The Doors - Live in Detroit (Cobo Hall, 05/08/1970)
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Music CD Cover
Artist: The DoorsBrand: DOORS
Edition: Music CD
CD Release Date: 2004-05-11
Music Label: BRIGHT MIDNIGHT
Soundtracks:
Music CD 1
- Tuning [*]
- Roadhouse Vamp [*]
- Hello to the Cities
- Dead Cats, Dead Rats
- Break on Through (To the Other Side)
- Alabama Song (Whiskey Bar)
- Back Door Man [*]
- Five to One [*]
- Roadhouse Blues [*]
- You Make Me Real [*]
- Ship of Fools [*]
- When the Music's Over [*]
- People Get Ready [*]
- Mystery Train [*]
- Away in India [*]
- Crossroads [*]
- Tuning [*]
- Carol [*]
- Light My Fire [*]
- Been Down So Long
- Love Hides [*]
- Mean Mustard Blues [*]
- Carol (Reprise)
- Close to You [*]
- I'm a King Bee [*]
- Rock Me Baby/Heartbreak Hotel [*]
- The End
Free Music Notes for Live in Detroit (Cobo Hall, 05/08/1970)
Free Music Review: THE END of music evolution.
Hit: 5 Stars
Music evolved over the millennia.
Then The Doors played Detroit,
and evolution was complete.
"The human race was dying out,
no one left to scream and shout."
"When the music's over,
turn out the lights."
"This is The End
of our elaborate plan."
Jim Morrison and The Doors challenged convention, whether it be on the Ed Sullivan Show, where the band refused to change the lyrics to 'Light My Fire', or in Detroit on May 8 of 1970, when they ignored the union curfew and played an extra hour, enlisting a willing crowd in their rebellion with "don't let 'em chase us off". As a result, both were added to the growing list of venues that closed their doors to The Doors. Had Morrison lived longer, they may well have run out of places to perform.
Disc one of 'The Doors Live In Detroit' is an unrelenting education in rock and roll execution. The tracks are much more craftily constructed than the listings on the insert would suggest. 'Roadhouse Vamp', for example, is an instrumental version of 'Roadhouse Blues', which sits down briefly for Morrison to poetically tally the cities on this mini-tour ('Hello To the Cities'), before breaking into 'Dead Cats Dead Rats', which is really 'Break On Through', which it segues into. Fiery organ runs are offered by Ray Manzarek on tracks such as 'Ship Of Fools' and 'Break On Through', while Robbie Kreiger dashes off scintillating lead guitar runs on tracks like 'Back Door Man', 'Roadhouse Blues' (which also includes some fine rock-scat vocals from Morrison), and mimics Morrison's soaring vocals on 'Away In India' (which is played as another suite, teaming up with 'Mystery Train' and the closer, a cover of Robert Johnson's 'Crossroads'). 'Mystery Train' is a work of art in itself, slowly building tempo just like a train gathering steam, and erupting in some ominous Manzarek organ runs. The only respites from this rock and roll tsunami are 'Whiskey Bar', with its sweet pop melody seemingly mismatched to its ode-to-boozing-it-up lyrics, and 'When the Music's Over', one of the band's more psychedelic offerings (how else could you characterize, "Before I die, I want to hear, I want to hear, the scream of the butterfly")? The lyrics often challenge non-musical conventions, such as the revolutionary "the old get young and the young get stronger, they got the guns, we got the numbers, we're gonna win, yeah we're takin' over" from 'Five To One', as well as the spiritually penetrating, "cancel my subscription to the Resurrection, send my credentials to the house of detention" from 'When the Music's Over'. The band created an amazing, full-spectrum of sound despite omitting a bassist or rhythm guitarist, relying heavily on the often medieval texture of Manzarek's organ musings.
Disc two continues the rock and roll rampage as The Doors fulfill a backstage request for 'Carol' ("let me steal your heart away") before launching into a nearly twenty minute long tretise on 'Light My Fire'. When the band is ready to perform their last song, Morrison asks what they want to hear, and despite already having performed it, the crowd proclaims 'Light My Fire' the loudest. Fortunately we're treated to a rare and captivating performance of 'The End'. Aside from those three tracks, however, disc two is heavily blues oriented. On track four, Lovin' Spoonful founder John Sebastian is coaxed onstage, and through track ten the band puts on an exposition in blues standards. Even a reprise of 'Carol' takes on a blues motif, and Morrison offers up some blues-oriented poetry on 'Love Hides'.
Other audience participation includes Morrison parlaying a D mouth harp from a patron for John Sebastian to play. "Well get it up here, man", Morrison urges after mining the instrument from the throng. Since the disc features the entire concert, other 'contributions' from the audience are a trip in themselves. One audience member continually chimes in with "Wake up, Detroit!", which becomes especially poignant when Morrison screams out his own "Wake up!" in the midst of a slow passage in 'The End'. Cries such as "Get it together" and "You're beautiful" create a meaningful time context for the listener.
'The Doors Live In Detroit' is certainly one of the finest representations of the sincere spirit and intensity of the psychedelic era in music. Some brief segments of the recording are less than prime, such as 'Roadhouse Vamp' which sounds quite a bit like an overplayed vinyl record, but all-in-all this is an outstanding performance and well-recorded document. If you're a Doors fan, there is no question this two-disc set belongs in your collection, and the same is true even for the casual Doors fan. If you're not sure what you are, but you like rock or blues music, especially the vintage 1960's variety, give this one a spin. You're likely to be delighted.
Live in Detroit (Cobo Hall, 05/08/1970) Poster
No Description AvailableNo Track Information Available
Media Type: CD
Artist: DOORS
Title: LIVE IN DETROIT
Street Release Date: 05/11/2004
Genre: ROCK/POP
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