Sunday, August 12, 2012
HAIL TO THE CHIEF
Dave starts the show with "Bit cold here, so to warm up you're going to have to dance, right?"
A very good audience recording.
John tells the crowd, "Word of advice. Keep your fucking show to yourself. Because the silly bastard who threw this is going home without it!"
https://rapidshare.com/files/859955489/Selina_s Nitespot_ Sydney_ Australia_ 12.10.96.rar
It was written:
Only a handful of people showed up, so Jim Morrison, John Densmore, Robby Krieger, and Ray Manzarek played for each other, exploring song arrangements and jamming on a few blues favourites. Ironically, only a few weeks after the Matrix shows, the band's second single, "Light My Fire," would make them famous, selling a million copies on its way to topping the chart during The Summer of Love.
"It was early 1967 and The Doors were about to enter the consciousness of the nation. And this is the way it sounded," Manzarek writes in the album's liner notes.
In spite of the empty room, the band is fully engaged, using the time to give "The End" and "Back Door Man" extra lyrics and extended sections. "This is probably the closest we've come to a true document of The Doors without constraints," says Bruce Botnick, the album's producer and the band's long-time co-producer and engineer.
The band performs much of its self-titled debut on the first disc, including "Soul Kitchen," "Alabama Song (Whisky Bar)," and the first single, "Break On Through (To The Other Side)."
Along with those early originals, the band indulges its love of the blues with Bo Diddley's "Who Do You Love," Muddy Waters' "I'm A King Bee," and Allen Toussaint's "Get Out Of My Life, Woman," which has never appeared on any previous Doors albums.
Read it all here:
The resultant recording is very clear almost early soundboard quality with the vocals very dominant in the mix. The rest of the instruments are well back in the mix and have a very slight dullness and hollowness to them that you can get with an audience recording, which is an interesting contrast to the crystal clear vocals. The tape is a little light in the bass frequencies and the high frequencies are muted very slightly but there is a mid range warmth to the recording which makes it a very enjoyable listen. There is also a slight background hiss which is only evident during the between song quiet passages.
Read it all here:
https://rapidshare.com/files/1072023194/The Garage_ Glasgow_ Scotland February 6_ 2002.rar