Break on Through (To the Other Side) - Densmore, John
Riders on the Storm
Light My Fire - Densmore, John
Love Me Two Times
Under Waterfall - Densmore, John
Roadhouse Rap -
Rock House Blues
Is Everybody In?
Hello I Love You - Densmore, John
Children of Night
Love Her Madly
The Cosmic Movie - Densmore, John
More fun than any tribute album has a right to be, Stoned Immaculate is clearly a labor of love that manages to embrace the spirit of the Doors without regressing into parading a line of Jim Morrison impersonators through ... more »the studio. Much credit goes to producer Ralph Sall, who--in addition to setting up collaborations between the surviving Doors and an array of artists from John Lee Hooker to Days of the New--also breaks out the beats and samples to create a few "new" Doors tracks. While Sall is no Fatboy Slim (despite the winking nod to "Bird of Prey" during the fadeout of "Under Waterfall"), his reconstructions add texture and variety, especially when the late William Burroughs steps up to the mic. But the true highlights here are the more organic collaborations: the three remaining Doors backing Bo Diddley and Ian Astbury; an unexpectedly great "Love Me Two Times" from Aerosmith; and Stone Temple Pilots helping Kreiger and Manzarek "Break on Through" even harder on a track that threatens to transcend the original. Hell, even the weaker contributions beat out Jose Feliciano. Come to think of it, if the Doors are still auditioning Morrison replacements (Kevin Coyne and Howard Werth no longer being available), STP's Weiland, Creed's Stapp, or the Cult's Astbury all acquit themselves well enough here to warrant an offer. -- Bill Forman« less
More fun than any tribute album has a right to be, Stoned Immaculate is clearly a labor of love that manages to embrace the spirit of the Doors without regressing into parading a line of Jim Morrison impersonators through the studio. Much credit goes to producer Ralph Sall, who--in addition to setting up collaborations between the surviving Doors and an array of artists from John Lee Hooker to Days of the New--also breaks out the beats and samples to create a few "new" Doors tracks. While Sall is no Fatboy Slim (despite the winking nod to "Bird of Prey" during the fadeout of "Under Waterfall"), his reconstructions add texture and variety, especially when the late William Burroughs steps up to the mic. But the true highlights here are the more organic collaborations: the three remaining Doors backing Bo Diddley and Ian Astbury; an unexpectedly great "Love Me Two Times" from Aerosmith; and Stone Temple Pilots helping Kreiger and Manzarek "Break on Through" even harder on a track that threatens to transcend the original. Hell, even the weaker contributions beat out Jose Feliciano. Come to think of it, if the Doors are still auditioning Morrison replacements (Kevin Coyne and Howard Werth no longer being available), STP's Weiland, Creed's Stapp, or the Cult's Astbury all acquit themselves well enough here to warrant an offer. -- Bill Forman
"This is the Doors tribute album I have so eagerly awaited. I am a huge Doors fan and maybe I expected the second coming of the Doors to happen on this disc. Unfortunately that doesn't happen. Not to say that this isn't a good album, but I just couldn't bear to hear Train hack up "Light My Fire." First of all, whoever the lead singer of Train is needs to sit down and smoke a few cigarettes and indulge in some Wild Turkey to rough up his prissy voice a little before even attempting to cover a Morrison classic. Second, Ray Manzarek was nowhere to be found on this song, and it was a sheer disappointment to not hear a new fabulous organ solo. Ok, enough venting about that...STP, Days of the New, and Creed all turn out fabulous renditions of the songs they cover, and Aerosmith hasn't sounded so raw since 1975! I expected more from Smash Mouth on "Peace Frog," and the pairing of John Lee Hooker's adlibs with Jim Morrison's pre-recorded vocals on "Roadhouse Blues" seem a little out of place. This disc really shines on the "new" Doors material. None of it is really new, though. The new material features new, haunting intrumentals of Doors classics not covered by other bands on the compilation played by the surviving members of the band. Jim himself, William Burroughs, and a few others recite miscellaneous lines of poetry over the familiar melodies that make you wonder where the Doors could be now had Jim not died. Please don't expect a complete Doors revival from Stoned Immaculate:The Music of the Doors. Give it a few listens to let it all sink in, and enjoy..."
Good Tribute, Could Have Been Better.
Mr. Fellini | El Paso, Texas United States | 03/03/2003
(4 out of 5 stars)
"The Doors remain one of the most influential bands of all time and so it seems fitting that big names like Creed, Stone Temple Pilots and Aerosmith would pay them tribute, and they do it with flare and gusto. The album is a great exhibit of the theater, poetry and sound The Doors brought to rock music. Yet, this album could have been much more. First let's look at the performances. Stone Temple Pilots open the album with a stylish, energetic "Break On Through" that serves as great modernization of the song but also a loving homage to the original. One of the band's stellar tracks (especially when you look at their recent material). Creed follows with another masterful cut, their "Riders On The Storm" pulses and builds, it is a perfect hybrid of the Creed sound and Doors spirit. Robby Krieger here adds a great slide guitar solo. Train kills the mood with a horrible "Light My Fire" that totally loses the timeless essence of the original and makes the lame assumption it is nothing more than a hippie tune. Smash Mouth delivers a fun "Peace Frog" that keeps the spirit of the original with a little modern fusion of what one can see as hip-hop and semi-Punk feels. Days Of The New also delivers with an exhilarating, edgy "L.A. Woman" (eventhough I would have preferred Iggy Pop here considering he was the original rumored name for this song). Aerosmith burns and grinds with an awesome "Love Me Two Times" that stands as the best cover of this song ever performed. The Cult proves to be a metal band of great magnitude with "Wild Child," a burning cover that retains the tribal feel of the original. Ian Astbury delivers one of the best vocals on the record. Some have given a bad look towards the combination of John Lee Hooker's vocals with Jim Morrison's for "Roadhouse Blues," this is not a bad track though. It's a great blues jam with the Red Hot Chili Peppers' Flea on bass. William S. Burroughs delivers his last recording here, the grandfather of Punk reads a loving homage to Morrison in the form of his poetry. Oleander (whatever happened to them?) gives a not so-great "Hello I Love You" (U2 would have been perfect here). Ian Astbury of The Cult performes an unwanted "Touch Me" while Perry Farrell of Jane's Addiction and Exene Cervenka of X read some more Morrison poetry (why not sing a duet?) while Bo Diddley presents a rather boring "Love Her Madly." Days Of The New finish with a rather fresh, alsmost hypnotic "The End." It seems that the first half of the album works while the second feels lazier. Oh, the Burroughs track is great and "The End" rocks, but do we honestly want "Touch Me?" Why not "People Are Strange," "The Crystal Ship" or "When The Music's Over?" Even a Blondie "Moonlight Drive" would be welcome. "Five To One" was recorded by Marilyn Manson but was kept to be used a B-side for his "Holy Wood" album (great track too). "Under Waterfall" and "The Cosmic Movie," remixes of Doors samples are interesting, but not as interesting as it would have been to see maybe U2 or Pearl Jam deliver a track. If one looks at the current Ramones tribute album, one sees what this one was missing: More bands performing. Hell, where's Jim Carroll? Iggy Pop is sorely missed as well as all of X and Jane's Addiction, or the Red Hot Chili Peppers. Garbage could've done a track. The plain truth is, a fanatic Doors fan like myself expects more from people who supposedly want to keep Jim Morrison's legacy alive (is Bo Diddley really the best way to introduce "Love Her Madly" to a new audience?). I say a re-make is needed, Danny Sugerman and Ray Manazarek, the most feverent keepers of the flame, should've thought of more to add. Reportedly, a new Doors album is in the works, let's hope some of the mentioned abscentees can make it."
A Rousing Success
Jonathan M. Butler | Cleveland, USA | 12/18/2000
(4 out of 5 stars)
"Let me start by saying I'm 18 years old so I can't claim to possess the amazing Doors experience that some of the older fans received by actually seeing them in person. All I have is the albums (and the bootlegs wink, wink), and along with Zeppelin and Aerosmith I consider them the Holy Trinity of Rock N Roll. Encomium is the tribute cd by which all others should be measured, so how does this hold up? Pretty darn well I must say! Several good points were raised regarding some of the weaker points on the album, which is why I didnt give it a five. I'm not too familiar with Train, but wow, they just butchered "Light My Fire". I happened to like the Smashmouth version of "Peace Frog." It seemed to be just the right merging of pop music and that Morrison vibe we all love. Yeah, some of the sampled stuff is a bit unnecessary, but look at the high points: STP's cover of "Break on Through" is a sonic assault that currently has me questioning which lead singer I like singing it better, the highest compliment to a cover I can give. Creed's arrangement of "Rider's on the Storm" transforms a mellow song into a rising crescendo much in the vein of "Stairway to Heaven." Outstanding stuff! Other highlights include Aerosmith's raw "Love Me Two Times," the hard-hitting "Wild Child" performed by Ian Astbury of the Cult, and Bo Diddly turning in a funked out intepretation of "Love Her Madly." As it states within the liner notes, this is an influences album, and any fan of The Doors should buy this just to see how omnipresent Jim and the gang truly are in today's music scene."
The Lizard King is Smiling...
soldham56 | La Verne, CA | 04/29/2002
(4 out of 5 stars)
"A smokin' tribute album, but even more IMHO...I bought it just to see what the "new breed" was doing with these classic songs. ...I was floored to hear Scott Weiland fronting the original members with a new version of Break on Through, my first experience with the Doors some 30 years ago. A very trippy, psychedelic interpretation! Then Scott Stapp and Creed just tore up "Riders on the Storm" and created a new and wonderful hybrid-every bit as fresh as the original! Patrick Monahan did "Light My Fire" (albeit a shorter 3 minute version) with a bouncier beat to it. Just so tasty! Smashmouth interpreted Peace Frog with acceptable results, a good choice for the singer, I feel. Steven Tyler sang "Love me 2 Times" as though he was born to it... I guess he was, really. A little studio magic on the Doors/"Under Waterfall" with some spoken word samples and remixing-again, very bouncy and accessible with a Haight Ashbury feel to it. Tastey! Ian Astbury does "Wild Child" w/ Ray on keys. Again, a very powerful voice and a great interpretation. ...William Burroughs (who I was unfamiliar with heretofore) did a wonderful reading of Is Everybody In? with some studio mixing. Bo Diddley and the late John Lee Hooker also get a time up at bat...I've got to reserve my biggest praise for Travis Meeks and the now defunct (original line-up anyway) of Days of the New...Wow, what a voice and a feel this kid has! Just 19 and a powerhouse singer. He sang La Woman with the band and finished the album with The End (backed by the surviving members of the Doors. It's eerie and a little unsettling. He sings the song with similar angst as Jim, but with a modern proceeded to buy a copy of everything he's done, all 3 DotN CDs and the video). I'm a convert to Travis and his music and this compilation will be getting some serious rotation on my truck deck! The Lizard King lives!"
soldham56 | 05/15/2001
(4 out of 5 stars)
"The four stars are for the obvious sincerity and respect with which Creed, STP, Ian Astbury and Travis Meeks imbue their respective tracks, regardless of interpretation.Why Stoned Inaccurate? Because the vital element that is missing in this collection is exactly what made The Doors worthy of tribute three and a half decades after their debut: originality annexed to insight.The idea that approximating the sound and trademark motifs of an artist is sufficient in appraising his/her worth is a flawed concept, and much in evidence here. The Doors at their inception did not seek to rework "Alabama Song" in the same chorale-driven setting as the original Bertolt Brecht opera, nor was their version of Willie Dixon's "Back Door Man" a clone of the original. The reverence accorded The Doors' work has wreaked havoc on two fronts: one, the creative, and two, the commercial. There is nothing wrong with tampering with soundbites of Morrison's poetry, since much of his delivery in concert was fragmented verse to begin with, but it deserves a sustained, dedicated effort, such as An American Prayer; not the choppy tease represented on Underwaterfall and The Cosmic Movie, enjoyable as they may be, momentarily. And Scott Stapp may have unintentionally done Jim Morrison a supreme disservice by so deliberately understating his "Riders On The Storm" delivery...he could have stamped an indelible aura of greatness to this piece, if he had revisited the Doors' original premise for the band, perhaps by interpolating some of the great unrecorded snatches of verse and rhythmic couplets Morrison wrote (Check "Wilderness" and "The American Night")into the body of the song; surely, Stapp's obvious connection to Morrison has more to it than the dark-haired baritone cliche. Travis Meeks from Days of the New really does have a gift for searing through the miasma of nostalgia and (almost) making these songs new again. His take on the songs, for me, comes closest to justifying the project.As for Messrs. Manzarek, Krieger and Densmore: why, oh why do you huddle in the dried thicket of the talents of others...admit it, gentlemen, you love playing together and you still do it better than any pretenders to the throne...compose some new music, wed it to the more malleable selections of Jim's poetry, assemble a feast of credible friends (Jim Carroll, Tom Waits, Nick Cave, Leonard Cohen, Bono on his days off from the U.N.) and record the great final album we know you still have in you, while there is yet time. No pressure, of course...."