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  Analogue Productions -
  CAPP 75007 SA
  The Doors: Morrison Hotel
  Jim Morrison, vocals
Robby Krieger, guitar
Ray Manzarek, piano & organ
John Densmore, drums
Ray Neopolitan, bass
Lonnie Mack plays bass on Roadhouse Blues
Maggie M'Gill, G. Puglese plays harp on Roadhouse Blues
Track listing:
  1. Roadhouse Blues
2. Waiting For The Sun
3. You Make Me Real
4. Peace Frog
5. Blue Sunday
6. Ship Of Fools
7. Land Ho!
8. The Spy
9. Queen Of The Highway
10. Indian Summer
11. Maggie M'Gill
Recording type:
Recording info:
  "Throughout the record history of the Doors, the goal between Paul Rothchild and myself was to be invisible, as the Doors were the songwriters and performers. Our duty was to capture them in the recorded medium without bringing attention to ourselves. Of course, the Doors were very successful, and Paul and I did receive some acclaim, which we did appreciate.

"If you listen to all the Doors albums, no attempt was made to create sounds that weren't generated by the Doors, except for the Moog Synthesizer on Strange Days, although that was played live in the mix by Jim, but that's another story. The equipment used was very basic, mostly tube consoles and microphones. Telefunken U47, Sony C37A, Shure 56. The echo used was from real acoustic echo chambers and EMT plate reverb units. In those days, we didn't have plug-ins or anything beyond an analogue eight-track machine. All the studios that we used, except for Elektra West, had three Altec Lansing 604E loudspeakers, as that was the standard in the industry, three-track. On EKS-74007, The Doors, we used four-track Ampex recorders and on the subsequent albums, 3M 56 eight-tracks. Dolby noise reduction units were used on two albums, Waiting For The Sun and The Soft Parade. Everything was analogue, digital was just a word. We didn't use fuzz tone or other units like that but created the sounds organically, i.e. the massive dual guitar solo on "When The Music's Over," which was created by feeding the output of one microphone preamp into another and adjusting the level to create the distortion. The tubes were glowing and lit up the control room.

"When mastering for the 45-RPM vinyl release, we were successfully able to bake the original master tapes and play them to cut the lacquer masters."

- Bruce Botnick, July 2012

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Submitted by hooperthom
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Reviews: 1

Review by Audioflea February 28, 2013 (5 of 6 found this review helpful)
First-time release of The Doors 6-album catalog on SACD from Analog Productions. Each disc contains both multi-channel and stereo. The surround sound layer comes from the original 96K, 24-bit files that were originally mixed and mastered for the 2006 DVD Audio Doors/Perception release. For stereo purists, the re-mastered, hi-rez stereo layers on all of the discs are fantastic and have never sounded better. However, in my opinion, it’s the multi-channel presentation that, when done right, takes this music to a whole different level. My reviews are based solely on the quality and fullness of the stage presence of the multi-channel layer of each respective disc in the set.

On the classic 1-10 scale, IMHO, here’s how each disc ranks in quality and fullness of the stage presence of the 5.1 layer. Strange Days (9) The Soft Parade (9), LA Woman (8.5), Morrison Hotel (7.5), Waiting for the Sun (7), The Doors (3)

Note that, with few exceptions, the multi-channel layer on all of the Doors discs puts Jim Morrison’s vocal almost exclusively in the center channel, so your enjoyment of the surround-sound experience is going to be directly proportional to the quality of your center speaker. And what better reason to upgrade your CC?

Morrison Hotel:
Vocals & drums may drive this Blues machine, but it’s the keyboards that float it.
Guitars are well represented in the FR/FL, and are sometimes isolated to the back. This is really successful in songs like “Land Ho”, which match the feel of the musical atmosphere... but can on occasion, sound a bit hollow on songs like "Queen of the Highway". Some of the strongest, Morrison “Blues Man”, moments of the 6 disc set is captured on Morrison Hotel and is represented in full texture and clarity in the front channel; displaying vocal intricacies and nuances that I’ve never heard before.

Highlights include:

Track 1—Roadhouse Blues; A wall of Vocal and Bass, flanked on either side by guitar and drums. And among this onslaught of gritty blues comes a blues harp, declaring its presence in the background.

Track 2—Waiting for the sun; Guitars rip back and forth through the soundstage. Snares, cymbals, and bass pour out of the front channel, crisp and clear. The keyboards are just a cloud of sound; signaling the imminence of what is sure to come.

Track 7—Land Ho; Really great use of isolated guitar; trading off in the rear channels and echoes in the foggy distance. Manzarik’s keyboards, ballasting the ship from port to stern, and Morrison’s vocal forging full steam ahead from the front.

If you’re a Doors Fan, then this is a no-brainer.

“The future is uncertain, and the end is always near”—J.M.

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