The Doors
Absolutely Live

This double LP, released in July 1970, introduced to the whole world one of the bands that gave its best in live performances: the Doors.

The incredible stage presence and expressiveness of Morrison, the skill of Manzarek and Krieger, and the masterfully delivered rhythms by John Densmore are just some of the aspects that make this live album the best live album by the Doors, and in my opinion, one of the most beautiful in rock music in general, alongside "Made In Japan" by Deep Purple and a few others.

All the songs (twenty to be precise, plus the opening track with the announcer introducing them to the audience) were recorded between August 1969 and May 1970; a period, if you will, of certain changes for the band, as they largely left behind the psychedelia that dominated their first three albums, and the "orchestral" interlude of "The Soft Parade", to engage in a very cultured and original blues-rock. From "Morrison Hotel", in fact, a divide was also created among the Doors' fans: some prefer the "first era" band, with all its mysticism and poetry, while others seem to appreciate the second, blues period. One of the objectives of this album, probably, was precisely to highlight their stylistic change, without, of course, neglecting the immortal masterpieces of their early days.

Looking at the tracklist, we can note some covers of famous blues pieces, among which the beautiful "Who Do You Love" by Bo Diddley stands out, opening the record after the announcer, performed in a very original manner. Following this, we find a tasty medley made up of three group classics: "Alabama Song", "Backdoor Man", and "Love Hides", serving as a perfect prelude to a fabulous version of "Five To One". Without even a moment of respite, arrives the captivating blues of "Build Me A Woman", sung unadornedly by Jim Morrison who, despite already being caught by alcohol, demonstrates excellent vocal form. At this point, one of the band's (and album's) gems arrives: "When The Music's Over", probably in its best live performance: there are truly no words to describe it, listen to believe. On "Close To You", we find a singing Manzarek who does not disappoint expectations, not even those of anyone who believes that the Lizard King is the only true voice of the Doors. "Universal Mind" is a beautiful and sophisticated psych-blues mixture, with melancholic rhythms and a fine job by Robbie Krieger on his Gibson. The words uttered by a thundering and angry voice in "Petition The Lord With Prayer" serve as a "border" between two sides of the coin: from here on, things will never be the same again, with the second part of the album dedicated to the more acid-rock and poetic part of the group.

After an electrifying "Break On Through", it is the moment dedicated to the poetry of "Celebration Of The Lizard", with a long, cleverly "glued" medley: Lions in the Street, Wake Up, A Little Game, The Hill Dwellers, Not To Touch The Earth (which, in my opinion, is the band's most beautiful song) and "Names of the Kingdom", a very sad ballad with an alienating rhythm. But to not leave us with a "bitter taste", the task of concluding the album is entrusted to a long version of "Soul Kitchen", a pleasant return to the origins, where at the end Jim bids farewell to his fans with a laconic "Thank you for coming, good night".

In conclusion, therefore, a milestone in rock music and in live albums, which absolutely must not be missing in the discography of a true Doors enthusiast. The only missing piece, and a rather significant one, is the absence of "The End" from the title track: a real pity, they could have included the version from the Hollywood Bowl concert, truly fantastic.