Disco de The Doors: “Live In Boston 1970 [Blister]”

Descripción (en inglés) :

The Doors: Jim Morrison (vocals); Robby Krieger (guitar); Ray Manzarek (keyboards); John Densmore (drums). <p>Recording information: 1970. <p>The year 1970 was a transitional one for the Doors, and the band was in an odd spot. Arguably the first group to ascend the pop charts powered by underground menace, their first few records had revolutionized the music industry. This was Morrison's and the band's greatest accomplishment, but as the lysergic haze of the '60s grew into the narcotic and booze-soaked '70s, the band could no longer lay claim to the subterranean energy that made their initial music so riveting. They attempted famously to reclaim their swagger by going back to their roots as a blues band. The problem was that, despite an excellent cover of Willie Dixon's "Back Door Man," the blues were never the band's calling card. <p>Rhino's three-disc collection LIVE IN BOSTON features two complete sets from Friday, April 10, 1970, at the Boston Arena and captures the moment just before the Doors turned their mystical psych circus into a full-blown blooze revue. As a historical document, LIVE IN BOSTON is unflinching, presenting a decidedly warts-and-all view across 46 tracks. With Ray Manzarek's polychromatic organ, Robbie Krieger's no-frills guitar lines, and Jon Densmore's Latin-inflected percussion, the band ably follows Morrison through every far-flung inspiration. The covers are many, as an epic "Light My Fire" alone touches upon "Fever," "Summertime," and "St. James Infirmary Blues" before returning to its familiar chorus. The show, of course, belongs to Morrison, who seems stuck between shaman-poet and Brechtian comic instigator. Indeed, one of the primary attractions of LIVE IN BOSTON is the banter. With more skits than an Outkast record--including idiotic stoner ramblings, period pieces, and wry self-parodies--this set proves that even at his most bloviated, Morrison could be an inspired and often hilarious performer who knew how to push a crowd's buttons. It was worth the price of admission for Doors fans in 1970 and, given the staid contemporary relationship between rock performers and audiences, it still resonates today.

Live In Boston is easily the weakest live Doors album yet. Jim is drunk and his performance seriously suffers. I was able to tolerate (and even enjoy) most of it, but I would not be surprised if someone shut this off after a few songs. Sadly, Jim only gets worse as the show goes on. A lack of pro-recorded shows and the ability to market this as "Jim Morrison at his wildest!" are the only reasons why this show is being released. If you have all the previous live Doors releases and don't mind hearing a very rough performance, go ahead and check this one out. I've enjoyed listening to it, but I'm sure it wont become a favorite. There is much better live Doors material out there. If you don't own any Doors live albums yet, start with Live in Philadelphia or Live in Detroit. Both of those shows are vastly superior to Live in Boston.

This is not a greatest hits package. This is not a studio album. This is a cd of two unedited performances....and it is brilliant. Morrison drunk without a net and wavering between goddamn genius and drunk stupidity. These performances do a great job of showcasing Morrison's sense of humor and his abilities as a frontman. This is not Jim Morrison-the Lizard King, it is Morrison-the Changeling and the crowd is with him the whole time. The first show even has its moments despite the fact that Morrison doesn't even bother to sing the lyrics to Five to One, instead using his rap from their cover of Gloria. The second show is awesome and when listened to as a singular concert experience it is even more powerful. I like the Detroit Show, but it 's too safe, this album represents all the different facets of Morrison's personality and his soul: the charming poet, shy schoolboy, redneck, exhibitionist, lovable rogue, class clown and drunk. I find it funny that people love Morrison for his words and his insight, but they can't deal with the reality of what shaped his vision and altered his perception. It's kinda like saying..."William S. Burroughs is a great writer and I love his books, but I saw him at a reading and he was strung out on heroin." DUH...

I've been a fan since 1967. I grew up in Los Angeles during the '60s, and always loved their music. A couple of years ago, The Robbie Krieger Band performed in Orangevale,CA. 3 blocks from my home. They played all the old Doors tunes. Robbie's guitar playing was awesome.

I'm about halve way through CD2, and hear no problem with vocals or music. Now if he's sloshed on the remaining tracks, WHO CARES.

Its Jim Morrison boozed up or sober. Get a life, it isn't 1971, its almost 2008, the real deal with Jim alive on stage, with the all the members. I have Live in Detroit, and other live performances. Yes, the vocals are more clearer. I enjoyed, Live in Boston so far. These reviews are way too critical

My age is 54.

Not one, but two more complete, uncut Doors shows recorded for Absolutely Live, both of these from Boston, 1970.

As has been noted by everyone, Morrison is clearly drunk for the performances. This is a grittier show, with all the good and bad the band was apparently capable of. The music is excellent as the band carries the singer through most of this. It's unpredictable, it's not always pretty, but it's definitely a welcome release from a band that keeps re-releasing their studio albums. And despite the famously inebriated singer, there are many excellent moments here as years of live performance experience propel the band forward.

Unlike the older Doors live releases (Absolutely Live, In Concert), this one has no overdubs, and is from single sources, uncut and unfudged. Once again, Doors engineer Bruce Botnick is responsible for the mixing here. Some funny moments, too, such as when the Boston house management shuts down the power, effectively ending the show, with Morrison warbling "Hey! Hey!", and the crowd booing.

Very nice package, three discs, liner notes, nice photos, and original poster art. The recently released Pittsburgh 1970 disc is a better overall show, with a sharp Morrison. This is definitely recommended for diehards and completists. More casual fans may want to pick up one of the other excellent Bright Midnight releases (Detroit, either Aquarius package, Philly, or Pittsburgh).


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