Live at the Aquarius Theatre, July 22, 1969, Rehearsal
Released in 2002 on Bright Midnight Records
Produced and Mastered by Bruce Botnick
Recorded July 22, 1969 at the Aquarius Theatre in Hollywood, California
Management: Danny Sugerman
Project Coordination: Kira Matlow
Photo Archivist: Todd Gray
Currently not available as a standalone release. Included as a part of the digital box set, Strange Nights of Stone. Click here for more info.
Used copies available on eBay.
I Wil Never Be Untrue
Peace Frog (instrumental)
Arranging You Need Meat
You Need Meet
Arranging Close To You
Close To You
Mystery Train Rehearsal
Thousands of Dollars..
I’m Your Doctor
Build Me A Woman
Cars Hiss By My Window
Money Beats Soul
Maggie M’Gill (Instrumental)
Post-Production Notes from Bruce Botnick
The day after our two shows. Paul Rothchild decided that it would be a good idea, since we were already setup from the previous night’s concert, to record without an audience with the hope that we could get some great performances and cut them into the live takes. This was a recording procedure that Jac Holzman came up with years earlier and used to great effect. Not to be dishonest but to try and give the best performance to the record buying public. The idea being that if the live performance wasn’t up to snuff, a version was recorded later without the audience, in the same venue and it would be cut in from just after the first note and just after the last note, leaving the applause. It worked if you were disciplined. The Doors weren’t. Never could tow the line. So why Dangerous? The best plans of mice and men go down in the sea in ships. Our ship never got out of harbor and our captain and his fellow shipmates proceeded to rehearse, talk, cajole and have a little intellectual fun verbally tearing down the corporate establishment that was the record company. Jim especially didn’t want to be there, so it became another exercise in frustration for Paul. In the second half of the two-hour recording they really started to let it all out. Dirty, dirty, dirty. The words and the creativity flowed. Here finally is the real unadulterated version of Gloria that had appeared before in different incarnations on two separate CDs. Once on a heavily produced, over-dubbed and sanitized version on “Alive She Cried”, and a complete version with limited overdubs on the 1997 box set disk “Live In New York”. Our apologies to those of you who felt that we weren’t being honest with you. This is one of the main reasons why Bright Midnight exists today. Now Gloria can be heard as it really happened, dirty, sad, warts and all.
Of note.. listen to the continuing frustration of the band for example when John goes back to the control room and relates his conversation with Paul saying that, “we haven’t gotten anything yet”. They knew it. Just didn’t WANT to know it. There are times while listening to the album that you’ll have to turn up your system in order to hear the conversation as Robby wasn’t mic’d, and the talk-back from Paul Rothchild was only from a small loudspeaker on the stage. This is kind of good, as the conversation never gets interrupted. It’s loose and quite funny in a dark sort of way. At the end of disk 2 you will find two bonus tracks of Maggie M’Gill that were recorded as a soundcheck before the first Aquarius show. They’re rough and “let’s get this over with so we can eat before the show”. Enjoy. – Bruce Botnick
TECHNICAL INFORMATION AND OTHER TRUTHS
Recorded July 22, 1969 at the Aquarius Theatre in Hollywood, California, USA. The remote facilities were provided by Elektra Records Sound Studios and Wally Holder Remote Recording Services. The concert was recorded onto one 3M M56 solid state 1” 8 track and Ampex model 351 tube 2 track Analog recorder. The console was a Langevin 18×8 console, the same console used for the ‘L.A. Woman’ sessions. The 1” tape used was 3M Scotch 206 with the speed at 15 IPS nab and recording levels at +3 db elevated level above Ampex Standard Operating level of 185 nwb. The 1/4” tape was 3M 126 with the speed at 15 IPS nab and recording levels at Ampex Standard Operating level. The 8 track recorder used No noise reduction. In order to hear the conversation between The Doors and Paul Rothchild we used the TC-6000 with its BackDrop algoryth, to reduce the hiss and hum. Microphones used were: AKG C12A’s on Ray’s and Robby’s amps and a Direct Box was on Ray’s piano bass. C37A tube microphones were used for John’s Overheads and a ShureSM57 on the Snare with an Altec Salt Shaker microphone on the kick. Jim’s microphone was a Shure SM57. The room pick up was a Neumann SM69 stereo microphone in MS. The 1” 8 track masters were carefully transferred from a Studer 827 through DB Technology AD824 Analog to Digital converters at 96kHz/24 bit PCM and stored on Genex 8500 digital optical disk recorders with 70 gigabyte hard drives. The mix was performed digitally in Stereo and 5.1 Surround through a Sony DMX R100 console with reverb from a T.C. Electronic 6000. Loudspeakers used were B&W 801N’s and the amplifiers are Ayre Acoustics V-1’s with Nordost Super Flatline Cable loudspeaker wire. The stereo mix was sample rate converted using a DB Technology 3000S from 96kHz to 44.1 kHz/16 bit which is the standard CD sampling and bit rate. The final stereo and 5.1 Surround mixes were recorded onto a Sonic Solutions HD System where they were edited and mastered.
Share this page