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Vjerchi wrote:
Not chronologically at all:
1. Detroit 08.may.1970.
2. Philly 01.may,1970.
3. Boston 10.april.1970.
4. Pitts 02.may.1970
5. FF 17&18.jan.1970
6. Vancouver 06.jun.1970.
That would be great, but I'm not sure that it would be a stand alone release. If they do get John to overdub his drumming, there is still the issue of it not being a complete set. If I'm not mistaken, it's only part of a set. They may have to combine it with something else. Do you know the approximate running time of the recording they have in their possession?Buda wrote:More optimism guys! It's have to / going to be Fillmore pretty soon!
Yeah right. Jampol hasn't been able to secure a deal for the band to release archival downloads in 5+ years. I doubt he is getting close to locking in a deal with Wolfgang's Vault for Fillmore recordings. I also doubt he has gotten Densmore to go into the studio and re-record his drum parts on the notorious Fillmore tape with missing instrumentation. Of course, maybe I should adopt a more optimistic approach as I would love to hear some Fillmore recordings (however, the tape that needs modern-day drums and guitar doesn't interest me).Buda wrote:More optimism guys! It's have to / going to be Fillmore pretty soon!
Creem Magazine, 1981;
"Creem: Did you see a big change in Jim over the years you knew him?
Ray: Yeah. I’ll tell you what they did, man. They sucked his energy. They sucked it right out of him. The last gig we ever did was in New Orleans, and Jim had already been sucked dry. It was sad. When I first met him, he was just full of energy, life, power and potency and intellectual knowledge, and by the time it was over, he was bloated and weak. They had just sucked it out of him, because they demanded a show out of him. They demanded a geek. And this was not Jim’s trip. Jim would do something outrageous if the situation called for it, but if you asked him to do something outrageous, no. He was basically shy, and very quiet, a very down to earth guy.
Creem: Did he get caught up in his own image?
Ray: Well, it’s always easy for someone on the outside to say, “Hey man, why don’t you call it quits.” But on the inside, it never feels that way. I think he came to the point where he came to believe that it wasn’t going to continue on that way because we had too many good memories from the beginning. Simply incredible gigs. During our first two years of existence, each gig was incredible. We played the Whisky A Go Go with Them and Van Morrison and Jim Morrison jammed together and sang together on stage. And then we played with Frank Zappa’s Mother s of Invention, and the Buffalo Springfield, and the Byrds. There was something about the times that were absolutely magical. Great times, ’65, ’66, ’67, ’68. It started to go wrong around ’68, the Democratic Convention in the summer of ’68. But up until that time, the Doors and everyone else were floating on psychedelic cloud of just magic. Then little by little, things started to go bad. And you didn’t want to think about bad things. We didn’t want to accept it. I didn’t want to hear an audience coming to see Jim Morrison because he freaks out and falls off the stage. Bullshit. But you’re aware that things have changed because nobody’s heart and minds changed.
Even if the Bill Graham tapes "walked off" due to Bill giving or selling them or his employees stealing them, somebody has them. They have to be somewhere. It's strange there is such a mystery about them. Did Graham have a ledger or some sort of filing system that documented his tape holdings. Is there some sort of written record?BallroomDays67 wrote:I'm not going to write off Wolfgang's Vault just yet. The fact that they have a Chuck Berry show from the same night that the Doors performed provides some hope (to me, at least) that they have a complete, properly recorded Doors show from one of the Bill Graham venues. If so, it would have a decent chance of being released, as it likely wouldn't involve The Doors having to purchase the tapes.
Same goes for all the missing studio songs, such as a complete Paris Blues!hardrockcafe wrote: somebody has them. They have to be somewhere.
Don't be so sure. I recently converted some reels of my dads that he recorded in the sixties and they sound great like they were recorded yesterday. And they were not stored correctly.Buda wrote:it's either got someone sitting on it hoping to suck out thousands of dollars from it or it has already gone out of existence long ago and what's left is its fame. Unfortunately I think the odds are for the latter.
Yeah time is ticking by. Boy what I would give to see just what the Doors do have in the vaults.Buda wrote:If it exists, then it's fair to say that four decades must have been enough to be find again. So let's put it then that time is not on our side and I think we're in the last hours.
I'm guessing no surprises at this point, at least in terms of "live" tapes. Any gems that we will get in the future will have to be acquired or licensed by the band.Roughie wrote:Yeah time is ticking by. Boy what I would give to see just what the Doors do have in the vaults.Buda wrote:If it exists, then it's fair to say that four decades must have been enough to be find again. So let's put it then that time is not on our side and I think we're in the last hours.
It was just a random guy, not a known Doors collector, that picked the RHB reels out of the Elektra trash. He had 6 reels. I think the Doors misplaced the COTL multi. Management was put in touch with a former manager that only had a DAT mix down copy. I haven't heard anything about being offered other studio reels and turning it down. Live tapes yes, studio...I don't think so. A friend of a friend of mine has a reel from the Rock Is Dead session...it may only be a copy of what the Doors have or something totally new. I'm trying to set up a meeting with him, but he's very busy since he tours with a very famous musician.hardrockcafe wrote:Some guy had Roadhouse outtake multitracks. Someone had the studio COTL multis. Both acquired by the band and released. Were these former Elektra employees? If not, who had the tapes all those years? Private collectors? There has to be more out there that has survived. For all we know, the band may have been approached to buy more studio stuff but refused if the asking price was too high.
Thanks. Interesting! What year did the guy find the tape reels in the trash? Could it be that Paris Blues was tossed in the garbage too?wha happened wrote:It was just a random guy, not a known Doors collector, that picked the RHB reels out of the Elektra trash. He had 6 reels. I think the Doors misplaced the COTL multi. Management was put in touch with a former manager that only had a DAT mix down copy. I haven't heard anything about being offered other studio reels and turning it down. Live tapes yes, studio...I don't think so. A friend of a friend of mine has a reel from the Rock Is Dead session...it may only be a copy of what the Doors have or something totally new. I'm trying to set up a meeting with him, but he's very busy since he tours with a very famous musician.hardrockcafe wrote:Some guy had Roadhouse outtake multitracks. Someone had the studio COTL multis. Both acquired by the band and released. Were these former Elektra employees? If not, who had the tapes all those years? Private collectors? There has to be more out there that has survived. For all we know, the band may have been approached to buy more studio stuff but refused if the asking price was too high.
Pablo didn't tape over the master. Ray had a cassette copy of "Paris Blues" made sometime in the 1970s. One day the Manzareks decided to tape their infant son talking/babbling. Ray grabbed a tape and hit record. The tape happened to be the one with "Paris Blues" on it and about 20 seconds of the bridge was either taped over or erased. A couple of decades go by, The Doors try to find the "Paris Blues" master and discover it's missing. To their surprise, the only copy they have is the one Ray made in the '70s that he partially taped over with his baby son's voice. This brings us to the current situation. I think the master is still out there. Either misplaced or in private hands. The trouble is, last I heard, The Doors still haven't found it.wha happened wrote:I doubt Paris Blues was tossed. I also don't buy the story that Pablo recorded over the master.
Oh, for sure. The song has been hyped for so long it can't possibly live up to expectations. My feeling is if they chose to release "You Need Meat" as a b-side over "Paris Blues" then it must have been really rough. Maybe a "let's finish it for the next album" kind of track.wha happened wrote:I think once (or if) we ever hear Paris Blues, it might be a let down.
Is there any guidance from Botnick on when Paris Blues was recorded? For example, during the one week with Rothchild at Elektra before he quit as producer? Or instead recorded at the Doors Workshop with Botnick producing?Porsche wrote:Oh, for sure. The song has been hyped for so long it can't possibly live up to expectations. My feeling is if they chose to release "You Need Meat" as a b-side over "Paris Blues" then it must have been really rough. Maybe a "let's finish it for the next album" kind of track.wha happened wrote:I think once (or if) we ever hear Paris Blues, it might be a let down.