GRAVEYARD POEM
IT WAS THE GREATEST
NIGHT OF MY LIFE,
ALTHOUGH I STILL
HAVE NOT FOUND A WIFE
I HAD MY FRIENDS
RIGHT THERE BESIDE ME
WE WERE CLOSE TOGETHER
WE TRIPPED THE WALL
AND WE SCALED
THE GRAVEYARD
ANCIENT SHAPES WERE
ALL AROUND US
THE WET DEW FELT
FRESH BESIDE THE FOG
TWO MADE LOVE
IN AN ANCIENT SPOT
ONE CHASED A RABBIT
INTO THE DARK
A GIRL GOT DRUNK
AND BALLED THE DEAD
AND I GAVE EMPTY
SERMONS TO MY HEAD
CEMETARY,
COOL AND QUIET
HATE TO LEAVE
YOUR SACRED LAY
DREAD THE
MILKY COMING
OF THE DAY
is the second
official
live album
by the American
Rock Band
released in
October 1983
by Elektra Records.
It is the follow-up
to the 1970's
Absolutely Live,
produced by
Paul A. Rothchild.
The album's title
was taken from
a line in the song
"When the Music's Over".
Background
Following a resurgence in
the band's popularity
due to the
1979 film,
Apocalypse Now
featuring
"The End",
and the
1980 release of
the first
Doors
compilation album
in seven years,
Greatest Hits,
the push was on
to release more
Doors' music.
The recordings are from
various concerts
during the period of
1968 to 1970
including shows in
Los Angeles,
New York,
Detroit,
Boston
and
Copenhagen.
Songs include
"Gloria",
originally a hit
for the Band Them
(with Van Morrison),
and an
extended version
of the Doors'
best known song
"Light My Fire".
John Sebastian
of the
Lovin' Spoonful
joined the band
on stage to play
harmonica on
Willie Dixon's
"Little Red Rooster".
The album was
discontinued
following the
1991 release of
In Concert,
a double-album
which included
all of the songs
from
Alive, She Cried
and
Absolutely Live,
as well as a
few other
additional live tracks.
In a contemporary review for
The Village Voice,
music critic
Robert Christgau
wrote that the tapes are
"of some quality"
and Morrison is
effective when he
focuses on singing,
but the album
is marred by
moments
"when he emits his poetry"
and
"narcissistic"
come-ons.
Rolling Stone's
Parke Puterbaugh
rated it four
out of five stars,
explaining that it
"brings ... the Doors'
impossibly strange
and wonderful music,
Morrison's
drunken loutishness
and his
stabbingly sober poetics,
and the brilliant,
vivid sparking of a
machine too mercurial to last."
He concluded by
stating that
"'Light My Fire' ...
flares upward into an
intensifying bolt of
passion that crescendos with ...
a scream signifying the
communal orgasm
of a generation and a
decade and a band that
would flame out
and fall silent
all too quickly."
In a retrospective review,
AllMusic's
Bruce Eder said that
Alive, She Cried "
helped solve
[Absolutely Live's]
problem
[of leaving]
more casual fans
rather cold,
owing to the absence
of any of their biggest hits".
However,
he pointed out that
"it also revealed the reason why
'Light My Fire'
had not made it onto
the prior live album".
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