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on 1 June 2011
This review relates to the vinyl double LP version.
I was a little reluctant to buy this album as there has been a lot of negative publicity concerning the latest remasters from Rhino Records, mostly to do with the state of the original tapes resulting in a digital rather than an analogue transfer.
However my fears were unfounded. The sound quality is at least equal to the "Absolutely Live" album and I had no complaints on the quality score. Bearing in mind these recordings where made in 1969/70 they tower over other contemporary live recordings including The Who's "live at Leeds" and the Stone's "get yer ya-ya's out", I'm speaking of sound quality alone here not the albums themselves as we all have our own favourites.
The album itself is a complete recording of The Door's first show at the Felt Forum and includes tuning breaks. However as these occur either at the end or beginning of a record side they are not intrusive and help to give a true sense of a live concert. I've always preferred live albums recorded at a particular show rather than a selection of different shows, mistakes and all.
From a musical point of view the show flows smoothly, much more so than "Absolutely Live" and the band really seem to be enjoying themselves, listen to "Money" to hear what I mean.
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These shows were performed only a matter of weeks short of 40 years ago, but Rhino have (once again) done a marvellous job with the sound. You get the full works here of both nights at the Felt Forum on 17th & 18th Jan 70 with 2 shows per night, something quite common back then, but how many artists would do that today? The venue was quite an intimate one, about 5000.

OK so if you're a fan of the band you will have some of this material already, most notably a whole CD's worth in The Doors Box Set, but having the whole concerts, warts and all, (ie tuning etc), is really worth it in my eyes, after all that's what the GD have done for years. There are quite a few repeats in these sets, indeed every one kicks off with Roadhouse Blues, which in a way sets the mood for the whole box. There are quite a few covers which although they played live, never cropped up on studio albums such as "Money", "Little Red Rooster", "Going To NY Blues", "Rock Me", in fact the raucous bluesy side of the Doors dominates the feel of the shows I believe.

If you want to sample a Doors concert before jumping in with this box, then have a listen to Live in Pittsburgh 1970 which will give you a flavour (recorded in May). For fans of the band, this is a must buy - you will not be disappointed.

As a final note, the packaging is superb, being a deluxe slipcase; one hard-back booklet holds the CDs and there is a second hard-back booklet of approx. 40 pages of information. All cardboard and paper, so once again none of that ghastly environmentally unfriendly plastic - well done Rhino.
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This six-disc, four show, seven hour set captures The Doors in New York : with two shows each night, and an average playing time of over three hours each evening, the band are - intentionally or not - pacing themselves and very aware of exactly the levithian task ahead of themselves. On some shows the band were unleashed and unaware of their limitations, here the shows are enormous and measured, but overall I get the feeling they are holding something back, even if that something is always a matter of pacing themselves. Over the four shows there are a multitude of songs, including many never recorded in the studio and some blues covers, and some precise, unwitting brilliance as Morrison and the band hit the heights of near telepathic improvisation. The curt "Thank you" at the end of the first version of 'Break On Through' highlights an acute and powerful showmanship, and towards the end of the shows, as the band fill up with an enormous amount of dead space and tuning, and meandering cover versions, the focus shifts away from a finely honed unit to a band that was playing for themselves and no one else. After listening to this, the raw and unedited rushes that were shaped down over 2,000 edits into the powerful and vicious "Absolutely Live", you can see why that album was made from dozens of shows across a year and not a snapshot of two long nights. Not essential.
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on 10 April 2014
One weekend, one band, four concerts and six CD:s. An overkill or what? Especially when the band in question has flooded the market with livealbums the last decade. That was my thoughts and that was the reason for my hesitation to purchase this CD-cox. Now that I finally did, I don't know what I was thinking.

This edition, in a most tastefull designed package with a dito booklet, captures The Doors at their full blossom as an live act in a marvelous rock marathon. It's uniqeuly unedited with warts and all so if there's a few minutes break for tuning or something we get that too which vouch for a very authentic concert experience. By now, early 1970, Jim Morrison has fully developed his singing potential and is in total control of it. On this January weekend Jim Morrison being his best animal Jim Morrison. And when THAT guy is in the mood the rest of the band will certainley follow.

Taking place a month before "Morrison Hotel" saw the light of day they start every show with their new single "Roadhouse Blues" and "Peace Frog", "Ship Of Fools", "Blue Sunday" and "Maggie M'Gill" from the same LP must also have been novelties for the audience. Classics like "Light My Fire", "Break On Through", "Five To One", "Soul Kitchen", "Alabama Song", "Back Door Man" and "When The Music's Over" handles wonderfull unrestrainedly three or four times over. And they can take it on every occasion.

Among the covers ("Money", "Crawling King Snake", "Little Red Rooster", "Rock Me", "Getting To N.Y. Blues" with John Sebastian on harp!, "Gloria") "Who Do You Love" must go down as one of the best Bo Diddley-renderings ever (go Densmore go!). And the special treatments "The End" and "Celebration Of The Lizard" delivers of course the inimitable doorsian rock n roll-drama.

So if you like me always valued "Absolutley Live", which contents to 50 % orginates from these recordings, as one of the very classic livealbums in the history of rock "Live In New York" is an extended seven hours adventure of the same magic. Imagien "Live At Kelvin Hall", "Live At The Apollo", "Get Yer Ya-Ya's Out", "At Newport" or "Live At Leeds" (well in The Whos case we're almost there if one include "Live At Hull") getting the same maneuver. IMAGIEN! That would have been equivalent.
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on 22 August 2011
Those who love the Doors and the magic of the band playing live will enjoy Jim Morrison in good from and not drunk as in the Boston concert. This is lot of music that is well known, but that does not matter, because each performance has it special qualities. It is great that so much was recorded and that those who put it together. No live set is ever perfect, but these disks are a great way to sit back and enjoy of of the best live bands from the late 1960's and early 70's
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on 14 December 2010
After I became a Doors fan one of the first concerts I started hearing about was the Felt Forum shows. Not only did it sound like a great name for a 60's venue, but the shows were said to be great and that you had to hear them. Until now I haven't had the opportunity, so the anticipation has been building for 30 years. Rhino Records release of these shows in their box set, The Doors Live In New York, is what fans have been looking for.

Recorded on two nights, January 17th and 18th 1970. The Doors did four shows and each show is included in its entirety in this box set. Some of the songs have been included on other Doors live albums. You'll hear When The Music's Over that was on Absolutely Live, but just when you think you know the song, you realize there's more. The Absolutely Live version was edited. For The Doors fan searching for something new, each CD contains a veritable plethora of previously unreleased versions of songs. It's good to hear the songs in context with all the strengths and shortcomings The Doors had as a band. These recordings give the listener the full sense and feeling of the concert experience - the false starts, the band tuning up, Jim asking the audience what they want to hear, or the silences as the band consults amongst themselves what they want to play next. Jim Morrison seems to excise one of his demons, his ongoing struggle with lightmen. His, "Hey, Mr. light man!" rap that he did at many shows chiding the lightmen who never seem to do what he wants, seems to resolve itself as he compliments the lighting level at the show! The Doors were never a band to play the album version of songs, Morrison tinkers with the words of songs as well. This was before concerts became slick clones of each other, where the same thing happens at the same time in the concert, identical, from concert to concert, city to city. The Doors were stark theatre, a portrayal of reality through the songs like a novel is a portrayal through words, or a movie through film.

The band opens each show with a couple of songs from Morrison Hotel. It's cool to realize that as you're listening to Roadhouse Blues or Peace Frog the audience is very likely hearing the songs for the very first time. It opens you up to that experience. The Doors also experimented with the songs. Who Do You Love was played at every show yet no two versions of the song are alike! Curiously, Peace Frog, easily one of Morrison's most autobiographical songs, because of the Dawn's Highway section, where Morrison recounts the mystical experience he had as a child of feeling as if the soul of an Indian had leaped into his, as performed at the Felt Forum most of the versions omit that part, only in the last show does he include that portion of the song.

The last disc is a powerhouse of a encore with John Sebastian and Dallas Taylor sitting in. They play a bluesier version of Maggie McGill than is on Morrison Hotel, and this version fit's the song and works much better as a straight forward blues song

The sound on the CDs is excellent. Bruce Botnik in a technical note says in parts that were missing from the 8-track master they inserted live 2-track and the sound might change in those parts, but I didn't hear it. I listened to the CDs on a car CD player and in my computer. I didn't hear any change of quality, in fact it seemed crystal clear. In one section you can clearly hear the maraca Morrison shakes.

The boxed set includes a beautiful 40 page booklet with an introduction by Jac Holzman, and Bruce Botnik provides background details about The Doors playing the Felt Forum. James Henke a VP the Rock "n' Roll Hall of Fame and author of The Jim Morrison Scrapbook has also written an essay for the book. The book also includes about 15 high gloss photographs from the shows.

This is one of the last full blown tours of The Doors career. The next year would find the band finishing L.A. Woman, and Morrison planning his imminent departure to Paris. These shows are The Doors as they wanted be heard, in context and demonstrating the power of what a great rock band can be.

Jim writes The Doors Examiner.
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on 29 January 2015
an expensive but good quality well recorded concert if you are a jim morrison fan then you will really enjoy this concert
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on 9 August 2015
Very well done capturing a live show, excellent fidelity on this album, a must for any doors Fan!
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on 19 May 2015
A great concert. Recommended for any doors fan
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on 3 March 2015
very happy with product & service!
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