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tomcasagranda
The thing is: I used to love them madly, but the end of it for me was that they no longer light my fire. The Forever Changing Elektra boxed set showcased far better artists on Elektra at the time.
I also think that, having listened to Love, and Paul Butterfield Blues Band, that the Doors cheated them of deserved success. Circa 1966, and Jim Morrison said that he wanted the Doors to be "As big as Love". Forever Changes got totally consumed by The Doors first album, yet Forever Changes was, at least in my opinion, a greater album. The Doors signed to Elektra Records as Butterfield and Love were on the label. Certainly, the Butterfield Blues Band were far better, musician-wise, than the Doors.
I think the fact is that the reissue thing kicked into overdrive, and, in my opinion, they should've left it to just the albums issued.
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tomcasagranda
I would add even the Grateful Dead don't have such a posthumous reissue series.
You.
Can't.
Be.
Serious.
[en.wikipedia.org]
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hbwriter
what's funny, Densmore just spoke in my son's class at USC - and he didn't mention those guys! clearly, there is a divide
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keefriffhard4lifeQuote
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tomcasagranda
I would add even the Grateful Dead don't have such a posthumous reissue series.
You.
Can't.
Be.
Serious.
[en.wikipedia.org]
those aren't reissues they are newly released concerts
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tomcasagranda
I think what started the reverence towards the Doors was a Rolling Stone front page with a picture of Jim Morrison, entitled "He's Hot, He's Sexy, He's Dead".
Morrison was a charismatic, good looking chap (up until 1969), and people, particularly teenagers at sixth form, or at university, bought into the leather-clad lizard king image, albeit posthumously. The bearded figure that made LA Woman wasn't much of a concern.
What also happened was that a hagiography by Danny Sugerman came out, entitled "No One Here Gets Out Alive", which traced the life and probable death of Morrison. The cover of this book showcased the leather-clad, bare-torsoed lizard king.
Morrison also gave good copy to journalists when interviewed, unlike Dylan who tended to obfuscate, or Lennon who tended, in the 60s at least, to be sarcastic. There was, with Morrison, a sense of being anarchic.
However, when the alleged flashing incident took place in Miami in 1969, it was not, ostensibly, a drunken moment, but rather Morrison trying to re-enact Judith Molina and Julian Beck's Living Theatre, wherein productions took place with audience members and actors getting naked.
Then, you start to feel that Morrison had literary pretensions way beyond his Doors status. Upon closer analysis, that certainly is true. For example, the Oedipal re-enactment of The End, calling a song Not To Touch The Earth after Frazer's Golden Bough anthropological discourse on the taboo, and when myth turns to science in society, and using Irish Celtic mythology for The Crystal Ship.
I would add that people recently pilloried Dylan for using Yakuza in Love & Theft, and Ovid's Tristia within Modern Times. Yet Morrison's literary skimmings, coupled with sub-Jimmy Smith organ-playing, go relatively unscathed.
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NoCode0680Quote
keefriffhard4lifeQuote
jamesfdouglasQuote
tomcasagranda
I would add even the Grateful Dead don't have such a posthumous reissue series.
You.
Can't.
Be.
Serious.
[en.wikipedia.org]
those aren't reissues they are newly released concerts
Well most of what has been released in recent years by The Doors has been the Bright Midnight Archives, which are newly released concerts. Has their studio work been recycled any more than say, The Stones? I only know of the original CD releases, then the 40th Anniversary releases. Are there others I don't know about?
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tomcasagranda
I also think that, having listened to Love, and Paul Butterfield Blues Band, that the Doors cheated them of deserved success. Circa 1966, and Jim Morrison said that he wanted the Doors to be "As big as Love". Forever Changes got totally consumed by The Doors first album, yet Forever Changes was, at least in my opinion, a greater album. The Doors signed to Elektra Records as Butterfield and Love were on the label. Certainly, the Butterfield Blues Band were far better, musician-wise, than the Doors.
I think the fact is that the reissue thing kicked into overdrive, and, in my opinion, they should've left it to just the albums issued.
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tomcasagranda
Zack,
You troll
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Zack
I really like the LA Woman reissue, the 40th anniversary masters,and some of the high-quality soundboard concerts that have been released in the last few years. The Doors were a great band and Ray remains a very cool, if a bit opportunistic, guy.
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Zack
I really like the LA Woman reissue, the 40th anniversary masters,and some of the high-quality soundboard concerts that have been released in the last few years. The Doors were a great band and Ray remains a very cool, if a bit opportunistic, guy.
i would say ray is opportunistic but this is what the fans want. go over to the doors message board and you'll see dozens of posts asking for specific concerts to be released
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ZackQuote
keefriffhard4lifeQuote
Zack
I really like the LA Woman reissue, the 40th anniversary masters,and some of the high-quality soundboard concerts that have been released in the last few years. The Doors were a great band and Ray remains a very cool, if a bit opportunistic, guy.
i would say ray is opportunistic but this is what the fans want. go over to the doors message board and you'll see dozens of posts asking for specific concerts to be released
My point exactly! Doors concerts were events because you never know what was going to happen! Boston, for example, was a document of what unfortunately took place from time to time. A great listen? No. Part of rock and roll history? Yes.
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howled
I think audiences tend to like songs they know.
It would of been interesting if the original Doors members were still active together in the 70s and 80s etc.
But can't rewrite history.