Daily Staff Writer

The Doors

Absolutely Live

The Doors melancholy music has served to enthrall millions of people since the 1960s, creating such musical staples as ‘The End,” “Light My Fire,” “Break On Through,” and “L.A. Woman.”

Absolutely Live gives its listeners a sample of those times when the Doors were divine.

Originally released in 1971, it is composed of songs from several concerts spanning August 1969 through June 1970.

This re-release has been remastered in the studio by long-time Doors associates Paul A. Rothchild and Bruce Botnick in conjunction with The Doors’ surviving members, Ray Manzarek, Robby Krieger and John Densmore.

None of the material is exactly new. A live two-disc set titled In Concert was released in 1991. This re-release is merely disc one of that two-disc set

Absolutely Live starts out with a blistering remake of Bo Diddley’s “Who Do You Love?” This remake completely blows away the original version and George Thorogood’s cover.

Morrison’s voice is tough and bluesy, Krieger’s guitar is furious and Manzarek’s organ is rhythmically pulsing.

“When The Music’s Over” is the highlight of this disc and is mesmerizing from beginning to end. It is an epic song, 15 glorious minutes of fierce musical workmanship interspersed with Morrison’s sublime poetry.

“Universal Mind” is driven by beautiful organ riffs and a repetitive guitar chord, which eventually yield to a musical exchange that is reminiscent to the improvisation of the Grateful Dead.

“Petition the Lord With Prayer” allies Morrison with Puritan beliefs and ballasts the idea that prayer will change God’s mind.

Overall, the live songs on this disc are likely to far exceed even an avid Doors fan’s expectations. *****

— Ben Jones

The Grateful Dead

DOZIN’ AT THE KNICK

Dozin’ At The Knick is an important release.

The three CD set takes the highlights of the Dead’s three-night stay at The Knickerbocker Arena, New York in March of 1990.

Though songs are taken from all three nights, it is formatted to sound like one Dead concert.

The first disc sounds like a first set. It starts off with a rocking “Hell In A Bucket,” and is followed by “Dupree’s Diamond Blues.”

Also included are a tight “Jack-A-Roe” and guitarist Bob Weir’s exceptional vocals on Bob Dylan’s “When I Paint My Masterpiece.”

However the highlights of disc one come from keyboardist Brent Mydland with his screaming solo on “Walkin’ Blues” and his impromptu singing on “Never Trust A Woman.”

Disc two brings us a great second set. Starting off with a fast paced “Playin’ In The Band,” the Dead jam straight into a perfect “Uncle John’s Band.”

That comes to a close with a flawless a cappella harmony leading into a disappointing “Terrapin.” Disappointing because the most important part, Jerry Garcia’s singing, seems too hesitant.

But, even if the first two discs were complete bunk, which they certainly are not, Dozin’ At The Knick would be worth the buy for the special moments on disc three.

Beginning with the last few twangs of “Space,” the Dead lead us into an exceptional version of “The Wheel,” followed by “All Along The Watchtower” and a very subdued “Stella Blue.”

The best is yet to come with “Not Fade Away.” It begins as a typical version and starts to end with Weir singing the chorus very low while the rest of the band vocally “bops” the rhythm.

As if by instinct, the audience in turn joins the band and begins to sing Weir’s part.

Even after the song is over and the Grateful Dead has walked completely off stage, the arena is filled by the Dead-head’s voices of “Know our love will not fade away,” while simultaneously clapping the rhythm.

The disc continues with the end of another night, including an upbeat “Goin’ Down The Road,” a slick “Black Peter” and a very heartfelt “Brokedown Palace.”

Although the more than three hours of Dozin’ At The Knick has moments exposing the talents of each member of the Dead, it is a tribute of sorts to Brent Mydland, since it was recorded shortly before his untimely death.

It also showcases the dedicated fans, with their input on “Not Fade Away,” and the included photo shots in the jacket of the happenings outside the arena.

With all these great moments, the release of Dozin just reinforces that the music of The Grateful Dead is far from ever dying.

— Brendan Greiner

Rusted Root

Remember

For those who are sick of hearing all of those juvenile Bush and Weezer like bands that seem to have saturated the music market today, they may find a group such as Rusted Root most refreshing.

Along with its 1994 release, When I Woke, came the hit single, “Send Me On My Way” and multi-platinum fame.

Now, after several exhausting years of touring including two critically acclaimed summers on the HORDE tour, Rusted Root has had a chance to hone its unique sound.

The result is its latest release, Remember.

Listeners of Remember will find a plethora of emotions from the first guitar plucks of the angry opening track, “Faith I Do Believe.”

Also included in the blended styles of the 14 tracks are the mystery and thought provoking “Voodoo,” the contemplating loss of innocence in “Heaven,” and a lover’s confusing bedroom antics in “Silver-n-Gold.”

Those looking for the pseudo “Send Me On My Way” on Remember will probably find it in the hard hitting, country-western spin off of “Virtual Reality.”

But another intense tune that should get recognition, if not more, is the bluegrass influenced “Who Do You Tell It To.”

Other distinct cultural music influences of Rusted Root include Spanish flamenco guitar, a very Brazilian back-beat, solos of an Eastern tradition and even a little Jewish klezmer.

However, this eclectic mesh is woven together by an American style that is completely original from today’s mainstream music.

To add to Root’s uniqueness is lead vocalist Michael Gabicki’s emotional, almost playful, delivery. Though he can be considered the band’s front man, he is hauntingly supported by the backing vocals of Liz Berlin, who really gets to show her talents in the songs “Baby Will Roam” and “Dangle.”

Though some moments of Remember take a more mature ear to really understand, there is a place for Rusted Root to grow in everyone’s music collection.

— Brendan Greiner