The Doors Absolutely Live 2x180g from original Analog Tapes

$

40

Many shows were recorded during the band's 1970 tour to create the Absolutely Live album. The Doors' producer and longtime collaborator Paul A. Rothchild claimed to have painstakingly edited the album from many different shows to create one cohesive concert. According to Rothchild, the best part of a song from the Detroit show may have been spliced together with another part of the same song from the Boston show, trying to create "the ultimate concert." Rothchild has said, "I couldn't get complete takes of a lot of songs, so sometimes I'd cut from Detroit to Philadelphia in mid song. There must be 2,000 edits on that album."[5]


Despite this claim, the Bright Midnight record company (Rhino/Elektra/Warner group) started to publish all the uncut masters of all the shows recorded for Absolutely Live (July 1969 – May 1970: Aquarius Theatre 1969, 8 CDs; Live in New York 1970, 6 CDs; Boston 1970, 3 CDs; Philadelphia 1970, 2 CDs, Pittsburgh 1970, 1 CD, Detroit 1970, 2 CDs), ultimately proving Rothchild's assertion to be incorrect. In fact, most of the tracks were taken from the Doors performance at the Felt Forum on January 17 and 18, 1970. Official audio professional proofs show that less than 5 major cuts were made on Absolutely Live. These recorded audio proofs, from officially available CDs, allow matching of each song on the Absolutely Live album to each recorded concert, showing that Rothchild's claim of multiple edits to songs for cohesiveness is incorrect. These are the real sources of each song, proving that no major cut or edit was actually made on the songs.


The album marks the first release of the complete "Celebration of the Lizard" sequence. It had been attempted in the studio during the Waiting for the Sun sessions but eventually abandoned. The album was a treat for fans because it included several new songs which had not appeared on any Doors albums up to that point, such as "Love Hides," "Build Me a Woman," "Universal Mind," "Dead Rats, Dead Cats," and a cover of the Bo Diddley classic "Who Do You Love?" Truly reflecting the paranoia of post-Miami Doors concerts is the MC’s address to the audience, where he urges the rowdy fans to remain seated in threat of the fire department canceling the performance Morrison comically alludes to the Miami incident in his preamble to "Close to You". (by wikipedia)