From U.K.’s magazine “Record Collector” - August 2002  -  page 116 - Presley cover

‘Live In Hollywood’:  Highlights

From The Aquarius Theatre Performances
 

In late July 1969, less than four months after Jim Morrison's infamous, alleged willy-flashing incident at Miami, the Doors shacked up at the Aquarius Theatre in Hollywood, CA, for the first of two performances intended for release on a lucrative live album.  The recording eventually spanned two years and six cities, becoming Absolutely Live.  Here, for the first time, is a complete performance cobbled together from the Aquarius shows, just as originally intended.

The venue was smaller than the stadiums that the Doors were used to -- Hair was playing a six-day week there, so both Doors performances took place in one day.  Gone was the leather-trousered Lizard King who'd apparently become such a sexual menace to society, and in his place was a portly, bearded man in slacks and baggy jacket.  Thanks to the adverse publicity generated by the Miami incident, the band were more restrained than usual, though they were consequently able to focus on their musicianship, while Morrison's voice was starting to take on the gravelly, guttural quality later showcased on 'LA Woman'.

The recording isn't as powerful as the effect of Absolutely Live, and the later release of the In Concert double-CD, as well as live selections included on the box set, has rendered more live releases unnecessary to all but the most die-hard fans.  But the Doors' official Bright Midnight imprint has always aimed their releases at the hardcore fanbase -- the same folk who've shelled out for a plethora of shoddily-packaged and atrocious-sounding bootlegs over the years.  And they won't be disappointed by the sound quality or tracklisting of any Bright Midnight release.

As any Doors fan will know, bootleg-buying has always been fraught with danger thanks to the general unavailability of decent portable recording equipment in the late 60s.   Combine this with erroneous venue and track details, and Bright Midnight clearly represent long-awaited salvation.

This CD is no exception, with highlights of the set including typically rambling versions of 'When The Music's Over' and 'Light My Fire', among lesser-known gems such as 'Blue Sunday' and 'Universal Mind'.  Poetry fans among us should also enjoy the brief excerpt of 'Celebration of The Lizard' that introduces 'Light My Fire', though for the full gothic dramatic performance you're still better off with the In Concert recording.

The packaging is embellished with informative and lengthy sleevenotes from Danny Sugerman and Doors-producer Bruce Botnick, as well as a contemporary gig review lifted from the Los Angeles Times.  There's even a paragraph of technical information for those who understand it (that doesn't include me).  Interestingly, though, the packaging is illustrated with a selection of shots of the Doors as we remember them best -- slim Jim in snakeskin trews, whereas the overall faithfulness of the package surely begs for photographs from the Aquarius.

Then again, bearded Jim has never sold as well as the hollow-cheeked Adonis of yore, so forget that minor quibble -- if you're a hardcore Doors fan after another great-sounding historic performance, you won't be disappointed.  Fairweather fans can feel free to miss this, though.

by James R. Blandford

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