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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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The Very Best Of The Doors (2CD)The Very Best Of The Doors (2CD)
Elektra / Rhino Records 2007
Audio CD$7.38
$6.26 (used)
CollectionCollection
Box set · Import
WARNER BROS UK 2011
Audio CD$21.77
$38.17 (used)
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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)

4.31 | 575 ratings
The Doors
1967
4.24 | 436 ratings
Strange Days
1967
3.55 | 278 ratings
Waiting For The Sun
1968
2.80 | 241 ratings
The Soft Parade
1969
3.25 | 271 ratings
Morrison Hotel
1970
4.01 | 407 ratings
L.A. Woman
1971
2.76 | 85 ratings
Other Voices
1971
2.36 | 74 ratings
Full Circle
1972
3.15 | 105 ratings
An American Prayer
1978

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

3.71 | 66 ratings
Absolutely Live
1970
3.29 | 39 ratings
Alive, She Cried
1983
3.78 | 55 ratings
In Concert
1991
3.32 | 12 ratings
Bright Midnight: Live In America
2001
3.67 | 3 ratings
Live in Hollywood: Highlights from the Aquarius Theatre Performances
2001
4.38 | 8 ratings
Live At The Aquarius Theatre: The First Performance
2001
4.50 | 8 ratings
Live At The Aquarius Theatre: The Second Performance
2001
4.75 | 4 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
4.10 | 11 ratings
Live In Boston 1970
2007
2.88 | 8 ratings
Live at the Matrix '67
2008
4.71 | 7 ratings
Live in Pittsburgh 1970
2008
4.80 | 5 ratings
Live in New York
2009
4.57 | 7 ratings
Live In Vancouver 1970
2011
4.22 | 9 ratings
Live At The Bowl '68
2012

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

3.71 | 7 ratings
Dance On Fire
1985
4.59 | 13 ratings
Live At The Hollywood Bowl
1987
3.00 | 2 ratings
The Doors
1987
3.75 | 13 ratings
Live In Europe 1968
1988
2.55 | 6 ratings
No One Here Gets Out Alive - The Doors' Tribute to Jim Morrison
1990
3.04 | 4 ratings
The Doors Are Open
1991
3.60 | 5 ratings
The Soft Parade A Retrospective
1991
3.00 | 2 ratings
The Best of The Doors
1997
4.20 | 5 ratings
The Doors Collection: Collector's Edition
1999
3.91 | 4 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 | 10 ratings
Soundstage Performances
2002
4.50 | 4 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
2.42 | 14 ratings
When You're Strange
2010
4.50 | 4 ratings
Mr. Mojo Risin': The Story of L.A. Woman
2012
4.33 | 10 ratings
Live At The Bowl '68
2012
1.00 | 1 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)

3.69 | 16 ratings
13
1970
3.79 | 15 ratings
Weird Scenes Inside the Gold Mine
1972
2.74 | 9 ratings
The Best of the Doors
1973
2.07 | 3 ratings
Star Collection (Vol. 1)
1973
4.22 | 48 ratings
The Best Of The Doors
1985
3.41 | 10 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
3.43 | 14 ratings
The Very Best Of
2007
4.00 | 3 ratings
When You're Strange (OST)
2010
3.50 | 4 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
3.86 | 2 ratings
Other Voices / Full Circle
2015

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 | 8 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
4.33 | 6 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
3.33 | 8 ratings
Love Her Madly
1971
2.67 | 8 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
4.25 | 4 ratings
Riders On The Storm
1991
4.00 | 6 ratings
Light My Fire
1991
3.33 | 3 ratings
The Ghost Song
1995

THE DOORS Reviews


Showing last 10 reviews only
 Other Voices by DOORS, THE album cover Studio Album, 1971
2.76 | 85 ratings

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Other Voices
The Doors Proto-Prog

Review by Progfan97402

3 stars This has been the era of the Doors I've been hesitant to buy. I constantly see these two LPs used, so I picked up Other Voices. There are many reasons I've been hesitant, like how few bought these albums when they came out because they felt the Doors were through without Jim Morrison. I met quite a few people who didn't even realize the Doors didn't quite throw in the towel after Jim Morrison's passing! To be fair, they're younger listeners (my age or younger, that is Gen X and Millennials, I belong to the former) so they didn't have the benefit of being there when it happened. Other Voices is the first of two post-Morrison efforts. This album was actually recorded with the hope Jim would return from Paris back to LA to have him lay down the vocal tracks, but as of July of that year (1971) that was very much out of the question. So that left Ray Manzarek and Robbie Krieger to do the vocal duties. Hence the Other Voices title. It's not the first time they sang. Manzarek was apparently forced to sing occasionally live when Jim was just too far gone to perform or didn't even show. Krieger shared a lead vocal on "Runnin' Blue" off the Soft Parade (that funny little Dylan vocal during the country/bluegrass break), to be fair, that was Robbie's song to begin with.

Is Other Voices really that bad? Well I'd be lying if I state this stuff stacks up very well to anything they did with Jim Morrison. Of course that's not true. No rock critic thought so, and none of the few buyers who actually bought it thought so. But there really is nothing on here I found offensive or truly cringeworthy. The music doesn't have that gloomy atmosphere of Morrison-era albums, sometimes it's pretty upbeat. This is what you get when Krieger and Manzarek do the songwriting. The first two songs, "In the Eye of the Sun" and "Variety is the Space of Life" are as I describe, not exactly bad, not great. "Ships w/Sails" can show that the remaining Doors can record a great song if they wanted to. Manzarek does his best Morrison, but you can tell he's no Jim. Imagine what would happen had Jim sung this! I really love this song, it's a big standout. "Tightrope Ride" was released as a single, wasn't exactly a chart stormer, and you can see why. Like most of the album, not bad, not great, but perfectly listenable. "Down on the Farm" has a more folk feel, sounding like Peter, Paul & Mary gone electric with all male vocals. "I'm Horny, I'm Stoned" is Krieger's song, and I really have a blast listening to this! Sounds so not like the Doors, here it's just a plain silly song, they weren't taking themselves seriously. Perhaps because they realized that the Doors with Jim Morrison took themselves way too seriously, and they knew it. Although I have to admit "Runnin' Blue" from The Soft Parade is the only Morrison-era song that didn't take itself seriously (with that Dylan-like vocal part from Robbie Krieger), but then that song is credited to the same person as "I'm Horny, I'm Stoned". "Wandering Musician" is another one that isn't bad or great, but I really love the last piece, "Hang on to Your Life". It's a nice jazzy Latin-influenced song with some great passages that are almost proggy, especially with all those electric pianos. This song even gets help from Afro-Cuban percussionist Francesco Aguabella.

Listening to this album it's very hard to believe this was released only six months after L.A. Woman. Nothing on Other Voices reaches such mindblowing heights as "Riders on the Storm", but on the other hand that's not what I expect when it's all the work of Manzarek, Krieger, and Densmore (and some extra help when needed). To me there's three songs that stand out, one of them for being funny (I'm referring to "I'm Horny, I'm Stoned", which I'm sure won't be to everyone's liking). While this album isn't likely to visit their turntable (or CD player) as frequently as the Jim-era albums, I am happy to state that I was pleasantly surprised. I didn't have high expectations and come out finding it not bad, but hardly a classic. I can give this a three star rating because nothing here is cringeworthy to my ears (although I'm sure "I'm Horny, I'm Stoned" may be to some).

 The Soft Parade by DOORS, THE album cover Studio Album, 1969
2.80 | 241 ratings

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The Soft Parade
The Doors Proto-Prog

Review by Progfan97402

3 stars The Soft Parade is by far the least liked of the Morrison-era albums. It's because they took on a more blatantly commercial pop-oriented direction, and a grander production by including horns and strings. Is the album really that bad? This time around the album does state who actually wrote each song, where on previous albums it stated it was written and arranged by all four members, unless the song was a cover (like "Back Door Man"). Let's look at the opening cut, "Tell All the People". My jaw was in total disbelief on the song and the nature of it. What is this? Vegas lounge pop music? Were The Doors trying to be in the same league with Frank Sinatra? Jim Morrison croons this song like a Vegas singer, complete with cheesy horns straight out of Vegas. Looking at the songwriting credits, you notice it was Robbie Krieger. You know Jim Morrison would never write lyrics that seem straight out of Vegas. Next song, "Touch Me" was already released as a single at the end of 1968, and easily the most recognized song on the album. Again a bit on the Vegas side, but I'm used to this song having heard it on the radio plenty of times throughout my lifetime. Horns, strings, cheesy sax solo, at least Ray Manzerek gives his trademark organ playing to let everyone know this is the Doors. I bet you at the end of 1968 many Doors fans must have been horrified hearing "Touch Me", wondering if their next album will be like that. Once again Krieger was responsible for this. Luckily, for the rest of the album the rest of the songs Krieger are credited to aren't as so lounge-y, and the Morrison penned ones are more close to traditional Doors songs. Things really improve greatly with "Shaman's Blues", a great song with some nice harpsichord playing, more in tune with the older Doors sound, and it's a Morrison penned song. "Do It" is credited to both Morrison and Krieger, not nearly as good, due to the embarrassing lyrics, but not bad. "Easy Ride" and "Wild Child" are bit more bluesy, while "Wishful Sinful" has a bit of that lounge again, but not full-on "Tell All the People" territory. The title track is without a doubt the album's highlight. If there's a reason for the Doors being included here, this is the reason. It's more like a multimovement suite than a standard song, as it goes through several changes. Note how a bunch of Jewish guys from Brooklyn naming themselves Sweet Smoke and relocating to Germany had did a partial cover of this song off their 1970 debut album Just a Poke. This song is still not full-on prog, but proto-prog it is. Well, I have to say, this album isn't as bad as its frequently made out to be, to me "Tell All the People" is easily the worst thing on the album (my jaw dropped in that similar fashion I did seeing obviously rubber frog costumes seeing the 1987 movie Hell Comes to Frogtown starring "Rowdy" Roddy Piper, if MST3K could spoof music, "Tell All the People" would be a great one to spoof, if that was possible). The album does have its flaws, but still has enough worthy material to make it worthwhile, if you get beyond "Tell All the People" and perhaps "Touch Me".
 L.A. Woman by DOORS, THE album cover Studio Album, 1971
4.01 | 407 ratings

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L.A. Woman
The Doors Proto-Prog

Review by DamoXt7942
Forum & Site Admin Group RIO/Avant/Zeuhl & Neo Teams

4 stars Wondering if Jim would have looked beyond upon recording this "last" album, and what he would have looked over the rainbow woman. Somebody says this album "L. A. Woman" should reveal Jim's thought upon life and death, or Jim's bloody shout could be heard in this stuff, but no I don't consider so ... his voices are really enthusiastic and simultaneously introspective, but sound as if he would have sung "with looking forward". Along with bluesy cool rock sounds produced by other three, powerful but sensitive voice waves come one after another, and this musical style can be thought as their origin or basis I imagine.

Their intention can be grabbed upon the whole A Side. Obvious deeply eccentric melodic collective is launched even in a typical blues rock. Rhythmic texture is not complicated nor bizarre at all and melody lines are so strict and sincere for blues rock authenticity indeed, but their excessive creativity cannot be called as "pop". We can dissected phrases even in the titled track which has climbed Billboard Hot 100 Chart up. Stream basis of their soundscape could be heard in a textbook of blues rock I guess, but mysterious melodious madness blended with Jim's sensuality could never be published lol.

Plenty of cynical phrases (both melodic and lyric) drive us crazy upon the B Side. Jim and Three Doorers might run through the five tracks at top speed ... but I cannot hear any goal line nor the end of (musical) life. "Riders On The Storm", that has cool, dry atmosphere of a tough guy's life, is apparently not "The End" but "Hard Cornerstone Of Life For Brilliant Future" I can realize. There is no despair, hopeless, nor tragedy. Jim's voice tone is a tad depressive (and so are instrumental parts) and I cannot deny their heavenly novel era imagined in their inner mind. This album is filled with hopeful hope, dreamy dream ... at least for me.

 Morrison Hotel by DOORS, THE album cover Studio Album, 1970
3.25 | 271 ratings

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Morrison Hotel
The Doors Proto-Prog

Review by Progfan97402

4 stars To fans and rock critics alike, Morrison Hotel was considered a gigantic relief from The Soft Parade. No more horns, strings, or pop-oriented material on the lines of "Touch Me" and "Tell all the People". They returned to a more-blues based sound, but to be honest, I actually enjoyed Waiting for the Sun more than I did Morrison Hotel. Morrison Hotel is just a plain "overrated but still not bad" album, the kind I level at Pink Floyd's Dark Side of the Moon or the Who's Who's Next. Let's examine some of the songs: "Roadhouse Blues" is by far the most recognized song on this album, it seemed a bit too generic blues for my liking, but it's still a staple of classic FM rock stations. "Waiting for the Sun" is great, it's the Doors sound of old! Love that eerie organ and synth (I'm sure Paul Beaver was responsible for the Moog you hear here). It was mysteriously left off on the album by that same name, which I wished wasn't (if only "Yes, the River Knows" or "Wintertime Love" was replaced by that song, Waiting For the Sun, the album, that is, would be even better, but it's only those two songs I don't care for on that album). "Peach Frog" has a rather nice funky sound, and Ray Manzarek's organ certainly gives this great song character. The song segues into "Blue Sunday", which I felt was a rather sappy ballad. "Indian Summer" was an outtake from their debut and you can easily tell it's definitely an older song. It never made it on their debut, to be honest, I can see why: this song was never exactly a winner for me. It strangely has a similar structure to "The End", but MUCH shorter, and instead a love song instead of something much more disturbing. "Maggie McGill" is a nice bluesy number. So on this album there are only three songs I don't care for, the overrated "Roadhouse Blues", "Blue Sunday", and "Indian Summer", the rest is rather good, but as a "proto-prog" album it falls flat. But the blues-oriented material is something they'd explore even further on their next (and final album with Jim Morrison) L.A. Woman. Still worthy of a four star rating because of the musical quality overall, not how "prog" or "not prog" it is.

By the way, the front cover came from a real hotel in Los Angeles called Morrison Hotel, with absolutely no connections to Jim Morrison, and on the back a Los Angeles bar called The Hard Rock Cafe, which has absolutely nothing to do with the tacky chain we all know and love (or hate). The chain we know came from some Doors fans who gave them permission to use "Hard Rock Cafe" as the name of their joint, probably by that time, the original LA joint with that name was out of business.

 Other Voices / Full Circle by DOORS, THE album cover Boxset/Compilation, 2015
3.86 | 2 ratings

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Other Voices / Full Circle
The Doors Proto-Prog

Review by Guillermo
Prog Reviewer

4 stars After a lot of years of being out of print in the U.S (since the mid-seventies), and apart from being available for some years only in Germany in the LP and cassette formats in the eighties-nineties, "Other Voices"(1971) and "Full Circle"(1972), the two albums that the remaining members of THE DOORS recorded after JIM MORRISON died, finally were re-issued worldwide in 2015. Both albums were re-issued as individual LPs (with their original cover designs, and with the cover design of "Full Circle" also including again the zoetrope which was only included in the first edition of the LP), and also in this 2 CD set which includes both albums plus a track called "Treetrunk" as a bonus track which originally was released as the B-Side of the "Get Up and Dance" single in the U.K. All this happened in September 4, 2015.

As I have both albums in the LP format, I didn't buy them again in the LP format. Instead, I waited to see the 2 CD set in the record shops of my city to buy it. It really took several weeks to this to happen, because the LPs were imported to be sold in the first place, taking advantage of the "new fad" to release some old albums and new albums of a lot of bands in the LP format, and also maybe to give to the old fans of the band the chance to buy them first with the original cover designs at more individual expensive prices than the 2 CD set, and later to also give to them the chance to buy them in this 2 CD set, if they wanted to do it. A marketing plan, I think. I knew that the 2 CD set was going to be released simultaneously because I follow the band's official page in Facebook. Anyway, the band announced there the release of the LPs first. It wasn't until me and other persons asked them the same day if they also were going to release the 2 CD set. So, their answer had to be "yes", too.

So, I bought the 2 CD set. I really expected a better packaging, because the cover design for this 2 CD set only has the front covers of both albums as "miniatures" in the front cover of the booklet, and nothing more. But the booklet has very good liner notes written by David Fricke (a writer from the "Rolling Stone" magazine) which are very long and informative about the recording of both albums, with quotes from John Densmore, Robbie Krieger, the late Ray Manzarek, the former Elektra Records boss Jac Holzman and others. The rest of the booklet gives information about the titles of the songs from both albums, but not detailed notes (track by track, as in the LPs original covers) about the guest musicians who played and recorded with the band in these albums. Anyway, at last the booklet gives detailed information about who really wrote the songs for "Other Voices", a thing which only happened in the first edition of the LP which had an inner sleeve with the lyrics, and this also happened in the labels of the LP of that first edition. In the original gatefold cover of the LP all the songs were credited to the three members (Krieger, Densmore, Manzarek) and this also happened in later editions of the LP, with the songs being also credited to the three members in the labels of the LP in later editions.

So, I think that the simultaneous release of the individual LPs and the 2 CD set had a marketing plan: "you can have both albums with their original cover designs in the LP format, but if you want, you can also have them on a 2 CD set, but without the original cover designs, but with very long and informative liner notes and better sound... plus a bonus track". I think that some old fans really wanted to have the albums in both formats, so they bought them.

Now, about the sound of the 2 CD set: both albums were remastered for the first time for CD releases by Bruce Botnick, who worked with the band as recording engineer for most of their albums (and also as co- producer with the band for their "L.A. Woman" and "Other Voices" albums). He really did a very good job. I previously had the chance to listen to a bootleg version of both albums on one CD which was released in Russia in 1999. I think that the sources of both albums for that one CD version were LP copies, so the sound was not very good and also the channels were inverted in comparison to the original LPs. With this official 2 CD set one finally has the chance to listen to very clear sound from both albums , and also to an official CD release of the previously very rare song called "Treetrunk", a song which previously one only could listen to from very used singles copies in youtube. I think that the band really wasted a lot of time to release both albums officially on CD because there also were other bootleg CD versions available which some old fans obviously bought. Now, all these bootleg versions are really of not importance anymore. It really took to the band a lot of years to finally release them on CD, and this even happened after Ray Manzarek's death in 2013.It seems that even the members of the band underrated both albums all this time. But I really like both albums, as I wrote in my individual reviews for both LPs here in Prog Archives some years ago. (You can read them if you want: "Other Voices" is in www.progarchives.com/Review.asp?id=105657, and "Full Circle"is in www.progarchives.com/Review.asp?id=105670 . My review for the "Get Up and Dance"/ "Treetrunk" single is in www.progarchives.com/Review.asp?id=244744 ).

 The Doors OST by DOORS, THE album cover Boxset/Compilation, 1991
3.41 | 10 ratings

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The Doors OST
The Doors Proto-Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

3 stars This has to be one of the first 5 CDs I ever owned, the reason is simple, it belonged to my dad's collection. And though he and I don't really have so much in common musically speaking, I will always be grateful because he introduced me to The Doors and The Alan Parsons Project, probably the only two bands I knew from him that marked my childhood.

I used to listen a lot to this CD, of course, I had watched the film but the CD was part of my soul, I remember I got excited every single time I listened to the songs included here, and since I was a kid I remember I liked listening to the whole record, not only some tracks. But well, I could go on and tell you a lot of memories, but that's not the main goal (I think) of reviewing. What I want to share now with this review is that if you like The Doors, you might find this sort of compilation album pretty interesting, because it features some of the most loved songs by fans, some compositions Morrison wrote and were featured in his "solo" album An American Prayer, such as the wonderful "Ghost Song" and "Stoned Immaculate", which of course reminds us of "The Wasp". But also this OST features the disarming "Heroin" composed and performed by The Velvet Underground and classical compositions such as Orff's Carmina Burana and Albinoni's adagio, so the combination is wonderful.

What could have been interesting was to include one of Val Kilmer's performances he did in the film, but well, the OST was released without it and I like it a lot and as you can see brings me a lot of memories. The order of the tracks is also great, so anytime I listen to it I definitely have a good time. This is not a introduction to The Door's music, however if you find it, I would recommend you to get it and enjoy it!

 Waiting For The Sun by DOORS, THE album cover Studio Album, 1968
3.55 | 278 ratings

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Waiting For The Sun
The Doors Proto-Prog

Review by Progfan97402

4 stars It's so plain obvious the Doors totally avoided the sophomore jinx on Strange Days, so the slump begins with the third album Waiting for the Sun. Really, it's just the plain classic case that the band used much of their best material on their first two albums, and since those were tough to beat, it's no surprise this one is a notch down. It's actually not bad, it's actually rather good. Ray Manzarek was moving beyond the Vox Continental, so that means new organ sounds to be heard, like the Gibson G-101. He also used an RMI Electra, the electric piano/harpsichord that Rick Wakeman had used, as well as Don Preston in Zappa's Mothers of Invention.

"Hello, I Love You" is the most recognized hit. I kept thinking there was a synthesizer in this song, maybe with some help from Paul Beaver, but none at all, it probably was just the RMI keyboard I alluded to earlier. Anyways, the song bears more the a passing resemblance to the Kinks' "All Day and All of the Night" although the band allegedly had Cream's "Sunshine of Your Love" in mind, but there's no denying the Kinks resemblance. "Not to Touch the Earth" was supposed to be part of a 17 minute "The Celebration of the Lizard King", but only this part made it. I can see where the Doors is considered "Proto-Prog" by PA, this song is it! It has that unsettling dissonance. For a long time I sorta written this song off, but as I gave it a close listen, it's a totally brilliant song, dissonance being used at a time when King Crimson hadn't even existed (but Giles, Giles & Fripp were working on The Cheerful Insanity, which, as you know, is rather lightweight compared to Crimson). "Summer's Almost Gone" is a nice atmospheric piece that really helps with that spacy organ. "The Unknown Soldier" was released as a single prior to the album's release. "Spanish Caravan" has, unsurprisingly, a flamenco feel, but hearing flamenco on a Doors album was something a bit different, but its still unmistakably the Doors. The album does have a couple clunkers. "Wintertime Love" was never a favorite of mine, it sounds like Jim Morrison was going into lounge mode in his singing here, would have worked a lot better if he didn't do that here, would have made a nice atmospheric piece. "Yes, the River Knows" features some really cringe inducing lyrics, this is a prime example of why Morrison has his detractors: "I promise I would drown myself in mysticated wine" (update: apparently Jim said, "mystic heated wine", sure sounded like "mysticated" to me, which is not a word). What? I know that in the 1991 book The Fifty Worst Rock and Roll Albums of All Time, Jimmy Guterman and Owen O'Donnell were trashing the Doors in that book, and I'm certain if it's one song that shows them their disgust towards Morrison, it would have likely been this song (the only Doors member they had some respect towards was Robbie Krieger). Of course, Guterman and O'Donnell came from the Dave Marsh/Lester Bangs school of rock criticism (but then the Doors wasn't universally hated by rock critics, they had plenty of support, unlike the prog rock that came in the next decade). What happened to the title track? I would have been happy if "Yes, the River Knows" or "Wintertime Love" was replaced by this song, it has the dark ominous tone people come to love of the Doors. Well, we know what happened to the song: it had to wait two albums later, on Morrison Hotel.

The Doors was one of those bands I started getting into in my youth, but quickly moved on to other things, and decided to go back to them. I go with popular opinion: Waiting for the Sun is not quite on par of their first two albums, but still full of great material still make it worth having. If the first two are easy five stars, then this one is a four star album, get their first two before coming here.

 L.A. Woman by DOORS, THE album cover Studio Album, 1971
4.01 | 407 ratings

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L.A. Woman
The Doors Proto-Prog

Review by Quinino
Collaborator Errors & Omissions Team

5 stars My ALL-TIME Greatest #16

This is the last album recorded by the band with the lead singer Jim Morrison; the 'Lizard King' would die this same year of '71 so there would be no more original recordings of the quartet, except a posthumous collection of JM solo poetic readings (released in 1978) with musical accompaniment by the remaining three musicians.

Everybody knows The Doors characteristic sound, everybody recognizes Jim Morrison charismatic voice, even these days we can see young dudes wearing Doors shirts on the street...the legend clearly lives on.

Global Appraisal

We're facing here an iconic album from an iconic band, so what is there left to say that hasn't already been said and written over and over again?

Masterpiece of Blues-Rock! Anthemic songs that remain forever in your brain.

Goodies

Great ambiance with the highlight in the usual trademark keyboards work of Manzarek and JM vocals.

 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.

 Strange Days by DOORS, THE album cover Studio Album, 1967
4.24 | 436 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.

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

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