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THE DOORS

Proto-Prog • United States


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The Doors biography
THE DOORS is one of the most legendary Los Angeles-area bands. They were part of the adventurous and prolific USA West Coast music scene that emerged in the exciting second half of the Sixties. Their story starts when Jim Morrison meets Ray Manzarek on the beach of Venice in July 1965. They already know each other from the University of California at Los Angeles film academie (UCLA).

Jim (born December 8th, 1943); his father was a high-ranking naval officer, born in a family with a long history of career militarists. Jim turned into a bright and good looking young man but he suffered from a dysfunctional background: a 'militiary household', numerous removals of the Morrison family and a non-affective and very demanding attitude of his parents. This resulted in an emphasis on showing negative behaviour from an early age: rebellious, unpredictable and agressive, often making sick jokes and acting sociopathic towards his best friends to avoid deeper relationships ('fear of bonding'). But on the other hand he impressed his friends and teachers with his great knowledge about philosophy, history and psychology and his humour and creative ideas. In order to escape the pressure of his parents, Jim leaves the university and moves to LA where he joins the UCLA in 1964.

Raymond Daniel Manzarek (February 12th, 1939 - May 20th, 2013) grew up in a working class family but he got the opportunity to study first piano and then economics. Unfortunately Ray doesn't finish that study and starts to work as junior-manager at a bank. This is only for three months because Ray decides to join the UCLA where he got in touch with fellow student Jim Morrison. During their meeting on that beach in Venice, Jim tells Ray that he writes lyrics. Jim is asked to sing a few lines, he quickly succeeds to make impression on Ray with a song that later turned out to be "Moonlight Drive". Then Ray invites Jim to join his band, the trio RICK AND THE RAVENS featuring his two brothers Rick and Jim. After some line-up changes the band members are Ray, Jim, drummer John Densmore and guitarist Robby Krieger.

John Paul Densmore (born December 1st, 1944) is a fanatic swimmer in his childhood but from his 10th he starts to learn piano and on his 12th he switches to drumming (timpanist). During this study his love for jazz music begins to develop.

Robert Alan Krieger (born January 8th, 1946) is the half of an identical twin. His musical carreer starts with learning to play...
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Buy THE DOORS Music


The Very Best of the DoorsThe Very Best of the Doors
Elektra / Rhino Records 2007
Audio CD$8.49
$5.80 (used)
Best of the DoorsBest of the Doors
Hybrid SACD - DSD
Audio Fidelity 2015
Audio CD$21.98
$21.97 (used)
Strange DaysStrange Days
Import
Rhino 2007
Audio CD$4.22
$4.21 (used)
CollectionCollection
Box set · Import
WARNER BROS UK 2011
Audio CD$21.78
$19.95 (used)
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THE DOORS shows & tickets


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THE DOORS discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

THE DOORS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.30 | 506 ratings
The Doors
1967
4.24 | 383 ratings
Strange Days
1967
3.53 | 242 ratings
Waiting For The Sun
1968
2.76 | 210 ratings
The Soft Parade
1969
3.19 | 232 ratings
Morrison Hotel
1970
3.97 | 351 ratings
L.A. Woman
1971
2.77 | 70 ratings
Other Voices
1971
2.35 | 62 ratings
Full Circle
1972
3.15 | 91 ratings
An American Prayer
1978

THE DOORS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.70 | 60 ratings
Absolutely Live
1970
3.27 | 32 ratings
Alive, She Cried
1983
3.76 | 43 ratings
In Concert
1991
3.36 | 9 ratings
Bright Midnight: Live In America
2001
5.00 | 1 ratings
Live in Hollywood: Highlights from the Aquarius Theatre Performances
2001
4.29 | 7 ratings
Live At The Aquarius Theatre: The First Performance
2001
4.43 | 7 ratings
Live At The Aquarius Theatre: The Second Performance
2001
4.67 | 3 ratings
Live in Hollywood: Highlights from Aquarius Theatre Performances
2002
5.00 | 1 ratings
Backstage and Dangerous: The Private Rehearsal
2002
5.00 | 1 ratings
Boot Yer Butt! - The Doors Bootlegs
2003
4.00 | 5 ratings
Live In Detroit
2004
5.00 | 1 ratings
Live in Philadelphia '70
2005
4.18 | 8 ratings
Live In Boston 1970
2007
2.80 | 5 ratings
Live at the Matrix '67
2008
4.50 | 4 ratings
Live in Pittsburgh 1970
2008
4.75 | 4 ratings
Live in New York
2009
4.40 | 5 ratings
Live In Vancouver 1970
2011
4.17 | 6 ratings
Live At The Bowl '68
2012

THE DOORS Videos (DVD, Blu-ray, VHS etc)

4.00 | 4 ratings
Dance On Fire
1985
4.79 | 10 ratings
Live At The Hollywood Bowl
1987
5.00 | 1 ratings
The Doors
1987
3.87 | 11 ratings
Live In Europe 1968
1988
2.55 | 6 ratings
No One Here Gets Out Alive - The Doors' Tribute to Jim Morrison
1990
3.14 | 3 ratings
The Doors Are Open
1991
4.25 | 4 ratings
The Soft Parade A Retrospective
1991
5.00 | 1 ratings
The Best of The Doors
1997
5.00 | 4 ratings
The Doors Collection: Collector's Edition
1999
4.05 | 3 ratings
The Doors 30 Years Commemorative Edition
1999
5.00 | 1 ratings
The Last American Interview
2000
3.67 | 3 ratings
VH-1 Storytellers: A Celebration
2001
3.06 | 9 ratings
Soundstage Performances
2002
4.20 | 5 ratings
The Doors of the 21st Century - L.A. Woman Live
2004
5.00 | 1 ratings
Videobiography
2007
5.00 | 2 ratings
Classic Albums: The Doors - The Doors
2008
3.00 | 2 ratings
Collector's Edition
2008
2.47 | 13 ratings
When You're Strange
2010
4.00 | 3 ratings
Mr. Mojo Risin': The Story of L.A. Woman
2012
4.33 | 8 ratings
Live At The Bowl '68
2012
2.50 | 2 ratings
R-Evolution
2013
0.00 | 0 ratings
Feast Of Friends
2014

THE DOORS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.68 | 15 ratings
13
1970
3.76 | 15 ratings
Weird Scenes Inside the Gold Mine
1972
2.72 | 8 ratings
The Best of the Doors
1973
2.07 | 3 ratings
Star Collection (Vol. 1)
1973
4.20 | 41 ratings
The Best Of The Doors
1985
4.43 | 7 ratings
The Doors OST
1991
3.29 | 9 ratings
The Doors Box Set
1997
4.40 | 5 ratings
Essential Rarities (The Best of the '97 Box Set)
1999
3.00 | 2 ratings
Love Me Two Times
2002
4.02 | 5 ratings
Legacy: The Absolute Best
2003
3.55 | 11 ratings
Perception
2006
3.33 | 12 ratings
The Very Best Of
2007
4.00 | 3 ratings
When You're Strange (OST)
2010
3.33 | 3 ratings
A Collection (6CD)
2011
2.67 | 3 ratings
L.A. Woman: The Workshop Sessions
2012
1.00 | 1 ratings
Curated By Record Store Day
2013

THE DOORS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.26 | 4 ratings
The Doors (1965 demo)
1965
4.17 | 6 ratings
Break On Through
1967
4.85 | 7 ratings
Light My Fire
1967
3.75 | 4 ratings
Alabama Song (Whiskey Bar)
1967
4.20 | 5 ratings
People Are Strange
1967
4.20 | 5 ratings
Love Me Two Times
1967
4.00 | 6 ratings
The Unknown Soldier
1968
4.20 | 5 ratings
Light My Fire 5'' vinyl
1968
4.00 | 6 ratings
Hello I Love You Won't You Tell Me Your Name
1968
3.27 | 7 ratings
Touch Me
1968
4.00 | 4 ratings
Tell All the People
1969
3.17 | 5 ratings
Wishful Sinful
1969
4.00 | 4 ratings
Runnin' Blue
1969
4.00 | 4 ratings
Road House Blues
1970
4.00 | 4 ratings
You Make Me Real
1970
3.31 | 7 ratings
Love Her Madly
1971
2.58 | 7 ratings
Riders on the Storm
1971
3.05 | 3 ratings
Tightrope Ride
1971
4.25 | 4 ratings
Hello I Love You
1971
3.50 | 2 ratings
The Mosquito promo
1972
2.14 | 3 ratings
Get Up and Dance
1972
3.05 | 3 ratings
The Mosquito
1972
3.05 | 3 ratings
The Piano Bird
1972
4.00 | 3 ratings
Hello I Love You 2 x 7'' single
1979
4.00 | 3 ratings
People Are Strange
1981
4.00 | 3 ratings
Gloria
1983
2.31 | 9 ratings
Live at the Hollywood Bowl
1987
4.40 | 5 ratings
Break On Through
1991
4.00 | 3 ratings
Riders On The Storm
1991
3.96 | 5 ratings
Light My Fire
1991
3.33 | 3 ratings
The Ghost Song
1995

THE DOORS Reviews


Showing last 10 reviews only
 Touch Me by DOORS, THE album cover Singles/EPs/Fan Club/Promo, 1968
3.27 | 7 ratings

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Touch Me
The Doors Proto-Prog

Review by Guillermo
Prog Reviewer

3 stars Two songs which were also going to be released in their "The Soft Parade" album in July 1969, were previously released in this single in December 1968. Their album titled "The Soft Parade" was liked then by some fans and also criticized and not liked very much then by other fans of the band due to the use of orchestral arrangements in some songs. I like the album, but I also think that some of the orchestral arrangements were not very good for my taste in some songs.

"Touch Me", composed by Robbie Krieger, is a ballad or love song with good orchestral arrangements, and a good sax solo played by Curtis Amy, with very good lead vocals by Jim Morrison. It seems that by 1968 there were some different views about the music of the band between Krieger and Morrison, so it was decided to give individual songwriting credits for the songs of the album. Despite this, "Touch Me" was a Hit single in the U.S. The band also appeared on U.S TV in December 1968 doing a playback to the song with some members of an orchestra and with a sax player (I don`t know if the sax player was Curtis Amy), with the only really "live" part being the lead vocals sung by Morrison. Manzarek appeared "conducting" the orchestra while also playing the keyboards.

"Wild Child", composed by Morrison, is a song without the orchestra, and more heavy. It is also one of my favourite songs from "The Soft Parade" album. It also has very good guitars by Krieger. If I remember well, the band also appeared on U.S TV to promote the song, also doing a playback.

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 Strange Days by DOORS, THE album cover Studio Album, 1967
4.24 | 383 ratings

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Strange Days
The Doors Proto-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars After the outstanding success of THE DOORS' debut album, the record company wasted no time capitalizing on America's answer to the hugely successful British invasion that The Beatles exported. Luckily there was plenty of material to create a hugely awesome followup as the tracks on both albums were all written in the 1965-66 years and were merely sorted out to be released as two albums. I have to admit that in this case Elektra Records did a very good job in segregating these tracks as to provide some sort of momentum from the first album to the second. STRANGE DAYS continues the unique psychedelic rock started on the debut and as with that album continues the excellent poetic talent of Jim Morrison with the fan-damn-tastic arrangements of Ray Manzarek and his unique keyboard runs, Robby Krieger's creative guitar motifs and John Desmore's accompanying percussion. As with the debut Manzarek continues his piano bass but they do include Douglas Lubahn on bass on several tracks making him an unofficial fifth member here replacing Larry Knechtel from the debut.

Like the debut album STRANGE DAYS is just one addictive track after another with zero weak tracks on board. For me there is no difference between the excellent singles "People Are Strange" and "Love Me Two Times" and the other less commercial tracks as "Horse Latitudes" and the proto-prog behemoth "When The Music's Over." All these tracks have the musical mojo to fully captivate me and cast their spell over my listening experience. Although this album failed to perform commercially to the levels of the debut, time has been kind to STRANGE DAYS by allowing it to slowly sink in over the decades. In my book it is the musical equivalent to the debut and could possibly just slink in ever so slightly a notch above it. Since all the material is pretty much of the same caliber and it was all written simultaneously it is really difficult to differentiate it all but on a personal level i just find the material on STRANGE DAYS a pubic hair more satisfying than the debut. There really isn't a lot i can say about THE DOORS as they remain one of the most popular bands in all of rock history. I can only offer my continued praise and admiration for this spectacular band as a music lover who wasn't around at their time. Timeless music this is and i for one cannot foresee a day when THE DOORS and STRANGE DAYS are not every bit as popular and revered as they are now and were at the time of Jim Morrison's living years.

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 The Doors by DOORS, THE album cover Studio Album, 1967
4.30 | 506 ratings

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The Doors
The Doors Proto-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars THE DOORS steadily opened for this psychedelic band that began in 1965 Los Angeles which took its name from the Aldous Huxley's book "THE DOORS of Perception" taken from a William Blake quote. One of the more interesting and unique bands of the 60s, THE DOORS pretty much caught the world by storm beginning with their eponymous album number 1 and pretty much continued to do so until Jim Morrison's early passing at the age of 27 in 1971.

This album was recorded in 1966 and released right in the year of the Flower Child 1967 and didn't initially shoot up the charts but once "Light My Fire" was released it pretty much captured the spirit of the era and caught on quickly and surprisingly holds up quite well after many decades later due to the musical integrity embedded into the controversial (at the time) subject matter and the ever so erratic behavior of Morrison which pretty much always led the band into fields of public land mines until his demise. The music itself is very well composed melodically, stylistically and true to the era but somehow this sounds great to me despite not being around at the time to take in its temporal splendor.

This brilliance was basically the musical genius of Jim Morrison's poetic prowess mixed with Robby Krieger's musical songwriting genius. The music basically incorporates the best of 60s psychedelic pop hooks and songwriting techniques but adds a healthy dose of cultural interpretation in poetic prose and nice early progressive prototypes such as the excellent album ender "The End." Although they played second fiddle to The Beatles in 1967 only peaking at #2 on the Billboard album charts behind "Sgt. Pepper's?" this album is just as brilliant on a totally different playing field. I was resistant to THE DOORS' music for the longest time just because of the overplayed singles on Classic Rock radio, but once i actually heard their albums as a whole it became clear what all the hype was about. This was a band for the ages and now nearly 50 years later this album still sounds as excellent as when it was released. At least it does to me.

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 The Doors by DOORS, THE album cover Studio Album, 1967
4.30 | 506 ratings

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The Doors
The Doors Proto-Prog

Review by aglasshouse

2 stars This album retains the quality of a Rube Goldberg machine, and one that you don't know what it's going to do until you see it.

The Doors, headed by Jim Morrison, came about in the same year of another well known psychedelic band (Pink Floyd), 1967. And in a way, these two bands retain similar qualities. But when it comes to which band I like more, I'd easily say the Floyd. Where PF discovered the boundries of their acid-contributed performance in a structural manner, The Doors rather doodled about until they got a winner. That wouldn't be bad in most circumstances, except when you have the doodles as their own track, posing as good songs. For instance, I always thought that 'Twentieth Century Fox' seemed like a lackluster carbon-copy of 'Soul Kitchen' because of them having the exact same beat, incredibly similar composition, and among other things. Before I get too far into my dislike, let's break down the tracks.

'Break on Through (To The Other Side)' is the song that every one knows. For good reason I suppose; it's extremely catchy, has some great instrumentals from Manzarek and Krieger, as well as some really strong vocals from Morrison. It's definitely a great opening, but then the album goes pretty downhill. 'Soul Kitchen' is not bad, but it's nothing compared to the first track. A really cool track that I especially like is the gypsy-like 'Whisky Bar'. It's extremely unique in the case of both The Doors and even other bands. 'The End' is an amazing album finisher, perhaps a little too long, but I suppose it's worth it.

That's where we hit a wall, however. The album's other tracks are extremely lackluster, and have boring elements. They sound more like demos than they would significant tracks. So, if I were to judge this next to other bands of it's time, this is lower on the totem pole. Not very spectacular, and I wouldn't recommend it. I prefer Strange Days over this, so go check that out.

I do not recommend this album.

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 Absolutely Live by DOORS, THE album cover Live, 1970
3.70 | 60 ratings

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Absolutely Live
The Doors Proto-Prog

Review by Novri Leonard

4 stars I began to know and explored this band far too late. I believe it was in 1993 when I bought my first The Doors cassette and I was stunned with their music. They were quite unique as they didn't have a (permanent) bass player and the role of bass as rhythm was taken over by the organist Mr. Ray Manzarek. For me it was very odd, cause I know there are bands that don't have any guitar player or don't have keyboard player but a band with no bass player? It's weird for me until I know The Doors...

Anyway, I bought the cassette of this album back in 1995 or 1996. I felt this "live" album was a bit different from others when I heard it for the fisrt time. I felt like beng there among the crowd. This album is so organic and so "alive". Songs like "Petition The Lord With Prayer" and "The Celebration Of The Lizard" are among my favourites.

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 L.A. Woman by DOORS, THE album cover Studio Album, 1971
3.97 | 351 ratings

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L.A. Woman
The Doors Proto-Prog

Review by thebig_E

5 stars Possibly the second best Doors album after their debut. Many people would say Strange Days is better, which is a great album in its own right, but L.A. Woman gets my vote. After a short period where they were sort of struggling to write new material (The Soft Parade), the band went back to their roots and recorded more blues-oriented songs on Morrison Hotel. L.A. Woman is a continuation of that, but here Jim Morrison is even more into his "old blues man" persona.

Morrison's voice is at its best on this album. The shouts and yells he does on some of the tracks are primal. This is contrasted with softer singing on songs such as "Riders on the Storm". "Love Her Madly" was a hit single, and the title track is one of their best album cuts. Not to be forgotten is "The Changeling", a heavy rock tune that grooves. Other great tracks are "Been Down So Long", "Hyacinth House", "The WASP (Texas Radio and the Big Beat)", and of course the classic "Riders on the Storm".

If you need a companion album to their magnificent debut, this would be a very good choice. One of their strongest LP's to have come out while lead singer, Jim Morrison, was alive. Not long after this album's release in 1971, he unfortunately passed away. L.A. Woman was a fitting end to his legacy. The Doors would continue for a few more albums without Jim, one even including previously unused spoken word passages by Morrison. Honestly they could have ended the group and called it a day after L.A. Woman, finishing with one of their strongest works.

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 The Doors by DOORS, THE album cover Studio Album, 1967
4.30 | 506 ratings

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The Doors
The Doors Proto-Prog

Review by wbiphoto

5 stars 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.

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 When You're Strange by DOORS, THE album cover DVD/Video, 2010
2.47 | 13 ratings

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When You're Strange
The Doors Proto-Prog

Review by Guillermo
Prog Reviewer

2 stars I really expected more interesting things from this documentary. But anyway, it is much better than Oliver Stone`s film titled "The Doors" and better than the "No One Here Gets Out Alive" from 1981. But this "When You`re Strange" documentary also suffers a bit from the same "sensationalism" which characterizes both Stone`s film and the 1981 documentary. I can say that until now I have not yet seen a good documentary about the band which avoids the emphasis on Morrison`s substances abuse and some of his on stage "wild" antics like singing, dancing and shouting drunk and / or stoned. I think that Morrison as an artist had more interesting things to take into view to make a documentary about him and the band, like his poetry, his lyrics and his singing in the studio albums and in some live in concert recordings. But again, this documentary mostly focuses in the real or invented "wild" aspects of Morrison`s personality like he was acting this "wild" character almost all the time. So, again, this documentary also contributes to re-create and maintain the "Morrison Myth" as an anti-establishment rebel more than a very good artist. And again, the history of the band stops with Morrison`s death, and the surviving members of the band are showed as Morrison`s backing band most of the time, and not as very good musicians as they were and are. So, the fans are not seeing in this documentary different things as other documentaries (and books) about the band show, and one has the idea that Morrison was more a "Myth" created by the managers of the band, the record label and the media and not a "real" person.

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 No One Here Gets Out Alive - The Doors' Tribute to Jim Morrison by DOORS, THE album cover DVD/Video, 1990
2.55 | 6 ratings

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No One Here Gets Out Alive - The Doors' Tribute to Jim Morrison
The Doors Proto-Prog

Review by Guillermo
Prog Reviewer

2 stars I watched this video documentary a long time ago, in 1991, in the VHS format. In 1980-81, I bought the book of the same name written by Jerry Hopkins and Danny Sugerman, and at that time I liked the book, being one of the few books written then about Morrison and the band. But, as time passed and I found another book which I considered being much better than this book ("The Doors", written by John Tobler and John Doe in 1983), I think that Hopkins and Sugerman`s book, while being well written and researched in some parts, lacked some accurate things and tended a bit to make grow the "Morrison Myth and Legend" with the use of some "sensationalism" in the style of writing. It has some very good photos, and good information about their discography (with Morrison in the band only).But, with the passing of time I really started to not like this book very much. Anyway, it seems that this video documentary, done in 1981 maybe to be a video companion to the book, it is much better than the book, because it includes interviews with the other members of the band (Densmore, Krieger and Manzarek), with the authors of the book, and with Producer Paul Rothchild. It also includes some humour by Manzarek`s part in some of the fragments of his interviews, and one of the best parts of this video is the inclusion of some video clips, most of them being presented in fragmented form, with a very few being presented in complete form ("Light My Fire" and "Touch Me", with "Touch Me" being a TV broadcast of the band and a small orchestra miming to the album recording of the song while only Morrison sings live, and with "Light My Fire" being a live TV broadcast fom the "Ed Sullivan Show", their only appearance on that TV programme due to the band refusing to change the lyrics of the song during their performance because Sullivan considered them as a bit "immoral" for that times). Some of the other live clips fragments show Morrison shouting and obviously showing him in a bad shape (drunk), which is one of the things that I sometimes don`t like very much from some of his performances with the band in concert. But he obviously was a great artist, a very good lyricist, and the band as a whole was a very good band. Anyway, this video documentary is much better than Oliver Stone`s film from the nineties, which I don`t like and I consider it as much more "sensationalist" and inaccurate than this 1981 video documentary.

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 Riders on the Storm by DOORS, THE album cover Singles/EPs/Fan Club/Promo, 1971
2.58 | 7 ratings

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Riders on the Storm
The Doors Proto-Prog

Review by Guillermo
Prog Reviewer

2 stars The version of "Riders on the Storm" released in this single lacks most of the electric piano introduction parts played by Ray Manzarek (and also the storm sounds which were included at the start of the album version), and his piano solo in the middle of the song is also cut a bit, and there are also some edits done in the instrumental sections towards the end of the song. "Riders on the Storm" is one of my favourite songs from the band, and Manzarek really shines in this song. I don`t know if it was a song which was mainly composed by him, but it could have been, because the main instrument in this song is his electric piano. So, by cutting some of the electric piano parts, this single version is not as good as the album version, in my opinion. For collectors only.

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Thanks to erik neuteboom for the artist addition. and to NotAProghead for the last updates

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