THE DOORS
Cleveland Public AuditoriumCleveland, OH 1968-08-03
Format: mp3 128kbps
Tracklist:
01 - House Announcer 3:44
02 - Break On Through (To The Other Side) 5:27
03 - Back Door Man 2:41
04 - Five To One 11:15
05 - When The Music's Over 17:55
06 - What Do You Wanna Hear? 2:20
07 - Soul Kitchen 6:23
08 - Light My Fire 8:38
09 - Thank You For Coming 1:49
From Greg Shaw's book The Doors On The Road:After a prolonged delay, announcements are made for upcoming shows featuring Janis Joplin, Jimi Hendrix, and Country Joe and the Fish. As the introduction finishes, the Doors begin a driving instrumental jam on "Break on Through," but there is still no sign of Jim Morrison. As the instrumental comes to a close, an extremely intoxicated Morrison saunters onstage grasping a bottle of whiskey in one hand, while he flips off the audience with the other. At points during the show he is clearly incoherent and seems compelled to converse endlessly with the audience. The formidable influence of the previous night's performance at the Singer Bowl carries over into Cleveland, where the Doors put on such an outrageous show it comes close to the Miami fiasco that will take place in March 1969.The band starts the standard "Break on Through" and Morrison shouts and grunts throughout the song while Krieger seems to be enthralled at the increasingly bizarre feedback squealing out of his guitar amp. Toward the end of "Back Door Man," Jim appears to be perplexed and the band is rapidly becoming louder and so discordant that it is almost impossible to discern which song is being performed. As the medley goes into "Five to One," it becomes apparent that Morrison can't hear his own monitor as he angrily barks "I can't hear myself! I'm gonna give you a good time... I want it real soft. If I can't hear myself I'm going to get a gun and kill some people! I want to hear my little voice!"Jim then begins to direct the band to "Play real soft. Softer. Softer!" until the music comes to a complete standstill. For a full five minutes he mischievously engages in a dialog with the audience, eliciting frequent laughter and applause. Responding to an audience member, "You've got a real dirty mind don't you! FAWK! [applause] Listen! I'm not kidding. I want you to feel it! I want you to FEEL IT!" Then the band quietly begins playing "Five to One" again, while Jim continues his observations. "That little cowgirl is lookin' reeeaal good! Later, later!" He demands, "Listen here! You've got to feel it right NOW!" and then returns to the lyrics from "Five to One," but he sings the song so sluggishly that the band is forced to stop and wait for him to catch up. By the end of the piece, the music has deteriorated into chaos, with the musicians all playing out of tempo with each other, and Morrison growling out in the chaos: "Get together one more time."The medley ends and Morrison repeatedly states, "We're gonna have a real good time, right?" "When the Music's Over" starts, and Jim is still asking, "Well, what are we gonna do now?" He's singing the song in a flat southern accent, entirely missing his cue for "Until the end!" Krieger then tears into an absolutely bizarre lead that collapses into chaotic feedback at the end. At that point, Morrison grabs the mike again: "Fine! You old fellows are gonna get it now! Yeah! Softer, you're getting softer. Softer. I want to tell you people a few things I don't think you know about! We're getting real soft now, come on! Softer, baby. Softer, baby. Softer, baby. Gotta feel it inside. Take it deep inside!" The audience begins laughing and Krieger applies massive echo to his guitar. "Hey Listen! I want to give you a history of me!" Jim continues, "All right! I have a few things to say if you don't mind.... I don't know how I got here! But I did!" He then recites "Vast Radiant Beach," and Krieger follows him with some wild echo set on such long delay that it is impossible to tell what he is playing. Almost incoherently, Jim recites "The Royal Sperm" and continues with "You know we want it and we're gonna get it. Speak up, I can't hear you! What are we gonna get? We're gonna get everything! We want it! We want it! We want it! We want more! We want more! Hey, everybody take a real deep breath. We. We want. We want all. We want all. We want all! You ready? You ready? You ready! We want the world and we WANT IT NOW!" At this, the entire band bursts into an incredibly loud and dissonant musical passage where each musician is playing completely out of sync with the others. At the end of the song Morrison laughingly says "Yeah! Lookin' real good!"By now the concert is beyond any saving grace and the audience is getting precariously unruly. "Hey, what do you want to hear?" asks Jim, "One at a time, I can't hear you! Can anyone pass a Marlboro to me? They're the best! Come on out to California and have some fun!" The band then plays a rapid introduction to "Soul Kitchen." By this time, Morrison is incoherent and Krieger covers him with an extended guitar solo. Toward the conclusion of the song, Jim leaves his microphone and does something at which the audience bursts into applause, while Manzarek unceasingly repeats the final stanzas of the piece. When it seems as if the song will never reach a conclusion, they finally break into "Light My Fire." By now Morrison is in far worse shape than he will be at the infamous Miami show, endlessly repeating "Come on! Come on!" throughout Ray's solo. As Krieger begins his solo, Morrison screams at the top of his lungs: "You know I can't take it! I CAN'T TAKE IT! Come on, yeah, COME ON!" and then maniacally leaps into the crowd with his microphone. Pandemonium erupts—the screaming is so loud it effectively drowns out the band. Several fights break out as Jim is carried along across the hands of the audience, all the while diabolically repeating "All right! Come on! DO IT!" He somehow arrives back onstage and can barely finish the song, his voice is breaking up so badly. Afterward, the Doors flee the stage as the crowd explodes with chants of "Jim! Jim! Jim!" When it appears that no one is going to leave, the announcer gets onstage and implores them with "Thanks very much for coming! Have a safe trip home! The Doors are on their way to Philadelphia!"
There is extensive damage to the venue's seating and adjacent property. Following the performance, the clean-up crew notes that the destruction is worse than when Jimi Hendrix's performance sparked a near riot there on March 26. The enormous hanging curtains in the auditorium have sustained numerous lacerations and even huge wooden doors have been tom off their hinges.
My notes:An audience recording of a peculiar show. Jim is totally wasted tonight and spends most of the time interacting with the public. It's not much far from the mess that would take place in Miami the following year, but the crowd seem to appreciate Jim's antics. If you're interested in Jim's sense of humor rather than listening to some well played music, this concert is what you're looking for.
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