Review: '1967: A Complete Rock Music History of the Summer of Love'

The intriguing progress Rock & Roll started displaying as soon as The Beatles busted out in 1964 hit an ecstatic, elastic, multi-colored peak three years later. Any existing rules were incinerated as the pop song busted well beyond its two-minute structure, guitars were regularly muscled aside to make room for Mellotrons and sitars, and love songs were often sidelined for tunes based on Joyce’s impenetrable Ulysses or ditties about gnomes named Grimble Crumble. The LP officially displaced the single; stereo started doing the same to mono, making way for the ritual of consuming high-concept albums through headphones…possibly while under various influences; and bland band portraits plastered onto jackets no longer sufficed. In other words, Rock & Roll became art with a vengeance in 1967.

Harvey Kubernik pays tribute to the auditory and visual arts of ’67’s revolutionary music in his new book 1967: A Complete Rock Music History of the Summer of Love. That title is actually misleading unless one regards 1967 as twelve months of summer—and the Californians Kubernik favors probably did. The book is actually a month-by-month chronicle from January through December, dropping details about the year’s major music releases, festivals, innovations, main characters, and attitudes in stand-alone chunks. The book is also something of an oral history, as Kubernik’s own observations are more than supplemented with old and new commentary from the likes of Andrew Loog Oldham, Mary Wilson, George Harrison, Barry Miles, Michelle Phillips, Pete Townshend, Lou Reed, Roger McGuinn, Ravi Shankar, Paul Kantner, Marty Balin, Ram Das, Ray Manzarek, and many others. There is little effort to link the multitudinous topics, but that’s to be expected when dealing with a year that was probably a puzzling jumble of disconnected ideas and events for a lot of its participants. You know what they say about people who remember the sixties.

A coffee table book at heart, 1967 supplies a vibrant lot of images from pop’s most imagistic year, though some of the year’s phantasmagorically rendered album covers would have made for an even more kaleidoscopic visual experience. Kubernik should still be commended for covering the vinyl within the sleeves as thoroughly as he does—referencing the obvious (Sgt. Pepper’s dominates the June topic along with the Monterey Pop Festival) and the more regularly overlooked (The Hollies’ Butterfly, Donovan’s A Gift from a Flower to a Garden, Captain Beefheart’s Safe As Milk, the Stones’ Between the Buttons, etc.) in kind. The one inexplicable oversight is his failure to even mention The Who Sell Out, my personal pick for the finest album of pop’s finest year. Maybe Kubernik has a hole in his memory where that album belongs because he had a little too much fun in ’67.

Review: 'The Doors: Feast of Friends'

In 1968, Jim Morrison's buddy Paul Ferrara accompanied The Doors on tour with his 16mm camera in hand. He shot some footage of the band on stage at the Hollywood Bowl and elsewhere, Jim rapping with an Evangelical minister, and babbling while abusing a grand piano backstage. After the tour, Ferrara cut the footage together and laid over studio versions of "Wild Child", "Moonlight Drive", "Five to One", and "Not to Touch the Earth", finishing the film with a sixteen-minute rendition of "The End" from the Hollywood Bowl. Feast of Friends screened at a few festivals, won an award, and then went missing only to show up on bootleg in the ensuing years.

45 years later Feast of Friends is receiving its first official release as a Blu-ray from Universal/Eagle Vision Entertainment. Doors fans will find quite a bit to interest them on this disc, though not necessarily in the main feature. A lot of the Feast of Friends footage has crept out in various forms through the years, and that version of "The End", which constitutes about a third of the film, can be seen in more meaningful context as part of the Live at the Bowl concert film. The extras on this disc, however, are an intriguing lot, with "Feast of Friends: Encore" consisting of 34 minutes of outtakes that provide a more satisfying glimpse of Morrison's talk with the minister and a fascinating peak at the recording of "Wild Child". If great live footage is what you want, check out The Doors Are Open, a British television documentary that attempts to link the band with some sort of political ideology (and fails since the guys in the group have nothing profound to say), but rips and roars with some really raw live renditions of "When the Music's Over" (a song I generally don't care for but kills here), "Five to One", "The Unknown Soldier", "Spanish Caravan", "Back Door Man", "Hello, I Love You" (with Ray Manzarek on lead vocals), and "Light My Fire" from London's Roundhouse. The songs are intercut with disturbing period footage of police brutality and pontificating politicians. Finally there's a live performance of "The End" recorded for Toronto television before The Doors really broke on through. It is tremendously riveting despite the band's self-censoring of the song's iconic Oedipal pantomime.

On the video front, Feast of Friends is the only feature that has really been subjected to a clean up. Significant blemishes are absent, but so is fine detail. The other pieces are fairly scratched up, but you won't care as much since they're so much more fun to watch.

Review: 'The Doors: R-Evolution'

D-Evolution might have been a more appropriate title for the new Doors clips compilation since R-Evolution starts with far and away its best clip. To give the band’s first single a bit of extra promotional pizzazz, Elektra’s Jac Holzman commissioned a promo film for “Break on Through” that’s like watching The Doors’ album cover come to life, the guys lip-synching in moody chiaroscuro. Shot on actual film, this is also the clip that looks best on the blu-ray, many of the others being TV appearances from so-so video sources. The Doors go-for-it in the “Break on Through” promo too, Morrison lunging at the mic as if he was actually singing, but they more often look bored during performances on corn-ball shows like Shebang, Murray the K, and Malibu U, in which the musicians mime on a beach-bound fire engine surrounded by vacantly grinning California girls while Morrison appears in disembodied shots filmed at a later date. The attempt to pass off Robbie Krieger’s brother as Jim in wide shots of the band is not convincing.

So Long, Ray Manzarek

I was never a massive Doors fan, but I do like a lot of their stuff, and I'd feel remiss not at least mentioning the passing of Ray Manzarek yesterday. So in brief tribute, here's my very favorite Doors song--and one of my favorite songs by anyone. Ray's piano work has a lot to do with why I love this one so much. 

Review: The Doors: Live at the Bowl ’68

Forget the silly Christ imagery and bad poetry that pollutes Doors lore. They were a good band, Jim Morrison was sexy and had an expressive voice, and he could put on a good show. Aside from a few breaks to allow him to indulge in his drivel, The Doors’ historic concert at the Hollywood Bowl in the summer of ’68 was short on bullshit and high on entertainment.

The audience and the band are in good humor, betraying the dour reputation of both parties. When Morrison and Ray Manzarek create a moment of incredible tension in “When the Music’s Over”, Jim snaps it with a well-timed burp. As the show progresses, the acid he dropped backstage starts to kick in, and his performance becomes more unpredictable without completely losing the rhythm. The band is tight, turning in stand out renditions of “Spanish Caravan” and “The Unknown Soldier”.

Eagle Rock Entertainment’s presentation of The Doors: Live at the Bowl ’68 is as exceptional as the show. Large chunks of vocals hadn’t been recorded properly in ’68, so original soundman Bruce Botnick scoured other live recordings until finding replacements that matched Morrison’s lip movements, while making additional alterations digitally to sync with his body language. That there is an impressive attention to detail, friends. The extras are nice too, with some TV clips and substantial features on the restoration, the Bowl, and the concert with new interviews from Botnick, Manzarek and Robby Krieger, and opening act The Chambers Brothers.