My Amazon Reviews: The Doors "The Doors"

Open and Closed Cases
5 Out of 5 Stars


The Doors' debut rewrote the songbook for how rock bands could behave. Essentially a power trio without a bass player, these four men bent and twisted conventional rock forms and dropped a fully-formed masterpiece on the first try. Jim Morrison exuded sensuality and anti-authoritarianism from the moment he opens his mouth on "Break On Through To The Other Side" and commands his followers to give up convention and follow him into his lizard kingdom.

Drummer John Densmore and guitarist Robby Krieger added texture more than structure, but the secret weapon was keyboardist Ray Manzarek. His organ and electric piano work often formed the foundations for the rest of the band to improvise on top of. The Doors could then run the gamut of stunning pop melodies ("Light My Fire") to the mystical ("Crystal Ship") all the way to the apocalyptic retelling of the oedipal complex, "The End." They were also fearless enough to take a Kurt Weill song and utterly reclaim it, or make Willie Dixon's "Back Door Man" into a psychedelic blues rivaling Janis Joplin.

If there was any problem with "The Doors," it was that it's too perfect; The Doors had a hard time living up to the aftershock. Still, this was the birth of an American Classic Band, and "The Doors" maintains its potency 40 years later.

   

January Sucked. Back to Zero, Again.

As per my post on January 9th, I was offered a job that I thought might finally turn my situation from 2011 around. Unfortunately, things have been miserable since. I'd started the new job as an administrative assistant at a 5 Doctor medical clinic. It was a hectic and fast paced, stressful environment, and I thought I was doing OK. I was supposed to be learning the tasks of a pregnant female staffer before she left for maternity leave. She promptly had her baby boy three weeks early and well before I fully had the routines down. At the end of the 13^th day, I was informed I was not picking up the procedures of the office and was asked to resign. I have to admit, the stress of the place was literally giving me panic attacks. So here we are again, The end of January and I am right back in the same place I was a year ago this time.

The computer class I'd been taking since October is over now, and I did awful in it. I just could not absorb the amount of advanced technical information that was being thrown at me, and ultimately will probably not be able to use anything the course had to offer. Had I been better informed, I would have angled for a more beginners oriented course, but this is the class the grant landed me in. I will put in more effort at picking up the specifics here at home (I have until May to use the test certification scripts to see if I pass or not), but my guess is I won’t be able to master it.

What I really must thank everyone here for, and the brightest point of an otherwise wretched month, was the wonderful outpouring of help concerning Sophie Cat, covering over a third of the bills. She will still need her weekly shots - and as you can see by the picture of her shaved tummy, a trip to the vet warrants me serious "I'm going to poop on your pillow, you know that, don't you?" looks. The vet gave me a little trick; as soon as I get her home, Sophie gets a fresh can of cat food. Works like a charm. The first time I got her home, she made a bee-line to the space behind the sofa. But as soon as she heard the can-pop, she was right by her food dish.

My book selling annual trip to MAL was profitable enough that I was able to pay off the remainder of the bill soon after. Plus an extra special howdy to Cliff Clockner - we finally met! Another good thing about MAL? My table was next to these guys.

There was also a house concert featuring my old friend James Lee Stanely, along with Cliff Eberhardt. They are out promoting their collaborative tribute to The Doors, called "All Wood and Doors." (With surviving members of The Doors contributing.) It was my first time hearing Cliff live, and he's pretty easy on the eyes. James' voice is high and smooth, Cliff's is gruff and bluesy. As a duo, they harmonize beautifully. Having known James Lee since the mid 80's, it's always a pleasure to see him live. 

My Amazon Reviews: Weird Al Yankovic "Alpocalypse"

Pa-Pa-Polkaface  
4 Out Of 5 Stars

Whenever Weird Al manages to capture the current pop zeitgeist, he can be counted on to make a brilliant song or two per album. When he tackled Michael Jackson at his best, he created two of the most incredible parodies of the 80's with "Eat It" and "Fat." Then there was "White and Nerdy." And now, thanks to Lady Gaga, he's back in a big way. From the goof on gath of the cover to the ever-present pop-polka medley, "Alpocalypse" shows once more why Weird Al Yankovic has remained the the eminent musical comedian/parodist of the last three decades.

The hits to duds ratio is about equal, and the standouts are gutbusters. Most importantly is the tackling of Lady Gaga's "Born This Way" into "Perform This Way," which not only parodies the song but the artist (something Al rarely does). The video also neatly ties Al's timelines together, skewering Madonna (another frequent Al target) and Gaga at the same time. At the same time, Al reimagines Jim Morrison as an upset user of "Craigslist" and Charles Nelson Reilly as the topic of a Racountours/Jack White guitar crusher. Technology also takes it on the chin, as "Ringtone" evokes "my wife to smash my I-Phone with a brick...but I hate to waste a $1.99" over his obnoxious cell tones.

Another eason why Al is a genius is how the man can write a parody of almost any genre. He ricochets from Bruno Mars to Miley Cyrus to The Doors to Queen. Often the originals take on all at once. Of the originals, my favorite is the finale, "Stop Forwarding That Crap to Me," a tirade against stupid emails set to a gorgeous melody. Like one of those massively building Jim Steinman songs, Al begs and pleads...

I just can't believe you believe those urban legends.
But I have high hopes that someone will point you toward Snopes
And debunk that crazy junk you're spewing constantly.

On the smiley meter, 4 and a half teeth. This man deserves to be in the Rock and Roll Hall of fame.

 

My Amazon Reviews: James Lee Stanley and Cliff Eberhardt "All Wood and Doors"

Crosby, Stills, Nash and Morrison: A Fantasia
5 Out Of 5 Stars

Sometime in the mid 60's, a young James Morrison was walking along the Sunset Strip in California, frustrated that his musical aspirations were constantly hitting a brick wall. A girlfriend invited him out to the Canyon to rest and mellow out, and she mentioned that she had a few musician friends hanging out with her. Maybe Jim would like to meet them? He agreed and hitched a ride into the hills.

Once he was there, Jim's lady-friend introduced him to her friend Graham. Jim was familiar with The Hollies and told Graham that he liked his stuff. Would he liked to hear some of his own material? When Graham agreed, Jim picked up a guitar and began a frenzied version of "Break On Through." Graham smiles, he likes this young kid's assertiveness. Then he has an idea. "Jim," he says, "slow it down a bit and maybe add a shuffle to it?" Jim thinks a moment, works the chording out in his mind and plays it like Graham suggests. Both Jim and Graham light up; this arrangement sounds incredible. Telling Graham he has a ballad he really likes and thinks would be huge if people heard it, Jim strums the opening portion of "Light My Fire."

A friend of Graham's, Stephen, likes what he's been hearing from across the room. He picks up his guitar and began picking out some sliding, blues lines. Morrison follows Stephen's lead and bends the song into a slow, folky blues song. All three like what they hear. "What else have you got," asks Stephen. Jim, delighted, pulls out a notebook filled with poetry and opens it to "Riders On The Storm." As Jim begins to play, Stephen begins to improvise the vocal line. Graham is so stoked that he pulls his third friend, David, in to listen. By the end of few hours, the four of them decide to form a collaborative and call is CMNS, their initials in alphabetical order. Stephen hits the record button on his brand new home reel-to-reel and the four of them begin to capture the moment. They even work up an incredible harmony arrangement to take "The End" to a new level.

Well, OK, this never happened. But if it DID, then somehow, James Lee Stanley and Cliff Eberhardt  found the reels. Like James' collaboration with John Batdorf did to The Rolling Stones on "All Wood and Stones," James and Cliff take The Doors' classic repertory and folk it out. The duo have an all star guest list that includes Timothy B Schmit of The Eagles, Peter Tork of The Monkees, Paul Barrere of Little Feat, Laurence Juber (who has played with Paul McCartney & Wings), and Chad Watson on Bass. Even more remarkable is that Doors members John Densmore and Robby Krieger pitch in. It was even Densmore's suggestion to Stanley to take on The Doors after he'd heard "All Wood and Stones."

With the blessing of the two Door-keepers, James and Cliff deliver a diverse and delightful reading of classics like the aforementioned songs, as well as classics like "People are Strange," "Crystal Ship" and "Touch Me." I love the way that the pair interchange vocal duties. Cliff is gruff and hardy, James is clear and full. They make great harmonies and trade leads. The guitar playing is wonderful (and having seen James live, up close, I can attest to his guitar prowess), and is captured in rich tone. With both the exceptional musicianship and full endorsement of the original creators, "All Wood and Doors" is how cover albums should be done.