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DISCID=d80c470e
DTITLE=The Doors / Perception (Disc 1 - The Doors)
DYEAR=1967
DGENRE=Rock
TTITLE0=Break On Through (To The Other Side)
TTITLE1=Soul Kitchen
TTITLE2=The Crystal Ship
TTITLE3=Twentieth Century Fox
TTITLE4=Alabama Song (Whisky Bar)
TTITLE5=Light My Fire
TTITLE6=Back Door Man
TTITLE7=I Looked At You
TTITLE8=End Of The Night
TTITLE9=Take It As It Comes
TTITLE10=The End
TTITLE11=Moonlight Drive (Version 1)
TTITLE12=Moonlight Drive (Version 2)
TTITLE13=Indian Summer (8.19.66 Vocal)
EXTD=Perception - Disc 1 of 6 (The Doors)\n2006 Elektra/Rhino\n\nThis 
EXTD=Compilation (Perception Box) Released November 21, 2006\n''The Do
EXTD=ors'' Originally Released January 1967\n''The Doors'' CD Edition 
EXTD=Released ??\n''The Doors'' Remastered CD Edition Released May 198
EXTD=8\n''The Doors'' DCC Gold CD Edition Released July 6, 1992\n''The
EXTD= Doors'' Released as Part of ''Complete Studio Recordings'' Cube 
EXTD=Compilation Released November 9, 1999\n''The Doors'' 96K Remaster
EXTD=ed CD Edition Released July 2000\n''The Doors'' Released as Part 
EXTD=of ''Complete Studio Recordings'' longbox Compilation Released Se
EXTD=ptember 9, 2003\n\n\nAMG EXPERT REVIEW: (Perception Box) It's har
EXTD=d not to look at the 2006 box set Perception without a skeptical 
EXTD=eye, since it is not only the third box set of the Doors studio r
EXTD=ecordings to be released within the course of a decade, it is the
EXTD= second in a row to purport to house the "complete studio recordi
EXTD=ngs" of a group that released six studio albums -- and this doesn
EXTD='t count the live sets and hits comps that have appeared during t
EXTD=hat decade, either. Needless to say, the band has been packaged, 
EXTD=repackaged, and reissued more than most, but just because there h
EXTD=as been more Doors boxes than necessary doesn't mean that Percept
EXTD=ion lacks value. Indeed, it trumps the 1999 box The Complete Stud
EXTD=io Recordings in every sense, since it covers the same territory 
EXTD=in a set that is better packaged and better-sounding while also o
EXTD=ffering many more rarities. It also offers brand-new remasters su
EXTD=pervised by the surviving band and their original producer Bruce 
EXTD=Botnick, highlighted by the first-ever release of the classic deb
EXTD=ut album at its proper speed; apart from that, the improvements a
EXTD=re by and large marginal in terms of the CD audio, but there are 
EXTD=also 5.1 surround mixes of each of the albums on the DVD-Audios t
EXTD=hat accompany each album in this set, which are the primary sonic
EXTD= enticements to those who have already purchased these albums two
EXTD=, three, four times on CD. The bonus material -- and each of the 
EXTD=albums have bonus tracks, ranging from two cuts on L.A. Woman to 
EXTD=ten on Morrison Hotel -- by and large presents songs that have be
EXTD=en official releases before (including much of the music from the
EXTD= Essential Rarities disc that was included in the 1999 box), but 
EXTD=there have been a handful of rarities excavated for this set, inc
EXTD=luding the unheard "Push Push" which has been added to The Soft P
EXTD=arade. All this makes Perception into what the 1999 box promised 
EXTD=to be in its title: the complete recorded works, more or less, an
EXTD=d it's better-looking and better-sounding, too. Even so, any fan 
EXTD=who has purchased the prior sets would be forgiven if they passed
EXTD= on this otherwise excellent box: no matter how well-done it is, 
EXTD=it's hard not to shake the perception that you've bought this all
EXTD= before. -- Stephen Thomas Erlewine\n\nAmazon.com Editorial Revie
EXTD=w (Perception Box) \nFor years, the recording industry has asked 
EXTD=fans to purchase the same music from the 1960s and '70s over and 
EXTD=over again, via remasterings, repackagings, and, of course, refor
EXTD=mattings. The Doors' box Perception (get it?), cleverly packaged 
EXTD=as... a door, does hold some astonishing music, but the thing its
EXTD=elf is a weird hybrid beast with multiple formats for every relea
EXTD=se. Each of the group's six albums has not only been re-remastere
EXTD=d (this time by the remaining band members plus original engineer
EXTD= Bruce Botnick as the "40th anniversary mix"), but loaded up with
EXTD= a bevy of previously unreleased bonus tracks. But that's not it-
EXTD=-for each album, there's a companion DVD, which includes a whole 
EXTD=new 5.1 surround sound mix with more tracks, as well as the usual
EXTD= DVD extras, i.e., photo galleries, lyrics, and videos. That make
EXTD=s 12 discs, much of it essentially redundant. If you're cool with
EXTD= that, you're in for a treat. From the spookier, unissued version
EXTD= of "Indian Summer" to the entirely new tune "Push Push" and some
EXTD= super-rad footage of the band rehearsing L.A. Woman, it's easy t
EXTD=o fall in love with this swirling, highly sexualized, and often b
EXTD=rilliant band all over again. --Mike McGonigal \n\nAMAZON.COM CUS
EXTD=TOMER REVIEW (Perception Box) \nCLOSE THE DOOR THIS TIME - 5 STAR
EXTD=S FOR THE MUSIC, November 26, 2006\nReviewer: Mitchell Cassman (B
EXTD=UFFALO GROVE, IL United States)\nIt's hard not to look at the 200
EXTD=6 box set Perception without a skeptical eye, since it is not onl
EXTD=y the third box set of the Doors studio recordings to be released
EXTD= within the course of a decade, it is the second in a row to purp
EXTD=ort to house the "complete studio recordings" of a group that rel
EXTD=eased six studio albums -- and this doesn't count the live sets a
EXTD=nd hits comps that have appeared during that decade, either. Need
EXTD=less to say, the band has been packaged, repackaged, and reissued
EXTD= more than most, but just because there has been more Doors boxes
EXTD= than necessary doesn't mean that Perception lacks value. Indeed,
EXTD= it trumps the 1999 box The Complete Studio Recordings in every s
EXTD=ense, since it covers the same territory in a set that is better 
EXTD=packaged and better-sounding while also offering many more rariti
EXTD=es. It also offers brand-new remasters supervised by the survivin
EXTD=g band and their original producer Bruce Botnick, highlighted by 
EXTD=the first-ever release of the classic debut album at its proper s
EXTD=peed; apart from that, the improvements are by and large marginal
EXTD= in terms of the CD audio, but there are also 5.1 surround mixes 
EXTD=of each of the albums on the DVD-Audios that accompany each album
EXTD= in this set, which are the primary sonic enticements to those wh
EXTD=o have already purchased these albums two, three, four times on C
EXTD=D. The bonus material and each of the albums have bonus tracks, r
EXTD=anging from two cuts on L.A. Woman to ten on Morrison Hotel by an
EXTD=d large presents songs that have been official releases before (i
EXTD=ncluding much of the music from the Essential Rarities disc that 
EXTD=was included in the 1999 box), but there have been a handful of r
EXTD=arities excavated for this set, including the unheard "Push Push"
EXTD= which has been added to The Soft Parade. All this makes Percepti
EXTD=on into what the 1999 box promised to be in its title: the comple
EXTD=te recorded works, more or less, and it's better-looking and bett
EXTD=er-sounding, too. Even so, any fan who has purchased the prior se
EXTD=ts would be forgiven if they passed on this otherwise excellent b
EXTD=ox: no matter how well-done it is, it's hard not to shake the per
EXTD=ception that you've bought this all before. \n\nAMAZON.COM CUSTOM
EXTD=ER REVIEW (Perception Box) \n*****, November 22, 2006\nReviewer: 
EXTD=Craig (Newport Beach, CA)\nI had bought a couple Doors CD's recen
EXTD=tly to replace my vinyl records, and was on my way to buying all 
EXTD=six Doors studio albums on CD, when I heard about "Perception" co
EXTD=ming out, so held off. I bought "Perception" yesterday and finish
EXTD=ed listening to the set today, and am very pleased. I bought the 
EXTD="Doors Box Set" a few years ago and was very disappointed with th
EXTD=at. But I really like "Perception." Maybe it's just my personal t
EXTD=aste, but when bands try to pass off recordings of live performan
EXTD=ces as collectors' gems, I'm never ever thrilled. I just don't ge
EXTD=t too thrilled listening to live performances on record (which is
EXTD= why I'm not keen on the "Box Set"). What I love are studio outta
EXTD=kes. And that's why I love "Perception" so much. To hear the stud
EXTD=io version of "The Celebration of the Lizard" is really wonderful
EXTD=. I much prefer it to the version on "Absolutely Live." To hear t
EXTD=he development of "Roadhouse Blues" over multiple takes, with Pau
EXTD=l Rothchild encouraging the Doors in his hilariously dated soundi
EXTD=ng hippy-speak is wonderful. To hear--during a work up of "Peace 
EXTD=Frog"--Jim mildly berate the other Doors for sounding like "a dru
EXTD=nk cripple" walking up "drunken stairs" (and he's right, they're 
EXTD=playing is way off!) is a treat. And even though it's literally s
EXTD=nippets of seconds, to finally hear the original studio version o
EXTD=f "Break on Through" with Jim singing "She gets HIGH," before "HI
EXTD=GH" was edited out, is great. Also on "The Doors" album in this s
EXTD=et, the mix for "The End" is like the "Apocalypse Now" version, i
EXTD=n that Jim's ranting toward the climax is brought forward, so you
EXTD= can hear him say, "eff me, babe." That was mixed down in the ori
EXTD=ginal album because of the profanity. The Doors liked how Coppola
EXTD= remixed the song for "Apocalypse Now," so they obviously took Co
EXTD=ppola's remix as inspiration when remixing "The End" in this "Per
EXTD=ception" set. The other studio outtakes are great, too (especiall
EXTD=y of "Touch Me" and "Moonlight Drive," meaning the "Moonlight Dri
EXTD=ve" take that was not on the "Box Set," of course). These outtake
EXTD=s are fairly plentiful on "Perception" and that's why I like it. 
EXTD=\n\nP.S. Rasmey Lewis fans will love the instrumental bonus track
EXTD= titled "Push Push" at the end of the "Soft Parade" disc, because
EXTD= Ray's piano playing and the song itself are wonderfully derivati
EXTD=ve of Ramsey Lewis's song "The 'In' Crowd."\n\nHalf.com Details (
EXTD=Perception Box)\nProducer: Bruce Botnick, Paul Rothchild \n\nAlbu
EXTD=m Notes\nThe Doors: Robby Krieger (guitar); Ray Manzarek (keyboar
EXTD=ds); John Densmore (drums).\n\nAdditional personnel: Marc Benno (
EXTD=guitar); G. Puglese (harmonica); Jerry Scheff (bass instrument); 
EXTD=Lonnie Mack, Ray Neopolitan (bass guitar).\nRecording information
EXTD=: 1967 - 1971.\n\nTo celebrate the Doors' 40th anniversary, Rhino
EXTD= is releasing this incredible box set with six CDs and six DVDs, 
EXTD=including remastered album tracks, bonus tracks (some never relea
EXTD=sed), music videos, archival film footage, and lyrics. This ambit
EXTD=ious, sprawling offering drops November 21.\n\nREVIEWS OF THIS TI
EXTD=TLE: (The Doors)\n\nAMG EXPERT REVIEW: A tremendous debut album, 
EXTD=and indeed one of the best first-time outings in rock history, in
EXTD=troducing the band's fusion of rock, blues, classical, jazz, and 
EXTD=poetry with a knockout punch. The lean, spidery guitar and organ 
EXTD=riffs interwove with a hypnotic menace, providing a seductive bac
EXTD=kdrop for Jim Morrison's captivating vocals and probing prose. "L
EXTD=ight My Fire" was the cut that would top the charts and establish
EXTD= the group as stars, but most of the rest of the album is just as
EXTD= impressive, including some of their best songs: the propulsive "
EXTD=Break On Through" (their first single), the beguiling Oriental my
EXTD=stery of "The Crystal Ship," the mysterious "End of the Night," "
EXTD=Take It As It Comes" (one of several tunes besides "Light My Fire
EXTD=" that also had hit potential), and the stomping rock of "Soul Ki
EXTD=tchen" and "Twentieth Century Fox." The eleven-minute Oedipal dra
EXTD=ma "The End" was the group at their most daring and, some would c
EXTD=ontend, overambitious. It was nonetheless a haunting cap to an al
EXTD=bum whose nonstop melodicism and dynamic tension would never be e
EXTD=qualed by the group again, let alone bettered. -- Richie Unterber
EXTD=ger\n\nAmazon.com Editorial Review\nThe Doors exploded onto the s
EXTD=cene in early 1967 with one of the most fully realized sounds of 
EXTD=any debuting rock band up until that time. The group's three styl
EXTD=istically overlapping instrumentalists--classical-blues keyboardi
EXTD=st Ray Manzarek, blues jazz guitarist Robby Krieger, and jazz-roc
EXTD=k drummer John Densmore--complemented each other perfectly, givin
EXTD=g lead singer Jim Morrison wide sonic backdrops for his dark-hued
EXTD= poetic visions. Equally adept at both short, tightly arranged tu
EXTD=nes ("Break on Through," "Take It As It Comes," "Soul Kitchen") a
EXTD=nd lengthy, experimental fare (the solos-driven "Light My Fire" a
EXTD=nd the Oedipal complex-driven "The End"), the Doors' highly theat
EXTD=rical approach raised the bar for late 60s rock's artistic ambiti
EXTD=ons. --Billy Altman \n\nRolling Stone Online Review (1987)\nSixte
EXTD=en years after Jim Morrison's death, the Doors' immense popularit
EXTD=y continues unabated, and all the reasons for that are embodied i
EXTD=n their inspired debut album, "The Doors." Along with "Sgt. Peppe
EXTD=r," "The Doors" provided the soundtrack to the Summer of Love. \n
EXTD=It was an album of startling breadth --~particularly for a debut.
EXTD= "Light My Fire" and "Break On Through (on the Other Side)" were 
EXTD=calls to Dionysian ecstasy. A bold coupling of covers --~Kurt Wei
EXTD=ll and Bertolt Brecht's "Alabama Song (Whiskey Bar)" and Willie D
EXTD=ixon and Howlin' Wolf's "Back Door Man" -- indicated the Doors' w
EXTD=illingness to take on both avantgarde theater and deep blues. And
EXTD= "The End" was a staggering, eleven-minute Oedipal drama that bro
EXTD=adened the thematic scope that rock music could encompass. Iggy P
EXTD=op, Patti Smith, John Cale, Billy Idol, Jim Carrol, Echo and the 
EXTD=Bunnymen and the Cult are just a handful of the artists who were 
EXTD=profoundly influenced by the wildly poetic persona Jim Morrison d
EXTD=efined on "The Doors." \n\nThe Doors' legendary live shows -- pow
EXTD=ered by Morrison's charismatic stage presence and the musical ver
EXTD=satility of keyboardist Ray Manzarek, guitarist Robby Krieger and
EXTD= drummer John Densmore --~had already made them a major force on 
EXTD=the L.A. club scene when they began recording their first album i
EXTD=n late 1966. The trick was capturing on record what producer Paul
EXTD= Rothchild calls "the very powerful drama, the psychology of the 
EXTD=song that the Doors are so famous for now." According to Rothchil
EXTD=d, he and the band set one goal. "Every song had to be perfect in
EXTD= that it took you on an aural, visual and psychological journey."
EXTD= \n\nKeyboardist Ray Manzarek compares the spiritual atmosphere o
EXTD=f the sessions to a "seance in which we tried to communicate with
EXTD= the basic power of the act of creating music. That was what we a
EXTD=ttempted to capture and communicate to the individual listener." 
EXTD=\n\nRecording was completed in about a week, and the songs were d
EXTD=one live, typically in about two or three takes. Candles were lit
EXTD= and incense burned to set the mood, but according to Manzarek, t
EXTD=he Doors required little external assistance to get where they wa
EXTD=nted to go. \n\n"This was the culmination of everything we had wo
EXTD=rked for," he says. "There were very few drugs; nobody needed to 
EXTD=get high on anything. One of Morrison's lines of poetry is 'In th
EXTD=at year we had an intense visitation of energy.' Well, in that tw
EXTD=o-week period we had an intense visitation of energy. The muse de
EXTD=scended upon us." \n\nThe most intense visitation came during "Th
EXTD=e End," which was done in two takes. Rothchild, who has produced 
EXTD=nearly 150 records, describes it as "one of the perfect moments o
EXTD=f rock recording." When it came time to do 'The End,' a very diff
EXTD=erent mood took Jim over," Manzarek says. "Jim became shamanistic
EXTD= and led the small group on a shamanistic voyage. He put himself 
EXTD=into a trance and, through that, put us all into a trance." As th
EXTD=e Doors were performing "The End," Manzarek says, Rothchild turne
EXTD=d to engineer Bruce Botnick and said, "I don't know if you know w
EXTD=hat's happening here, but magic is being made. We are recording m
EXTD=agic." \n\nWhen he heard a complete playback of the album, Manzar
EXTD=ek had a basic but suitably Oedipal response: "This is a motherfu
EXTD=cker." Despite the band's hopes for success, the record didn't ta
EXTD=ke off for some months; the first single released from it, "Break
EXTD= On Through (to the Other Side)," quickly disappeared. "I think i
EXTD=t went to 106," Manzarek says. "We thought, 'Oh, shit, man. Ooh, 
EXTD=God, that's scary.' We were hoping for Top Forty, at least." But 
EXTD=when Rothchild shortened the seven-minute "Light My Fire" (which 
EXTD=was written by Krieger) so it could be released as an AM-radio si
EXTD=ngle, it shot to the top of the charts, and the Doors were on the
EXTD=ir way. \n\n"Jim Morrison is now referred to as a poet, a rock im
EXTD=mortal," says Manzarek proudly. "He's become a god." Those descri
EXTD=ptions correspond perfectly to what he feels the Doors' visionary
EXTD= music was all about -- and may explain why it has lasted. "That'
EXTD=s what we tried to convey: a spiritual force in the music, and po
EXTD=etry on top of that," says Manzarek. "People today are just as at
EXTD=tuned to that as the people in the Sixties were." (RS 507) \nCopy
EXTD=right  1968-1999 Rolling Stone Network. All Rights Reserved.\n\n
EXTD=CD Connection Review:\nRecorded at Sunset Sound Recorders, Hollyw
EXTD=ood, California. \n\nThe debut album by The Doors was greeted wit
EXTD=h critical raves for the Los Angeles band: both for Jim Morrison'
EXTD=s powerful vocal style and the band's psychedlic-blues sound. \n\n
EXTD=THE DOORS were named after Aldous Huxley's book about mescaline, 
EXTD="The Doors Of Perception." Signed to Elektra records after months
EXTD= of gigs at L.A.'s Whiskey A-Go-Go, they were an underground phen
EXTD=omenon with an aura of danger. The album mixed blues-rock (the po
EXTD=unding "Soul Kitchen," and Howlin' Wolf's "Back Door Man") with p
EXTD=sychedelic textures. An edited version of "Light My Fire" became 
EXTD=a number-1 hit, while Morrison's Oedipal lyrics caused controvers
EXTD=y on the extended arrangement of "The End." 
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