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On their 1967 debut album, the Doors more than fulfilled the promise of their infamously
challenging gigs around Los Angeles throughout the previous year. Whether belting
out a standard like "Back Door Man" or talk-singing such originals as "The Crystal
Ship" and "I Looked at You," leather-clad vocalist Jim Morrison exuded both sensuality
and menace. The mixture, on the outsize album finale, "The End," helped rewrite the
rules on rock song composition. None of this would have worked, though, were it not
for the highly visual instrumental work of keyboardist Ray Manzarek, guitarist Robbie
Krieger, and drummer John Densmore, whose work on tracks such as "Take It As It Comes"
and the lengthy hit "Light My Fire" virtually defined the rock-blues-jazz-classical
amalgam that was acid-rock. --Billy Altman
Doors
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The Doors - Strange Days
Even darker than their purple-hued debut, the Doors' follow-up, Strange Days, closed
1967 with an ominous flourish. Highlighted mostly by short, radio-friendly tunes
such as the bluesy "Love Me Two Times" and the cabaret-style "People Are Strange"
and featuring a smattering of edgy recitations ("Horse Latitudes") and smoky rockers
("My Eyes Have Seen You"), the album features a centerpiece that was another ambitious
extended track, "When the Music's Over." On it, Morrison railed at everything from
organized religion to pollution, and his rallying cry--"We want the world, and we
want it now!"--became a call to arms for the counterculture rising up around the
band. --Billy Altman
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Waiting for the Sun - The Doors
The Soft Parade - The Doors
The Very Best of the Doors
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Waiting for the Sun
The Doors' third album showed the band in transition, even as "Hello, I Love You"
became the Doors' second number-1 hit.
The band's songs set Morrison's poetic and
often bizarre lyrical imagery against the spiralling keyboards of Manzarek and Krieger's
bluesy guitar. Their chart success, however, alienated them from their original audience,
who no longer considered them "underground" enough, while their concert audiences
increasingly consisted of teenage girls, drawn by Morrison's sexual performing style.
"Hello, I Love You" pushed them firmly into the rock mainstream.
The band's songs set Morrison's poetic and often bizarre lyrical imagery against the spiralling keyboards of Manzarek and Krieger's bluesy guitar. Their chart success, however, alienated them from their original audience, who no longer considered them "underground" enough, while their concert audiences increasingly consisted of teenage girls, drawn by Morrison's sexual performing style. "Hello, I Love You" pushed them firmly into the rock mainstream.
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The Soft Parade
Although often regarded as their least convincing album (barring the two LPs cut
after singer Jim Morrison's death), The Soft Parade contains some of the band's most
eccentric and uncharacteristic music. This fourth album by The Doors broadened the
sound of the band by adding a horn section, congas, fiddle, and mandolin on some
of the tracks. The Doors played with a variety of styles, ranging from the countrified
hoe-
The Very Best of the Doors
Rhino’s celebration of the 40th Anniversary of the Doors spectacular 1967 debut continues
to break on through with an unprecedented two-
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