"They are simply entertainers. Everything was calculated and rehearsed in the fast show. But there were also a few improvisations but they were also a part of the planned routine. Jim Morrison was always put in front as main character and star."

"Objectively you could see that he sang very good and his band supported him excellently. Moreover they sounded much like their albums, and on the first show which I watched they hadn't really got into shape, but worked on by routine. The first half of the show a Swedish band called International Harvester played. Many people in the crowd were enthusiastic but most of them seemed confused."

"Ladies and Gentlemen, The Doors";

said the American sounding house announcer in a flat and half enthusiastic voice. The Doors opened up their first set in Stockholm that night with "Five To One". Jim’s vocals sounded as though they were distorted, possibly experiencing technical troubles with the sound system. During "Five To One", Morrison can be clearly heard as saying;

" Now o.k. honey, now you go along home and wait for me, you see I be there in just a little while. I gotta go out in this car with these people and get FUCKED-UP ! "

which is harder to hear and understand as to what he says on the same song found on the studio album "Waiting for the Sun".

The group’s next song "Love Street" is the only live recording of this song to date that exists. During this song, Morrison had either forgotten the lyrics to this song or he was still encountering technical problems with the microphone system as a few of the lyrics from the song can’t be heard. This version of "Love Street" sounds as good if not better than the studio version as the melodic chord changes have a nice soothing sound. Following a melodic and joyous "Love Street", the group chose a different musical and emotive direction and picked up "Love Me Two Times". Morrison’s gutsy vocals came out strong and powerful during "Love Me Two Times" and the audience lightly applauded the group at the end of this song.

The group paused for a little while deciding as to what they should play. Someone in the background, possibly either a group member or one of the roadies can be heard saying, "When The Music’s Over, When The Music’s Over". The Doors performed "When The Music’s Over" however Morrison’s vocals can be hardly heard, obviously the group was still experiencing technical problems with the microphone. Morrison lyrically ad-libbed during this song as he sang;

" Something wrong, something not quite right,
Something wrong, something not quite right,
Touch me baby, all through the night.
Confusion,
Confusion,
All my life’s a bright delusion,
All my world’s a torn circus,
All my mind comes tumblin down, down. "

After briefly pausing at the end of "When The Music’s Over" and sorting out their technical problems, The Doors resumed playing and picked up the pace with "A Little Game" and "The Hill Dwellers". The group’s next song "Light My Fire", flowed straight after "The Hill Dwellers". "Light My Fire" sounded as though it was played a little quicker than normal judging from Ray’s bass lines. Robbie’s guitar playing on "Light My Fire" was a little disjointed and not did not smoothly flow like some of his other live versions of the same song. However he did do some ad-libbing and experimentation with his guitar which explains the reason for playing his guitar in such a manner. At the end of "Light My Fire", Jim politely asked his audience;

"Hey, what would you guys like to hear ? We got time for one more ... What ?"

Jim had problems in hearing what the audience was saying, as they were all yelling out for songs like "Hello I Love You" and "The End".

"All right, all right";

Jim said in a sort of ‘settle-down-will-ya’ kind of voice. The Doors played "Unknown Soldier" as their final song for the first set that night and received a strong applause from their Swedish audience. Judging from the recording of the first set, the Swedish audience didn’t really applaud strongly to the group’s performance except on the final song, "Unknown Soldier".

"Well a shark has pretty teeth dear,
and he shows them pearly whites,
but Mac Heath is a sailor
and he keeps them out of sight,
HA-HA
You know he keeps them, out of sight
They’re white, white, white, white, white, white,
white, white, white, yeah !"

It’s interesting to see that the group chose to play "Five To One" separately from "Alabama Song/Back Door Man" as they normally blended all three into one medley. "Alabama Song/Back Door Man" were well received by the audience and they strongly applauded the group’s performance. Morrison said to his audience sounding irritated;

"Oh stop that !";

"You’re Lost Little Girl" was played in it’s natural melancholic musical style. "Love Me Two Times" was also well received by the Swedish audience. Similarly, the group’s next song "When The Music’s Over" had the audience clapping at the end of this song demanding for more and the audience started to sound more like a rowdy crowd at a football game. "Wild Child" didn’t get the slightest response from the audience at all - however this can be understood seeing that The Doors hadn’t released this song at the time and was still really new material for anyone in 1968. The group opted for a blues number, "Money" which had Robbie playing some of his slide guitar. Following "Money", "Wake Up" was performed and was the prelude to "Light My Fire".

For some reason though, when Morrison was reaching to the climax of "Light My Fire", he verbally abused his audience, saying:

"Oh why don’t you shove it up my ass ? Why did you come here for anyway ? I mean it now ! "

Which is strange in a way as to why Morrison had chosen to say this. Perhaps this was a way for him to shake up the Swedish audience or maybe Morrison’s contempt for his American audience had spilled over into Europe as they too were waiting for something spectacular to happen.

The Doors played "The End" as their final song for their second and last set in Stockholm that night.

"Hey can we have aah...er, hey ! Can we have most of the lights out, maybe just kind of a real pale blue light on stage, nothing else, o.k ? Thank you. No, no, no red just blue-blue. None..none of that orange, whatever that is";

Morrison paused for a brief moment.

"Hey maybe if you....can you hear that ? Maybe if...maybe if you all helped us we could get those lights out. Turn out the lights, turn out the lights, turn out the lights, turn out the lights";

Manzarek joined along with Jim’s rap and Densmore rolled along with his drumming. Jim continued;

"Hey, wait, wait. That’s good, that’s good. Let’s do it in the dark, all right."

"Sssssshhhh....."; Morrison politely told his audience to remain quite as he performed his 16 minute epic, "The End".

The Doors’ second set received a much stronger and positive reaction than the first set, but the quality of both Stockholm shows were one of the best that The Doors had done during their European Tour and possibly in par with The Roundhouse concerts.By the end of the European Tour, all Doors members but Jim returned to the United States. Jim and Pamela took off for London and spent some time together where Jim had met an American poet, Michael McClure who proved to have inspired Morrison with his poetry. McClure was really impressed with Jim’s work and suggested that he should publish it.

The recordings from both sets at the Konserthuset are of soundboard quality with a definite clear presence of stereo separation!