THE DOORS OPEN ON THE 21^st CENTURY

When it was announced that The Doors would reform to record and tour sans the thirty years dead Jim Morrison, rock purists were justly skeptical.  When it was further revealed that this “reformation” would be done without founder member and drummer John Densmore the classic group’s fans were thoroughly disgusted. 

     Last month at The Palms Casino in Las Vegas all suspicions and disgust turned to solid hero worship as the show dubbed as – “The Doors In The 21st Century” – dusted off the old and made it new and, dare I say, in spots, a touch better than it was. 

     Of course, Jim is gone so the Doors’ crystal ship is piloted these days by former Cult frontman, Ian Astbury.                                            

Astbury was the perfect choice for this gig not only because he can do credit to the old material and happens to strike as sexy a stance as his predecessor, but also because he has the same poetic ability to attack a lyric as Jim Morrison once did.   

     At this show, Astbury was working it  very well!  The words were not his, but Astbury screamed, sang and shouted them out to us with an indescribable conviction and obvious reverence.  Anyone could have mouthed the words, but Astbury used them as sonic origami and it was stunning. 

     Original Doors – Ray Manzarek and Robby Krieger – may be well past rock ‘n’ roll’s mandatory retirement age, but they seemed intent on sticking their middle digits right in the face of that notion.  Both played up, around and through each song trading improvisational bits that bootleggers are probably already shopping at high dollar on the Internet.                               

“Break on Through” and “When The Music’s Over” came off so brilliantly, that this writer would dare to go on record as proclaiming them the best live versions to be performed.  These songs were immaculately done and, again, not as carbon copies of the original versions, but as fresh and vibrant new offerings. 

     “Five To One” was a head-banging masterpiece as was “Wild Child,” whereas “Love Me Two Times” saw Astbury nearly being drowned out by a frenzied and well-frothed audience.   The Doors will definitely be needing to book larger rooms on the proper tour scheduled to hit the road this summer.

      If Densmore could not make the reunion party, (citing an inner ear problem left over from the old days with the band), former Police drummer Stewart Copeland was a spectacular second choice. 

      Copeland was as exciting to watch as he was intricately involved in the overall musical interplay between Krieger and Manzarek.  Not a beat was out of place, which was beyond impressive given the frequency of the music’s desire to fall into a rock/jazz exploration. 

      By evening’s end it was obvious that the Doors could still manage spectacular moments from the stage.  All that is left is for Manzarek, Krieger, Astbury, Copeland and perhaps their touring bassist (whose name I missed), to record some new music.  That very task, according to Manzarek, is in the works. 

      Until that new disc of new tunes materializes, The Doors live is ample audio manna for rock fans who can appreciate a group that is willing to challenge their own iconic place in music history. 

THE DOORS LAS VEGAS SET LIST:

 “Roadhouse Blues”

“Break On Through”

“When The Music’s Over”

“Love Me Two Times”

“Whiskey Bar”

“Backdoor Man”

“Five To One”

“Strange Days”

“Moonlight Drive”

“Wild Child,” “Ghost Song” 

“Light My Fire” 

Encore:  “Riders On The Storm”

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