Customer Reviews

Absolutely Live

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Do not buy this CD "Absolutely Live" by the Doors. Pay the extra few dollars more & get the double CD, "In Concert" instead. The reason, the "In Concert" double disk has the live albums "Absolutely Live," "Alive She Cried" & "Live At The Hollywood Bowl" all in one package with one exception: an unreleased live version of 'The End' (the main reason to get that double disk just for that song alone!). Get it & it'll be money worth spent.

The one and only official live-album released in between "Morrison Hotel" and "L.A. Woman" albums, this shows the Doors at it very best. They were not a middle of the roadband who played each night a greatest hits show but varied their setlist as often as possible and did not only play wellknown songs of their albums, on the contrary. Looking on the songlist on this album it shows more songs outside their studioalbums. To begin with a dynamite McDaniel classic "Who Do You Love" with the same sometimes weird lyrics as James Morrison used to write, to a medley which has "Loves Hides", a short but interesting track, not available on any or the regular albums. The same goes for the beautiful "Universal Mind", reminiscent of the "Waiting for the Sun" album, and the even stunning "Build Me a Woman", which is more from "The Doors" album but nevertheless doesn't appear on any of them. Further comes "The Celebration of the Lizard" in its long form as it is used to be but neither on any album released (that is until the 2003 compilation "Legacy" and the 2006 box "Perception"), from which the lyrics are printed inside the "Waitin for the Sun" album because of the song "Not to touch the Earth" which is a part of the mentioned longtrack, overall an outstanding performance (comparible to that on "The Doors Box" set, the "Live in New York" disc) and - oh surprise - the Ray Manzarek sung Willy Dixon classic "Close to You" (on the "In Concert" package switched to the second disc), somewhat comparible to the L.A.Woman outtake "(If You Need Meat) Don't Go Further", also by Dixon and sung by Manzarek. And last but not least "Dead Cats, Dead Rats", which preludes a heavy metal version of "Break on Through (To the other side)" with stunning guitar work by Robbie Krieger. Closer "Soul Kitchen" is also fabulous. The midsection is dominated by a long version of "When the Music is over", the audience was clearly having trouble with something or someone and the singer shows his annoyance and treathens to stop the show or play only one repeating note by Manzarek, with which the audience give in and the song evolves to a real eruption. Many acts have released timeless live recordings, this is definite one of them. Superb, it really gives you an idea how a Doors performance could have been and gives you the feeling that you were there. Highly recommended!

I'm sorry, but "Alive She Cried" is marred by Morrison's escalating problem of being wasted, sometimes not even appearing onstage. At one such show in France, the band played as a trio and keyboardist Ray Manzarek took over lead vocals and displayed a Morrison imitation I hadn't known he could do. And the later "Live At Hollywood Bowl" is only an EP with less than 20 minutes on it and only two real songs: "Light My Fire" and "Unknown Soldier", the rest of the tracks being loose segments from "Celebration Of the Lizard", which you get on this release in its entirety. But on this album, Morrison is in fairly good voice, only marred by having to transpose the refrain of "Break On Through" because he did that one too late in the show to be able to make the high notes. He does start that one off with the spoken intro to "Soft Parade", an album that wasn't out yet. We also get the blues oldie "Close To You" lead sung by Manzarek, who we only hear on lead elsewhere on the b-side of the single "Wishful Sinful", a track that hasn't reappeared on any rarities sets. This is a bit prophetic, because after Morrison's death the band did two more albums as a blues trio, with Manzarek and guitarist Krieger swapping off lead vocal duties. Those albums are "Other Voices" and "Full Circle" and neither are in print anymore. It figures--after all, you have no Morrison, you have no Doors in many fans' eyes. But the centerpiece of the album is the epic "Celebration Of the Lizard", a work hinted at on the cover of the album "Waiting For the Sun", lyrics printed in full, but the only part of it that actually appeared on that album was "Not To Touch the Earth". They never did get around to doing "Celebration" in the studio.

A great addition to any Doors collection. I first heard this about 15 years ago and have since bought first the double album set, then the CD. It is classic Doors, and typical Morrison. From the music, and also his reaction to what's going on in the crowd, you get the impression Morrison nevers really cares what the audience thinks about his art. This doesn't take away from his passion for the music though, as testified by the songs included. Each and every piece is a story all on it's own. Highlights include a great version of "Break on Thru", and the epic poetry of "Celebration of the Lizard". The low point of this concert was "Build Me a Women" which is just plain dumb. However it's then followed by a interesting version of "When the Music's over" which has Morrison screaming at the crowd to shut-up. Overall a great concert, and an absolute must for Doors fans everywhere!

"Absolutely Live" well chronicles The Doors ability as a live band through some of their most blues based songs, as well as long epics displaying Morrison's poetry and the crews overall instrumental talent. Although in some ways misrepresenting the group's efforts in the studio, there is no question that this is an exceptional set of live songs, all performed very well.

The opening track entitled "House Announcer", although obviously not a song, very effectively produces crowd energy, and that energy continues through "Who Do You Love?", a great Doors rocker. To follow this, The Doors compile a great medley of tracks beginning with Alabama Song. Although the performance lacks contrast to the original recording, it does segue perfectly into the very heavy, bluesy feel of "Backdoor Man", with Morrison in his loudest lyrical form. "Love Hides" is a slower paced track, with a great vibe to it. In my opinion, this specific recording of "Five To One" in many ways totally defeats the studio recording. The guitar solo is performed very cleanly by Krieger. In fact, his guitar sounds very clear throughout this album.

Reaching "When The Music's Over", we get a sensational performance of one of The Doors "epic" songs. Manzarek's organ is sounding as beautiful as ever, as are Densmore's drums, and Morrison delivers the perfect vocal. "Close To You" is a nice taste of blues with Ray Manzarek giving a very impressive vocal. "Universal Mind" seems to be the only song that lacks energy on the track listing, however it is a great soft song, with a deep bluesy feel. Following that up is the introduction to "The Soft Parade", however the crew doesn't perform the actual song. "Dead Cats, Dead Rats" is a rather obscure lead-in to "Break On Through(To The Otherside)", but it works fairly well. As for "Break On Through", the song rocks out relatively well, however Morrison's vocal is on the lower end. "The Celebration Of The Lizard" comes next, broken up into short segments, which divide the many different phases of this epic song, which unfortunately The Doors never recorded in the studio. "Wake Up" is a solid surge of energy, however there are better recordings of this particular section of this song(i.e. "Live In New York" found in The Doors Box Set). "A Little Game" is a strong dynamic segment to the epic song, with its continuing building energy in the instruments and Morrison's vocal. "Not To Touch The Earth" will be the favourite for most fans, myself included. Morrison's poetry ends the song well too in "The Palace Of Exile". "Soul Kitchen" is a fantastic closer, with a great all around performance from the group.

Overall, in summary this is a great buy for any fan of The Doors, as it definitely gives a good taste of the band as a live act. The performances are all great, with the sound quality and overall edits making it a great listen. Highly recommended to any Doors fan, along with basically any of their studio albums or Greatest Hits compilations.

The Doors could play blues better than ANYONE. Don't believe me? Just listen long and hard to "Close To You", by far the most excellent song on this album. To be quite honest, it makes the Muddy Waters version sound pitiful (with all due respect). Just listen to Ray's thunderous, masculine vocals and tell me that this isn't blues at it's absolute best. And Jim sings background vocals on this one, too. That part where they keep wailing "CLOSER AND CLOSER BABY!" is just too awesome for me to describe in words, as is the driving beat of the song. And listen to the way that John keeps thrashing his cymbals. Man oh man, you'll never find a blues tune better than this one, so don't even try. IT'S JUST TOO FRIGGIN' AWESOME!!!
Okay. the rest of the album is wonderful too. In particular, the version of "Five To One" is practically surreal in it's intensity. And Robby throws in the most devastating solo that I've ever heard him play. "Who Do You Love" is also great, much better than the dorky George Thorogood version. "Back Door Man" features another blistering solo by Robby, and "Soul Kitchen" may even be better than the original version.
But none of those songs can compare to the raw, fiery, unmatched blues that is "Close To You". That song alone is worth the price of the whole album.

This record was the first Doors album I ever recorded to tape, so that I could carry it around and listen to it. It carved a very deep, lasting groove into my consciousness. Sure it has flaws and a few "what were they thinking ?" moments, but when you take this record in its vinyl configuration and listen to it from beginning to end, it gives you a great idea of what alive Doors' show was like. But it brings much more than that. To me, it reveals an echo of the rapidly decaying "Woodstock" ethos. Things were getting dark and a little creepy both in America and among The Doors themselves. The gloss of their impeccably produced studio records is nowhere to be found. A dangerously unfettered Jim Morrison was doing weird-assed things on stage and you never knew if the deferential and polite Morrison, or his Id-driven alter ego Jimbo was going to take the mike. That this is now back on the Billboard charts, simply on the basis of a new vinyl edition, with no corresponding CD version, shows what that experience means to much younger audiences than we baby-boomers.

In 2010, rock music is forced, tired and as stiff as Scott Stapp's singing voice. Each new record release is orchestrated by record company buffoons to get attention from a yawning audience. There is nothing for the theatre of the mind, much less the soul, in most new bands. This rough shod piece of Doors' live shows from 1970, released while Morrison was still with us, gives some like me a fond look back to a time when rock mattered, when it spat where it ate, and where poetic license had some legitimate meaning, because rock was being played by real poets. That's all I need to know to buy this, yet again, on vinyl.For younger listeners, it gives a view of a record as a subversive act, and shows how to make great music that doesn't rely much on technology to get it's point across.

And the point of "Absolutely Live" ? I have no idea. I just know that it made that point with a frightening, primal "WAKE UP ! ", not 120 Db of overproduced guitars.

Uh, can we get the original cover and a spiffy new remaster job on CD anytime soon ? Just wondering.

Beauty in one of its purest forms...
Just as simple as that.

If you have listened to all the other Doors albums then you'll love this one. Jim "The Lizard King" Morrison and the rest of the Doors do an outstanding job playing music. If your a true Doors fan then you'll love it no matter what.

This live album contains much good material, without the Doors AM hits. Altho Not to Touch the Earth is better than the rest of Celebration of the Lizard, Side 4 is interesting with the full Celebration and an intense version of Soul Kitchen. Also a highlight is the Break on Thru performance. Universal Mind, Coltrane influenced, is pretty. I sometimes get tired out by the Alabama Song/Backdoor Man/Five to One Medley but it's OK. Ray's organ blasts highlight a good version of When the Music's Over.