"Morrison Hotel," released in February 1970, became The Doors' fifth consecutive album to reach the top 10 of the US charts, reaching number 4 in the US and receiving critical acclaim for its raw mix of blues and rock. The Doors started their "Roadhouse Blues Tour" in New York in January 1970, playing 20 shows in the US and Canada, plus one show at the Isle of Wight Festival. Some of the recordings from this tour were made into the group's first live album, "Absolutely Live," released in July of the same year, which also became a top 10 hit.

Krieger, Densmore, and Botnick remixed these recordings with performances from New York, Philadelphia, Pittsburgh, and Detroit to create this work, "Unbound and Dangerous." "Soul Kitchen" is the only exception, taken from the second performance at the Aquarius Theatre in Hollywood on July 21, 1969.

This collection begins with "Dead Cats, Dead Rats" as an introduction, then launches into "Break On Through (To The Other Side)" with overwhelming force, and quickly shifts down to an epic psychedelic journey with "When The Music's Over." From there, the band doesn't slow down, powerfully performing rock songs like "Roadhouse Blues," "Five To One," and "Build Me A Woman," before concluding the show with a 15-minute apocalyptic version of "The End," which begins with Morrison repeatedly shouting "Bring out your dead!", and the band relentlessly plunges into the song's dark subconscious.

In the new liner notes by Krieger, Densmore, and Botnick, they compare Jim Morrison at the time to Henri Matisse, the Fauvist painter of the early 1900s whose work was so revolutionary that it was viewed as dangerous by the art world. Half a century later, The Doors gained a similar reputation with their album "Light My Fire." Three men who lived through that era discuss what that danger meant.

"From the start, we knew Jim was dangerous. Talented, and dangerous," says drummer John Densmore. "He wanted to try everything. And then there was his words. That's what attracted me... His words were about freedom. Freedom of speech, the freedom to be free. He wanted to liberate us all. What a gift. This live album captures his unrestrained spirit."

"I don't really understand why The Doors were seen as dangerous," says guitarist Robbie Krieger. "These guys in the '60s, anything goes. I didn't really think Jim was dangerous... When the Kennedy brothers were assassinated and the Vietnam War was dragging on, that was dangerous, not The Doors... The closest we came to danger was when the crowds were going wild in Miami or Cleveland."

"Danger is equivalent to excitement," Botnick says. "Thousands of fans came to Doors concerts seeking danger and excitement. Jim always read the atmosphere in the venue and knew how far he should push the boundaries... There was always a sense of tension, like, 'Is he going to do something really dangerous?'"