| | Doors CD Doors Discography of CDs
 (4 Customer Reviews)
The Doors: Jim Morrison (vocals); Robby Krieger (guitar); Ray Manzarek (keyboards); John Densmore (drums).
Additional personnel: Larry Knechtel (bass).
Recorded at Sunset Sound Recorders, Hollywood, California.
The Doors: Jim Morrison (vocals); Robby Krieger (guitar); Ray Manzarek (keyboards); John Densmore (drums).
Includes liner notes by Danny Sugarman.
Digitally remastered by Bruce Botnick.
The Doors: Jim Morrison (vocals); Robby Krieger (guitar); Ray Manzarek (piano, organ, bass); John Densmore (drums).
Recorded at Sunset Sound Recorders, Hollywood, California in September 1966. Originally released on Electra (74007).
Digitally remastered by Steve Hoffman.
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
The Doors: Jim Morrisson (vocals); Robby Krieger (guitar); Ray Manzarek (keyboards); John Densmore (drums).
Producers: The Doors, Bruce Botnick, Paul A. Rothchild.
Includes liner notes by Max Bell.
All tracks have been digitally remastered.
The Doors: Jim Morrison (vocals); Robby Krieger (guitar); Ray Manzarek (keyboards); John Densmore (drums).
Additional personnel: Marc Benno (guitar); Curtis Amy (saxophone); Douglas Lubahn, Harvey Brooks, Ray Neopolitan, Jerry Scheff (bass).
Producers: Paul Rothchild, Bruce Botnick, The Doors.
Compilation producers: The Doors, David McLees, Gary Stewart.
Recorded at Sunset Sound Recorders, T.T.G./Sunset-Highland Recording Studios, Elektra Sound Recorders and The Doors Workshop, Hollywood, California. Includes liner notes by Max Bell.
Digitally remastered by Bruce Botnick.
The Doors: Jim Morrison (vocals); Robby Krieger (guitar); Ray Manzarek (keyboards); John Densmore (drums).
Producers: Pual A. Rothchild, Bruce Botnick, The Doors.
Compilation producers: The Doors, David McLees.
Recorded between 1967 & 1983. Includes liner notes by Jim Ladd.
Released to celebrate the 40th anniversary of the release of the first Doors album, THE VERY BEST OF THE DOORS supercedes all former Doors compilations. At two discs and 34 tracks, this is quite comprehensive for a band whose key lineup released only half a dozen albums. In addition to all the expected hits like "Light My Fire," "Hello I Love You," and "Roadhouse Blues," this compilation delves much deeper into the catalogue with fan favorites such as "Not To Touch the Earth" and "Wishful Sinful," as well as a handful of previously obscure rarities. Remastered and newly remixed by original engineer Bruce Botnick and the surviving members of the Doors, THE VERY BEST OF THE DOORS is a solid tribute to the band.
Rhino U.K.'s 2007 release The Very Best of the Doors is very similar to Rhino U.S.'s 2001 release The Very Best of the Doors -- and the 2007 comp is also available as a single disc and as a double-disc set, as well as a limited edition that adds a DVD to the two-CD version, so it's very easy to get all three compilations confused. That said, there are notable differences between all three U.K. comps and the original U.S. set. The American disc weighs in at 16 tracks while the single-disc U.K. set is longer at 20 tracks and, in fact, boasts a stronger overall selection of songs, making this arguably the best single-disc introduction to the band yet assembled. The double-disc U.K. set doesn't just add a second disc, it has a different sequencing as well and consequently feels like a very different beast than the original set. It's a compilation that digs deeper into album tracks and radio favorites, sometimes getting songs that maybe should have been on the U.K. single disc -- such as "Five to One," for instance, a Doors standard that's on the U.S. single disc but not the U.K. -- but its real strength is how it paints a richer portrait of the band. It's for the listener who wants a bigger picture of the Doors without investing in the actual albums or a box set and, in that sense, this Very Best of the Doors (along with the verRolling Stone (5/1/03, p.59) - 5 stars out of 5 - Included in "The Rolling Stone Hall Of Fame" - "...A stoned, immaculate classic..."
Q (1/03, p.54) - Included in Q Magazine's "100 Greatest Albums Ever"
Q (11/00, p.124) - 4 stars out of 5 - "...Still their best album, a blurt of American Gothic teenybop, containing both the pop hit 'Light My Fire' and the mum-shagging epic 'The End'..."
Down Beat (p.69) - 4.5 stars out of 5 -- "Surrealism and dark existentialism pervade The Doors' debut disc, a tour de force of brilliant pop songwriting."
NME (Magazine) (10/2/93, p.29) - Ranked #25 in NME's list of the 'Greatest Albums Of All Time.' Doors Music Review Average Rating: (4.5 out of 5 stars)   Great Album Bad Sound Quality!
I went ahead and bought this latest and supposidly remastered version of The Doors classic debut even though I had the 1999 24-bit remastered version. Comparing the two, I noticed immediately that the newer version sounded flat, muffled bass and was cut much lower than the older version. If you already have the seven year old remaster don't bother with this mess. The three bonus tracks at the tail end of the cd are for diehard collectors only. I'd have preferred they wewren't even there. Great album and tons of classic tunes (Light My Fire, Break On Through, Take It As It Comes, The End, etc.). This disc would have been given five stars but loses two for the horrific sound quality.
Submitted by B.C. ("Hallandale Beach, Fl.,USA")
Was This Review Helpful? Yes No 6 of 7 found this helpful.
 Powerful debut
"The Doors" is one of the most influential and excellent debut albums in the history of recorded music. The band represented the antithesis of the sunny good natured California bands that came out of the late sixties.
Jim Morrison and company proved that a group could be weird, terrifying and commercially successful (even though this record didn't reach its #2 peak until nine months after its release).
The strength of the group's unity is excellently reflected in the collective songwriting credits (even the two covers sound like originals!), and the combined musicianship of Manzarek, Krieger and Densmore perfectly fit Morrison's dark impressionistic lyrics and moody vocal performance.
"The Doors" introduced the very concept of rock theater as it probed existential themes and provided a great snapshot of the rebellious spirit of late sixties America. Its strength remains undiminished after four decades.
Submitted by Will (Lawrenceburg IN)
Was This Review Helpful? Yes No
Absolutely magic...
The fantastic first album...
No words can describe the magic of this masterpiece!
Buy it!
Submitted by caboom (Napoli, Italy)
Was This Review Helpful? Yes No Terrific Debut . .
The album was recorded in less than a week, which shows how well rehearsed these guys were. Light My Fire and The End are two of their very best songs. Good Music!
Submitted by Tony Chicarello (Bham, Al.)
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Purchase Doors CD To buy, Click on price to add to cart | Doors L.A. Woman CD (1971) Bonus Tracks
Doors
 $10.05  
The Doors: Jim Morrison (vocals); Robbie Krieger (guitar); Ray Manzarek (piano, organ); John Densmore (drums).
Additional personnel: Marc Benno (guitar); Jerry Scheff (bass).
Recorded at The Doors Workshop, Los Angeles, California.
Each CD cover has been crafted by hand to recreate the original see-through cover art.
The Doors: Jim Morrison (vocals); Robbie Krieger (guitar); Ray Manzarek (bass instrument); John Densmore (drums).
Additional personnel: Marc Benno (guitar); Jerry Scheff (bass instrument).
The final album with Jim Morrison in the lineup is by far their most blues-oriented, and the singer's poetic ardor is undiminished, though his voice sounds increasingly worn and craggy on some numbers. Actually, some of the straight blues items sound kind of turgid, but that's more than made up for by several cuts that rate among their finest and most disturbing work. The seven-minute title track was a car-cruising classic that celebrated both the glamour and seediness of Los Angeles; the other long cut, the brooding, jazzy "Riders on the Storm," was the group at its most melodic and ominous. It and the far bouncier "Love Her Madly" were hit singles, and "The Changeling" and "L'America" count as some of their better little-heeded album tracks. An uneven but worthy finale from the original quartet. [In 2000 the album was re-released in the DVD Audio format with a 5.1 Surround remix.] ~ Richie Unterberger
Elektra reissued the Doors' last two albums with Jim Morrison, Morrison Hotel and L.A. Woman, as a single cassette in the early '80s. For casual listeners, this may not be a bad way to purchase these records, but the packaging and sound on the tape are subpar. Most fans, even casual ones, will be better served by the original vinyl editions or subsequent CD reissues. ~ Stephen Thomas Erlewine
The final album with Jim Morrison in the lineup is by far their most blues-oriented, and the singer's poetic ardor is undiminished, though his voice sounds
| | Doors Morrison Hotel CD (1970) Bonus Tracks
Doors
$9.59 
Includes bonus tracks.
The Doors returned to crunching, straightforward hard rock on Morrison Hotel, an album that, despite yielding no major hit singles, returned them to critical favor with hip listeners. An increasingly bluesy flavor began to color the songwriting and arrangements, especially on the party'n'booze anthem "Roadhouse Blues." Airy mysticism was still present on "Waiting for the Sun," "Queen of the Highway," and "Indian Summer"; "Ship of Fools" and "Land Ho!" struck effective balances between the hard rock arrangements and the narrative reach of the lyrics. "Peace Frog" was the most political and controversial track, documenting the domestic unrest of late-'60s America before unexpectedly segueing into the restful ballad "Blue Sunday." "The Spy," by contrast, was a slow blues that pointed to the direction that would fully blossom on L.A. Woman. ~ Richie Unterberger
Feted first as underground heroes, then reviled as teeny-bop stars, the Doors threw off such conundrums with this magnificent release. MORRISON HOTEL reaffirmed their blues roots, stripping away some of the psychedelia of their early releases and the orchestral ambitions that weighted albums like THE SOFT PARADE. The opener, the powerful "Roadhouse Blues," is a case in point. Based on a classic blues riff, structure, and theme ("Let it roll, baby, roll/All night long"), the song is elemental and hard driving.
The album then unfolds through a succession of songs showcasing all the group members' considerable strengths. Distinctively tight instrumental playing underscores memorable material, while Jim Morrison's authoritative vocals range from the demonstrative ("Maggie McGill") to the evocative and melancholic ("The Spy"). Though the band harks back to their tingling '60s sound on "Waiting for the Sun" and "Queen of the Highway," the album's best moments, like the politically minded boogie "Peace Frog," wed edgy rock to the band's highbrow vision. MORRISON HOTEL returned the band to
| | Doors Strange Days CD (1967) Bonus Tracks
Doors
$9.89
The Doors: Jim Morrison (vocals), Robby Krieger (guitar), Ray Manzarek (keyboards, marimba), John Densmore (drums).
Additional personnel: Douglas Lubahn (bass).
Recorded at Sunset Sound Recorders, Hollywood, California.
The Doors: Jim Morrison (vocals); Ray Manzarek, Robby Krieger (guitar); John Densmore (drums).
Additional personnel: Douglas Lubahn (bass instrument).
Many of the songs on Strange Days had been written around the same time as the ones that appeared on The Doors, and with hindsight one has the sense that the best of the batch had already been cherry picked for the debut album. For that reason, the band's second effort isn't as consistently stunning as their debut, though overall it's a very successful continuation of the themes of their classic album. Besides the hit "Strange Days," highlights included the funky "Moonlight Drive," the eerie "You're Lost Little Girl," and the jerkily rhythmic "Love Me Two Times," which gave the band a small chart single. "My Eyes Have Seen You" and "I Can't See Your Face in My Mind" are minor but pleasing entries in the group's repertoire that share a subdued Eastern psychedelic air. The 11-minute "When the Music's Over" would often be featured as a live showstopper, yet it also illustrated their tendency to occasionally slip into drawn-out bombast. ~ Richie Unterberger
The Doors' second album redefined their uncompromising art. The disturbing timbre of Ray Manzarek's organ work provided the musical cloak through which guitarist Robbie Kreiger and vocalist Jim Morrison projected. Few singers in rock possessed his authority, where every nuance and inflection bore an emotional intensity. STRANGE DAYS contains some of the quartet's finest work, from the apocolyptic vision of the epic "When The Music's Over" to the memorable quirkiness of "People Are Strange" and "Moonlight Drive." The graphic "Horse Latitudes," meanwhile, confirmed Morrison's wish to be viewed as a poet, a stance ensuring that the Doors
| | Doors Soft Parade CD (1969) Bonus Tracks
Doors
$9.69
The Doors: Jim Morrison (vocals); Robby Krieger (guitar, background vocals); Ray Manzarek (keyboards); John Densmore (drums).
Additional personnel: Jesse McReynolds (mandolin); Jimmy Buchanan (fiddle); Champ Webb (English horn); Curtis Amy (saxophone); George Bohannan (trombone); Harvey Brooks, Doug Lubahn (bass); Reinol Andino (conga).
Recorded at Elektra Sound Recorders, Los Angeles, California.
The Doors: Robby Krieger (guitar); John Densmore, Ray Manzarek, Jim Morrison .
Personnel: Robbie Krieger (vocals, guitar); Jim Morrison (vocals); Jesse McReynolds (mandolin); Champ Webb (English horn); Curtis Amy (saxophone); George Bohannon (trombone); Ray Manzarek (keyboards); John Densmore (drums); Reinol Andino (congas).
Audio Mixer: Bruce Botnick.
Liner Note Authors: Bruce Botnick; David Fricke.
Recording information: Elektra Sound recorders, Los Angeles, CA.
Illustrator: Peter Schaumann.
Photographers: Joel Brodsky; Ken Regan; Mike Barich; Edgar Bernstein; Frank Lisciandro; Günter Zint.
Arrangers: John Densmore; Ray Manzarek; Jim Morrison ; Robbie Krieger.
The weakest studio album recorded with Jim Morrison in the group, partially because their experiments with brass and strings on about half the tracks weren't entirely successful. More to the point, though, this was their weakest set of material, low lights including filler like "Do It" and "Runnin' Blue," a strange bluegrass-soul blend that was a small hit. On the other hand, about half the record is quite good, especially the huge hit "Touch Me" (their most successful integration of orchestration), the vicious hard rock riffs of "Wild Child," the overlooked "Shaman's Blues," and the lengthy title track, a multi-part suite that was one of the band's best attempts to mix rock with poetry. "Tell All the People" and "Wishful Sinful," both penned by Robbie Krieger, were uncharacteristically wistful tunes that became small hits but were not all that good, and not sung very convincingly b
| | Doors Waiting For The Sun CD (1968) Bonus Tracks
Doors
$9.49
The Doors: Jim Morrison (vocals), Robbie Krieger (guitar), Ray Manzarek (keyboards), John Densmore (drums).
Additional personnel: Leroy Vinegar (acoustic bass), Douglas Lubahn, Kerry Magness (bass).
Originally released on Elektra (74024).
All songs written by The Doors.
The Doors: Robby Krieger (guitar); John Densmore, Ray Manzarek, Jim Morrison .
Personnel: Jim Morrison (vocals); Robbie Krieger (guitar); Ray Manzarek (keyboards); Leroy Vinnegar (acoustic bass); Douglas Lubahn (electric bass); John Densmore (drums).
Audio Mixer: Bruce Botnick.
Audio Remixer: Bruce Botnick.
Liner Note Authors: Paul Williams ; Bruce Botnick; Paul Williams .
Introduction by: Bruce Botnick.
Photographers: Guy Webster; Anthony Stern; Frank Lisciandro; Chris Walter; Andrew Maclear; Paul Ferrara; Barry Plummer; Jan Persson.
The Doors' 1967 albums had raised expectations so high that their third effort was greeted as a major disappointment. With a few exceptions, the material was much mellower, and while this yielded some fine melodic ballad rock in "Love Street," "Wintertime Love," "Summer's Almost Gone," and "Yes, the River Knows," there was no denying that the songwriting was not as impressive as it had been on the first two records. On the other hand, there were first-rate tunes such as the spooky "The Unknown Soldier," with antiwar lyrics as uncompromisingly forceful as anything the band did, and the compulsively riff-driven "Hello, I Love You," which nonetheless bore an uncomfortably close resemblance to the Kinks' "All Day and All of the Night." The flamenco guitar of "Spanish Caravan," the all-out weirdness of "Not to Touch the Earth" (which was a snippet of a legendary abandoned opus, "The Celebration of the Lizard"), and the menacing closer "Five to One" were also interesting. In fact, time's been fairly kind to the record, which is quite enjoyable and diverse, just not as powerful a full-length statement as the group's best albums. ~ Richie Unterb
| | Henry Phillips On The Shoulders Of Freaks CD (1997)
Doors
$8.29
N.Y.Singer/Songwriter Fuses Music And Comedy
Personnel: Henry Phillips (vocals, guitar); Marty Kaniger (12-string guitar); Bob Applebaum (mandolin); Dan Weinstein (violin, viola); Stefanie Fife (cello); Brad Ellis (piano, keyboards); Eric Heinly (percussion).
Liner Note Author: Eric Heinly.
Recording information: Genghis Cohen Cantina, West Hollywood, CA; Sunburst REcording, Culver City, CA; The Improvisation, West Hollywood, CA.
Henry Phillips' debut CD, On the Shoulder of Freaks, is an entertaining collection of humorous songs, all performed in a singer-songwriter style. Occasionally, his humor leans toward the sophomoric, but at its best it's a funny, off-the-wall set of silly songs, with sweet melodies and clever lyrics in the vein of Jim Stafford. ~ Stephen Thomas Erlewine
| | Ian McNabb Waifs And Strays CD (2001) Import
Doors
$16.79
Compilation Of Rare,Prev.Unrel
Personnel: Ian McNabb (vocals, guitar, harmonica, piano, Mellotron, keyboards, drum machine, hand claps, percussion); Geoff Dugmore (drums, percussion); Daniel Strittmatter (drums); Henry Priestman (background vocals).
Audio Mixer: Lloyd Gardiner.
Recording information: Blackwing Studios, South London (08/1993-??/2000); Parr St. Studio, Liverpool (08/1993-??/2000); Pete Thomas's Home Studio, Richmond (08/1993-??/2000); Rockfield Studios, South Wales (08/1993-??/2000); The Barge, Twickenham, England (08/1993-??/2000).
| | Christine Fellows Paper Anniversary CD (2005)
Doors
$12.39
Audio Mixer: Shawn Dealey.
Recording information: Pig Street, Winnipeg, Manitoba, Canada (2004-2005).
Winnipeg-based singer/songwriter Christine Fellows returns with Paper Anniversary, a remarkable change of pace from 2001's The Last One Standing. Where that album had been an intimate record built on Fellows' voice and piano, Paper Anniversary consists largely of Fellows' own tape loops and found-sound samples, which Fellows layers in ever-shifting combinations underneath her electronic and acoustic keyboards, accordion, and percussion. Cello, mandolin, vibes, violin -- and on the surreal, otherworldly "Instructions on How to Dissect a Ground Owl," even a glass harmonica and a Tuvan throat singer! -- complete the soundscapes, making Paper Anniversary a dense, nearly psychedelic record that strongly recalls Lisa Germano's art-folk hybrids from the '90s, Happiness and Geek the Girl, in its richly textured sound. However, Fellows' knack for comfortingly familiar folk-rock melodies roots the album in the AAA radio mainstream alongside Aimee Mann or Fiona Apple; in between the atmospheric instrumentals and interludes, proper songs like "Vertebrae" and "Double Takes" are among Fellows' strongest efforts. ~ Stewart Mason
| | Snow Patrol Eyes Open CD (2006)
Doors
$11.49
Snow Patrol: Gary Lightbody (vocals).
Personnel: Martha Wainwright (vocals); Warren Zielinski, Richard George, Karin Leishman, Beatrix Lovejoy, Rebecca Hirsch, Maya Magub, Paul Willey, Pauline Lowbury, Janice Graham, Ursula Gough, Charles Sewart, Richard Milone, Lucy Williams, Steve Morris, Everton Nelson (violin); Timothy Grant, William Hawkes, Maxine Moore, Matthew Souter (viola); Zoe Martlew, Adrian Bradbury, Caroline Dale, Caroline Dearney, James Banbury (cello); Jacknife Lee (keyboards, programming, background vocals); Ben Russell, Leon Bosch (double bass); Paul Archer, Iain Archer (background vocals).
Audio Mixers: Jacknife Lee; Cenzo Townshend.
Recording information: Angel Studios, Islington, London, England; Grouse Lodge Studios, Ireland; The Arches, Glasgow, Scotland; The Garage, Kent, England; The Garden, London, England.
Photographer: Dan Tobin Smith.
Arranger: James Banbury.
Following up its 2004 breakthrough album, FINAL STRAW, the Ireland-bred/Scotland-based rock band Snow Patrol opted for an even more accessible sound on EYES OPEN. Frontman Gary Lightbody has always shown a penchant for crafting pop-savvy tunes, but this 11-track set takes his songwriting to new heights, as best revealed on the energetic anthems "You're All I Have" and "Hands Open." While these songs display grandeur on the scale of U2 and Coldplay, Lightbody also knows how to ease into a tender ballad, most notably the chiming "You Could Be Happy," which features delicate Bjork-like backing. Though much of the record is upbeat, Lightbody's melancholy sensibility still comes into play on the brooding "Shut Your Eyes" and "Set Fire to the Third Bar," a haunting duet with Martha Wainwright. Longtime fans may miss Snow Patrol's indie-pop quirkiness (a la "Get Balsamic Vinegar...Quick You Fool" from SONGS FOR POLARBEARS), but in its place is a mature and assured approach that is sure to appeal to a wide audience.
The anthemic indie rock sound of Snow Patrol provides a bit of hope and promise among the many acts attempting to fit into a certain genre or scene. Snow Patrol belongs to their own scene, and their third album, 2004's Final Straw, proved that with several global hit singles such as "Run," "Chocolate," "How to Be Dead," and the reissue of "Spitting Games." British fans once more proclaimed their beloved Snow Patrol as a true rock & roll band while American audiences finally took notice of the Scottish collective. The band's fourth album, Eyes Open, doesn't fall short from where they left off; in fact, Snow Patrol's hungry rock sound only gets bigger and better this time around. All guitar hooks and singalong choruses are firmly in place, and Gary Lightbody is an underrated frontman. On Eyes Open, he once again writes songs that are from the heart and true to self-reflection without getting too sappy and too overjoyed. From the playful name-dropping of Sufjan Stevens on "Hands Open" to their passionate delivery on "It's Beginning to Get to Me" and "Shut Your Eyes," Snow Patrol's approach is epic. They are the kind of band that embraces simplicity as beautiful and human flaws as art. The lullaby-like "You Could Be Happy" and the passionate buildup of "Make This Go on Forever" are evident of that. This 11-song set is a masterpiece, so keep your ears and eyes open for Snow Patrol. They're onto something big. ~ MacKenzie Wilson
| | Envy On The Coast CD (2006) Digipak; Extended Play
Doors
$7.49
Track Listing of songs: Paperback; You Won't Hear This; Temper Temper; Suckerpunch; Green Eyes Don't Lie;
| | Arthur Smith Guitar Boogie CD (2007) (Import) Import; Digipak
Doors
$31.55
Here is the real, only and first really original Guitar Boogie version by his creator Arthur Smith, very great guitarist of boogie music. The complete original album and 12 bonus tracks including 1 rare track from the first EP, 10 rare tracks album unreleased in Europe with the second Guitar Boogie version and the EP version.
| | Second Hand Reality CD (1968) Bonus Tracks
Doors
$14.09
Second Hand's debut, Reality, released in 1968 before progressive music had developed, is one of those odd records that mix psychedelic and garage-style music with some progressive touches. This is most evident on "Mainliner" and the title track, which are segued together by some classical music instrumentation. "Reality" adds other symphonic elements as well, and there's even a minute where one hears just organ and cello, a relaxed, slightly haunting moment before the rest of the band kicks back in. "Mainliner" is a nightmarish track about heroin addiction with funeral-dirge organ riffing, and "The World Will End Yesterday" is another doom-laden piece. "Denis James the Clown" uses carnival music played at an amphetamine-hyperactive pace to create a strange little song. There are lots of long instrumental sections with guitar solos, which is fortunate because Ken Elliott's vocals are the weakest link, and a few of his song arrangements come off a little dated as well. Fortunately, those aspects are not enough to distract too much from this otherwise excellent record. ~ Rolf Semprebon
An acknowledged landmark of progressive acid rock, this 1968 classic combines top-notch songwriting with vicious guitar, swathes of mellotron and dense arrangements, to unique and unsettling effect. Sunbeam's long-awaited official reissue includes comprehensive liner notes, rare photographs and two bonus tracks, making it a must-have for lovers of true British psychedelia.
| | Dale Frane Time + Energy = Change CD (2007)
Doors
$10.15
I view things in an odd way that ends up giving my words an unexpected twist! I cover everything from sweet ballads to atonal anger fests.My music is about everyday life with a twist of lemon!I show duality in many songs like Dr. Jekyll and Mr. Hyde.Even though the music is on CD-R, it is professionally recorded.
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