Alive, She Cried

Alive, She Cried is the second official live album by the American rock band the Doors, released in October 1983 by Elektra. It was the second live album release following 1970’s Absolutely Live and produced by Paul A. Rothchild. The album’s title was taken from a line in the song “When the Music’s Over“.

1983 live album by the Doors
Alive, She Cried
Live album by

Released October 1983 (1983-10)
Recorded 1968–1969, 1970
Venue Los Angeles, New York City, Detroit, Boston, Copenhagen
Genre Rock
Length 36:59
Label Elektra
Producer Paul A. Rothchild
The Doors chronology
Absolutely Live
(1970)
Alive, She Cried
(1983)
Live at the Hollywood Bowl
(1987)

. . . Alive, She Cried . . .

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.[1]

The recordings are from various concerts during the period 1968 to 1970 including shows in Los Angeles, New York, Detroit, Boston and Copenhagen.[2] Songs include “Gloria“, originally a hit for Them, 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 live tracks.[3]

Professional ratings
Review scores
Source Rating
AllMusic [4]
Robert Christgau B−[5]
Rolling Stone [6]
The Rolling Stone Album Guide [7]

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.[5]

Rolling Stones 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.”[6]

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”.[4]

. . . Alive, She Cried . . .

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. . . Alive, She Cried . . .