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The Doors are primarily an instrumental trio with a lead singer, but Jim Morrison is not so much a singer per se, as he is a shouter, as horn section, sometimes a lead instrument. He doesn't sing in the dictionary sense of the word; rather, he punctuates with his voice. Tying all of the elements together-the organ, the drums, the vocals- is the fluid thread or Robby Krieger's guitar, slow, spare, thoughtful, unifying. Krieger's thought processes for guitar, interestingly enough, did not come from blues but from flamenco, a fact that makes his guitar playing totally individualistic in the rock field. Yes, the Doors are mystical (hailing from Los Angeles, to preserve their sanity, perhaps they have to be). But they can talk common sense, too. The Doors: The Complete Illustrated Lyrics, by Danny Sugerman. Only a few tables of curious spectators showed up at the club each night, so the musicians pretty much played for themselves. In between two weekend engagements at the Avalon Ballroom, a little-known rock group from Los Angeles called the Doors played Tuesday through Friday at a 100-seat Marina district club called the Matrix.

Even the musicians might have forgotten all about the gig if the club manager hadn't decided to tape the shows. The Doors were making their second trip to the thriving San Francisco ballroom scene in March 1967. It was an unseasonably chilly end of winter before the Summer of Love. Just three months after the little-noted release of the band's now-historic debut album. Doors were playing that weekend second-billed to Country Joe and the Fish at the Avalon, and almost no one showed up at their midweek Matrix engagement. Matrix co-owner Peter Abrams had only recently installed a tape recorder in the sound booth, but it would be his custom over the next five years to record every show at the club. The Doors' tapes have been passed around in the underground world of bootleg recordings for years, including a set of "horrible, horrible sounding" Italian CDs that Doors producer Bruce Botnick heard.

Botnick, who has engineered and produced virtually every Doors recording in the band's history, finally dusted off the tape copies in the band's vault, cleaned them up and put together a two-CD set, "Live at the Matrix," complete with a cover by '60s San Francisco poster artist Stanley Mouse. The band played a lot of blues at the Matrix, including Allen Toussaint's "Get Out of My Life Woman" and Slim Harpo's "I'm a King Bee" that rarely turned up again in the repertoire. They did an instrumental version of "Summertime," a piece Botnick never heard the band play again. The group introduced new material that would eventually find its way to the second album - "People Are Strange," "Moonlight Drive" - while Morrison expanded and elaborated the ending of the already epic "The End" as recorded on the first album. The shadowy, echoey recording sounds like being in the dingy, rundown nightclub.
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