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Live In Boston 1970 [Blister]
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Album: Live In Boston 1970 [Blister]
# Song Title   Time
1)    Start - (First Show)
2)    All Right, All Right, All Right - (First Show)
3)    Roadhouse Moan - (First Show)
4)    Roadhouse Blues - (First Show)
5)    Ship of Fools - (First Show)
6)    Alabama Song (Whiskey Bar) - (First Show)
7)    Back Door Man - (First Show)
8)    Five to One - (First Show)
9)    When the Music's Over - (First Show)
10)    Rock Me - (First Show)
11)    Mystery Train - (First Show)
12)    Away in India - (First Show)
13)    Crossroads - (First Show)
14)    Prelude to Make up! - (First Show)
15)    Wake up! - (First Show)
16)    Light My Fire - (First Show)
1)    Start - (Second Show)
2)    Break on Through - (Second Show)
3)    I Believe in Democracy - (Second Show)
4)    When the Music's Over - (Second Show)
5)    Roadhouse Blues - (Second Show)
6)    Spy, The - (Second Show)
7)    Alabama Song (Whisky Bar) - (Second Show)
8)    Back Door Man - (Second Show)
9)    Five to One - (Second Show)
10)    Astrology Rap - (Second Show)
11)    Build Me a Woman - (Second Show)
12)    You Make Me Real - (Second Show)
13)    Wait a Minute! - (Second Show)
14)    Mystery Train - (Second Show)
15)    Away in India - (Second Show)
16)    Crossroads - (Second Show)
1)    Band Intros - (Second Show (Continued))
2)    Adolf Hitler - (Second Show (Continued))
3)    Light My Fire - (Second Show (Continued))
4)    Fever - (Second Show (Continued)/Light My Fire Cont'd.)
5)    Summertime - (Second Show (Continued)/Light My Fire Cont'd.)
6)    St. James Infirmary Blues - (Second Show (Continued)/Light My Fire Cont'd.)
7)    Graveyard Poem - (Second Show (Continued)/Light My Fire Cont'd.)
8)    Light My Fire - (Second Show (Continued)/Reprise)
9)    More, More, More! - (Second Show (Continued))
10)    Ladies & Gentlemen - (Second Show (Continued))
11)    We Can't Instigate - (Second Show (Continued))
12)    They Want More - (Second Show (Continued))
13)    Been Down So Long - (Second Show (Continued))
14)    Power Turned Off - (Second Show (Continued))
 
Product Details
Performer Notes
  • The Doors: Jim Morrison (vocals); Robby Krieger (guitar); Ray Manzarek (keyboards); John Densmore (drums).
  • 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.
  • 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.
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