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Been Down So Long
Well, I've been down so Goddamn long
That it looks like up to me
Well, I've been down so very damn long
That it looks like up to me
Yeah, why don't one you people
C'mon and set me free
I said, warden, warden, warden
Won't you break your lock and key
I said, warden, warden, warden
Won't ya break your lock and key
Yeah, come along here, mister
C'mon and let the poor boy be
Baby, baby, baby
Won't you get down on your knees
Baby, baby, baby
Won't you get down on your knees
C'mon little darlin'
C'mon and give your love to me, oh yeah
Well, I've been down so Goddamn long
That it looks like up to me
Well, I've been down so very damn long
That it looks like up to me
Yeah, why don't one you people
C'mon, c'mon, c'mon and set me free
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Rhino's new three disc collection LIVE IN BOSTON features two complete sets
from Friday April 10, 1970 at the Boston Arena and captures the moment just
before the Doors turned their mystical psych circus into a full blown blooze
review. As a historical document, LIVE IN BOSTON is unflinching, presenting a
decidedly warts-and-all view across 46 tracks. With Ray Manzarek's
polychromatic organ, Robbie Krieger's no-frills guitar lines, and Jon
Densmore's Latin-inflected percussion, the band ably follows Morrison through
every far-flung inspiration. The covers are many, as an epic "Light My Fire"
alone touches upon "Fever," "Summertime," and "St. James Infirmary Blues"
before returning to its familiar chorus. The show, of course, belongs to
Morrison who seems stuck between shaman-poet and Brechtian comic instigator.
Indeed one of the primary attractions of LIVE IN BOSTON is the banter. With
more skits than an Outkast record--including idiotic stoner ramblings,
inspired period pieces, and wry self-parodies--this set proves that even at
his most bloviated, Morrison could be an inspired and often hilarious
performer who knew how to push a crowd's buttons. It was worth the price of
admission for Doors fans in 1970 and given the staid contemporary relationship
between rock performers and audiences, it still resonates today.
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