Absolutely Live

The initial offering of live Doors music is this pretty meticulously-stitched double from producer Paul Rothchild. In it, he attempts a recreation of a realistic concert experience. He succeeds most of the time. The opening stage announcement, which he incorporates onto the record, gets the listener in that mindset.I suppose the calling card of the LP is the debut of the mythic suite "The Celebration of the Lizard" and it's justified in its appearance. Jim Morrison is in full possession of his theatrical faculties while the band keys off each other unbelievably well. Though as interesting a piece of theatre as it is, there are deeper treasures that ratchet up more excitement.The band rocks the blues with intensity on a cover of Bo Diddley's "Who Do You Love?". Get transfixed with Robbie Krieger's guitar tremolo and wail on this. "Universal Mind" is another sign of proof on how nobody was better than Robbie in fitting haunting music into Jim's lyrics of rootlessness. And on the definitive version of "When the Music's Over", the biggest spark flies with Jim's humorous rap in the middle to get the audience more involved in the music. All four members are thoroughly connected on this number and this is even more of a theatre touchstone than "The Celebration of the Lizard".As is often the case with live two-record sets, "Absolutely Live" is imperfectly assembled. "Close to You", sung by Ray Manzarek, is reason enough that he should just stick to his excellent keys. "Break On Through #2" is a dull redoing that doesn't make the grade. However, all is forgiven by allowing "Soul Kitchen" to be the closer it should be. Nothing could follow it except exiting to the concession stands and head shops. Audiowise it's a realistic enough concert experience for me even if it was painstakingly made.P.S. Dedicated to Stoneman - an absolutely superb DJ at WPLR in New Haven, CT. "Absolutely Live" was a turntable favorite of his as he would feature several songs from it whenever he devoted his nightly 7:00PM-10:00PM specials to Doors music exclusively. He alone turned me on to this record in early 1978 when the other stations shied away from it. Long live Stoneman!

The Doors and Jim Morrison are alive.......on this album from well over forty years ago. Very good recording that highlights the strengths and the uniqueness of the Doors. The band plays great and Morrison's vocals are clear and strong. On a good night they were excellent and they had a huge influence on music, then and now.The Doors were the greatest of the so called psychedelic bands of the 60's. They were really a "psychological" blues and "Art" band. Morrison started out as a poet and he goes right for the jugular. He didn't just sing about love and sex and rock and roll and good times, he was dealing with the big psychological issues of life....Freedom, the fragility of all life...and God, death and madness. Hard to believe sometimes that a group like this was so popular. Morrison was serious about his art and in this concert when he gets to the lightly played and sung part of "When the Music's Over" his concentration is broken by chattering people in the front rows .....he yells, "Shut Up" at the top of his lungs and then asks them politely to give the singer a break. He then goes into the rest of the song and the hurt, desperate screams of "Save us ...Jesus..." No question about it, he was looking for answers to this huge overwhelming thing called life. I haven't seen Stone's movie but I probably will one day. I was living in those times, going strong and loved the Doors, still do.......The Doors, a great team, a great band.I believe Morrison really suffered for his art and he thought drugs and alcohol were some kind of answer or at least a defense against the crush of reality. He saw through all of the lies of society and cultural reality and that can be a very fearful thing. He saw and felt the fragile quality of all life from the tiny butterfly to the giant lizards and dinosaurs, to man....."a killer on the road , his brain squirming like a toad...."He was an artist.

I have a long and storied history with The Doors and had this album on vinyl (of course) when i bought it in 1970. I've been waiting for it to come out in CD and you-all provided it so i jumped on it like a whore in a barbershop (or whatever) and very very glad to finally have it. I thank you. As an "aside" the Doors were the first concert I ever saw at Singer Bowl in Queens, NY and the opening band were The Who. That was on August 2nd, 1968 and was the beginning of a long and very winding road into the poignant 70s. It's always been about the muzik, ya know? Best and THANKS. Albee

The mix pushes the drums forward and the bass back. Too bad because it does not benefit Morrison who sings well. The band is not tight like on some of the studio recordings. This is a selection of live recordings from various concerts. The Doors had a reputation for being sloppy/erratic live. Listen to this album and then to L.A. Woman, no comparison.

El artículo llegó a tiempo, sin problemas y en perfecto estado.

リラックスの時に聴いてます

Se oye muy mejor en vivo, llego antes de lo previsto muy bien empaquetado recomendado con las mejores 21 canciones de ellos

ＬＰも持っていますが（元は兄の物）兄を追悼するような気持ちでＣＤを購入してiPodTouch5に入れました。当時のＰＡは最近の物に比べれば相当貧弱ですから今のライブパフォーマンスに慣れた人が聞くと物足りないかもしれませんが、アナログ世代には懐かしさも手伝って感涙ものです。　惜しい人が早世してしまい残念です。合掌

演奏ボーカルともにおとなしくLive in Bostonのときの臨場感あふれる迫力がなく、眠れる獅子といった感じだ。lIVE IN BOSTONは荒れたヴォーカルとうまい演奏の対比がおもしろく、ホールの契約時間がきても演奏をやめないなど、そこでもめるなど臨場感たっぷりでおもしろく拝聴させていただいた。Absolutelyは優等生のライブといった感じだ。優等生がいいか、多少荒れても臨場感があったほうがいいか評価はひとそれぞれだ。僕はLive In Bostonのほうがジャケットもともに好きですけどね・・・・・。LIve In Bostonを聴くとはっきりするが、このバンドは多少荒れたライブのほうがおもしろい。