The DOORS

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1969

January 1969

Friday, January 24, 1969
Madison Square Garden
New York, NY POSTER REVIEW TICKET

The Madison Square Garden, New York

Der Madison Square Garden liegt an der Seventh Avenue / 32th Street. Er bezeichnet sich selbst als weltberühmtestes Sportveranstaltungszentrum.
Direkt hinter der Pennsylvania Station (ein reiner Zweckbahnhof, der mit seiner Vorgängerin der Penn Station in der baulichen Schönheit nicht konkurrieren kann) gelegen, ist er die Heimat des bekannten Basketballteams "Knicks" und des Eishockeyteams "Rangers".
Die Halle verfügt über 20.000 Sitzplätze und ist nicht selten total ausverkauft.
Auch als Spielstätte für Rockkonzerte nimmt der Madison Square Garden eine herausragende Rolle ein. Für fast alle berühmten Bands ist New York - Madison Square Garden eine obligatorische Station ihrer Tournee. Fast immer steht deshalb ein populärer Name auf der Digitalanzeige, die das aktuelle Programm anzeigt.

MADISON SQUARE GARDEN Sold out!
(Photo: Menachem Adelman/Agudath Israel)

I had no way to get to the box office for these tickets; a NYC customer of my employer bought them for me, and treated my friends and I to the show. This ticket was pale green and had a $5.00 price on it. The same friend who shared my first concert with me, two other friends and I took a train from Princeton into Penn Station.

Our seats were TERRIBLE ... nosebleed level, for sure. This place held 20,000 people. The Doors were on a stage so far away down there ... Jim was a tiny figure in a white shirt. The horn section was onstage for part of the time, as this was the Soft Parade era.

I have often heard the guys mention that this was their favorite show, I guess because of the prestige and audience size. It remains my LEAST favorite of all five shows, because I was so far away and unable to really "experience" the show.

Set list: Touch Me <> The Soft Parade <> Tell All The People <> Love Me Two Times <> Who Scared You <> Spanish Caravan <> Wild Child <> Light My Fire <> Back Door Man <> The Devil Is A Woman <> Five To One <> When The Music's Over

note:
Many thanks to Greg Shaw's "The Doors On The Road" book, used as the source for the set list
(Quelle: Mit freundlicher Genehmigung Ida / www.idafan.com
Feel free to use whatever you would like from my site, for your own.)

Hier ein Konzert von ROGER WATERS 2000

Madison Square Garden heute

February 1969

February 14, 1969
San Diego International Sports Arena
San Diego, CA

3737 SPORTS ARENA BLVD.
SAN DIEGO, CA 92110 UNITED STATES

The roar of 11,682 professional hockey fans gave birth to ipayOne Center (formerly, the San Diego International Sports Center) on November 17, 1966, as the San Diego Gulls-then of the Western Hockey League-won their home opener in a 4-to-1 victory against the Seattle
Totems.

Since its opening, the facility has indeed hosted many amateur and professional athletes and teams, including but not limited to: the San Diego Rockets, San Diego Clippers, 10-time Major Indoor Soccer League Champion San Diego Sockers, and the 5-time Taylor Cup Champion San
Diego Gulls. The Center has also played host to some of the most memorable moments in sports history, including the infamous 1973 Muhammad Ali versus Ken Norton bout, in which local boxer Norton defeated Ali by split decision to become world champion of boxing.

Das renovierte Stadion

+++++ +++ +++++

February 28, 1969
Bovard Auditorium UCLA
Los Angeles, CA

Das Gebäude von außen

Bühnenansicht

March 1969

March 1, 1969
Dinney Key Auditorium Coconut Grove
Miami, FL POSTER

Jim Morrison of the Doors exposes himself at a concert
at Dinner Key Auditorium.

Photo of Jim Morrison, Police Department of New Heaven, 12.10.1967

Dinner Key Auditorium, Miami, March 1, 1969

This is the famous show after which arrest warrants were issued for Jim Morrison!

Jim Morrison sorgte auch für negative Schlagzeilen. Ende 1967 wurde er wegen obszöner Bemerkungen während eines Konzertes verhaftet, im März 1969 kam es zum Eklat, als Morrison auf der Bühne des Dinner Key Auditorium in Miami von der Polizei abgeführt wurde, weil er angeblich öffentlich seine Genitalien zur Schau gestellt hatte. Ray Manzarek erinnerte sich 1984 anläßlich der Video-Dokumentation "A Tribute To Jim Morrison" an die Situation: "Es war ein katastrophales Konzert. Jim war schwer betrunken. Die Halle total überfüllt, die Luft tropisch heiß und feucht. Der Sound war schlecht und die Bühne wackelig. Wir fingen ein paar Mal an und brachen wieder ab. Jim begann das Publikum anzumachen. Er erinnerte sich an einen alten Rap von uns, "Rock Is Dead". Er begann auf die Leute einzubrüllen, zog seine Jacke aus, tanzte wie eine Schlange und machte eindeutige Bewegungen. Aber ich glaube, das Herunterlassen seiner Hose passierte wohl nur in der Phantasie der Menge."

DINNER KEY AUTIDORIUM / MIAMI

The Dinner Key Auditorium was situated strategically across the parking lot from City Hall in Coconut Grove. Ken Collier, doing-business-as Thee Image Productions, had lured The Doors away from the university hall with a deal for more money. The building was a converted seaplane hanger in general disrepair, with an official seating capacity of seven thousand. The Doors were contracted for a flat twenty-five thousand dollars, based on what they understood to be an auditorium with a forty two-thousand dollar maximum. After the contract was signed, Collier took out the seats and sold several thousand more tickets, nearly doubling the maximum.

Hallenplan des DINNER KEX AUTIDORIUMS / MIAMI

+++++ +++ +++++

Das ist auch heute noch der Original Eingang ins DINNER KEY AUTIDORIUM von Miami. Es wurde nur angebaut und die Halle (ein ehemaliger Wasserflugzeughanger der US Marines) hat heute eine andere Bezeichnung: The Coconut Grove Convention Center

In DIESER Halle (Dinner Key Auditorium) hatte Jim Morrison on March 1, 1969 seinen spektakulären Auftritt, der mit seiner Verhaftung endete.

Dies ist der heutige Anbau

+++++ +++ +++++

The Doors come on stage. Before the three musicians are even able to begin a song (backstage they agreed on 'Back Door Man'), Jim walks over to the microphone and starts blowing into a harmonica, taking a deep breath through it and producing incomprehensible sounds.

"YEEEEEAAH!", he shouts into the restless audience. "Now listen here, I ain't talking 'bout no revolution and I'm not talkin' about no demonstrations."

Ray Manzarek plays a few chords on the organ. However, Jim isn't being distracted by this. He continues his rap.

"I'm talking about having a good time, I'm talking about having a good time this summer. And you all come out to L.A., you all get out there, we're gonna lie down there in the sand and rub our toes in the ocean, and we're gonna have a good time, are you ready, are you ready, are you ready, are you ready, are you ready, are you ready, are you ready, are you ready, are-are-are-are-areare-ah-ah-ah-ah..."

Robby Krieger gets in tune with Jim's rhythmic screams and plays the intro riff to 'Back Door Man'. Ray Manzarek and John Densmore react instantly, and join in the song.

"FUCK! LOUDER! C'mon, man, GET IT LOUDER! C'mon, GET IT UP, BABY! LOUDER! YEAH! YEAH!", Jim screams over the riff. Eventually he tunes into the song.

"YEEEAH, I'm a back door man.
YEEEAH, back door man.
Men don't know, little girls understand!
All you people tryin' to sleep,
out there makin' with my midnight creep,
yeah, yeah.
I'm a back door man.
Men don't know but the little girls...
YOU UNDERSTAND, DON'T YOU BABY?!
ALRIGHT, C'MON!"

Robby tears into a solo.

"YEEEEEEEAAAH! YEEEEEEEEEEEEAAH! SUCK ME BABY! YOU GOTTA AAUUUGGGGGHHHHHHH! AAUUGGGGGGGHHHHHHHHH FUCK! YEEEEEAAH! RIGHT, YEAH!"

Jim screams and groans into the restless audience. The music becomes restrained. Jim reacts.

"Urgh. Hey, hey, hey. Play softer, babe, get it way down, softer, sweetheart, get it way down low. Soft, soft, soft, soft, soft, sock it to me, c'mon softer."

John beats powerfully on his drums a few times, which normally signals the intro to 'Five To One', but Robby and Ray don't take the bait.

"Hey listen, I'm lonely! I need some love, you all. C'mon. I need some good time lovin', sweetheart, love me, c'mon. I can't... I can't take it without no good love, love. I want some love, lova'lova'lova'lova'-love! Love me sweet, c'mon. Ain't nobody gonna love my ass? C'mon."

The audience laughs. Jim continues in an ironic tone.

"I need ya! There's so many of you out there. Nobody's gonna love me sweetheart, c'mon! I need it, I need it, I need it, I need ya, I need ya, need ya, need ya, need ya, need ya, hah! AAALRIGHT! Hey, there's a bunch of people way back there that I didn't even notice! Hey, how about about 50 or 60 of you people come up here and love my ass, c'mon, yeeahhh, I love ya. C'mon!"

There is growing unrest amongst the audience. The musicians are still trying to play the intro to 'Five To One', but Jim's rap doesn't leave them any space.

"Yeeeeeeeeahhh, la-la-la-la. Yeeeeeeeeahhhh, la-la-la-la. Heeeeeeeeyyyeeeaah, la-la-la-la. Yeeeeeeeeeeaahhhhhhhh, la-la-la-la. Nobody gonna come up here and love me, huh? C'mon!"

John beats an accent on his drums again. Finally, Robby and Ray tune in and play the intro riff of 'Five To One'. A girl climbs on stage.

"Alright for you, baby!"

Jim wants to grab the girl, but the security guards are holding her and carry her away. Jim clings to the microphone and comments on the incident.

"That's too bad. I'll get somebody else! YEAH!"

He pauses. The volume of the intro riff of FIVE TO ONE increases. Jim messily and distortedly sings the first verse.

"Five to one, baby,
one in five,
no one here gets out alive, now,
you get yours, I'll get mine,
gonna make it baby if we try, yeah.
Come on!"

Krieger's solo follows. He plays awkwardly, can't seem to concentrate. Jim's voice rises both in volume and power.

"The old get old and the young get stronger,
may take a week and it may take longer,
they got the guns but we got the numbers,
gonna win, yeah, we're takin' over, c'mon!
Let's take over, yeah!"

Robby's main solo follows. Flowing, screeching loud notes tear over John's heavy drum beats. After the solo Jim lets out a shrill animal scream.

"AAAAAAUUUUUGGGGHHH!"

The Doors musically introduce the 'ballroom' phase of the song, but Jim suddenly starts swearing at the audience, something that will have penetrating consequences.

"YOU'RE ALL A BUNCH OF FUCKING IDIOTS!"

People are shouting, whistling and shouting back. An incredible noise arises.

"LETTIN' PEOPLE TELL YOU WHAT YOU'RE GONNA DO! LETTIN' PEOPLE PUSH YOU AROUND! HOW LONG DO YOU THINK IT'S GONNA LAST? HOW LONG ARE YOU GONNA LET IT GO ON? HOW LONG ARE YOU GONNA LET 'EM PUSH YOU AROUND? HOW LONG? MAYBE YOU LIKE IT! MAYBE YOU LIKE BEING PUSHED AROUND! MAYBE YOU LOVE IT! MAYBE YOU LOVE GETTING YOUR FACE STUCK IN THE SHIT, COME ON! "

John's drum beats become heavier. Unwaveringly he plays on. Robby pauses, Ray plays his bass line. The audience goes wild. Some people scream, others laugh. Jim reacts instantly.

"MAYBE YOU LOVE GETTING PUSHED AROUND! YOU LOVE IT, DON'T YOU?! YOU LOVE IT! YOU'RE ALL A BUNCH OF SLAVES! BUNCH OF SLAVES! YOU'RE ALL A BUNCH OF SLAVES! LETTIN' EVERYBODY PUSH YOU AROUND. WHAT ARE YOU GONNA DO ABOUT IT?! WHAT ARE YOU GONNA DO ABOUT IT?! WHAT ARE YOU GONNA DO ABOUT IT?! WHAT ARE YOU GONNA DO ABOUT IT?! WHAT ARE YOU GONNA DO ABOUT IT?! WHAT ARE YOU GONNA DO?! WHAT ARE YOU GONNA DO?! WHAT ARE YOU GONNA DO?!"

Several girls in the audience seem to be screeching in fear. It's noticable that people are totally distraught and frightened. Jim starts with the vocals again.

"Your ballroom days are over, baby,
night is drawing near.
Shadows of the evening
crawl across the year.
You walk across the floor,
flower in your hand,
tryin' to tell me no one understands,
trade in your hours for a handful of dimes,
gonna make it baby in our prime.
Get together one more time!
Get together one more time!
Get together one more time!
Get together one more time!
Get together one more time!
Get together one more time!
Get together one more time!
Get together one more time! Yeeeeah!"

Robby begins an uninspired solo. He is searching for the right notes on his instrument, making mistakes. In the background Jim screams and shouts like an injured animal.

"AAAAAHHHHHH! YYYYYEEEEEEAAHHHH! AAAHHHHHYYEEEAHHHHH! IIIIIIIIAAYYEEEAH! AAAAAAAAIIIIIIIEEEAAAAHH!"

The band pauses. Feedback from the guitar screams out of the amplifier. Robby hits the lower strings.

"Now, come on honey, now you go along home and wait for me sweetheart. I'll be there in just a little while! You see, I gotta go out in this car with these people, ... and get ... FUCKED UP!"

The heavy, archaic rhythm starts again.

"Get together one more time!
Get together one more time!
Get together one more time!
Get together one more time! Yeeeah!"

The group play on for several seconds, looking for the end of the song, then abruptly stop. Jim uses this split second to continue with his rap.

"HEY, I'M NOT TALKIN' ABOUT NO REVOLUTION!
I'M NOT TALKIN' ABOUT NO DEMONSTRATION!
I'M NOT TALKIN' ABOUT GETTIN' OUT ON THE STREETS!
I'M TALKIN' ABOUT HAVIN' SOME FUN!
I'M TALKIN' ABOUT DANCIN'!
I'M TALKIN' ABOUT LOVE YOUR NEIGHBOUR, TILL IT HURTS!
I'M TALKIN' ABOUT GRAB YOUR FRIEND!
I'M TALKIN' ABOUT LOVE, I'M TALKIN' ABOUT SOME LOVE, I'M
TALKIN' ABOUT SOME LOVE, I'M TALKIN' ABOUT LOVE, LOVE,
LOVE, LOVE, LOVE, LOVE, LOVE, LOVE! GRAB YOUR ...
FFFFFFUCKIN' FRIEND AND LOVE HIM! COME ON! YEAH!"

Robby uses the breathless silence in the audience to play the intro of TOUCH ME. John and Ray join in seconds later. Jim is being distracted by this and sings part of the first verse, but then furiously stops.

"Touch me babe,
can't you see I am not afraid...
HEY WAIT A MINUTE! WAIT A MINUTE! WAIT A MINUTE! HEY WAIT
A MINUTE, THIS IS ALL FUCKED UP! NO, WAIT A MINUTE, WAIT A
MINUTE, WAIT A MINUTE! YOU BLEW IT, YOU BLEW IT, YOU BLEW
IT!"

At that very second Vince Treanor rushes behind Jim. He had seen that the singer had put his right hand inside his trousers, and with the left hand was now fiddling with the button. Vince grabs Jim by the belt of his dark brown leather trousers and pulls him tightly to himself. Jim furiously shouts into the microphone.

"NO, C'MON, WAIT A MINUTE! WAIT A MINUTE! I'M NOT GONNA GO ON! WAIT A MINUTE! I'M NOT GONNA TAKE THIS SHIT! I'M COPPIN' OUT, NOW WAIT A MINUTE!"

Jim manages to release himself from Vince Treanor's grip.

"BULLSHIT!"

Masses of people climb on stage. Jim and Vince are being pushed aside. Jim is happy about the fans, who start dancing on the stage, and shouts out his commentaries from the background. Robby and John have in the meantime broken up playing TOUCH ME. Only Ray continues on his organ, but stops after a few seconds while John starts playing a short drum solo. After a few seconds of silence, Robby suddenly produces the guitar intro to 'Love Me Two Times'. Jim sings in an uninspired tone.

"Love me two times, babe, love me twice today,
love me two times, babe, I'm going away.
Love me two times, yeah,
one for tomorrow, one just for today,
love me two times, going away.
Love me one time, babe, do not speak.
One time babe, knees got weak.
Love me two times, yeah,
one for tomorrow, all through the week.
Love me two times, going away.
Love me two times, going awaaaaaay.
Alright, yeah!"

Ray plays an accurate solo on his organ, while people are still running around the stage. The police try to push them off, but only partly succeed in doing so. Jim clings to the microphone and continues the song.

"Love me one time, babe, do not speak,
love me one time, babe, and my knees got weak.
But love me two times girl, last me all through the week.
Love me two times, going away.
Love me two times, babe, love me twice today,
love me two times, baby, going awaaayyy.
Two times, babe, one's gotta be soft,
love me two times, going away,
love me two times, going away,
love me two times, going away!"

Applause rises. Jim nods his head. At least he has mastered one song without any interruption. Meanwhile the police have cleared the stage. In the hope that a slower rhythm might calm people down, The Doors start playing 'When The Music's Over'. Jim slowly gets back to his microphone.

"When the music's over,
when the music's over, yeaah.
When the music's over,
turn out the light,
turn out the light,
turn out the light, yyyeeeeeeeeeeeaaahhhh.
When the music's over,
when the music's over, yeeeah.
When the music's over,
turn out the light,
turn out the light,
turn out the light."

Jim continues singing, but now in a deep, drunken slur, totally devoid of emotion.

"Music is your special friend,
dance on fire, it intends,
music is your only veeeeaaaah!
Un ... til the end! Until the end! Until the end!"

Robby Krieger's distorted guitar solo follows. Jim starts howling again, then barks like a dog.

"Yeeeeeeeeeaaah! Yeeeeeeeaaaaaaaaaah! Yeeeeeeee- ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-aaaaaauuuuugh!"

The band are vamping to the tune of 'When The Music's Over', and Morrison suddenly decides to add a note of seriousness to the evening's proceedings.

"Now listen! I used to think the whole thing was a big joke. I used to think it was something to laugh about. And then the last couple of nights I met some people who were doing somethin'! They're tryin' to change the world! And I wanna get on that trip! I wanna change the world. Wanna change it. Yeeeeeeaaaaaahhh - change it."

Longish pause, The Doors continuing to vamp, expecting the worst. Everybody looks to Morrison, waiting for it, and it comes. He suddenly exclaims:

"THE NEXT THING WE'RE GONNA DO IS TAKE OVER ALL THE SCHOOLS!!!"

This sentiment elicits loud applause from the (largely student) audience. Jim continues, warming to the theme.

"AFTER WE TAKE OVER ALL THE SCHOOLS WE'RE GONNA TAKE OVER ALL THE ..."

His voice trails off.

" ... THE ... YEEEEEEAAAAH!"

He gives up. Jim decides to turn his attention to singing, and comes up with a passable phrase he sometimes adds to the song 'The End'.

"Away, away, away, away in India.
Away, away, away, away in India.
Away, away, away, away in India.
Away, away, away, away in India."

Robby Krieger effortlessly takes over the mournful melody, and turns it into a beautiful, repetitive, Indian sounding lick. Jim senses when to return to the song; it all gels nicely.

"Before I sink into the big sleep
I want to hear, I want to hear
the scream of the butterfly,
an' I'm howlin',
come back babe,
back into my arms."

He breaks off abruptly.

"Hey looky here! We're gettin' tired of hanging around!
Waitin' around with our heads to the ground.
I hear a very gentle sound.
Very near yet, very far,
very soft and very clear,
come today, babe, come today.
What have they done to the earth?
What have they done to our fair sister?
Ravaged and plundered,
ripped her and bit her,
stuck her with knives in the side of the dawn and
tied her with fences and
dragged her down.
I hear a very gentle sound.
Very near yet very far, very soft and very clear,
come today, baby, come today ..."

A girl's outburst has distracted Morrison - he breaks off:

"Huh? What's that? What you say, baby? ... Say huh? ... Say what? ... Say what? ... Say what? ... What's that? ... What's that, honey? Come on, tell me again ... Aw, come on, I can't hear you - now tell me what you're sayin' ... you want me to what?"

The crowd are becoming restless with Jim's flirting, and some people start to boo and scream.

"Huh? ... I can't hear you!"

The Doors vamp on as ever, and Jim gives up on the girl. The audience continue screaming.

"YEEEEEAAAH, right! "

Obviously John Densmore is bored. He tries to disturb the rising tension with some heavy drum beats. Nobody listens but screams out nasty words. Jim answers one of the guys and helps him to get on stage.

"Man says he's no animal ... what are you? What's your name, man? How are you doin'?"

There is incredible unrest in the auditorium. It seems everybody has forgotten this is a concert. There is no music anymore. Ray Manzarek, Robby Krieger and John Densmore are silent, save for Ray's bass vamping.

"Has anybody ... anybody out there got a cigarette?", Jim asks. He invites more people to come on stage.

"Hey, I'm gettin' lonely up here. I need some love! Don't know about you man!"

Jim now decides to get playful and do his Lenny Bruce routine.

"Hey, I can't believe all those people sitting way up there, man - why don't you all come down and get with us, man? Come on! ... What ... What are you ... in the fifty cent section or what?! Come on!"

Uproar and laughter follow. A few hundred people move towards the stage and start climbing it. But this is not enough for Jim.

"Come on down here! Come on! .... Closer, man! We need some love!"

Pause. Ray Manzarek continues vamping on his bass pedal. Jim notices nobody coming down from the upper seats and gives up on them. The stage is crowded anyway.

"Well you gonna stay way away."

Another pause. Now Jim thinks it's a good time to get a little autobiographical in his Bruce routine. The audience respond to each of his statements with cheers and whistles.

"You know I was born here in this state - you know that? ... Yeah, I was born right here in Melbourne, Florida in 1943. I think they call it 'Cape Something', I don't know ... yeah, but I, I left for a little while but I came back and I went to a ... a little, uh, junior college in St. Petersburg, you know where that is? ... Then I left there and I went up to a little uh ... college in Tallahassee called 'F.S.U.' ... Then I got smart ... Then I went out to a beautiful state called California! Went out to a little city, name of Los Angeles ...."

Jim Morrison's autobiographical sketch is over, and he decides to return to his favourite mantra.

"Now listen, I'm not talkin' about no revolution, an' I'm not talkin' about no demonstration! I'm talkin' about having fun! I'm talkin' about dancin'! I wanna see you people get up and dance! I wanna see you people dancin' in the street this summer! I wanna see you have some fun. I wanna see you run around. I wanna see you paint the town. I wanna see you ringin' out. I wanna see you shout. I wanna see some fun. I wanna see some fun from everyone."

The whistles from the audience get louder. After a short pause Jim starts singing again.

"Weeeeee are together. We're together. We're together baby. We're together ... Get it up!"

Somebody from the audience screams up at Morrison: "Somebody else gets to this fucking thing, Jim!". Several listeners produce other unintelligable screams. The singer suddenly rounds on them and asks matter-of-factly:

"We want the same thing, don't we?"

Some people scream yes.

"We want the same thing. We want the whole hog, don't we babe?"

Much to the delight of his fellow musicians, Jim finally returns to the song.

"We want the world and we want it ...
NOOOOOOOWWWWWWW! YEEEAAAH!"

The group play their familiar parts, and Jim gets back to his usual lyrics. The band seem to be relieved.

"So when the music's over,
when the music's over, yeeeaaaah,
when the music's over,
turn out the light,
turn out the light,
turn out the light!
Music is your only friend,
dance on fire, it intends,
music is your only friend ...
un ... til the end,
till the end,
until the ... eeeeeeeend!"

'When The Music's Over' duly completed, and with the trembling stage still swamped with people, Morrison unceremoniously lays into the 'Ceremony' intro to 'Light My Fire'.

"Wake up! You can't remember where it was, had this dream stopped? The snake ... was pale gold, glazed and shrunken. ... We were afraid to touch it. The sheets were hot, dead prisons. Nooooowwww ... run to the mirror in the bathroom, look, she's coming in here ... I can't live through each slow century of her moving ..."

Jim pauses and turns to the group, while the audience moves forth and back. Everybody screams.

"... I let my cheek slide down the cool smooth tile ... feel the good cold stinging blood ... the smooth ... hissing ... snakes of raaaaiiiin!"

The band suddenly lance into 'Light My Fire'. Morrison is on the case immediately, but he suddenly sounds very drunk, slurring the words terribly.

"Know that it would be untrue, know that I would be a liar,
if I was to say to you, girl we couldn't get much higher.
Come on baby light my fire,
come on baby light my fire,
try to set the night on fire!
Time to hesitate is thru', no time to wallow in the mire,
try now we can only lose, our love become a funeral pyre.
Come on baby light my fire,
come on baby light my fire,
try to set the night on fiiiiiireeeeee!"

Ray plays an accurate solo without mistakes. Everybody hopes that Jim has calmed down, but some more fans climb up on the stage again, stomping on the wooden floor and dancing. The stomping comes through the microphone P.A. and creates a dull rumbling. Robby Krieger takes over the solo and plays the melody of 'Eleanor Rigby'. Jim squats down in front of Robby, his eyes following the movements of Robby's left hand from only inches away, flying across the neck of his guitar. He jumps up again, lights up a cigarette, then snatches the cap off an unsuspecting policeman's head, throwing it into the raging audience. The fans applaud, as the cop snatches Jim's hat with the metal skull on, and likewise lets it sail frisbee-like into the audience. Everybody's laughing. After Robby's solo Jim shares a beer with one of the guys on stage. He returns to the microphone, surrounded by screaming and dancing fans. All instruments stop immediately except Ray's heavy bass.

"YEAH, I WANNA SEE SOME DANCIN'! I WANNA SEE SOME DANCIN!"

Jim pauses for a second.

"YEEEAHHH, I WANNA SEE SOME FUN, WANNA SEE SOME DANCIN'! THERE ARE NO RULES, THERE ARE NO LAWS, DO WHATEVER YOU WANNA DO! DO IT!"

There is an incredible noise in the hall. Jim struggles hard to be heard.

"AAALLLRIGHT!"

Lewis Martin comes on stage and gives Jim a live lamb. Jim puts it under his right arm.

"I'd fuck her but she's too young!"

The audience howls and whistles.

"Yeeeaahhh! Now listen, anybody that wants to come up here and join us and do some dancin', have some fun, just get on up here! Come on! COME ON!"

Robby interrupts Jim with the intro to the final part of LIGHT MY FIRE. In the meantime countless people have accumulated on stage. Someone takes the lamb off Jim and he clings to the microphone.

"Time to hesitate is thru', no time to wallow in the mire,
try now we can only lose, and our love become a funeral pyre.
C'mon baby light my FIRE!
COME ON BABY LIGHT MY FIRE!
TRY TO SET THE NIGHT ON...
KNOW THAT IT WOULD BE UNTRUE, KNOW THAT I WOULD BE A
LIAR,
IF I WAS TO SAY TO YOU, GIRL WE COULD'NT GET MUCH HIGHER!
COME ON BABY LIGHT MY FIRE!
COME ON BABY LIGHT MY FIRE, C'MON!
TRY TO SET THE NIGHT ON FIRE!
TRY TO SET THE NIGHT ON FIRE!
TRY TO SET THE NIGHT ON FIRE!
TRY TO SET THE NIGHT ON - FIREEEE!"

After the song's outro the audience erupts. Jim shouts out further comments above the noise.

"ALRIGHT! ALRIGHT! NOW I WANNA SEE SOME ACTION OUT THERE! I WANNA SEE SOME ACTION OUT THERE! I WANNA SEE SOME ACTION OUT THERE! I WANNA SEE SOME ACTION OUT THERE! I WANNA SEE SOME ACTION OUT THERE! I WANNA SEE YOU PEOPLE COME ON UP HERE AND HAVE SOME FUN! NOW COME ON, LET'S GET ON UP HERE! NO LIMITS, NO LAWS, COME ON, COME ON!"

An incredible noise ensues. People shout, screech, howl, applaud, whistle.

"THIS IS YOUR SHOW! ANYTHING YOU WANT GOES! NOW COME ON!"

The audience returns a hundredfold "Yeah!" and storm the stage again. It is perfect chaos.

"ANYTHING YOU WANT! LET'S DO IT! LET'S DO IT! LET'S DO IT!"

One of the promoters pushes through to the microphone and shouts: "Hold it, someone's gonna get hurt! HOLD IT!" Jim takes the microphone out of his hand.

"ALRIGHT! NOW, WE'RE NOT GONNA LEAVE UNTIL WE ALL GET OUR ROCKS OFF!"

At this point someone throws a bag of red paint at the singer. Jim's pants get covered with paint. One of the security guards has had enough, and amongst all the howling from the fans, he shoves Jim off the stage. The other Doors flee when the guy in the audience starts throwing bags of paint at them as well. It takes Morrison almost 10 minutes to break free from the crowd and to disappear behind the stage curtain into his dressing room. Shortly after that he emerges from backstage up at the balcony. For minutes he stares as if in a trance down at the chaos in the hall below him.

Not until an hour later is the hall empty. Pieces of clothing are lying around everywhere, being swept together into a pile 5 foot high. Backstage soon afterwards, everybody's good mood returns. The Doors share a few cans of beer with the cops. The officials laugh, and say that they had had fun. Bill Siddons gives the policeman whose cap had been purloined by Jim a couple of dollars as compensation.
(Quelle: Rainer Moddemann)

Kopie des Haftbefehls gegen Jim Morrison

June 1969

June 14, 1969
Chicago Auditorium Theater
Chicago, IL POSTER

The Auditorium, the renown masterpiece of Louis Sullivan and Dankmar Adler built between 1886-1889, once housed a hotel, a theater, and a 16-story office tower. It was the first multi-functional edifice ever built and was the envy of the cultural world. Its construction created an international stir. Newspapers proclaimed it "the American Parthenon." The Auditorium Building has been known as Roosevelt University since 1945. The Auditorium Theater has been meticulously restored and is a "must-see" theatrical space, which Frank Lloyd Wright proclaimed to be "the greatest room for music and opera in the world--bar none". 2006 marks the sesquicentennial of Louis Sullivan's birth, so it's the perfect time to join us for an insider’s view of this architectural treasure, either a full-length tour or an abbreviated lunch time tour.

The Chicago Theater was built in 1921,the theater was restore into it's full glory in 1986. The architect is Geo.L.Rapp he also built the Uptown Theater, both of the theaters were succesfull. the performance's began at 5:00 p.m and by 5:30 the 5,000 seats were filled. At 8 o'clock began anothr show it only took like 30 min for all the seat's in the auditorium to be filled that shows that the theater was very succesfull and popular.

Auditorium serves as Chicago's premier rock house with performances by Jimi Hendrix, The DOORS, Janis Joplin, The Grateful Dead, The Who, and many others.

Renovierte Innenansicht ca. 2005

Innenplan heute

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June 15, 1969
Minneapolis Convention Center
Minneapolis, MN

Minneapolis Convention Center
1301 2nd Avenue South
Minneapolis, MN 55403

Jim Morrison am 15. Juni 1969 im Minneapolis Convention Center

Das Convention Center heute

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June 19, 1969
P.N.E. Garden Auditorium
Vancouver, CB POSTER

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June 27, 1969
June 30, 1969
The Forum
Mexico City, Mexico

Unbestätigt:
Heutiges Konzert im Grand Forum, das identisch mit DEM Forum sein soll, in welchem die DOORS 1969 einen Gig hatten

July 1969

July 21, 1969
July 22, 1969
Aquarius Theater
Hollywood, CA REVIEW

Aquarius Theatre (6230 Sunset Boulevard):Today this large hall is called "Star Search Theatre" and is used for talent shows. In the old Aquarius The Doors recorded three live gigs for "Absolutely Live" on July 21 and 22, 1969. In the 60s the building used to belong to various owners, who always changed its name. The Doors often played at this venue, which in their time was also called Hullabaloo and Kaleidoscope.
(Quelle: © by Rainer Moddemann)

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July 25, 1969
Cow Palace (San Francisco)
Daly City, CA POSTER

Gratful Death 1974, Cow Palace

Sicht auf die Bühne bei einem Konzert 1965 von Phil Spector (or Specter) Orchestra

Here are some shots of the Classic Amp Repair booth
at the 4 Amigos Guitar show at the Cow Palace in San Francisco

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July 26, 1969
Hayward Field University Of Oregon
Eugene, OR POSTER

Bilder aus der heutigen Zeit

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July 27, 1969
Gold Creek Park Woodinville
Seattle, WA REVIEW

Seattle Pop Festival held in Woodinville on July 25, 1969*.
HistoryLink.org Essay 1259
Printer-Friendly Format

On July 25, 1969, Boyd Grafmyre stages the Seattle Pop Festival, held at Gold Creek Park in Woodinville, northeast of Seattle. Over the next three days, 25 musicians and groups perform, including Chuck Berry, Black Snake, Tim Buckley, The Byrds, Chicago Transit Authority, Albert Collins, Crome Syrcus, Bo Diddley, the Doors, Floating Bridge, The Flock, The Flying Burrito Brothers, Guess Who, It's A Beautiful Day, Led Zeppelin, Charles Loyd, Lonnie Mack, Lee Michaels, Rockin Fu, Murray Roman, Santana, Spirit, Ten Years After, Ike & Tina Turner, Vanilla Fudge, and the Youngbloods.

Tickets for the event went for $6 a day or $15 for all three. More than 50,000 rock fans attended over the three days. Since crowds were larger than expected, extra water and food had to be hauled in on Sunday. Sanitary facilities were inadequate, but every attempt was made to meet county requirements.

Nearby neighbors complained of traffic and the hippie atmosphere, but Chick Dawsey, owner of Gold Creek, noted that spectators were orderly with very few exceptions.

"I disagree with their movement 100 per cent," said Dawsey, "but some of us adults better get the hell closer to them. They respond very much to kindness, we older people better learn this -- If they need a drink of water we, the establishment, should go out and offer it."
(Quelle: http://www.historylink.org/essays/output.cfm?file_id=1259)

* In Greg Shaws Buch THE DOORS ON THE ROAD ist da zu der 27. Juli 1969 angegeben.
Dies deckt sich auch mit meinen Recherchen.

August 1969

August 8, 1969, 1969
Electric Cricus
New York, NY

at 23 St. Mark's Place. This was a top 60's nightspot from 1967 to 1970. The Doors were scheduled to play here on August 8, 1969, but the concert never took place. (closed)

September 1969

September 13, 1969
Varsity Stadium
Toronto, ON POSTER 1 POSTER 2

1950

ca.1970

Jim während des Gigs im Varsity Stadium

Ausschreitungen im Varsity Stadium

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September 14
The Forum
Montréal, QC

So sah es von 1926 bis 1996 aus.

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Friday, September 19, 1969
Philadelphia Arena
Philadelphia, PA

ca. 1930 / 31

Philadelphia Arena
The Philadelphia Arena was an arena used mainly for sporting events located in Philadelphia, Pennsylvania.

The building, originally named the Philadelphia Ice Palace and Auditorium, was located at 4530 Market Street, next to what would become the WFIL TV Studio which broadcast American Bandstand. It was built by George F. Pawling, of George F. Pawling & Co., Engineers and Contractors, and opened on Valentine's Day, Friday, February 14, 1920. The first event was two nights later, Sunday, February 16, 1920, a college hockey game between the Yale Bulldogs and Princeton Tigers; the Bulldogs won, 4-0, before a crowd of over 4,000 despite the fact that the arena had only one small entrance at the time.

The arena was finally destroyed by fire on August 24, 1983.

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My sister in Philadelphia grudgingly agreed to obtain me tickets for this show at a place called Toppi's Sports Arena. However, she refused to buy me only one ticket and insisted on a pair, to ensure that I didn't drive to this place alone. This 7,000 capacity sports venue meant going into a rougher area of Philly. The tickets were deep red in color, and showed a $6.50 price.

Our seats were pretty close to the stage but on the side, up off the floor. I remember that as soon as the band hit the stage, we were up and over the barrier between our section and the floor to get in front of the stage. Joanie and I managed to be just a few bodies back from the edge, packed like sardines and jostling for position. I was positioned just left of center toward Ray's side of the stage.

This was the closest I had been yet, and I enjoyed that show tremendously. In hindsight I realized that this was the most dis-spirited of all the shows I was to see.

Jim's physical look had changed dramatically for this post-Miami show. No leather pants: his pants were light colored pin-stripes. He also behaved differently than at the Asbury Park show, just 12-1/2 months earlier, more subdued, like his heart wasn't really in it. However, at that time the thrill of being so very close to the stage outweighed any consideration of the band's mood that night, six months after the Miami incident. I didn't have a good understanding of the impact that Miami had on the band.

The Doors On The Road book indicates that there were two shows that night. I don't remember this, but it must be true. I do remember getting home very, very late so I assume we were at the late show. That section of my ticket stub was torn off so I'll never know for certain.

The early show's set list is: Back Door Man <> Break On Through <> When The Music's Over <> The Soft Parade <> Light My Fire To my knowledge, there is no record of the late show's set list.

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September 1969

September 20, 1969
Pittsburgh Civic Arena
Pittsburgh, PA POSTER

The Mellon Arena (known as Pittsburgh Civic Arena from 1961–1999,[1] also informally known as "The Igloo") is an indoor arena in Pittsburgh, Pennsylvania. It is home to the Pittsburgh Penguins of the National Hockey League and was formerly home to the Pittsburgh Hornets of the AHL, Pittsburgh Pipers and Pittsburgh Condors of the ABA and Pittsburgh Spirit of the MISL, among others. The arena currently seats 16,958 for ice hockey, standing room only of 17,138, with 56 luxury suites and 1,696 club seats.

November 1969

November 1, 1969
Las Vegas Ice Palace
Las Vegas, NV

1970

January 1970

Saturday, January 17, 1970
Felt Forum Madison Square Garden
NewYork, NY POSTER

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Sunday, January 18, 1970
Felt Forum Madison Square Garden
NewYork, NY

January 18, 1970 -- late show
My fourth show was at the Felt Forum in the Madison Square Garden building, and is my favorite. Venue capacity was 4,000 to 5,000. I attended the late show at 10:00 p.m. It was a bitter cold night with snow on the ground. I remember being huddled in line up against the building trying to keep warm, and waiting for the early show to let out so I could get inside. This ticket was fuchsia in color and had a $5.50 price.

By this time, I knew that when the band went into Soul Kitchen it would be their last song before the encore. I had a seat on the aisle, and when that song began I immediately left my seat and sped down toward the stage to be in position for the encore.

It paid off, as my elbows were literally on the stage during the encore. It was very hot - everyone was pushing to be close to the stage and I was being crushed against it. I was wearing a heavy winter coat -- if I took it off and had to hold it, I would only be able to have one elbow on the stage and be giving up stage frontage. I thought I was going to pass out from the heat and the crush, but I had NO intention of retreating. It was a total thrill to be that close. During the encore Jim danced along the edge of the stage touching many outstretched hands, but sadly, not mine! John Sebastian joined the band onstage during the encore, which I remembered to be quite lengthy.

Greg Shaw identifies the set list for the late show as: Roadhouse Blues <> Peace Frog <> Alabama Song <> Back Door Man <> Five To One <> Celebration Of The Lizard <> Build Me A Woman <> When The Music's Over <> Soul Kitchen <> "When I Was Back In Seminary School" <> Light My Fire <> Rock Me <> Close To You <> Ship Of Fools <> Goin' To New York <> Maggie M'Gill <> Gloria <> "Coda Queen" <> My Eyes Have Seen You

February 1970

February 5, 1970
February 6, 1970
Winterland Arena
San Francisco, CA POSTER

The Avalon Ballroom, the Fillmore Auditorium, Fillmore West, and Winterland: these four venues ushered in the modern era of rock show presentation and grew out of the hippie counterculture of the Haight-Ashbury district in San Francisco, Calif., U.S.

The first multiband rock show was held at the Ark in Sausalito in 1965 and proved so successful that the presenters incorporated their commune as the Family Dog shortly thereafter. Later that year a pair of rock concert benefit shows for the radical San Francisco Mime Troupe were organized by the troupe's manager, Bill Graham. The first was held at the Calliope Ballroom on Howard Street and the second at the Fillmore Auditorium, a stylish ballroom at Geary and Fillmore streets on the outskirts of the city's black community. Inspired by the shows' success, Graham decided to go into the concert-promotion business, setting up operations at the Fillmore.

At first Graham and the Family Dog shared the Fillmore, booking alternating weeks. Later Chet Helms, the Dog's booker, rented the Avalon Ballroom at 1268 Sutter, near the corner of Van Ness, and put it under the management of Bob Simmons, who had started the "underground rock" programming on KMPX-FM with Tom Donahue. Graham, noted for his abrasive personality and hard-nosed business sense, proved to be far more successful than the Family Dog, which fell into disarray and moved its operations to Denver, Colorado.

In 1968 Graham also took over a larger and more central venue, the Carousel Ballroom, at the corner of Market and Van Ness. He renamed it the Fillmore West (so called because he had expanded his company, Bill Graham Presents, to New York City, where he operated the Fillmore East).

When Graham closed the Fillmore West in 1971, he shifted operations to Winterland--a disused ice-skating rink at the corner of Steiner and Post streets--which he continued to use as his main small venue until urban renewal dictated its demolition in 1982. Winterland was the site of many significant rock events, not the least of which was the last live performance by the original members of the Band in 1976 (captured in the film The Last Waltz).

The formula for shows at these venues called for three bands per evening, originally playing two sets apiece. Graham often mixed genres in hopes of opening up his audiences' knowledge of music, whereas the Family Dog stuck mostly to its own favourite bands.

Graham went on to become the most successful concert promoter in the United States, later moving into management (Santana, Journey, and other bands), merchandising (Winterland Productions was the first company to see the sales potential in official band-related T-shirts and other paraphernalia), and film production.

On picture: GRATEFUL DEAD, Winterland Ballroom, San Francisco, 1973
5,400 seats

The Winterland Ballroom, often simply referred to as Winterland, was an old ice skating rink and 5,400 seat music venue in San Francisco, California. Located at the corner of Post Street and Steiner Street, it was converted to exclusive use as a music venue in 1971, by rock promoter Bill Graham. Graham had on occasion previously rented the venue for larger concerts his Fillmore Auditorium could not properly accommodate starting with a 1966 double bill of Jefferson Airplane and the Paul Butterfield Blues Band. After closing Fillmore West in 1971, he began holding regular weekend shows at Winterland. Various popular rock acts played at there including such bands and musicians as The Rolling Stones, Cream, Jimi Hendrix, Led Zeppelin, Jethro Tull, Jefferson Airplane, and Elvis Costello, the latter in support of his Armed Forces album. A great number of the best-known rock acts from the 1960s and 1970s played Winterland or played two blocks away across Geary Boulevard at the original Fillmore Auditorium. Peter Frampton recorded parts of the best-selling live album ever, "Frampton Comes Alive!", at Winterland. The Grateful Dead made Winterland their home base. The Band played their famous and incredible last show, The Last Waltz on Thanksgiving Day 1976 with numerous guest performers, including Neil Young, Eric Clapton, Bob Dylan, Joni Mitchell, and many others. The show was filmed by Martin Scorsese and released in theaters and as a soundtrack under the name The Last Waltz. The Sex Pistols also played their last show there on January 14, 1978.

Winterland was built in 1928 for the then astronomical cost of $1 million. Opening on June 29, 1928, it was originally known as the "New Dreamland Auditorium." Sometime in the late 1930's, the name was changed to Winterland. In its early years it served as an ice skating rink that could be converted to an entertainment venue. Early acts/shows at Winterland included Shipstad and Johnson's Ice Follies. It also was host to opera, boxing, and tennis.

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February 7, 1970
Long Beach Sports Arena
Long Beach, CA POSTER

The Long Beach Arena is an 11,200-seat multi-purpose arena and the first building to be completed. It is home to the Long Beach Ice Dogs ice hockey team. The Arena has hosted various entertainment and professional and college sporting events, most notably the volleyball events of the 1984 Summer Olympic Games. It is also noted as a top venue for hip-hop music concerts, although entertainers such as Frank Sinatra, Slayer, the DOORS and Led Zeppelin have also headlined here. For basketball, it seats 13,609. As a concert venue, it seats 4,550 for half-house events, 9,200 for 2/3-house shows and 13,500 for end-stage shows. For trade shows, the arena features 46,000 square feet (4300 m²) of space, with an additional 19,000 square feet (1800 m²) of space in the lobby and 29,000 square feet (2700 m²) in the concourse. Hanging from the arena's 75 foot (23 m) high ceiling is a center-hung scoreboard with four 11 by 15 foot (3 by 5 m) Saco SmartVision video screens. In the lobby is a large scale model of the guided missile cruiser USS Long Beach.

Heutiger Zustand, 2006

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February 13, 1970
February 14, 1970
Allen Theatre
Cleveland, OH

The Allen actually was originally operated by a Canadian company run by Jules and Jay J. Allen.about a year after it opened it became a Loew's theatre, later becomming a Warner Bros. theatre. It closed as a film house in 1968 and was occasionally used for rock shows over the next several years. It became the first theatre to be opened by the Playhouse Square Assoc in November 1971 opening with a performance by the Budapest Symphony Orch.Over the next several years it hosted a variety of shows by Lily Tomlin, Richard Harris, and numerous rock shows, like The Pink Floyd, The Jeff Beck Group, etc. In 1976 the owners of the building MilCapIncleased the theatre lobby to a restaurant operator who ran it for a couple years

The grand Allen foyer. Demolition workers had started to take out the brass
railings, only to re-install them once the theater's future was secured.

Stage area from the balcony

The front hallway looking South towards Euclid Avenue.

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February 15, 1970
Chicago Auditorium Theatre
Chicago, IL

April 1970

April 10, 1970
Boston Arena
Boston, MA TICKET

Located on St. Botolph Street at the edge of Boston’s Back Bay

Located on St. Botolph Street at the edge of Boston’s Back Bay, the Boston Arena was built by the City of Boston in 1909 and opened it doors in 1910. The building’s original facade was in the elaborate Art-Deco style with a dramatic archway, connecting twin capped towers and a gilded Victorian lobby.

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April 11, 1970
The Salt Palace Salt
Lake City, UT

But it will not be my intent to dwell on the politics of the Sixties—rather, I suggest that one cannot separate the music, the art, and the politics of the era. The politics begat the dissent that begat the music that begat the art, which, fueled by drugs like marijuana and LSD, all dissolved into the Sixties kaleidoscope.

By an accident of geography, Salt Lake City was, and is, a day’s drive from San Francisco. And musically, among other ways, San Francisco is where the Sixties began. Countless bands formed and reformed in the Haight-Ashbury district and Golden Gate Park, where both the Grateful Dead and Janis Joplin jammed.

As the San Francisco bands began cutting albums and building an audience and going on their first tours, that accident of geography began to loom large in the history of the Salt Lake Sixties. A day’s bus drive east landed emerging Bay Area bands in Utah.

It was Lagoon that probably held the first modern rock concert in all of Utah: the Rolling Stones in 1966. And Lagoon continued to host everyone from the Beach Boys (on numerous occasions) to hard rock and acid rock acts like The Doors, Jimi Hendrix, Janis Joplin, Jefferson Airplane, Canned Heat, the Electric Prunes, and many others.

After Jim Morrison of The Doors was busted for obscenity in Florida in 1969, Lagoon’s management publicly apologized that the group was scheduled to play Lagoon. Although The Doors played their concert, that event signaled an end to hard rock concerts at Lagoon; after that, the likes of the Beach Boys, the Association, the Monkees, The Mamas and The Papas, and other soft rock groups of the day held sway there. No more Hendrix, Morrison, or Joplin—the Sixties icons who died young and became immortal. Neil Young would later sing, “It’s better to burn out than to fade away.” That was most certainly a Sixties anthem.

Stadion heute

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April 12, 1970
University Of Denver Arena
Denver, CO

Bei diesem Bild bin ich mir nicht 100%ig sicher, ob es die Denver Arena ist

Jimbo Aril11, 1970 at University of Denver Area

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April 18, 1970
Honolulu Convention Center
Honolulu, HI

The Hawai'i Convention Center, located at 1801 Kalakaua Avenue in Honolulu, Hawai'i on the Hawaiian island of O'ahu in Waikiki, is the flagship civic exhibition center in the State of Hawai'i. Its unique Hawaiian architectural design encompasses artistic metaphors of Hawaiian culture and natural environment. International Association of Exhibition Management voted it the most beautiful convention center in the world. Featured at the Hawai'i Convention Center are USD $2 million art collection and rooftop tropical gardens.

A controversial project completed in 1997 and opened in 1998, the Hawai'i Convention Center is the largest "design-build" project undertaken by the State of Hawai'i. The bid process for the design began in 1994. LMN Architects was the unanimous choice of technical evaluators and jurors because of their sensitivity towards native Hawaiian culture in the overall design. For 1,007,000 square feet (93,000 m²) of space the project cost over USD $200 million. Wimberly Allison Tong & Goo (WATG) was chosen to design the interior incorporating historical Hawaiian quilt designs and nature based motifs throughout.

In the TV show Lost, the convention center is portrayed as an airport.

May 1970

Friday, May 1, 1970
The Spectrum
Philadelphia, PA

A complete recording of this show is now available from Bright Midnight Archives at: http://www.thedoors.com/bma/philadelphia.html

My fifth and final show was at the Spectrum in Philadelphia, with an audience capacity of 14,000. My bright green ticket showed a $6.00 price. Once I arrived there, I hung around outside the arena talking to a security person. He told me if I stayed there with him long enough, I would eventually see the band return from dinner in their limo. Sure enough, he identified their limo approaching, and it sped right past us and into the building. I then raced to get inside to my seat. I missed the Staples Singers opening act, but I didn't care. I knew that I had gotten a glimpse of their arriving limo, and I was thrilled.

This show is partially featured on Absolutely Live, where the announcer says the Fire Marshall will not allow the show to go on until the aisles are cleared. I was in that audience; it was bedlam. No one was in their seats, the aisles were clogged. I worried that the Fire Marshall really would shut the show down; I didn't know if it was a bluff, or if that really could happen with an arena-full of 14,000 rabid, chanting fans. For some reason, I cannot remember what Jim was wearing.

Set list : Who Do You Love <> Roadhouse Blues <> Break On Through <> "Feel It" <> Back Door Man <> "Love Hides" <> Back Door Man <> Ship Of Fools <> Universal Mind <> When The Music's Over <> People Get Ready <> Mystery Train <> Away In India <> Crossroads <> Wake Up! <> Light My Fire <> Maggie M'Gill <> Roadhouse Blues (reprise) <> Been Down So Long <> Rock Me <> Carol <> Soul Kitchen

May 1970

May 2, 1970
Pittsburgh Civic Arena
Pittsburgh, PA

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May 8, 1970
Cobo Arena
Detroit, MI

Cobo Hall was a long way from the original Hideout Club formerly located here on Harper Avenue in Harper Woods. Punch Andrews owned a string of Hideouts starting with this one, the original rock and roll club in Michigan and amongst the very first in the USA.

On June 22 in 1938 during a dramatic rematch in New Yorks Yankee Stadium, Joe Louis knocked out Nazi boxer Max Schmeling in two minutes four seconds - thereby standing Hiltler's arian supremacy theory on its head and humiliating historys greatest monster.
(Quelle: http://www.detroitfunk.com/2005/02/cobo_hallarena.html)

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May 9, 1970
Veterans Memorial Auditorium
Columbus, O

300 W Broad St
Columbus, OH 43215

The 3,920-seat auditorium has quite a history--The Doors played there, so did The Clash, Chicago, REM and more recently Beck.The remodeling included big improvements inside as well. New seats, new carpet, new acoustic tiles and wallcoverings have made the run-down auditorium look new again.

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May 10, 1970
Baltimore Civic Center
Baltimore, MD POSTER

So sah die Halle zu DOORS Zeiten aus

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May 11, 1970
Village Gate New
York, NY

The Village Gate - at 158 Bleecker Street, a club that is famous for jazz but also pop. Jim Morrison did a reading during a benefit for Timothy Leary here on May 11, 1970, behind the three windows at the bottom on your right. Top left see the original sign from the Sixties, today it is a CVS pharmacy (closed).

The Village Gate

Corner of Bleecker and Thompson Streets
Dylan wrote "A Hard Rain's A-Gonna Fall" in September 1962 in Chip Monck's apartment in the basement of the this building. The Village Gate was a notable folky hangout for 36 years. In April of 2001, the original building re-opened as The Village Theater, a venue for dramatic performances. The sign remains.
Note: Sadly, the sign in this photograph has since been removed, presumably by Art Lugoff, the owner of the former Village Gate. It will be missed—the day I noticed it was gone, a couple approached me asking if I knew where the former Village Gate was. I explained about the sign and pointed to the shiny facade of the new Village Gate theater. But they shook their heads and moved on, clearly dissappointed.
Update: A site visitor writes that the sign is back! Perhaps it was just being cleaned. I am so happy that this piece of history has been returned to its original location.
(Quelle: www.new-pony.com/tour/villagegate.html)

June 1970

June 5, 1970
Seattle Center Coliseum
Seattle, WA

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June 6, 1970
P.N.E. Coliseum
Vancouver, CB POSTER

Die Bühne (hier mit the COUNT)

Golden Gate Park is San Francisco's backyard. It's difficult to imagine that in the late 1860s there was nothing here except acres and acres of dunes - land deemed uninhabitable by the City. The vision of John McLaren, creator and "Father of Golden Gate Park," did not include the many statues and structures that fill the park today, along with thousands of species of plants and animals. McLaren opposed clutter and fiercely protected the natural beauty of the park, which runs from Stanyan Street to the Great Highway between Fulton and Lincoln. Since a person could spend many years in Golden Gate Park with no end of wondrous things to see and do, Mister SF offers 49 examples of what makes makes San Francisco home to one of the world's finest urban parks.

Albert King shares a word and a cigar with Jim Morrison
backstage at the Vancouver Coliseum

Vancouver, 1970 - Part 2
A thunderous ovation rocked the Vancouver Coliseum as the house lights were switched off. It was show time at last.

Through my chemically induced haze and near pitch-black surroundings, I saw three-quarters of The Doors emerge from the right side of the backstage area. Good thing I was up close.

As the crowd continued to roar, the three shadowy figures took their spots on the mammoth stage (well, it seemed to me at that point anyway!). Robbie Krieger made his way over to where his guitar had been laid on its stand. He slung the strap over his shoulder and then stood there, very cool, very nonchalant. He was ready. Following closely behind him was drummer John Densemore, who took his place behind the raised platform his drum set sat perched upon. He picked up his sticks, gave them a good twirl then made some final adjustments to his tom toms. He followed his last minute fine tunings with a few hearty smacks to his bass drum that echoed throughout the hall making the crowd's suspense almost tangible. We were on the verge of a full-scale eruption, hungrily awaiting the arrival of the Lizard King himself. And I was mere feet away.

Next came Ray Manzarek, casually strolling, drink in hand, he made his way across the full width of the stage, settling in behind his keyboards on the far left. The crowd pitch escalated. We wanted Jim Morrison. We were ready for The Doors. Cheers continued to fill the smoke filled hall. Then, after what seemed an eternity but in all probability was only a minute or two, came Jim. Smoking a cigarette, walking ever so slowly, taking a good look around, taking it all in. The days of tight leather pants behind him, tonight Jim was dressed in black jeans, squared tip cowboy boots and a long white Indian style poncho. He was definitely stockier now, hints of a beer gut protruded from underneath his shirt.

Morrison worked his way over to the mike and gripped it firmly with both hands. He looked to the sky and shut his eyes. He placed his right foot on the base of the mike stand and gave it a good kick. Without hesitation Densemore jumped in with a hypnotic, pounding drum intro. Blue and red lights draped Jim's body, giving those at the rear of the coliseum their first glimpse of Morrison and the other band members. Another roar of approval collided headfirst into the drums as they continued to shake the walls of the hall. Jim remained motionless as the band erupted into "Who Do You Love". Morrison lowered his head finally, eyes still firmly shut, summoning that voice from the depths of his soul. I sat transfixed on The Lizard King, unable to even blink. Morrison's stage presence was unparalleled. He didn't have to move, speak or even sing for the audience to be completely drawn into his web, and his world.

His voice, although heavier and fuller, remained velvet smooth. It did show signs of wear, tear and abuse at points during the show; the odd crack here and there. But Jim's voice, even on a bad night could put many other vocalists to shame. He sure gave his vocal chords a work out that night. Yelling at some points, whispering softly at others. Preaching atop his own mountain, the stage his altar, the masses below his faithful followers.

Manzarek, staring at his eighty-eight black and whites, head bobbing left to right, provided a resounding bass line with one hand, playing wildly rolling organ with the other. A definite high for me (besides the purple tab of acid!) was a hard driving three song medley that lasted some fifteen minutes and featured prominently Krieger's spectacular mastery of glass bottleneck slide. From what I remember, it was "Alabama Song" which led seamlessly into "Backdoor Man", Morrison howling like a crazed bluesman throughout, and ended with "Five To One", Jim's ode to the West Coast hippies.

It was loud and I was peaking as the pharmaceuticals continued to pump through my veins. Thank goodness the guy next to me had regained his human characteristics (he's the one who almost had me freaking when he transformed into a winged gargoyle just as The Doors were hitting the stage); I could continue to enjoy the show.

Jim preached his unique blend of love and hate at many points during the show. "Love your brother, love your sister" I remember him saying, while warning in ominous tones, "watch out for the man in blue". As I mentioned last month the cops were everywhere. Morrison however, was on his best behavior this night, coming off his recent troubles in Miami and the resulting backlash of a tour almost completely cancelled by nervous promoters afraid of what Jim was going to do next.

The Doors were in top form and very tight, Morrison and his band mates in perfect synch. Jim was in fine form too, using various Indian instruments on "When The Music's Over" and a twenty minute version of "The Celebration Of The Lizard". They didn't ignore their big hits either that night, with "Break On Through" and " Love Me Two Times" being the coda of the evening's set.

After a courteous bow the four left the stage commencing what would turn into a five-minute ovation for more. The boys obliged and returned to perform "Soul Kitchen" and "Hello I Love You"(I think) as encores before waving goodbye to a 12,000 strong audience, still wanting more, and exactly the way a performer likes to leave an audience.

We left the arena as high as when we entered, only this time it was the music that did the flying for us. Seeing Jim Morrison was a definite highlight of my concert going years. It was Jim Morrison's final visit to Vancouver and some of the last performances he'd ever give. Within seven months, The Lizard King would be dead, or, so we're led to believe…See ya.
(Quelle: A friend send it me with the pic by an e-mail)

August 1970

August 17, 19 + 20, 1970
The Staat von Florida gegen James Douglas Morrison

Der Prozeß gegen James Douglas Morrison begann am 17. August 1970 um 10:30 Uhr.

Zeitungsartikel vom Vorfall im DINNERS KEY AUDITORIUM

Jim Morrison mit Julia Brose-Densmore während iner Gerichtspause zum Miami Prozess, 1970

Here's the Dade County Courthouse in downtown Miami, built in 1925. It's currently undergoing a major restoration. At 28 stories, it was once the tallest building in Miami. In the beginning, its top floors were once used as jail cells (there were several successful escapes from those upper floors too). Today this courthouse is the venue used for civil trials in Miami-Dade County.

August 21, 1970
Bakersfield Civic Auditorium
Bakersfield, CA 93301

Setlist:
When the music's over
Wake up
Light my fire
The End

Die Halle wurde 1962 fertig gestellt, aber komischerweise ist kein Bild zu finden?!

+++++ +++ +++++

August 22, 1970
San Diego Intern. Sports Arena Center
San Diego, Ca

Hier bin ich mir nicht 100%ig sicher
ob es das richtige Gebäude ist.

+++++ +++ +++++

August 29, 1970
East Afton Farm
Isle of Wight, England POSTER

Isle of Wight, Groß Britanien, 8-29-70

December 1970

December 11, 1970
tate Fair Music Hall
Dallas, TX POSTER

+++++ +++ +++++

December 12, 1970
The Warehouse
New-Orleans LA POSTER

ACHTUNG !!!

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