band's official Web site, www.thedoors.com.
The first batch of three CDs (each is sold separately), which came out at the end of last year, is a little different than what will come out subsequently. It includes one full concert — a fascinating double-CD of an alternately rambling and explosive show from Cobo Arena in Detroit; a historic four-hour radio program, called No One Here Gets Out Alive, featuring extensive interviews and plenty of rare Doors music (it was put together 20 years ago by L.A. radio personality Jim Ladd to coincide with the release of the popular Danny Sugarman book of the same name); and a superb single-disc sampler showcasing tracks from some of the concerts that will be released on Bright Midnight, as well as a number of live rarities from other tape sources. It's quite a bounty for Doors fans.
According to Botnick, “The philosophy behind this is to bring to the fans everything we've got on multitrack from that tour — the good, bad and the ugly. And there was some bad and ugly stuff in there. Not all concerts were great, of course. Sometimes Jim was inebriated, sometimes he wasn't. A lot of it is really great, though, and deserves to be heard. We recorded everything on 8-track, and the goal now is to mix these shows as well as we can today and get them out there, because people have been listening to bootlegs that really sound lousy, and why should they have lousy in their house when they can have a lot better?”
Botnick says that the tapes were all in great shape. “They're playing just fine, which I suppose is a testament to BASF,” he says. There was a problem to overcome on the Detroit tapes, however. “A person who previously worked on the tapes when I wasn't around had pulled pieces out of the masters and they're gone. So I had to go back to the live 2-tracks I had recorded at the same time to fill all the holes. It didn't end up being too big of a problem.”
In the case of that May ’70 Cobo Arena show, Botnick was set up in a remote truck provided by Fedco Audio Labs, and he recorded the concert onto a Stevens solid-state, 1-inch 8-track and an Ampex 351 2-track. The truck was equipped with a custom console. Because The Doors were just three musicians and Morrison, he needed relatively few mics: AKG C-12As on guitarist Robbie Kreiger's and keyboardist Ray Manzarek's amps, and a Neumann U87 on Manzarek's piano bass. John Densmore's drums were captured by a Shure SM57 on the snare, an Altec “salt shaker” on the kick and Sennheiser 405s as overheads. Morrison sang into an SM57, and the audience was picked up by a Neumann SM69 stereo mic. The 8-track tape was BASF LR56 at 15 ips; the 2-track 3M 126. By today's standards, that list probably looks downright primitive, but the fact is, the tapes sounded great.
Each of the live releases (with the exception of the sampler) has detailed technical information by Botnick, who notes, “I figure there are a lot of fans out there who want to know all that stuff. When I was growing up, I got a lot of my information from reading the back of albums. You'd occasionally find someone saying, ‘I used a U47 on the trumpets,’ so when I got to do recording, I sometimes tried the things I read about. So I'm continuing in that tradition.”
Botnick is mixing the tapes in his L.A.-area home studio, using a Sony DMX-R100 digital console as the heart of his system. Though the first concert set, Live in Detroit, was prepared at 48k, downsampled to 44.1 for CD (via db Technologies 3000s), Botnick has loftier intentions for other releases in the series: “The problem we have is that we're still stuck in the CD area, so I can't give everyone what it really sounds like because of the limitations of the CD. But all the future ones are going to be high-bandwidth — 96k, 24-bit — and will be 5.1 as well as stereo. And we're hoping that we can release them in both SACD multichannel and DVD-A. I also really like the way DSD sounds. Those will all be much closer to the way it should sound.” Other equipment in Botnick's arsenal for these CDs includes the new TC Electronic 6000 reverb, Ayre Acoustics V-1 amplifiers, db Technologies A/D converters, and an HD Sonic Solutions System for editing and mastering.
For Botnick, the project is both business and nostalgia. The Doors have been a major part of his livelihood since he was a teenager recording that first Doors album in early 1967. Every time he goes into the vault to listen to a studio or live multitrack — and there has been a plethora of hits and other releases over the years — he's hearing himself at work as a young man. “In a way, when I'm mixing these tapes now, I'm trying to be 23 years old again,” he says with a chuckle. “And that's hard. I'm not the same person today that I was in 1970. I have a different sensibility and obviously I've been listening to lots of different things through the years. Recording equipment has changed, of course. But what we're trying to do [on these CDs] is capture the music as accurately as we can so we can bring the best to the fans. That's really who it's for.”
mixonline.com/mag/audio_doors_rock_again/
Information Week The Business Value Of Technology April 21, 2006 12:00 PM
The Doors To Join Pearl Jam In Online Content Delivery
The classic rockers will use a digital content management and delivery service to make available for download previously unreleased songs and concerts recorded by the band from 1967 to 1970.
By Darrell Dunn
Classic rockers The Doors will soon be joining Pearl Jam, a more modern rock band, in using a digital content management and delivery network service from Savvis and Basecamp Productions. The Doors plan to make available for download previously unreleased songs and concerts recorded by the band from 1967 to 1970.
The Doors plan to announce on Monday that fans will be able to create "virtual box sets" of live and studio Doors performances by going directly to the band's Web site. Fans will be able to re-create their favorite Doors album using live tracks from concerts, or create a CD with several live versions of the same song from different concerts.
"You will be able to move around the content as you see fit, which is the future," says John Densmore, drummer for the legendary band, whose catalog already sells more than a million albums annually. "This is kind of a 'fix your own pizza' concept. There are some real jewels in these concerts that haven't been put out before, and this kind of effort will make the legacy [of The Doors] even better."
The Doors will be using the same content delivery technology that Pearl Jam has been using on its Web site since late last year. During the band's fall tour in 2005, Pearl Jam made each concert available for download immediately after a show ended. More than two million songs were downloaded from the 2005 tour, says Joshua James, owner and co-founder of Basecamp, an online distribution company that provides services for the buying and selling of live music immediately after a concert.
Pearl Jam decided in 2000 to release CDs of each live concert in an effort to stop illegal bootlegs of the concerts. At the time, Pearl Jam's record label didn't think releasing dozens of individual concert recordings was a good idea, but the band eventually sold 3 million CDs from the 2000 tour, James says.
"It became clear that for the right band, there was quite a market for these official bootlegs," James says. "We're now taking this directly to the artist Web site. There is no third party, no sending you off to iTunes. If you are The Doors, Pearl Jam, or U2, and you've got millions of visitors coming to your Web site, so why not deal with them directly? Why send them off somewhere else?"
"Anything that Pearl Jam does, I'm down with, because they have so much integrity," Densmore says. "Pearl Jam is always trying to find new things and explore new technology, and I like that."
The bands use the Basecamp software, which James described as a "white-label iTunes." Savvis, which is a provider of managed and outsourced IT services, provides the infrastructure to store, manage, distribute, and protect the content.
The Savvis services range from workflow tools for managing the creation and production process to digital distribution capabilities, says Tom Moran, senior director of media and entertainment for Savvis.
"If you look at what is happening with iTunes and other online music stores, they are frankly failing the music industry in terms of time-to-market," Moran says. "I can manufacture a CD and distribute it to retail faster than I can get a track up on the iTunes music store by a factor of about 2X, which is crazy. There is a huge demand for content that is timely, especially among hard-core fans that purchase concert downloads."
The Pearl Jam concert downloads are available for $9.99 each, which includes high-quality MP3 downloads of each song played, 15 to 20 photos from the show, set lists, and artwork that can be downloaded to create a CD.
Jeff Jampol, The Doors' manager, says concerts and other content should be available on their Web site within two months. Specific pricing will be announced later.
The Doors, which were inducted in the Rock and Roll Hall of Fame in 1993, include keyboardist Ray Manzarek, guitarist Robby Krieger, drummer Densmore, and lead singer Jim Morrison, who died in 1971.
The living members of the band have performed together just twice since 1973. During their recording heyday, Densmore recalls thinking: "If we lasted 10 years that would be great. And now were getting ready to celebrate 40 years [in 2007]. Now our fans can make their own albums. Jim [Morrison] said that in the future there will be one guy with a machine making the music. Now our fans can be the record producer."
James says Basecamp is in "late stage" discussions about creating additional online music repositories with artists of similar stature and with as many fans as Pearl Jam and The Doors. "We're definitely finding a market for this, particularly for big artists at the top," he says. "If you've got 50,000 people buying live concerts, and an artist plays 50 shows, that's 2.5 million downloads. So you take a hard-core audience and create a volume product."
www.informationweek.com/news/inte....cleID=186500578
Sydney Morning Herald
Doors Open To New Online Fans Owen Gibson in London March 27, 2007
IN 1967 they were trying to "break down the doors of perception" with some of the best-known songs of the era.
Now the surviving members of the Doors hope to snare a new generation of fans by releasing their entire back catalogue online.
Faced with declining CD sales, record labels are hoping to market rock's biggest names to younger listeners via the web, with the Doors leading the charge to mark the 40th anniversary of the release of their classic self-titled debut album.
The group are re-releasing all six albums with their late lead singer Jim Morrison, from the incendiary self-titled 1967 debut to 1971's LA Woman, made months before Morrison died.
Each album has been remastered with new material from the original sessions by the band and Bruce Botnick, the engineer on LA Woman. Two new greatest hits collections and some unreleased tracks and alternative versions will also be available.
The Doors' guitarist, Robby Krieger, said this was the first time they had revisited the back catalogue in depth. "Even though you get bootlegged to death, there's something good to be said for the internet. If groups can sell their own records, that's great," he said.
Elton John has also made his entire back catalogue available for digital download, initially via Apple's iTunes. The archive, spanning 40 year and more than 400 tracks, is being released to coincide with his 60th birthday and a new greatest hits album.
The Beatles are also expected to finally join the download fray this year after settling a long-running trademark dispute with Apple.
www.smh.com.au/news/music/doors-o....l?s_cid=rss_smh
|
|
|
Post by casandra on Mar 29, 2011 19:19:06 GMT
I don’t think they have discovered anything new. It will be some small talk (Ray: “Are you ready”?; Jim: “Yeah”; Botnick: “Take three” or so) and maybe some outtakes. I do not think it worthwhile. I will not buy it unless there is a new “spectacular” thing.
I bought Perception Boxset two or three years ago, because until then I only had those albums on vinyl and they were already quite worn (and there was a good change euro/dolar). I had bought all the albums for second hand in 80’s.
I'm not a collector o completist, and I read many reviews before to decide buying some Doors product. I don't want they cheat me or disappoint me after purchase.
|
|
adam
Door Half Open
Posts: 100
|
Post by adam on Mar 29, 2011 19:29:43 GMT
if (& its a colossal if) the doors actually have anything left to release then clearly the 'net is the only way to do it.... JJ bleats on about "P&L" against the backdrop of a moribund record store market, but [#8000 word anti apple rant deleted#] that's how things are now... fairly sure Jim would like the internet & the instant access it gives ppl to all forms of art/media/news/opinion/MUSIC so JJ get hip with net or get fucked, actually no - just get fucked !!
me? i loved the idea of rhino when it came out, placed my ordered for backstage & dangerous (or WTF it was called) several weeks later my CD arrived, well actually no i had to go to the post office & pay shit loads of import tax, anyways i got my disc set home & was kinda bored senseless tbh... (gloria version is good) the bit when jim sang that anyone listening to this was a dumb motherfucker really struck a chord, i didn't buy anything else!
|
|
adam
Door Half Open
Posts: 100
|
Post by adam on Mar 29, 2011 19:31:42 GMT
oh yeah - i think the missing ROTS verse (away in india) can be found on snoop's cover version, which if you ask nicely i'll drop box for you !!
|
|
|
Post by casandra on Mar 29, 2011 19:53:46 GMT
Well, for a missing verse I don't pay 10-20 dollars. I have better things to spend my money. I've never understood why Rhino or The Doors store is more expensive than Amazon. Why does Danny Sugerman complain Rainer Moddemann? What is this?
|
|
|
Post by TheWallsScreamedPoetry on Mar 29, 2011 19:58:14 GMT
Yes it is Adz and wasn't that something that was promoted on The Doors forum? Seems it was OK for Snoop to have it but not us The whole sorry saga of The Doors on the internet is a litany of lies and deceit. I do believe Danny tried hard to get the stuff out but once he was gone all we had was a scumbag like Jampol calling the shots. The man is an idiot. I never saw him once answer a question about The Doors archive without having to go and consult someone. If I had been Doors manager I would have made that my #1 priority and been able to answer questions straight away. These greedy bastards have done this shit so many times. The Box Set a total rip off, the cube utter bollockas as they just did it again with the 40 year remixes, the Essential rarities bullshit as all but one track was already released. These assholes just used fans and its no wonder that they don't sell well nowadays. Jampol has been talking about an internet Doors archive since he first crawled out of whatever sewer he lived in. His lies are a dark stain on The Doors legacy a fact I will tell him to his face if the fucker turns up in July.
|
|
adam
Door Half Open
Posts: 100
|
Post by adam on Mar 29, 2011 21:08:45 GMT
dl.dropbox.com/u/17730656/01%20Riders%20on%20the%20Storm%20%28Fredwreck%20Re.m4awell anyone who wants snoop's frankly excellent ROTS cover simply click above this song features a recently discovered lost verse, apparently the story goes that Jampol was looking for discarded nickels down the back of Botnick's sofa & found the original hyper-digital-blueray-uber-quality master file & now this is available for the one time low-low price of $49,999.99 "jesus jeff that's really low" "not as low as my low-low prices" enjoy guys, this one's on me !!
|
|
adam
Door Half Open
Posts: 100
|
Post by adam on Mar 29, 2011 21:19:01 GMT
oh yeah right click on the link & save target as
|
|
|
Post by darkstar3 on Mar 29, 2011 21:44:13 GMT
Yes it is Adz and wasn't that something that was promoted on The Doors forum? Seems it was OK for Snoop to have it but not us The whole sorry saga of The Doors on the internet is a litany of lies and deceit. I do believe Danny tried hard to get the stuff out but once he was gone all we had was a scumbag like Jampol calling the shots. The man is an idiot. I never saw him once answer a question about The Doors archive without having to go and consult someone. If I had been Doors manager I would have made that my #1 priority and been able to answer questions straight away. These greedy bastards have done this shit so many times. The Box Set a total rip off, the cube utter bollockas as they just did it again with the 40 year remixes, the Essential rarities bullshit as all but one track was already released. These assholes just used fans and its no wonder that they don't sell well nowadays. Jampol has been talking about an internet Doors archive since he first crawled out of whatever sewer he lived in. His lies are a dark stain on The Doors legacy a fact I will tell him to his face if the fucker turns up in July. Alex, I hope you have more success getting Jampol's attention than I did four years ago. He split back to LA after a scheduled appearance at University of Virginia. The professor who hosted the conference said that JJ had been called back to LA on urgent business by Ray Manzarek. I was going to ask him specifically about releasing music through the Doors website as was promised several years prior. I was also going to let him know that I had reports from Doors fans that had made several purchases through Rhino "Handmade" Records on CDs that were not delivered until months following the scheduled release dates. At the time there were rumors flying around that Rhino was collecting the money on these cds as they were advertised but the cds were not pressed until there was enough money collected for the actual pressing to happen. This delayed the CDs and confused the people who had spent their hard earned money to make the purchases. It is too bad that JJ split back to LA because I would have liked to have had my questions answered. It would seem logical to cut out the middle man, Rhino so the consumer can save a dime or too by downloading directly from the Doors website. I don't understand why all of these promises that have been spelled out in news releases of the past five years all eluding to the fact that Doors products were to be made available through internet downloads has never materialized. Metallica another Elektra band has been releasing downloads from their site for years so it would seem the problem isn't with a major record company or its predecessors its with the Doors and their management.
|
|
|
Post by casandra on Mar 30, 2011 19:03:52 GMT
dl.dropbox.com/u/17730656/01%20Riders%20on%20the%20Storm%20%28Fredwreck%20Re.m4awell anyone who wants snoop's frankly excellent ROTS cover simply click above this song features a recently discovered lost verse, apparently the story goes that Jampol was looking for discarded nickels down the back of Botnick's sofa & found the original hyper-digital-blueray-uber-quality master file & now this is available for the one time low-low price of $49,999.99 "jesus jeff that's really low" "not as low as my low-low prices" enjoy guys, this one's on me !! Muchas gracias, Adam. I didn't know it. Doors’ manager Jeff Jampol said: We are not greedy. We want to assign the profits of this great version with unpublished verse ROTS a nonprofit purpose: 0.99 to repair Jim’s grave and 49,999 for our own pockets!. It’s our tribute to Jim…. (he is counting the coins)… Oh, I’m sorry. I only can buy a brick with this money. I promise I will make better the budget the next time. Stay tuned. We have found something reeeeeally increeedible: A lost TV appearance… The Doors singing Merry Christmas in 1970… and Jim disguised Santa Claus. OK, we are not completely sure, but... it’s his beard, though white (At the background Ray is saying: we can get 1,000,000 for this!!!) This release will be a very special limited edition for hard collectors (with Certificate of Authenticity) signed by Ray, Robby, John and Jampol’s parrot. thegreediest.com Alex, I hope you have more success getting Jampol's attention than I did four years ago. He split back to LA after a scheduled appearance at University of Virginia. The professor who hosted the conference said that JJ had been called back to LA on urgent business by Ray Manzarek. "Urgent business". It’s very weird. It looks like afraid to answer tough questions. A vanishing act. The University of Virginia is a beautiful place. I was once there years ago during my only travel to USA.
|
|
|
Post by darkstar3 on Mar 30, 2011 19:15:38 GMT
Why does Danny Sugerman complain Rainer Moddemann? What is this? The way I understand Rainer was calling his Doors Quarterly Fanzine a part of the Doors Official Fan Club. The Doors never had an official fan club unless one would call sending letters to Danny to answer. Rainer was also accused of bootlegging Doors shows for profit. In addition there were reports of fans who has sent Rainer money as payment for subscription to his fanzine and they never received the magazine. There are other "stories" that have been floating around over the years associated with this guy. I believe there are bits and pieces of this on-line zine still on line but the major Doors site that he hosted is long gone from the net. Once he was a frequent visitor to Paris on July 3 but I understand now that he doesn't even show up anymore.
|
|
|
Post by casandra on Mar 30, 2011 19:26:14 GMT
Thanks, Darkstar.
I read an article of this guy on internet about Jim in Paris and I don't remember if something else. Also, I have seen his name in a CD named "Ultimate collected spoken words" with Jim's interviews that I downloaded years ago.
|
|
|
Post by TheWallsScreamedPoetry on Apr 1, 2011 14:04:07 GMT
I like Mike! he was a member here for a while and wrote one of the best Doors books ever. I don't agree with all of his assessment, either that this was an out and out blues album or Morrison's voice sounding too soft for blues. But he does make some good points and sums up very well a common misconception we Doors fans have induldged in since 1967. "You never could tell quite what lyricist Jim Morrison had in mind when he wrote the words"Bravo Mike. That's one of the things I have always found most interesting. Morrison's lyrics still surprise me after over 40 years. There is still much we don't know and that's cool by me. LA Woman may well be a blues album but it also has poetry, literature and film there as well. Which most Doors albums had in spades. Strange Days was a blues album as well. Just a different kind of blues. So maybe Jim could not match John Lee Hooker but then he was not trying to. He knew what The Blues were as he had lived with them since 1968 when he realised what the Doors had become. This final album for me was his summary of the last 6 years. His final ride signing himself off from The Doors. I think he did rather a good job myself
|
|
|
Post by TheWallsScreamedPoetry on May 10, 2011 14:17:24 GMT
L.A. Woman by The Doors January 1, 2011 by Classic Rock Review. Contributers: J.D. Cook & Ric Albano
L.A. Woman, is the final Doors album with lead singer and poet, Jim Morrison. This album encompasses a mixture of blues, funk, and rock while maintaining a sound that is still distinctly The Doors. The album strikes the rare balance of going back to basics while still exploring uncharted territory in the initial, pioneering journey of rock n roll. The music itself also possesses this simultaneous duality as it is much stripped down from the exuberant production of earlier albums, such as Waiting for the Sun and The Soft Parade, but is also enhanced by a new “voice” that Morrison discovered and the emergence of the bass guitar as a front and center instrument in the band’s sound.
Starting in 1967, The Doors had five previous studio albums to figure out what is necessary and what is superfluous. This is evident in every detail of L.A. Woman, right down to the album cover artwork. Gone is the image of a half naked Jim Morrison out in front of his “backing band”. On the cover of this album, an off-center, bearded Morrison is slouched down to appear smaller below the rest of the band. The cover contained a very generic look with the band name and title in uniform block lettering, omitting the use of even the band’s trademark stenciled logo. Interesting is the omission of the “The” in the band’s name, as the album is credited to simply to “Doors”, which perhaps implies that there are now several , generic “doors of perception” to be cleansed, not just these four particular ones. Whether or not this was the actual intent, there is no doubt that the band wanted to strip away any pretense of something mystical or magical and just put out an album of blues-influenced, rock music, and that they did.
A variety of themes permeate the album. The first track, "The Changeling" grabs your attention right away, with its addictive, funky hook accented by Morrison's primal grunts. It is like Jim Morrison addressing the listeners about his pending move to Paris and attempt at a new life as a poet, like many of the 20th century’s great writers had done before. With his boisterous blues outburst of "see me change", those who had watched Morrison’s career knew what he was talking about. Here was a man who had made a career out of being a chameleon - starting as a military brat progressing into a highway drifter and film student before creating the ideal "rock star" archetype that is still mimicked today, only to destroy that image by growing a beard, gaining weight, and sabotaging the band's live bankability with bizarre on stage antics. Jim Morrison was a changeling and with the first track on L.A. Woman he was telling everyone that he was not done. This "change" theme is revisited later in the album, especially in the songs "Hyacinth House", "The W.A.S.P. (Texas Radio & the Big Beat)", and "Riders On the Storm".
"Riders", the album's closer, is a unique song in the history of rock n roll. With several influences including, the traditional cowboy song "Ghost Riders in the Sky" and Morrison’s own defunct film, HWY: An American Pastoral as well as his poems. Often considered a Morrison masterpiece, because of its haunting theme and whispered background vocals, the song is really a showcase for the other three band members – guitarist Robbie Krieger, keyboardist Ray Manzarek, and drummer John Densmore – who use the song as a preview of the group’s new direction.
The band already knew coming in that this album would be an endpoint on a couple of fronts. It was the last one necessary to fulfill their contract with Electra Records, and the band had already quietly agreed to a break from Morrison, as he planned to move to Paris following its completion, and continue as a trio with Krieger, Manzarek, and Densmore. In fact, a common misconception is that the late-1971 album Other Voices was made in reaction to Morrison's death, when it was actually started prior to his passing, with some songs actually worked on during the L.A. Woman sessions.
Beyond the four members of The Doors, there were two addition musicians involved with the making of L.A. Woman, bassist Jerry Scheff who played on every track and blues guitarist Mark Benno, who played rhythm guitar on four of the album's tracks. Scheff, who was Elvis Presley's regular bass player at the time, was as much a part of the music on L.A. Woman as any of the "regular" Doors (a defacto "fifth Door"), being right out front in the mix and providing the memorable riffs for some of the most memorable songs.
Benno added his talents to the album’s title song along with "Been Down So Long", "Cars Hiss By My Window", and the cover of the John Lee Hooker song "Crawling King Snake". These tracks also happened to be the same ones where Morrison best used his new found “blues” voice, a vocal style unlike any he had presented before, but did with exceptional talent and ease, especially on "Cars Hiss by My Window" – a song in which Morrison’s vocals shine on two levels, the straight-up singer voice, and the wild-mimicked bluesy-harmonica sounding “voice” solo that ends the song. Although Benno had never even heard of The Doors before being booked for these sessions, he and Morrison became fast friends, going to lunch and drinking together between recordings.
Aside from the well-received title song, these extra-bluesy songs that Benno worked on have been commonly knocked by die-hard Doors fans as the "filler" on L.A. Woman, but, although they may not quite match the rest of the album, they certainly do not detract from the album as a whole. Lyrically these songs may not quite be the high points of the album, but the only real filler is the odd-marching, quasi-psychedelic "L'America", which sounds like an incomplete experiment that should have been left for the box sets decades later.
Thematically, L.A. Woman is not an acid trip, an orchestral, or a poem, but is quite simply the completion of the band’s take on blues rock that started with their previous album, Morrison Hotel in 1970, but it is not a pure blues album. In fact, one of the band’s finest pop songs is present in "Love Her Madly", which sounds like it could of fit well on Strange Days in 1967. It is perhaps the best audio evidence that this is, in fact, The Doors we are in listening to.
The band was not looking to explore new musical themes or expand consciousness - they just wanted to record an album and the result was a magical capture of lightning in a bottle. Certain unforeseen situations led to this confluence. Longtime producer Paul Rothschild had disagreements with the band on their approach and walked away from the project early on, leaving the production to engineer Bruce Botnik and the band members themselves.
The album was recorded at the band’s rehearsal space on Santa Monica Blvd, in a building that was once an antique store. Botnik converted a bathroom into the vocal booth for Morrison and used just an 8-track recorder, which is incredible considering the depth of the resulting sound. This location was chosen after the Doors decided to forego professional studio costs and considered a number of locations including Robbie Krieger’s beach house, which was decorated with several hyacinth plants.
"Hyacinth House" is an oft-overlooked gem on L.A. Woman with Krieger’s folksy guitars, Morrison’s calm yet desperate pleads of paranoia and need for change and, most especially, Ray Manzarek’s virtuoso work on the organ where he subtly mimic’s a piece by Chopin. Another interesting piece on the “second side” of the album is "The W.A.S.P. (Texas Radio & the Big Beat)", a spoken-word poem that at once pays homage to Mexican pirate radio of the sixties while taking the listener on an undecipherable poetic journey, all above a funky-riff that could have been used for a Sesame Street learning experiment. It is hard to think that anyone but Morrison himself truly "got" this song, but it does add a nice bit of balance to much of the rest of the album.
Speaking of "sides" of the album (for those of us old enough to remember such things), one of the flaws of L.A. Woman is the fact that it reversed what should have been the extended closing number of each side – the 7-plus minute songs "Riders on the Storm" and "L.A. Woman". The title song, with its movement and rhythm, and nearly constant build to a crescendo, is the undeniable climax of the album and would have worked best as the last song on the album instead of "Riders On the Storm", which kind of drip-drops its way out. As a matter of fact, both these songs were included in the high-selling Greatest Hits compilation in 1980, with "Riders" finishing side one and "L.A. Woman" wrapping up side two. Was this the quiet recognition of an original faux pas in song sequence by the band?
But no matter where it sits in the song sequence, the song "L.A. Woman" is a masterpiece, just like the album of the same name is. Every track is musically crafted to near perfection without being over-produced nor overdone. This is probably due to the fact that The Doors were just looking to make music with this album and not accomplish any loftier goals. They simply wanted to jam and move on to the next phases of their lives and careers. Tragically, there would not be much of that life left in Jim Morrison, who died at the age of 27 on July 3, 1971, just three months after the album was released.
L.A. Woman by The Doors Released: April, 1971 (Electra) Produced by: Bruce Botnick and The Doors Recorded: The Doors Workshop, Los Angeles, December 1970-January 1971
Side One The Changeling Love Her Madly Been Down So Long Cars Hiss by My Window L.A. Woman
Side Two L'America Hyacinth House Crawling King Snake The WASP (Texas Radio & Big Beat) Riders on the Storm
Musicians Jim Morrison - Vocals & Voice Effects | Robbie Krieger - Lead Guitars Ray Manzarek - Piano & Keyboards | John Densmore - Drums Jerry Scheff - Bass | Marc Benno - Rhythm Guitars
|
|
gizmo
Door Half Open
Posts: 113
|
Post by gizmo on May 22, 2011 17:28:24 GMT
i got a purple (electra) version of la woman here. friggin ace to have it, israelic import. somehow those jews knew how to turn gold into platinum *lol* can't find it annywhere
|
|
|
Post by TheWallsScreamedPoetry on May 24, 2011 9:45:55 GMT
It's probably a pirate copy mate.
|
|
|
Post by TheWallsScreamedPoetry on Jul 29, 2011 11:50:37 GMT
Talking about the upandcoming LA Woman 40 Year Edition. Cover of the vinyl edition. Some songs go up to Take 7 or Take 10. ROTS is Take 2. Take 1 was a false start. You're hearing it without the thunderstorm so it has a different atmosphere. John, Robby and I have all individually claimed over the years that the thunderstorm was our idea. But when I listened back I could clearly here Jim say. "Hey thunder....that's a good idea....why don't we put thunder on it? We could uh get some from Arizona." So now we have absolute proof where the idea came from." Bruce Botnick Uncut magazine July 2011
|
|