Half the cake messed up
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Shibuya Live Inn, Tokyo, Japan 2nd March 1998
Here's some -Blues-Indian Classical-Underground-'60's amazing gems from long time ago...
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PW: Henry's Archive
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Henry's Archive
PW: Henry's Archive
just copy & paste:
Henry's Archive
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Shibuya Live Inn, Tokyo, Japan 2nd March 1998
There are no longer 'dancers', the possessed.
The cleavage of men into actor and spectators
is the central fact of our time. We are obsessed
with heroes who live for us and whom we punish.
If all the radios and televisions were deprived
of their sources of power, all books and paintings
burned tomorrow, all shows and cinemas closed,
all the arts of vicarious existence...
We are content with the 'given' in sensation's
quest. We have been metamorphosised from a mad
body dancing on hillsides to a pair of eyes
staring in the dark.
J.D.M.
The cleavage of men into actor and spectators
is the central fact of our time. We are obsessed
with heroes who live for us and whom we punish.
If all the radios and televisions were deprived
of their sources of power, all books and paintings
burned tomorrow, all shows and cinemas closed,
all the arts of vicarious existence...
We are content with the 'given' in sensation's
quest. We have been metamorphosised from a mad
body dancing on hillsides to a pair of eyes
staring in the dark.
J.D.M.
1 comment:
3rd Generation Tape Sources, Out of Sequence & Incomplete.
The Doors and Warner Music Group issued a press release to promote this CD, stating: "Restored and carefully mastered from first generation tapes acquired by Elektra Records and The Doors 40 years ago, these historic shows never sounded better." However, at least 4 tracks here were sourced from 3rd generation or higher bootlegs. The remaining songs were mastered from an edited 2nd generation 1/4" reel to reel copy of a cassette dub made from the master reels. Neither the Doors, nor their corporate record label Warner Music Group (aka the Rhino and Elektra imprints) own the original master recordings. The master tapes are owned by Peter Abram, who had the foresight to record the band at The Matrix (with the band's permission)--more than two years before Elektra and Paul Rothchild got around to recording The Doors in a live setting at The Aquarius theater in 1969. These legendary 1967 live tapes were well engineered by the young Abram and find the rock band at the peak of their prowess as an improvisatory unit. However, the tapes Warner Music Group has published on this 2 CD rip off are vastly inferior to the master tapes, brief samples of which are circulating on the Internet with Peter's permission for comparison purposes. Some fans may choose to believe that Abram is being greedy by asking for cash for his tapes. However, The Doors manager Jeff Jampool has publicly stated the Doors' policy about acquiring live tapes is that they will only provide a small royalty based on sales. According to Abram, he wasn't even approached to sell his tapes to the Doors for this release. And what about all those bootlegs on the market? According to Abram, all bootlegs derive from the missing first generation cassette copies in the Doors archive, which vanished in the 1970s. The fans get a sonically subpar, incomplete product. The legality of this release is suspect since Peter owns the master tapes. Peter Abram receives zero money from this product, even though he owns the master sound recording. Meanwhile, your purchase of this material will make Warner Music Group and The Doors a little bit wealthier. And this is the same rock band that recently sued itself for $5million dollars over issues of "integrity." By the way, how much money was cover designer Stanley Mouse paid for his Matrix album cover art, while they guy that actually recorded the show--on his own nickel and made this cash cow possible for The Doors--doesn't even receive a credit as recording engineer in the liner notes?
Cheers,
Henry
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