Tag Archives: Door

Archives: The Doors – Weird Scenes Inside the Goldmine

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The Doors – Weird Scenes Inside the Goldmine (Electra 8E-6001)

Before last July, they called him a pervert, a satanist, a syphilitics maniac, an alcoholic, and a transvestite.

After last July, they called him a genius, a virtuoso vocalist, a superb showman, and a worthy idol to millions.

“He” is Jim Morrison, famed lead singer of The Doors. July 3, 1971, he died. The man who was once the object of critical ridicule is now an immortal. Weird Scenes Inside the Goldmine is his eulogy.

Enclosed inside the two-record set is a soundtrack to a generation. The generation that shredded their flower-power image with The Doors, marveled the wonders of acid with Strange Days, discovered country-rock with Soft Parade, came down from Altamont with Morrison Hotel, and got drunk with Absolutely Live.

The LP is actually a form of the “greatest hits” concept, being the cream of the album cuts, or, as the album sticker implanted on the jacket states, “22 Classic Doorsongs.” The single hits were previously released before Morrison’s death as 13.

Weird Scenes Inside the Goldmine, when listened to in it’s entirety proves several things. In almost every pre-Other Voices album reviews of Doors albums the subject of the similarity between all the songs is touched upon. I can remember Chris Van Ness of the Free Press said of L.A. Woman, “Every song every recorded by the group sounds the same as the first album’s material.” This album seems to be the necessary evidence to prove the contrary. The Doors were a changing band. They evolved, while Morrison’s extremely conspicuous voice remained constant presenting the illusion of stagnating consistency. It isn’t hard to distinguish the difference between “Break on Through” and “Riders on the Storm” when they are conveniently placed on the same album. The former cut was raw Doors, while the latter an excellent mellow attempt to appeal to a vast James Taylor-Joni Mitchell-Gordon Lightfoot hungry audience. The sole item The Doors, in their last days, had in common with the early Doors was the above mentioned consistency of Morrison’s vocals.

Another evidency is the overall noticibility of their inevitable break-up. The Doors were actually Jim Morrison and back-up band. The crowds came to see Morrison. The public bought records to hear Morrison. Look at the sale of, say this album and compare it with the sales of Other Voices. It is quite obvious that sooner or later the other members, Robby Krieger, Ray Manzarek, and John Densmore would get the ever-popular creative urge for equality, ala Creedence.

It can’t be said that Jim Morrison was The Doors, but it can be said that Morrison made the Doors. Without him, Krieger, Manzarek, and Densmore have lost their uniqueness. They immediately fall into the category of being a two-bit band that sounds just like a thousand others.

Weird Scenes Inside the Goldmine is actually two collections. A mandatory collection of some of the best Doors music recorded, and a mandatory collection of the best music ever recorded. And you can be sure there’ll be none like it again.

Courtesy of the Door (aka San Diego Door) – Cameron Crowe –  February 24, 1972 – March 9, 1972

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Feb 4, 2013

Archives: Raspberries – Self Titled

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Raspberries – Raspberries

It’s awfully hard to figure this band out. Many times an album, especially a debut album, will go in numerous directions functioning as an exposure to the band’s versatility. This album can head in as many as three different paths within the tight boundaries of a two-and-a-half minute track. I’m not saying it’s good…I’m just saying I like it.

Let’s look at the LP opener, “Go All The Way.” A commercial piece of music if ever there was one, the cut sounds for the first five seconds like a Stones or Humble Pie track. The curt, sassy sound of a twanging lead guitar. A moment later and the guitar is replaced by a disciplined strum behind a falsetto vocal.

Three cuts later and we are served up a tasty piece of rock ‘n roll in “Rock & Roll Mama,” a classic tune that, had the Stones themselves done it, every pimply high school band in America would chalk up in the repertoire.

Raspberries is the type of band that in a year could either be headlining the Sports Arena or a part of the never-never land of oblivion.

Courtesy of the Door (aka San Diego Door) – Cameron Crowe –  June 8, 1972  – June 22, 1972

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Jan 28, 2013

Journalism Archives: Mott the Hoople – All the Young Dudes

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Mott The Hoople – All the Young Dudes

Released in England several weeks ago and yet to be made available in the States is Mott The Hoople’s fourth album, All the Young Dudes, named after the incredible single of the same name.

Produced and arranged by David Bowie, All the Young Dudes fails to live up to the excitement of the title cut…a very English, very metal, very riske ode to homosexual rape. “I’ve been wanting to do this for years”, admits the aggressor, lead-singer Ian Hunter as the cut fades into either “Sucker” or a label depending upon whether it’s the single or the LP. Despite its overly decadent theme, “All the Young Dudes” is very simply the best single since “Take It Easy” graced the airwaves.

The album opens with the theme song of Bowie’s musical idol, Lou Reed (who, by the way, is letting David produce his next album), “Sweet Jane”. A quite limp delivery on Hunter’s part and a plodding accompaniment courtesy of the boys in the band provides for a soggy indication of what’s to come. The rest of the record follows fairly closely the impact (or lack of it) of the previous. The recording job is very  clinical and exacting, a habit which suits Bowie’s own style but reveals a major flaw in Mott The Hoople’s, who is best displayed in a somewhat reckless light.

But it’s a fun record. The material is lyrically dependant on tongue-in-cheek for its effect, and Bowie, in his production debut is impressively meticulous. Too bad that the intricate arranging and direction was utilized by a group who just can’t benefit from it.

Courtesy of the Door (aka San Diego Door) – Cameron Crowe –  November 4, 1972  – November 18, 1972

 

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Jan 20, 2013

Journalism Archives: The Flying Burrito Brothers

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Flying Burrito Brothers – Last Of The Red Hot Burritos (A&M SP 4343)

Besides being packaged in the best jacket to be seen around, this live LP serves as the last glimpse of the sadly, unheralded Flying Burrito Brothers. Hence, Last Of The Red Hot Burritos. To be taken literally.

The Burritos seemed to be, in their existence, somewhat of a halfway band collecting various refugees from California folk-rock bands.

In this LP, Chris Hillman and Al Perkins, now with Steve Stills’ Manassas band, combine with fiddler Byron Berline and banjoman Kenny Wertz to unleash a tremendously versatile array of material.

From the earthy bluegrass of “Orange Blossom Special” to the rockin’ standard “Six Days on the Road,” the album remains as one of the best efforts of this year despite the tinny recording job, the amazing shortness, and the suspiciously over-enthusiastic audience.

Courtesy of the Door (aka San Diego Door) – Cameron Crowe –  July 28, 1972  – August 17, 1972

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Oct 4, 2012

Journalism Archives: Randy Newman – Sail Away

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Randy Newman – Sail Away (Warners/Reprise MS 2064)

For the past three years, Randy Newman has been the darling of the critics and the epitome of obscurity to all others.

Sail Away is Randy’s most commercial effort, which doesn’t detract from his overall performance at all. For the first time, I heard the cut “Sail Away” on AM radio, some kind of first.

Although Sail Away is a bit slicker than Live or even 12 Songs, if it gains him a little exposure it makes it all worthwhile.

That same old, tongue-in-cheek humor and drama is presented in the same “what-me-worry?” style that no studio proficiency can conceal.

Buy the album. The case of the unrecognized genius pianist is the biggest sob story in contemporary music.

Courtesy of the Door (aka San Diego Door) – Cameron Crowe –  June 22, 1972  – July 6, 1972

 

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Sep 7, 2012

Door Reviews: Mama Lion, Navasota & Argent

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Mama Lion - Self Titled LP

Here’s three brand new and brief LP reviews from the July 7, 1972 edition of the San Diego Door. First up is a Mama Lion’s Self Titled LP which has gotten more notoriety over the years for the album cover than the music (I’ll let you Google the uncensored inner album sleeve if you see fit). Equally obscure and panned is Rootin’ by rock band Navasota. Lastly is Cameron’s positive and quick take on Argent’s All Together Now. They scored a huge hit in 1972 with “Hold Your Head Up” which helped catapult All Together Now to platinum status.

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Apr 16, 2012

Door Reviews – Beach Boys, Blues Project & The Mothers

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Three more new San Diego Door reviews from the summer of 1972. First up is a Beach Boys Pet Sounds/Carl As The Passion-So Tough Double LP. Next up is the self titled Blues Project LP which Cameron plans on using as frisbee. Lastly, Cameron looks at Frank Zappa’s The Mothers live album and sees a bit of charm in it. We are now up to 198 interviews, reviews, liner notes, etc. in the Journalism section. Number 200 is right around the corner…

Filed under News
Aug 12, 2011


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