Monday, August 6, 2012
WHEN THE MUSIC"S OVER
Nothing unusual this week other than some frustrating moments at work, leading me to question it all. But there was no questioning what would be happening this Friday and Saturday night.
Good uploading/downloading services are getting tougher to find. The crackdown continues as files to the music I like dry up.
https://rapidshare.com/files/3808793208/EATB West Hollywood CA 12-6-05.rar
The Doors camp has long held that the band’s May 2, 1970, show at the Pittsburgh Civic Arena was the tightest performance of its extensively recorded final tour, as the wildly erratic Jim Morrison showed up that night neither remote nor out of it but clear and focused. Following the replacement of a pair of long-missing sections by original engineer Bruce Botnick, this storied set can finally be heard, and absorbing it purely as an aural experience is, as they used to say, a trip.
This is music intended inspire a trance-like state – though it helps if the audience is already zoned-out to begin with, a given in this case – and right from the opening “Back Door Man”, the three players cast their spell. The extended vamps unfurl in strikingly stark and eerie patterns, bringing to mind the otherworldly churn of Portishead, albeit with a human pulse; sometimes minutes go by with little more happening than a relentlessly regular drum-and-keyboard-bass groove from John Densmore and Ray Manzarek.
These narcotic grooves propel surreal excursions like “Roadhouse Blues”, “Mystery Train” and “When The Music’s Over”, full of subtle variations in mood, rhythmic emphasis and dynamic intensity, as the band moves seamlessly between arranged and improvised sections.
In a committed performance as shaman/ringmaster, Morrison shape-shifts between a theatricality that’s practically Shakespearean in its declamation, and his version of method acting. He speaks in tongues in the breakdown of “Roadhouse Blues”, while spontaneously working in bits of other songs during the stretched-out segments, keeping the bandmembers on their toes – but then, going with the flow is their strength.
Morrison’s acuity allows guitarist Robbie Krieger to shine in his role as the echo in a call-and-response dialogue with the singer, using his trusty Gibson SG to capture the cadences and tonalities of the sounds Morrison emits, with Manzarek’s organ underscoring the interaction in the intoxicating payoffs. Throughout the set, the band masterfully conjures up the dusky atmospheres that enable the frontman to beguile and intimidate.
It’s safe to say that Live In Pittsburgh is the first Doors live album that captures the band at its spellbinding peak. From this point forward, no longer will the Boomer need to explain, “You had to be there.”
This may be the clearest representation (aside from 'Live In Tokyo') of the '83 era lineup, and catches them after they've been able to put a few gigs under their belt.
There were apparently issues with the sound mix during the first track, which rapidly clear up afterwards.
At the start of 'Public Image', John warns the crowd "Don't get fuckin' stupid," apparently Bristol was pleased to hear this as the opening number. The most apparent thing of this version is the organ sound, it's straight out of Wurlitzer, as others have noted, the 1983 gigs feature all sorts of odd keyboard styling's. Otherwise, it's a decent version, especially for the much-maligned 'Holiday Inn' lineup, but of course lacking the punch of the Levene/Wobble line-up.
Still good enough to get the punters spitting, enough to annoy John and get him to finish the song with a "Goodbye, stop gobbing you cheap little turd."
I guess things were going par for the course, as Lydon introduces 'Annalisa' with "What a nice crowd. And now another little bit of show business wonder."
By this point, I guess the spitting was starting to annoy, as before 'Religion' John says, "Really now, boys and girls, don't you think the spitting is a bit old-fashioned, do you know what I mean? Oh, I see. Mental retards! Never mind, you'll catch up with the rest of us one day."
The song is introduced with Lydon stating, "Get a load of the new god." and the song gains a long churchy organ intro. Sounding pleased with the performance on this number, Lydon announces "I'm fucking great, ain't I? Thank you. Crowd cheers their agreement.
An airing of 'Solitaire' can be found after renditions of 'Memories' and 'Chant'. By the end of this song, Lydon comments, "Yeah, why do I feel like a f**king spittoon?"
'Flowers of Romance' is pretty shambolic, with the syn-drums being particularly suspect. I think this is what John's sarcastic-sounding "niiice" was directed at. At the end he says something I can't make out to one of his bandmates and then tells the crowd, "Sorry, I fucked that one up boys and girls."
'Anarchy in the UK' features a 1-2-3-4 count-in. While I presume many fans were pleased to see this played, it's easily the least interesting song of the night. Lydon: "Nice to have something good to go back for a change, right? Good night!"
There's a cut in the tape between main set and encore, and John says "One more?"
The encore tracks seem to be a bit hissier than the rest of the tape, and there's a few issues with the tape for the first part of 'This Is Not A Love Song'.
Afterwards, John tells the audience, "If you want more you're gonna have to yell really loud. I'll be relaxing in my five star dressing room."
Another cut in tape between first and second encores.
During the chorus of 'Under The House', Lydon says, "Fuckin' ell, my throat hurts. You're gonna have to sing this one for me." The fans oblige, but it's not enough to save this one. Lydon announces, "Let's end this song and do another," so the band cease this song and progress with playing 'Attack', which is introduced with a "Welcome to the garden, Maude." Lydon ends it with a "Wow" and the recording abruptly stops.
All in all, a fairly good listen, helped by the good sound quality.
https://rapidshare.com/files/1343946357/Studio Bristol November 08 1983MP3.rar