THE DOORS

Another review of an album that's nearly fifty years old and has been reviewed hundreds of times seems like a superfluous effort. Nevertheless, when music is this good it's impossible to not share one's opinions. My observations are exclusively from The Doors historical and influential impact on the rest of the music world.

The debate will rage forever as to which album and band opened the door to the "prog" galaxy: some will say King Crimson with their debut album while others will insist it happened earlier with The Beatles' Sgt. Pepper's; yet others will point to an earlier album by Zappa, Freak Out!, as the Mother of All Prog.

Two groups that rarely receive their well-deserved due when the topic of "prog" is raised are The Moody Blues and The Doors. The former released "Days of Future Passed" which is, without little argument, a prog classic. The record may not have the raging guitars or the intensity that current prog aficionados crave, but The Blues' second album is one of the finest symphonic space rock albums of all-time; yet, it was the first of its kind! To nail something so perfectly the first time around only goes to show the sublime and timeless nature of "Days of Future Passed".

As for The Doors' eponymous debut album, it's THE PROTOTYPE of the Jazz/Psychedelic/Acid Rock that's heard today with acts like The Mars Volta. The jazz influence on this record is so profound and overwhelming that there is really nothing else that can be compared to it from that era. This keyboard-centric record is way ahead of its time and surprised listeners and audiences with its divergence from the rest of the guitar-heavy music of the era.

Most bands, after twenty years of recording, don't have as many great songs in compilation CDs as The Doors were able to put together in their debut. With shorter format songs that were funky, spacey, racy yet classy, the group pulled off some memorable classics. "The End", clocking in at 11:41, epitomizes the 'epic'. Pink Floyd's first release, "The Piper at the Gates of Dawn (1967)", attempts similar textures, but falls far short of creating the dark, lyrical masterpiece that Morrison nailed with his first attempt.

We often look to the UK for the roots of prog, and rightly so. But The Doors, hailing from Los Angeles, were doing something so different, and there I say "progressive", with their first release that they deserve their own place in the pantheon of prog giants. If not near the very top of the heap.