Unbound And Dangerous (Limited) (Translucent Red Vinyl)

LPA

1. Introduction
2. Dead Cats, Dead Rats
3. Break On Through (To The Other Side)
4. When The Music’s Over

LPB

1. Roadhouse Blues
2. Alabama Song (Whisky Bar)
3. Back Door Man
4. Five To One
5. Build Me A Woman

LPC

1. Petition The Lord
2. Light My Fire
3. Crawling King Snake
4. Soul Kitchen

LPD

1. Bring Out Your Dead
2. The End
3. Thank You And Good Night

The Doors’ Robby Krieger and John Densmore team with the band’s longtime engineer and mixer Bruce Botnick for Unbound And Dangerous, a new double live album that revisits their 1970 Roadhouse Blues tour. Focused on hard-rocking performances, the collection sets a breathless pace, capturing The Doors at their menacing, bluesy best.

The 16-track collection arrives October 23 on CD and as a 2-LP set pressed on translucent red vinyl. A Blu-ray edition features Botnick’s new Dolby Atmos and high-resolution stereo (192/24) mixes. Fans can also check out the official YouTube visualizer for a preview of the album. The album will also be available digitally from all DSPs.

Morrison Hotel became the Doors’ fifth consecutive Top 10 album in February 1970, reaching #4 in the U.S. and winning critical praise for its raw mix of blues and rock. Jim Morrison, Ray Manzarek, John Densmore, and Robby Krieger hit the road in support, recording several shows along the way during the Roadhouse Blues Tour. Highlights appeared a few months later in July on Absolutely Live, the group’s first-ever live album and another Top 10 hit.

Krieger, Densmore, and Botnick sequenced Unbound And Dangerous from those recordings, which include newly remixed performances from New York City, Philadelphia, Pittsburgh, and Detroit. “Soul Kitchen” is the lone exception, coming from the second show July 21, 1969, at the Aquarius Theatre in Hollywood.

The collection leads with “Dead Cats, Dead Rats” as a preamble before roaring into “Break On Through (To The Other Side)” and then downshifting quickly for an epic psychedelic journey through “When The Music’s Over.” From there, the band doesn’t let up, powering through rockers like “Roadhouse Blues,” “Five To One,” and “Build Me A Woman.” The apocalyptic 15-minute version of “The End” that closes the show starts with Morrison repeatedly shouting, “Bring out your dead!” before the band hurtles headlong into the song’s dark subconscious.

The brand-new liner notes by Krieger, Densmore, and Botnick recall painter Henri Matisse, who was famously branded a “Dangerous Madman” because his art was too revolutionary for its time. Half a century later, The Doors earned a similar reputation. Three men who lived it discuss what that danger meant.

“I knew Jim was ‘dangerous’ from the beginning. Talented, and dangerous,” says drummer John Densmore. “He seemed to want to challenge everything. Then there were his words. That’s what seduced me... those words were about freedom. Freedom of speech, freedom to be free. He wanted to free us all. What a gift. This live album captures that wild spirit.”

“I’m not sure why The Doors were considered dangerous,” says guitarist Robby Krieger. “It was the ’60s man, anything goes, and we didn’t really think of Jim as being dangerous... Once the Kennedys were gone and Vietnam was happening, that was the danger, not The Doors… The closest we came to being dangerous was in Miami or in Cleveland when the audience went crazy.”

“Dangerous equates to excitement,” says Botnick. “The fans came in the thousands to Doors concerts looking for danger and excitement. Jim was always reading the room and knew how far to push the envelope... there was always, will he do something really dangerous?”