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CLEVELAND 1970 AUDIENCE RECORDING - February 13th 1970


Contributed By: Doc West via Chris Simondet

On February 13th, 1970 The Doors late show performance at Cleveland's Allen Theatre is captured on cassette tape by audience member Doc West. Highlights from this mostly complete recording of the show include a lengthy performance of When The Music's Over, a tour rarity Will The Circle Be Unbroken, and a comedic pastor-like sermon from Jim Morrison himself. We'd like to give a very special thanks to Doc West for his loaning of the master tape to Chris Simondet who has in turn released to the world a fantastic digital transfer of this unique concert recording!

TAPER'S NOTES:


"The opening act was 'Eli Radish', a band from the Cleveland area...Jim was wearing black, head to toe...he had a lot of fun and alluded to the Miami concert when said "I've got something to show you tonight, and it's bigger than a breadbox" and was quite sober....the show was longer than usual Doors concerts....the show ended, we headed for the exits when Jim came back onstage and told some of the motorcycle gang that was in front of the stage to stop people from leaving...Jim said that someone had stolen one of their jackets and then flipped the audience the finger and said 'thanks Cleveland' and went back behind the curtain....we were shocked but it was post Miami, so we were looking at each other wondering if this was over or not....then Jim came back onstage and said there had been a mistake and The Doors wanted to play longer, but their drummer's hands had been taped up....was there a drummer in the house who could play with them....a minute or so later he came back and they had the opening act's drummer playing for them....at one point Ray Manzarek sat on a chair and played slide guitar on i believe 'Little Red Rooster'....I was only 19 years old and totally sober....don't believe they served alcohol at concerts back then, but I do think I saw the motorcycle dudes carry a case of beer to the front."



DETAILS:


RECORDING DATE: February 13th - 1970 (Late Show)
TRACK TIME: 123:43
TRACKLIST:

Tracklist:
Roadhouse Blues
      "I Feel Good Tonight"
Break On Through
Alabama Song >
Backdoor Man >
Five To One
Ship Of Fools
      "Hey, Listen..."
Love Me Two Times
      -Baby, Please Don't Go
When The Music's Over
      -Something Wrong
      -Away In India
      -Why Won't You Boogie
      "I'm Not Gonna Leave This Place..."
      -You Gotta Boogie
      -Build Me A Woman
      -Sunday Trucker
(Tape Flip)
When The Music's Over
Rock Me
Will The Circle Be Unbroken >
Petition The Lord With Prayer >
      -Pastor Jim
Wake Up! >
Light My Fire
      -Summertime
      -Fever
Soul Kitchen
"Who's In Charge Around Here?"
"Are Any Of You A Drummer?"
Maggie M'Gill
(Cut)



WINTERLAND ARENA AUDIENCE TAPES - December 26th & 28th 1967


Contributed By: George B. Feist via Chris Simondet

In late December 1967, George B. Feist attends two of the three performances by The Doors at Winterland Arena in San Francisco, capturing both performances on a Wollensak cassette recorder. While these recordings were previously known to collectors and fans, new transfers of the master tapes reveal the excellent sound quality still preserved on the tapes today. We'd like to give a special thanks to George B. Feist for loaning out his tapes, and we extend our gratitude to Chris Simondet for his professional handling and transferring of the tapes to digital format for our viewers to listen to right here on the site!



DETAILS:


RECORDING DATE: December 26th - 1967
TRACK TIME: 45:32
TRACKLIST:

Back Door Man
Break On Through
      -There You Sit
When The Music's Over
      -Poor Otis, Dead And Gone
Close To You (Ray On Vocals) >
I'm A Man (Ray On Vocals)
Light My Fire



DETAILS:


RECORDING DATE: December 28th - 1967
TRACK TIME: 22:01
TRACKLIST:

Alabama Song >
Back Door Man
(Cut)
You're Lost Little Girl (Cut)
Love Me Two Times (Cut)
Wake Up! (Cut)
Light My Fire
The Unknown Soldier
(Cut)



Howard Smith Talks About The Doors - WABC-FM January 20th, 1970


Contributed By: MildEquator.com with thanks to The Smith Tapes



In early November 1969, Howard Smith recorded a lengthy interview with Jim Morrison at The Doors office in Los Angeles. While in recent years it has been reported that the interview took place on November 6th, the exact date is in fact, uncertain (it rained for a week in L.A., not just one day as previously described). A few months later on January 20th 1970, Howard appears on WABC-FM in New York during Bob Lewis' radio show, making a few statements about The Doors and airing a clip from the original interview. On this date, The Doors had just completed a two-day, four-show stint at the Felt Forum in Madison Square Garden two days before.

As a companion to the original interview recording, released by The Smith Tapes in its entirety in late 2012, MildEquator.com is pleased to feature this brief radio broadcast as a download right here on the site, with an extra special thanks to The Smith Tapes for allowing us to host this audio file for our viewers!

   < To acquire a complete copy of the original interview, please    visit TheSmithTapes.com or Amazon for CD or digital formats!

DETAILS:


BROADCAST DATE: January 20th - 1970
RECORDING DATE: Exact Date Unknown - Presumed January 20th - 1970
STATION ID: WABC - 95.5FM
PROGRAMMING: Love
HOST: Bob Lewis 'The Bobaloo'
RECORDING LOCATION: Exact Location Unknown
TRACK LENGTH: 0:55
FILE SIZE: 3.7mb

DOWNLOAD:


   < Click To Download The Broadcast!

FIVE SITUATIONS FOR CAMERA, RECORDER AND PEOPLE

BY ALEX PRISADSKY


Contributed By: Alex Prisadsky



DATE: 03/20/1965
LOCATION: UCLA/Various Locations - Los Angeles, CA
COLOR: B&w
LENGTH: 6:43
AUDIO: Yes

"Jim Morrison was the sound man on my first student film at UCLA. I asked a bunch of the crew and my friends at the housing coop where I lived to wear dark suits for the film - Jim didn't have one. That was one reason I asked him to be the sound recordist. The other was that he had shown a remarkable affinity for sound. 6 or 7 of us were in a group that took turns crewing for each other's films on successive Saturdays, in the Spring of 1965. Jim had shot part of his film the previous Saturday, in which we all played a noisy audience. A stag film we were watching broke and the screen was white with projector light. As the sounds of protest escalated, some of us made shadow puppets on the screen and yelled even louder. He had us repeat this for many takes. The experience made us literally high and influenced me to try to create that kind of crowd chaos, in my own way, in my film the next week.

In 'Five Situations', Jim's job was to record sound to go with each scene after filming of the scene was completed (the film was not shot in sync sound). For instance, after the bottle breaking scene, he had someone break some more bottles so he could mic it closely. Maddeningly, many of the bottles were bouncing instead of breaking. After awhile I yelled 'cut', but he insisted on more bottle smashes until he got what he wanted. After we finished shooting all the picture takes of the bathroom scene, we did another run through for sound. Jim decided he wanted to be in the mob, not outside it, during the jostling. He stood in the middle of the group in what was essentially a mosh pit, recording the concussions as well as everything else. When I was editing the film, I decided to try slowing down the sound to see how it "worked". The scene worked much better with the sound slowed down this way, so I transferred it and put it in. I did the same with the bottle breaking scene.

Long digression: The concept of judging an edit on whether it 'worked' or not, yes or no, black or white, was introduced to us by Edgar Brokaw. He taught the advanced editing class and the script writing class that both Jim and I took. He was to have been the advisor for our Saturday Workshop group. (Due to his illness, another professor took over.) Brokaw was harshly critical of Jim's film at the student screening because Jim had failed to 'double splice' his edits and they wouldn't go through the projector (ironically, much like the broken stag film in his project). For all that, Brokaw was among the few on the faculty who respected Jim's talent. I remember seeing Brokaw years later, probably the early 70's; he had a big poster of Jim with The Doors on the wall of his office. He said something like "Jim made it work", meaning he found a way to turn his vision into art."

Alex Prisadsky
http://www.Prisadsky.net
Copyright © 2011 Alex Prisadsky

For more details on this film, please visit our Student Film Projects section!

We would like to give a very special thanks to Alex Prisadsky for providing his original student film to MildEquator.com!