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DISCID=3c128315
DTITLE=The Doors / Perception (Disc 5 - Morrison Hotel)
DYEAR=1970
DGENRE=Rock
TTITLE0=Roadhouse Blues
TTITLE1=Waiting For The Sun
TTITLE2=You Make Me Real
TTITLE3=Peace Frog
TTITLE4=Blue Sunday
TTITLE5=Ship Of Fools
TTITLE6=Land Ho!
TTITLE7=The Spy
TTITLE8=Queen Of The Highway
TTITLE9=Indian Summer
TTITLE10=Maggie M'Gill
TTITLE11=Talking Blues
TTITLE12=Roadhouse Blues (11.4.69 Takes 1-3)
TTITLE13=Roadhouse Blues (11.4.69 Take 6)
TTITLE14=Carol (11.4.69)
TTITLE15=Roadhouse Blues (11.5.69 Take 1)
TTITLE16=Money Beats Soul (11.5.69)
TTITLE17=Roadhouse Blues (11.5.69 Takes 13-15)
TTITLE18=Peace Frog (False Starts & Dialogue)
TTITLE19=The Spy (Version 2)
TTITLE20=Queen Of The Highway (Jazz Version)
EXTD=Perception - Disc 5 of 6 (Morrison Hotel)\n2006 Elektra/Rhino\n\n
EXTD=This Compilation (Perception Box) Released November 21, 2006\n''M
EXTD=orrison Hotel'' Originally Released 1970\n''Morrison Hotel'' CD E
EXTD=dition Released ??\n''Morrison Hotel'' Remastered CD Edition Rele
EXTD=ased May 1988\n''Morrison Hotel'' DCC Gold CD Edition Released N/
EXTD=A\n''Morrison Hotel'' Released as Part of ''Complete Studio Recor
EXTD=dings'' Cube Compilation Released November 9, 1999\n''Morrison Ho
EXTD=tel'' 96K Remastered CD Edition Released July 2000\n''Morrison Ho
EXTD=tel'' Released as Part of ''Complete Studio Recordings'' longbox 
EXTD=Compilation Released September 9, 2003\n\n\nAMG EXPERT REVIEW: (P
EXTD=erception Box) It's hard not to look at the 2006 box set Percepti
EXTD=on without a skeptical eye, since it is not only the third box se
EXTD=t of the Doors studio recordings to be released within the course
EXTD= of a decade, it is the second in a row to purport to house the "
EXTD=complete studio recordings" of a group that released six studio a
EXTD=lbums -- and this doesn't count the live sets and hits comps that
EXTD= have appeared during that decade, either. Needless to say, the b
EXTD=and has been packaged, repackaged, and reissued more than most, b
EXTD=ut just because there has been more Doors boxes than necessary do
EXTD=esn't mean that Perception lacks value. Indeed, it trumps the 199
EXTD=9 box The Complete Studio Recordings in every sense, since it cov
EXTD=ers the same territory in a set that is better packaged and bette
EXTD=r-sounding while also offering many more rarities. It also offers
EXTD= brand-new remasters supervised by the surviving band and their o
EXTD=riginal producer Bruce Botnick, highlighted by the first-ever rel
EXTD=ease of the classic debut album at its proper speed; apart from t
EXTD=hat, the improvements are by and large marginal in terms of the C
EXTD=D audio, but there are also 5.1 surround mixes of each of the alb
EXTD=ums on the DVD-Audios that accompany each album in this set, whic
EXTD=h are the primary sonic enticements to those who have already pur
EXTD=chased these albums two, three, four times on CD. The bonus mater
EXTD=ial -- and each of the albums have bonus tracks, ranging from two
EXTD= cuts on L.A. Woman to ten on Morrison Hotel -- by and large pres
EXTD=ents songs that have been official releases before (including muc
EXTD=h of the music from the Essential Rarities disc that was included
EXTD= in the 1999 box), but there have been a handful of rarities exca
EXTD=vated for this set, including the unheard "Push Push" which has b
EXTD=een added to The Soft Parade. All this makes Perception into what
EXTD= the 1999 box promised to be in its title: the complete recorded 
EXTD=works, more or less, and it's better-looking and better-sounding,
EXTD= too. Even so, any fan who has purchased the prior sets would be 
EXTD=forgiven if they passed on this otherwise excellent box: no matte
EXTD=r how well-done it is, it's hard not to shake the perception that
EXTD= you've bought this all before. -- Stephen Thomas Erlewine\n\nAma
EXTD=zon.com Editorial Review (Perception Box) \nFor years, the record
EXTD=ing industry has asked fans to purchase the same music from the 1
EXTD=960s and '70s over and over again, via remasterings, repackagings
EXTD=, and, of course, reformattings. The Doors' box Perception (get i
EXTD=t?), cleverly packaged as... a door, does hold some astonishing m
EXTD=usic, but the thing itself is a weird hybrid beast with multiple 
EXTD=formats for every release. Each of the group's six albums has not
EXTD= only been re-remastered (this time by the remaining band members
EXTD= plus original engineer Bruce Botnick as the "40th anniversary mi
EXTD=x"), but loaded up with a bevy of previously unreleased bonus tra
EXTD=cks. But that's not it--for each album, there's a companion DVD, 
EXTD=which includes a whole new 5.1 surround sound mix with more track
EXTD=s, as well as the usual DVD extras, i.e., photo galleries, lyrics
EXTD=, and videos. That makes 12 discs, much of it essentially redunda
EXTD=nt. If you're cool with that, you're in for a treat. From the spo
EXTD=okier, unissued version of "Indian Summer" to the entirely new tu
EXTD=ne "Push Push" and some super-rad footage of the band rehearsing 
EXTD=L.A. Woman, it's easy to fall in love with this swirling, highly 
EXTD=sexualized, and often brilliant band all over again. --Mike McGon
EXTD=igal \n\nAMAZON.COM CUSTOMER REVIEW (Perception Box) \nCLOSE THE 
EXTD=DOOR THIS TIME - 5 STARS FOR THE MUSIC, November 26, 2006\nReview
EXTD=er: Mitchell Cassman (BUFFALO GROVE, IL United States)\nIt's hard
EXTD= not to look at the 2006 box set Perception without a skeptical e
EXTD=ye, since it is not only the third box set of the Doors studio re
EXTD=cordings to be released within the course of a decade, it is the 
EXTD=second in a row to purport to house the "complete studio recordin
EXTD=gs" of a group that released six studio albums -- and this doesn'
EXTD=t count the live sets and hits comps that have appeared during th
EXTD=at decade, either. Needless to say, the band has been packaged, r
EXTD=epackaged, and reissued more than most, but just because there ha
EXTD=s been more Doors boxes than necessary doesn't mean that Percepti
EXTD=on lacks value. Indeed, it trumps the 1999 box The Complete Studi
EXTD=o Recordings in every sense, since it covers the same territory i
EXTD=n a set that is better packaged and better-sounding while also of
EXTD=fering many more rarities. It also offers brand-new remasters sup
EXTD=ervised by the surviving band and their original producer Bruce B
EXTD=otnick, highlighted by the first-ever release of the classic debu
EXTD=t album at its proper speed; apart from that, the improvements ar
EXTD=e by and large marginal in terms of the CD audio, but there are a
EXTD=lso 5.1 surround mixes of each of the albums on the DVD-Audios th
EXTD=at 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 albu
EXTD=ms have bonus tracks, ranging from two cuts on L.A. Woman to ten 
EXTD=on Morrison Hotel by and large presents songs that have been offi
EXTD=cial releases before (including much of the music from the Essent
EXTD=ial Rarities disc that was included in the 1999 box), but there h
EXTD=ave been a handful of rarities excavated for this set, including 
EXTD=the unheard "Push Push" which has been added to The Soft Parade. 
EXTD=All this makes Perception into what the 1999 box promised to be i
EXTD=n its title: the complete recorded works, more or less, and it's 
EXTD=better-looking and better-sounding, too. Even so, any fan who has
EXTD= purchased the prior sets would be forgiven if they passed on thi
EXTD=s otherwise excellent box: no matter how well-done it is, it's ha
EXTD=rd not to shake the perception that you've bought this all before
EXTD=. \n\nAMAZON.COM CUSTOMER REVIEW (Perception Box) \n*****, Novemb
EXTD=er 22, 2006\nReviewer: Craig (Newport Beach, CA)\nI had bought a 
EXTD=couple Doors CD's recently to replace my vinyl records, and was o
EXTD=n my way to buying all six Doors studio albums on CD, when I hear
EXTD=d about "Perception" coming out, so held off. I bought "Perceptio
EXTD=n" yesterday and finished listening to the set today, and am very
EXTD= pleased. I bought the "Doors Box Set" a few years ago and was ve
EXTD=ry disappointed with that. But I really like "Perception." Maybe 
EXTD=it's just my personal taste, but when bands try to pass off recor
EXTD=dings of live performances as collectors' gems, I'm never ever th
EXTD=rilled. I just don't get too thrilled listening to live performan
EXTD=ces on record (which is why I'm not keen on the "Box Set"). What 
EXTD=I love are studio outtakes. And that's why I love "Perception" so
EXTD= much. To hear the studio version of "The Celebration of the Liza
EXTD=rd" is really wonderful. I much prefer it to the version on "Abso
EXTD=lutely Live." To hear the development of "Roadhouse Blues" over m
EXTD=ultiple takes, with Paul Rothchild encouraging the Doors in his h
EXTD=ilariously dated sounding hippy-speak is wonderful. To hear--duri
EXTD=ng a work up of "Peace Frog"--Jim mildly berate the other Doors f
EXTD=or sounding like "a drunk cripple" walking up "drunken stairs" (a
EXTD=nd he's right, they're playing is way off!) is a treat. And even 
EXTD=though it's literally snippets of seconds, to finally hear the or
EXTD=iginal studio version of "Break on Through" with Jim singing "She
EXTD= gets HIGH," before "HIGH" was edited out, is great. Also on "The
EXTD= Doors" album in this set, the mix for "The End" is like the "Apo
EXTD=calypse Now" version, in that Jim's ranting toward the climax is 
EXTD=brought forward, so you can hear him say, "eff me, babe." That wa
EXTD=s mixed down in the original album because of the profanity. The 
EXTD=Doors liked how Coppola remixed the song for "Apocalypse Now," so
EXTD= they obviously took Coppola's remix as inspiration when remixing
EXTD= "The End" in this "Perception" set. The other studio outtakes ar
EXTD=e great, too (especially of "Touch Me" and "Moonlight Drive," mea
EXTD=ning the "Moonlight Drive" take that was not on the "Box Set," of
EXTD= course). These outtakes are fairly plentiful on "Perception" and
EXTD= that's why I like it. \n\nP.S. Rasmey Lewis fans will love the i
EXTD=nstrumental bonus track titled "Push Push" at the end of the "Sof
EXTD=t Parade" disc, because Ray's piano playing and the song itself a
EXTD=re wonderfully derivative of Ramsey Lewis's song "The 'In' Crowd.
EXTD="\n\nHalf.com Details (Perception Box)\nProducer: Bruce Botnick, 
EXTD=Paul Rothchild \n\nAlbum Notes\nThe Doors: Robby Krieger (guitar)
EXTD=; Ray Manzarek (keyboards); John Densmore (drums).\n\nAdditional 
EXTD=personnel: Marc Benno (guitar); G. Puglese (harmonica); Jerry Sch
EXTD=eff (bass instrument); Lonnie Mack, Ray Neopolitan (bass guitar).
EXTD=\nRecording information: 1967 - 1971.\n\nTo celebrate the Doors' 
EXTD=40th anniversary, Rhino is releasing this incredible box set with
EXTD= six CDs and six DVDs, including remastered album tracks, bonus t
EXTD=racks (some never released), music videos, archival film footage,
EXTD= and lyrics. This ambitious, sprawling offering drops November 21
EXTD=.\n\nREVIEWS OF THIS TITLE: (Morrison Hotel)\n\nAMG EXPERT REVIEW
EXTD=: The Doors returned to crunching, straightforward hard rock on a
EXTD=n album that, despite yielding no major hit singles, returned the
EXTD=m to critical favor with hip listeners. An increasingly bluesy fl
EXTD=avor began to color the songwriting and arrangements, especially 
EXTD=on the party'n'booze anthem "Roadhouse Blues." Airy mysticism was
EXTD= still present on "Waiting for the Sun," "Queen of the Highway," 
EXTD=and "Indian Summer"; "Ship of Fools" and "Land Ho!" struck effect
EXTD=ive balances between the hard rock arrangements and the narrative
EXTD= reach of the lyrics. "Peace Frog" was the most political and con
EXTD=troversial track, documenting the domestic unrest of late-'60s Am
EXTD=erica before unexpectedly segueing into the restful ballad "Blue 
EXTD=Sunday." "The Spy," andby contrast, was a slow blues that pointed
EXTD= to the direction that would fully blossom on L.A. Woman. -- Rich
EXTD=ie Unterberger, All Music Guide\n\nAmazon.com Editorial Review\nT
EXTD=he next-to-last Doors album, recorded prior to Jim Morrison's sti
EXTD=ll mystery-shrouded death in a Parisian bathtub, eschewed much of
EXTD= the band's previous penchant for baroque musical, poetic, and ph
EXTD=ilosophical pretensions (this was, after all, the back-to-roots e
EXTD=ra of the Beatles' Let It Be, the Stones' Let It Bleed, and Dylan
EXTD='s Nashville Skyline). Instead, the Doors circa 1970 wisely seepe
EXTD=d themselves in a bluesy, no-frills approach that might have hint
EXTD=ed at creative exhaustion in a lesser band. Instead, the Doors of
EXTD= "Roadhouse Blues" and "Peace Frog" reinvented themselves into ar
EXTD=guably one of the greatest bar bands ever, with Morrison's well-d
EXTD=ocumented demons frolicking in a welcome new ambience. "Waiting f
EXTD=or the Sun" and "Ship of Fools" may hearken back to the band's ca
EXTD=balistic and Kurt Weill leanings, respectively, but framed in an 
EXTD=edgier, more effective way. --Jerry McCulley \n\nHalf.com Album C
EXTD=redits\nBruce Botnick, Engineer\nPaul A. Rothchild, Producer\n\nA
EXTD=lbum Notes\nThe Doors: Jim Morrison (vocals); Robby Krieger (guit
EXTD=ar); Ray Manzarek (keyboards); John Densmore (drums).Additional p
EXTD=ersonnel: G. Puglese (harmonica); Ray Neopolitan, Lonnie Mack (ba
EXTD=ss).Feted first as underground heroes, then reviled as teeny-bop 
EXTD=stars, the Doors threw off such conundrums with this magnificent 
EXTD=release. MORRISON HOTEL reaffirmed their blues roots, opening wit
EXTD=h the powerful 'Roadhouse Blues' before unfolding through a succe
EXTD=ssion of songs showcasing all the group members' considerable str
EXTD=engths. Distinctively tight instrumental playing underscores memo
EXTD=rable material, while Jim Morrison's authoritative vocal ranges f
EXTD=rom the demonstrative ('Maggie McGill') to the melancholic ('The 
EXTD=Spy'). Despite contemporary problems, the Doors emerged with an a
EXTD=lbum the equal of their first two stunning releases.
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