Van Morrison - Contractual Obligations

Van Morrison - Contractual Obligations

(soniclovenoize reimagination)

Side A:

1. Savoy Hollywood

2. Hang On Groovy

3. Twist, Shake and Roll

4. Stomp, Scream and Holler

5. Jump, Thump and Jive

6. Walk, Wobble and Roll

7. Freaky If You Got This Far

Side B:

8. The Big Royalty Check

9. Blowin Your Nose

10. Want A Danish?

11. Shake It Mable

12. Ring Worm

13. The Story of Dumb George

This admittedly is one of my more bizarre album assemblages, originally began as a joke by a friend of mine that morphed into a dare.  He jested that it couldn’t be done; challenge accepted!  Thus, this is my ”reimagination” of what could have been Van Morrison’s second album, recorded solo for the sole purpose of fulfilling his contract with Bang Records in 1968.  Aptly titled Contractual Obligations, I have taken the 31 “revenge songs” that Van Morrison recorded, organized them by musical key and lyrical theme, and edited the fragments together to create thirteen more-or-less complete songs and sequenced them into a semblance of a an album. 

Let Van Morrison be an example of the plight of young artists by the hands of corporate greed and exploitation.  Hastily signing to himself to Bang Records in 1967 in order to avoid literal starvation, Morrison recorded an album’s worth of material he didn’t feel amounted to an actual album.  He left the March 1967 recording sessions thinking that those eight songs—one of them his immensely popular hit “Brown Eyed Girl”—would be released as four separate singles.  Instead, Bang Records collected the songs and released them as Van Morrison’s debut album, Blowin Your Mind.  Not only was this done completely without his consent, but Bang promoted the album in full psychedelic fashion, an image Morrison himself detested.  To make matters worse, label head Burt Berns’ passing in December allowed for his widow Ilene to impose ridiculous performance restrictions on Morrison, all which were allowed by the contract that he himself signed.

Van Morrison’s salvation lied within a simple loophole in his contract: deliver 36 original songs to Bang Records.  And so sometime in early 1968, Van Morrison entered a recording studio and performed 31 intentionally half-assed bullshit songs in order to escape the clutches of Ilene Berns.  The songs were all musically simple--often I-IV-V progressions in E or G—and the lyrics presumably improvised, meaningless, random, inane.  Some were even gibberish.  Morrison had farted out over thirty nonsense songs that were all completely unusable in an act of musical revenge, which fulfilled his contract.  Bang Records refused to release them at the time but the collection eventually appeared as rare bonus material on legally-questionable international anthology releases throughout the years.

For my reimagination, we will postulate how Bang could have assembled these throwaway fragments into some sort of cohesive album.  A listen through the material will tell you that Morrison did not put much thought into the “compositions” musically and they follow similar chord sequences, all standard open chords within the same harmonic family.  We are thus able to easily group most of the songs together by key.  Even luckier, many of those musically-similar compositions share similar lyrical qualities, further identifying possible associations.  Although this was undoubtedly unintentional by Van, we can exploit this tendency and edit these similar fragments together, creating full songs from the fragments.  Using the 31 fragments I was able to create eleven complete songs, leaving two fragments to remain their own stand-alone songs. 

Side A begins with “Savoy Hollywood” which is a combination of the songs “Do It”,"Go For Yourself” and “Savoy Hollywood”.  The beginning tape wow opens the album up mid-song and prepares us for Van’s bumpy ride with strumming and vocal stutters.  Follows is “Hang On Groovy” which is a combination of “La Mambo”, “Just Ball” and “Hang On Groovy”, less a mockery of the classic songs “La Bamba” and “Hang On Sloopy” but more a mockery of Bang for expecting something more than pop-song contrivance for this album.  The next four songs gather together Morrison’s inane send-ups of movement-centric 1950s rock n’roll classics: “Twist, Shake and Roll” (a combination of “Twist and Shake” and ”Shake and Roll”), “Stomp, Scream and Holler” (a combination of “Stomp and Scream” and “Scream and Holler”), “Jump, Thump and Jive” (a combination of “Jump and Thump” and “Drivin Wheel”) and “Walk, Wobble and Roll” (a combination of “Walk and Talk”, ”The Wobble” and “Wobble and Roll”).  The fact that these song are all in a row should drive home how ridiculous this album is, and without the proper mindset is a very painful listen.  Van Morrison himself agrees, as the closing song on side A is the stand-alone “Freaky If You Got This Far”, which it truly is.

Side B starts with an explanation of the album itself: “The Big Royalty Check”, which is a combination of “Big Royalty Check”, “Thirty Two” and “All The Bits”.  Following is “Blowin Your Nose”, a combination of “Blow In Your Nose” and “Nose In You Blow”, a mockery of the first album that Morrison never approved of.  “Want A Danish?” (a combination of “Want A Danish” and “Chickie Coo”) is followed by more silliness in “Shake It Mable” (a combination of “Shake It Mable”, ”You Say France and I Whistle” and “Up In Your Mind”).  The most noteworthy of the “revenge songs” follows, the stand-alone ”Ring Worm”.  To end Contractual Obligations, I united all four songs about the character Dumb George and sequenced them in a logical and presumably chronological order, called “The Story of Dumb George” (a combination of “Here Comes Dumb George”, “Dum Dum George”, “Hold On George” and “Goodbye George”).  The icing on this distasteful cake is the original artwork by EAB, in which Bang Records’ contrived psychdelicism is literally consuming Van Morrison.

Is this a good album?  Oh, God no, this album is fucking awful!  But intentionally awful, for good reason, and thus worth a listen.  It is an absurd album, especially knowing who this is—this is Van Morrison, a genius who combined folk, jazz, soul and pop on his legendary Astral Weeks album, recorded under a year later from Contractual Obligations’ horrific nonsense.  With this in mind, itin t is a fascinating look at the effects of big business on artists, relevant even today.  Sometimes, cause is more relevant than effect and the context of the music is more interesting than the music itself.  Contractual Obligations shows us this as it lies somewhere between pain and pleasure but as an album that never was.  

Sources used: 

Van Morrison - New York Sessions 67 (1997 Recall Records)

flac --> wav --> editing in SONAR & Goldwave --> flac encoding via TLH lv8
*md5, artwork and tracknotes included

Nirvana - Sheep

Nirvana – Sheep

(soniclovenoize reconstruction)

Side A:
1.  Dive
2.  Lithium
3.  Imodium
4.  Sliver
5.  Been A Son
6.  Polly

Side B:
7.  In Bloom
8.  Stain
9.  Pay To Play
10.  Sappy
11.  Here She Comes Now


This was a blog-follower request from last year.  It was a project that was very close to my heart and I thought it would be a fun reconstruction to partake in.  This is a reconstruction of the unreleased 1990 Nirvana album Sheep, which is essentially the precursor to what would eventually be released as Nevermind in 1991.  It is designed to emulate what Nirvana’s second album would have sounded like in 1990 as an indie release, rather than the major-label blockbuster that Nevermind actually became.  While all this material can easily be found on modern remasters (notably the 20 Anniversary edition of Nevermind), alternate sources were utilized to avoid the highly compressed and brickwalled masters from that release. 

By 1990, Nirvana had relentlessly toured in support of their debut album, Bleach.  Their reputation for a staggering live show as well as songs that seemed to speak to their audience had garnished the band attention inasmuch as that many hailed it as a modern, Seattle-based equivalent of Beatlemania.  Enlightened with a slew of new songs that were more pop-influenced than the stereotype grunge found on their debut album, the trio began recording with producer Butch Vig in April at his own recording studio in Madison, WI.  The sessions were fruitful, with eight songs completed for a tentative album for Sub-Pop, in which Kurt Cobain desired to be dubbed Sheep, allegedly a reference to the target-audience of the album itself.  The band was at first pleased with the results and 2/3rds of their sophomore album was in the can for a release date later that year.  Nirvana intended to book a follow-up session with Vig at Smart Studios to finish the album….  or so they thought.  Two important events prevented the Sheep album from happening, which allowed it to become Nevermind instead.

The first event was the band’s discontent with drummer Chad Channing and his dismissal from Nirvana.  The truth was that the core of the band—founders Kurt Cobain and Krist Novoselic—had simply settled for Channing in 1988 after being unable to find a drummer that lived up to their first choice: Dale Crover of The Melvins.  Crover was a powerful hitter who had assisted Nirvana to record their first studio demo which secured their contract with Sub-Pop Records.  Chad was a much lighter hitter and seemed to embody the “hippy aesthetic”, which was contrary to Kurt and Krist’s “punk aesthetic”.  Cobain himself was a competent drummer and often complained that Chad was not performing up to Cobain’s specifications.  This often resulted in on-stage hostility, in which Cobain would vent his frustration at the drummer by literally plummeting himself at Chad at the conclusion of their sets, crashing the drumkit to bits.  Of course this became a fan-favorite stage-antic, and the tradition carried on for the remainder of the band’s career, even without Chad; but the truth was that it originated with Kurt’s “drummer frustrations”.  After the Smart Sessions, Chad was fired from Nirvana and the hunt for a new drummer resumed.  The band eventually stumbled upon prodigical Dave Grohl—the best alternative to Dale Crover—and the rest was history.  But with an infinitely more powerful drummer on-hand, the eight songs recorded earlier in the year would clearly be unusable for Nirvana’s second album.  It needed to be re-recorded.

The second factor of Sheep’s death was Nirvana’s dissatisfaction with Sub-Pop Records.  Despite a European tour as well as local-celebrity status, the label did not seem to quite meet Nirvana's expectations, as Sub-Pop could not meet the market demands for the album.  Fan-feedback was consistent: fans simply could not find their album in the stores.  What was Sub-Pop even doing?  Revenues from one album generally went on to fund the label’s next project; was there really room for Nirvana?  Was it right that Cobain and Grohl, now roommates, would live in squalor while Sub-Pop reaped their benefits?  Nirvana’s only hope to progress was to sign to a major label.  Hence the Smart Sessions recordings—funded by Sub-Pop for a tentative album—were relegated to a demo used to shop for a major label deal.   The sophomore Nirvana album would have to be re-recorded for a bigger label with a bigger budget, with their better drummer behind his kit.  Fate would prove to be on Nirvana’s side, as that is exactly what happened: Nirvana eventually signed to Geffin/DGC Records, who paid the bill to rerecord the Smart material plus more (notably the newly-written “Smells Like Teen Spirit” and “Come As You are”) at a million dollar studio. 

This reconstruction attempts to erase both these factors: what if Nirvana were content with both Chad Channing as a drummer and Sub-Pop as a label, and Sheep would have been their second album proper?  How would we reconstruct that album?  Luckily for us, Cobain left an abundance of clues as to what the album's design and tracklist was to be, thanks to many sketches and tentative tracklists which were published in his Journals; unluckily for us, they are all drastically different, including songs that were never recorded with Chad Channing.  While all centering around the material recorded at Smart Studios—which creates the meat of this reconstruction—they are all in different orders with other random songs from this era mixed in. 

On page 89 of Kurt Cobain’s Journals, we have a tentative Sheep tracklist of: Imodium / Lithium / Dive / Polly / Sappy / Token Eastern Song / Verse Chorus Verse / In Bloom / Pay To Play / Dumb / Been A Son.  On page 116, we have a tracklist of: In Bloom / Imodium / Pay To Play / Territorial Pissings / Lithium / Sliver / Verse Chorus Verse / Sappy / Polly / Something In The Way.  And finally on 123 we have: In Bloom / Lithium / Polly / Territorial Pissings / Imodium / Pay To Play / Sliver / Been A Son / Sappy / Verse Chorus Verse / Something In The Way.  Clearly, Cobain could not make up his mind.  I have created test sequences of all three, and they all sound poor with no flow.  To make matters worse, we should remind ourselves that the final tracklist of the classic Nevermind album—an album with notably excellent cohesion and flow—was compiled completely arbitrarily, on the spot, by Kurt Cobain.  Apparently, he was face-to-face with a record exec who demanded a final tracklist in order to release the album, only for Kurt to hesitantly rattle off the track order off the top of his head!  The truth is that if they had asked Cobain a day later or sooner and had he been in a different mood, the running order of Nevermind could have been very different! 

So we know that the core of our reconstruction would be all eight songs recorded during the Smart Session in April 1990, which include: “Dive”, “Imodium”, “Here She Comes Now”, “In Bloom”, “Lithium”, “Pay To Play”, “Polly” and “Sappy”.  Would all eight of these songs actually have found their way onto Sheep?  Most likely not; for one, “Here She Comes Now” was specifically recorded for a Velvet Underground tribute album, never meant for album inclusion.  But because we are, for these purposes, only limiting ourselves to pre-Dave Grohl recordings, we are forced to use the entirety of the Smart Sessions on our Sheep reconstruction.  This is not entirely implausible as we have the precedent set with the cover of Shocking Blue’s “Love Buzz” on Nirvana’s debut Bleach.  Who’s to say they wouldn’t have included a cover on Sheep as well? 

Since eight songs are not enough for an album, we’ll need more.  “Sliver” was featured on two of the three tentative tracklists so we can use it, although it features Mudhoney drummer Dan Peters, temporarily filling-in Chad’s shoes.  “Been A Son” was also featured on two of the three tentative tracklists so we will use the recording found on the Blew EP, dating from September 1989, produced by Steve Fisk.  Although “Token Eastern Song” was also recorded during the Fisk Sessions and is featured on one of the three tracklists, the song honestly sounds as if it was born in a junkyard; instead we will use the superior track “Stain”, recorded during the same Fisk Sessions and released along with “Been A Son.”  Noting that “Dumb”, “Verses Chorus Verse”, “Territorial Pissings” and “Something In The Way” were all never recorded with Chad Channing and thus excluded, we are left with an 11-song set that features one cover tune, all amounting to a minute or two shy of 40 minutes—just like Bleach!  This is all too perfect for its supposed kindred kin Sheep. 

The actual track order of these 11 songs is not based on Cobain’s erratic and indecisive suggestions, but my own instincts and preference.  The album begins much like Bleach, with a groovy bass riff that drives a grungy rocker: “Dive”.  This is the original master taken from the 1990 Sub-Pop CD single pressing.  Following is the Smart Sessions version of “Lithium”; although better mastering can be found on bootlegs, the modern remix found on the Nevermind 20th Anniversary is unfortunately superior in soundquality, and is used here.  Next is the 1990 live standard “Imodium”, this less-brickwalled master taken from the rare Nightly Nirvana promo CD.  Next is the original studio version of “Been A Son”, taken from the first CD pressing of the Blew EP, with the album's side A closing with “Polly”, taken from the Nevermind 20th Anniversary box set.  Side B begins with “In Bloom”, sourced from an audio rip of the Sub-Pop video, found on the With The Lights Out DVD, the best source to avoid the brickwalled mastering found on the Nevermind 20th Anniversary box.  The original mastering of “Stain” from the CD pressing of Blew is next, followed by “Pay To Play” from the DGC Rarities compilation album.  The Nevermind 20th Anniversary remix of “Sappy” is unfortunately clearer than the best bootleg sources, so the brickwall mastering will have to be tolerated.  But the album is luckily concluded with the superior original mix of “Here She Comes Now” from the Heaven and Hell compilation, as well as a surprise after a minute of silence... 

How does Sheep compare with Nevermind?  Percussion-wise, it’s obviously weaker; Dave Grohl is one of the best drummers of our time, and the comparatively wimpy Chad Channing is no match for him.  Just compare “Pay To Play” here to Nevermind’s “Stay Away” to see exactly what Grohl added to Nirvana.  But on the other hand, the production of Sheep is much less slick, if that is your gripe with Nevermind, and even though Sheep features more pop-song structures and emphasizes Cobain’s excellent sense of melody, it is still very “punk" sounding and comparable to Bleach’s aesthetic.  We can’t say if Sheep is better or worse than Nevermind, but obviously the slicker production and intense drumming surely helped propel Nirvana into super-stardom, and things would have panned out quite differently for Nirvana had Sheep been released instead.  Without any super-stardom repercussions for Cobain to resent and ultimately attempt to "solve", this ‘album that never was’ opens our imaginations to a ‘life that never was’…  So in this sense, maybe Sheep was the album that should have been all along?

 

Sources used:
Nirvana - Blew EP (original CD master, Sub-Pop1989)
Nirvana - Sliver single (original CD master, Sub-Pop 1990)
Nirvana - Sliver single (original vinyl rip, Sub-Pop 1990)
Nirvana - Nevermind (20th Anniversary CD box set, Geffin 2011)
Nirvana - Nightly Nirvana (promo CD, Geffin 2004)
Nirvana  - With The Lights Out (DVD audio rip, Geffin 2004)
Various artists- DGC Rarities vol 1 (CD, DGC 1994)
Various artists - Heaven and Hell (CD, Communion 1990)

flac --> wav --> editing in Audacity & Goldwave --> flac encoding via TLH lv8
*md5, artwork and tracknotes included

The Doors - Celebration of the Lizard

The Doors – Celebration of the Lizard

(soniclovenoize reconstruction)

Side A:

1.  Five To One

2.  Love Street

3.  We Could Be So Good Together

4.  Yes, The River Knows

5.  My Wild Love

6.  The Unknown Soldier

Side B:

7.  Spanish Caravan

8.  Wintertime Love

9.  Celebration of the Lizard

Merry Christmas and Happy Holidays!  This was a much-requested reconstruction that was surprisingly easy to do, so I thought I’d revisit and bastardize my favorite Doors album as present to my blog followers!  This is a reconstruction of the unreleased Doors album Celebration of the Lizard, which was restructured into 1968’s Waiting For The Sun.  The bulk of my reconstruction uses a superior needledrop vinyl rip of the album for the best possible fidelity, and the title track is reconstructed from three different sources to make a complete and dynamic performance piece as it would have sounded like in 1968, superior to the officially released “work in progress” track. 

Upon entering the recording studio in 1968 to make their third album, The Doors hit a creative wall for several reasons.  First and foremost, they had simply run out of material, having blown through their backlog of quality songs with their first two albums in the previous year.  Paraphrasing Robbie Krieger, the ‘Third Album Syndrome’ had affected The Doors, who were thrown into the position of needing a new album to promote with no songs immediately on hand, forced to compose new material in the studio.  A solution was to base their third album around a lengthy poetry piece of Jim Morrison’s, entitled “Celebration of the Lizard”.  Originally claimed to occupy an entire side of the LP, “Celebration of the Lizard” would have included seven sections, some of which were experiments in noise to accompany Morrison’s abstract poetics.  Unfortunately, the piece was too abstract for producer Paul Rothchild, who felt the band absolutely needed a hit single, and the band themselves allegedly could not properly record the song to their liking in the studio.

Rothchild presumably convinced the band to abandon “Celebration of the Lizard” midway through the recording sessions for the album, which signaled a change in Jim Morrison himself to a state of drunken ambivalence.  After his epic poetic masterpiece was killed in favor of a hit single, he simply stopped caring about the album and turned instead to alcohol and his own circle of followers who vied Morrison’s time away from the actual members of The Doors.  The only thing salvaged from the formerly-title track was its fifth section, “Not To Touch The Earth”, which became its own track on the album, which was retitled to Waiting For The Sun.   The legend has it that the void left by “Celebration of the Lizard” was filled with two songs chosen by the 10-year-old son of Elektra Records head Jac Holzman.  Unused filler from The Doors’ original 1965 demo, “Hello, I Love You” and “Summer’s Almost Gone” were rearranged specifically to be a hit single and it’s b-side.  It worked; the album Celebration of the Lizard transformed into Waiting For The Sun, the band’s highest charting album.  But it was not the album that Jim Morrison had originally wanted it to be.  Can it now?

The first step in recreating Celebration of the Lizard is to know what would or would not have been on the album.  Obviously, “Celebration of the Lizard” would have been the title track, allegedly taking up the entire second side.  Although a studio run-through of the track reached 17 minutes in length and media outlets at the time claiming some recordings incredulously amounted to 36 minutes, almost all of the performed live versions of the entire track ran between 13-15 minutes.  I propose that “Celebration of the Lizard” would have not exceeded 14 minutes in length, and would have been teamed with another song or two on side B, which is how it is presented here.  Also, we know that “The Unknown Soldier” and it’s b-side “We Could Be So Good Together” would have been on Celebration of the Lizard, since it was a single release from early in the sessions; while some speculate the b-side might not have been included on the album, that is not a precedent set by the previous two albums, where not a song was wasted!  Studio documentation also shows that “Spanish Caravan” and “Wintertime Love” were all recorded before “Celebration of the Lizard” was scrapped, and were probably good contenders for the album.  News articles at the time also place a cover of “Gloria” as a contender for the album, although we must exclude this because we simply don’t have a 1968 studio recording of “Gloria” to use on our reconstruction (not to mention the band simply stopped performing the song altogether the previous year).  There is also speculation that Morrison’s spoken poetry might have acted as segues between the actual musical tracks on the album; we must also set this notion aside, since we simply do not have any spoken word recordings from the CotL/WftS Sessions to use in this reconstruction (although this is certainly plausible for the following album, 1969's The Soft Parade; maybe the poetry rumors were assigned to the wrong album?).   Aside from these six songs, that’s all we know for sure.  In contrast, we are certain of what would not be on the album: “Hello, I Love You” and “Summer’s Almost Gone”, which were the title track’s replacement.

Because of a) the limitations of source material and b) the unsurety of how the album would have sounded like aside from six songs, we are left with a great leeway to reconstruct our Celebration of the Lizard.  Here, I am essentially beginning with all of the Waiting For The Sun album, dropping the two 1965 demo-originated tracks and adding a rebuilt title track with “Not To Touch The Earth” reinstated.  That leaves us with a nine-song 37-minute album, enough to compete with the rest of The Doors’ works.  I am also going to exclude the actual song “Waiting For The Sun”, as no 1968 recording is available that lacks the 1970 Morrison Hotel-era overdubs.  It is of note that I am using the pbthal vinyl rip of the album, which is the best version of Waiting For The Sun I’ve heard by far. 

Side A of my Celebration of the Lizard reconstruction begins with the ruckus of “Five To One”, taking the place of The Door’s usual ruckus-opener tracks.  Morrison’s introductory lyrics to the track make the song the only real contender for album opener.  It is gently crossfaded into “Love Street”.  While we can’t be certain it would have actually appeared on Celebration of the Lizard, it is needed to release the tension from the previous track.  Following is “We Could Be So Good Together” and then the brilliantly-composed ballad “Yes, The River Knows”.  Again, while we are unsure if the later song had actually been a contender for the album, its inclusion here gives Celebration of the Lizard a pretty large dynamic and stylistic breath, a quality I appreciated the most about Waiting For The Sun.  The stylistic breath widens again with the tribal “My Wild Love” (which thematically certainly fits Celebration of the Lizard) and the side closes much like its officially-released counterpart, with “The Unknown Soldier”.  Side B similarly opens with the amazingly mysterious “Spanish Caravan”, followed by the baroque-rocker “Wintertime Love”.  The album concludes with the title track. 

Clearly, The Doors were not able to capture “Celebration of the Lizard” in the studio as they had intended it; this is demonstrated by the only known studio version, an extremely lazy and lackluster rehearsal, appropriately subtitled “An experiment/work in progress”.  This seems curious, as the entire piece was performed a number of times live to sheer perfection.  Why not use direct soundboard recordings of actual live performances if they could only perform it correctly live?  Contemporaries such as The Grateful Dead, Neil Young and Frank Zappa & The Mothers of Invention had mixed studio with live recordings on albums proper and would continue to do so throughout the 1970s.  This is the approach we will take on my reconstruction of the title song: we must find other, stronger performances of the seven individual sections of “Celebration of the Lizard”, while staying within the timeframe of the CotL/WftS sessions, and assemble them into the best track possible.  Although Rothchild has claimed the track had no cohesion, it seemed the obvious choice to push the envelope in that very direction and record each segment separately, piecing the song together.  Admittedly, that was probably not The Doors’ ethos, even though Rothchild allegedly forced them to perform hundreds of takes of “The Unknown Soldier” in search for the perfect take for a hit single.  Here, we have the luxury to undertake what Rothchild could not—or would not—do. 

My own edit of “Celebration of the Lizard” begins with ‘Lions in the Street’, taken from the studio rehearsal version.  It is edited into a live version of ‘Wake Up!’ taken from The Doors 1968 Hollywood Bowl performance.  Since The Doors refined “Celebration of the Lizard” over time, we wish to exclude any anachronistic later-era live recordings of the song.  Thus a performance from 1968—the same week as the release of Waiting For The Sun itself—is close enough to the album’s sessions to let us know how the refined pieces would have sounded like in 1968, as opposed to 1970.  This crossfades into more Hollywood Bowl recordings of ‘A Little Game’ and ‘Hill Dwellers’; the slight audience noise is excusable since the overall fidelity of the recordings are a great match to the studio recordings.   Following is the album version of ‘Not To Touch The Earth’, segueing into the studio rehearsal versions of ‘Names of The Kingdom’ and ‘The Palace of Exile’.  The result is an album hopefully more in-tune with Jim Morrison’s intentions before Rothchild’s desire for a hit single destroyed it.  And at the centerpiece, a strong, nearly-fourteen minute title track that is a sum of the more passionate performances of its seven pieces, constructed into a cohesive whole.  So are you ready?  The ceremony is about to begin…  

 

Sources used:

The Doors – Waiting For The Sun (2007 40th Anniversary CD remaster)

The Doors – Waiting For The Sun (1998 Steve Hoffman vinyl remaster, pbthal rip)

The Doors – Live at The Bowl ’68 (2012 remix/remaster, HD wav download)

flac --> wav --> editing in SONAR, Audacity & Goldwave --> flac encoding via TLH lv8

*md5, artwork and tracknotes included