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THE DOORS

Proto-Prog • United States


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The Doors biography
Founded in Los Angeles, USA in 1965 - Disbanded in 1973 - Reformed in 2002 as Doors Of The 21st Century (later renamed)

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.

...
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Box set
Warner Bros Uk 2011
$17.33
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Elektra / Rhino Records 2007
$23.97
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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)

4.33 | 667 ratings
The Doors
1967
4.26 | 505 ratings
Strange Days
1967
3.61 | 325 ratings
Waiting For The Sun
1968
2.86 | 275 ratings
The Soft Parade
1969
3.29 | 305 ratings
Morrison Hotel
1970
4.03 | 470 ratings
L.A. Woman
1971
2.78 | 100 ratings
Other Voices
1971
2.39 | 88 ratings
Full Circle
1972
3.15 | 125 ratings
An American Prayer
1978

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

3.72 | 76 ratings
Absolutely Live
1970
3.31 | 45 ratings
Alive, She Cried
1983
3.80 | 59 ratings
In Concert
1991
3.31 | 13 ratings
Bright Midnight: Live In America
2001
3.67 | 3 ratings
Live in Hollywood: Highlights from the Aquarius Theatre Performances
2001
4.10 | 10 ratings
Live At The Aquarius Theatre: The First Performance
2001
4.11 | 9 ratings
Live At The Aquarius Theatre: The Second Performance
2001
4.00 | 5 ratings
Live in Hollywood: Highlights from Aquarius Theatre Performances
2002
3.00 | 3 ratings
Backstage and Dangerous: The Private Rehearsal
2002
5.00 | 1 ratings
Boot Yer Butt! - The Doors Bootlegs
2003
3.83 | 6 ratings
Live In Detroit
2004
3.00 | 3 ratings
Live in Philadelphia '70
2005
4.05 | 12 ratings
Live In Boston 1970
2007
2.67 | 9 ratings
Live at the Matrix '67
2008
4.50 | 8 ratings
Live in Pittsburgh 1970
2008
4.00 | 7 ratings
Live in New York
2009
4.33 | 9 ratings
Live In Vancouver 1970
2011
3.82 | 11 ratings
Live At The Bowl '68
2012
2.50 | 2 ratings
London Fog 1966
2016
0.00 | 0 ratings
Live at the Matrix
2017
0.00 | 0 ratings
Live At The Matrix Part 2: Let's Feed Ice Cream To The Rats, San Francisco, CA - March 7 & 10, 1967
2018

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
3.00 | 2 ratings
The Last American Interview
2000
2.67 | 3 ratings
VH-1 Storytellers: A Celebration
2001
3.08 | 11 ratings
Soundstage Performances
2002
3.80 | 5 ratings
The Doors of the 21st Century - L.A. Woman Live
2004
3.00 | 2 ratings
Videobiography
2007
3.67 | 3 ratings
Classic Albums: The Doors - The Doors
2008
2.33 | 3 ratings
Collector's Edition
2008
2.42 | 14 ratings
When You're Strange
2010
3.80 | 5 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
1.00 | 1 ratings
Feast Of Friends
2014
3.05 | 2 ratings
Live at the Isle Wight Festival 1970
2018

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

3.68 | 19 ratings
13
1970
3.80 | 17 ratings
Weird Scenes Inside the Gold Mine
1972
2.72 | 10 ratings
The Best of the Doors
1973
2.10 | 4 ratings
Star Collection (Vol. 1)
1973
4.23 | 50 ratings
The Best Of The Doors
1985
3.41 | 10 ratings
The Doors OST
1991
3.21 | 10 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
3.46 | 15 ratings
The Very Best Of
2007
4.00 | 3 ratings
When You're Strange (OST)
2010
4.33 | 4 ratings
A Collection (6CD)
2011
3.50 | 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
0.00 | 0 ratings
The Singles
2017

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

2.26 | 4 ratings
The Doors (1965 demo)
1965
4.29 | 7 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
2.71 | 9 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
3.25 | 4 ratings
Hello I Love You 2 x 7'' single
1979
3.25 | 4 ratings
People Are Strange
1981
4.00 | 3 ratings
Gloria
1983
2.31 | 9 ratings
Live at the Hollywood Bowl
1987
3.83 | 6 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
 The Soft Parade by DOORS, THE album cover Studio Album, 1969
2.86 | 275 ratings

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The Soft Parade
The Doors Proto-Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars Throughout the history of rock and pop music more often than not any given band that made it to the big time ends up becoming defined by a certain sound which in the process becomes very difficult to break free of but every once in a while a band tries something new which causes a true schism in the fanbase. In the case of the psychedelic 60s, THE DOORS decided to enter a new chapter with the band's fourth album THE SOFT PARADE which came out in 1969. While British bands like The Beatles, The Rolling Stones and The Kinks were finding great success in breaking out of their established musical paradigms, the US scene was not quite so open minded quite yet to the possibilities and THE DOORS' unthinkable use of symphonic orchestration that included brass and string arrangements was about as shocking to the unsuspecting fans as was the day when Bob Dylan decided to go electric.

THE DOORS had sailed through the years 1967 and 1968 as one of the top selling bands in the entire USA with strong followings internationally as well but much of the band's sound had been characterized by the early poetic contributions of Jim Morrison which he developed before joining the band and from the earliest studio sessions that ended up creating the first two albums. With "Waiting For The Sun," the band was forced to conjure up new material but pretty much stuck to the status quo in trying to emulate its predecessors. With international stardom and exhaustive touring schedules, the band was struggling to keep up with the demand of Elektra for new album releases. Jim Morrison was infamous as becoming ever more out of control with drunken episodes resulting in THE DOORS being banned from entire cities (the famous Miami incident from 1969 would haunt them for the rest of their days) and the creative process had all but dried up.

For THE SOFT PARADE the four members Jim Morrison , Ray Manzerek, Robby Krieger and John Densmore turned to producer Paul Rothschild for some help in crafting the band's fourth album. With Morrison's diminishing returns as he became more and more under the spell of the evil drink, guitarist Robby Krieger picked up the slack in the songwriting department but it was Rothchild who steered the band into experimenting with the fuller sounds delivered by brass and string arrangements which would become more of a sound signature trait of bands like Chicago in the 70s. While the band's sound was still centered in the same psychedelic pop rock that the previous albums had been, these extra touches rubbed many the wrong way and the album was panned by both critics and fans alike however the album still sold well as it catapulted into the top 10 album charts and produced the #3 hit "Touch Me."

While the brass and string arrangements were uncharacteristic of THE DOORS, the tracks on THE SOFT PARADE were clearly of the same ilk as what became before. In fact "Touch Me" is one of the best songs THE DOORS ever did. It contained the expected catchy hooks, Morrison led bravado, keyboard psychedelia and touch of cosmic wonder that THE DOORS exuded so cleverly. While the strings, brass and orchestral elements are clearly a major part of the tapestry of sound, they are integrated so well that it sounds like the logical next move for THE DOORS in many respects. Other tracks like "Shaman's Blues," "Do It" and "Wild Child" eschew the brass and strings altogether and sound like classic DOORS so there was clearly an effort made so that these new layers of sophistication didn't usurp the sounds that made THE DOORS a household name. The bluesy based rock dominance is retained throughout the album's run.

On top of the arrangements added, THE DOORS experimented in adopting some of The Beatles' tricks and trinkets into their own world. "Easy Ride" is a clear attempt to create a rather Ringo Starr led Beatles sound. "Runnin' Blue" follows the "Touch Me" model and uses the brass to create a call and response effect with the bluesy rock. "Wishful Sinful" simply adds a more symphonic touch to the classic DOORS sound. One of the best tracks on THE SOFT PARADE comes from the closing title track which at a nearly 9 minute run sort of fulfills the goal of placing a long psychedelic meandering consciousness sort of track that was supposed to happen with the inclusion of "Celebration Of The Lizard" on "Waiting For The Sun" which never happened. This track goes through several styles including the poetic prose at the beginning and then morphing into what sounds like proto-disco funk of the 70s and continues into psychedelic pop, wild blues rock and a bass line that sounds like it could've inspired Michael Jackson's "Billie Jean." It ends with a catchy melody which leaves the most incredible feeling of satisfaction.

I'm sorry. I just don't understand why THE SOFT PARADE is so panned. Yeah, i do understand that in the 60s when this was released that there was a clear separation of genre styles that has dissolved in the 50 years after the album's release but judging this from 21st century standards especially on a remastered version of the album, i am quite impressed with the ingenuity of this album. The tracks exude all the juicy DOORS yumminess which made them psychedelic pop band numero uno but adds some interesting counterpoints to the established stylistic approaches. I actually love this album a lot and although no DOORS album would ever rise above the sheer perfection of the first two, this one is by no means inferior to the remaining Morrison era albums. I'm hardly alone in these critique. Many newer rock critics have reassessed THE SOFT PARADE and come to the same conclusions. Experienced with a more open mind than those who panned it in 1969 will reveal an excellent album chock full of surprises. It is most likely that Rothchild saved this album from totally sucking. THE DOORS, as a band, were in such disarray at this time that le ft to their own devices probably would've sabotaged their career. Perhaps not the best DOORS album but a damned good one nonetheless and the end of the line for these experimental touches.

 Waiting For The Sun by DOORS, THE album cover Studio Album, 1968
3.61 | 325 ratings

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Waiting For The Sun
The Doors Proto-Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars THE DOORS had only formed in 1965 and barely been together as a band for two years before scoring with the chart topping single "Light My Fire" and in the process becoming one of the psychedelic 60s' most successful bands. America's fab four which consisted of the ever controversial lead singer and poet extraordinaire Jim Morrison, keyboardist Ray Manzarek, guitarist Robby Krieger and drummer John Densmore had an amazingly successful two year run with the first two albums "The Doors" and "Strange Days" utilizing material that Morrison had brought to the table and then transmogrifying it into a wild psychedelic infusion. Much of the unique sound of THE DOORS was due to the fact that the members had backgrounds playing with the disparate genres of jazz, rock, blues and folk. Pretty much relying on Morrison's contributions in the beginning, the band had pretty much used most of its best material up by the time it was time to record a third album so it was time to return to the process of songwriting instead of incessant live performances.

Due to Morrison's wild antics, on stage and off, his alcoholism and bad boy behavior had become quite a headache for the rest of the band as it was escalating exponentially as the band rose to international superstardom. While the first two albums sort of just spontaneously gelled cohesively almost by magic, WAITING FOR THE SUN was a much more demanding endeavor. Not only were the band members worn out from the maelstrom of live gigs and the pressures of instant fame but Morrison's erratic behavior made recording and the creative process almost impossible. Given that Morrison was becoming less reliable, most of the cosmic mind expanding poetic lyricism that graced the first two albums was becoming less and less prevalent and as the band became more famous, Elektra Records was taking more and more control and steering the band into more commercial arenas and thus WAITING FOR THE SUN took on a much more mainstream sound compared to its predecessors.

While more commercial in nature, THE DOORS still managed to craft a very good album for their third release with strong melodic hooks backed up by the unique instrumental sounds that accompanied Morrison's unique idiosyncrancies. The band scored yet another #1 hit with "Hello, I Love You," perhaps one of the most commercial hits the band ever recorded as well as a second top 40 hit with "The Unknown Soldier." Similar sounding tracks that easily could have been hits with "Love Street," "Summer's Almost Gone," "Wintertime Love," "We Could Be So Good Together" and "Yes, The River Knows" work in tandem to give the album a rather uniform feel and the overall more accessible vibe but the album still has a few psychedelic gems that were leftovers from the previous album sessions. "Five To One" which pointed to the earlier "The End" prognosticated that the band hadn't totally abandoned its psychedelic roots that offered poetic license into cosmic quandaries.

The most unique recording "Spanish Caravan" stands out for its bold flamenco guitar intro which demonstrated Krieger's more virtuosic moments. The track was based on Isaac Albéniz' famous classical piece "Asturias (Leyenda)" and in the process provided a glimpse into the flamenco influences of the band in general. While "Unknown Soldier" was a minor hit and the first single released, it actually is one of the least commercial sounding tracks on the album. While displaying a more cinematic approach to songwriting, the song takes on a traditional DOORS keyboard dominated vibe before breaking into a military drum march in the middle and then some rifle shots. It was a very dramatic tune to play live during the war torn years of the Vietnam War era and a favorite amongst fans. The song finds resolution with the classic DOORS sound but the guitar riffs are more prominent than the keyboards which makes this rather unique track within THE DOORS' entire canon.

Perhaps WAITING FOR THE SUN is equally as famous for what didn't appear on it as what did. The second side was originally intended to contain a side long psychedelic composition titled "Celebration Of The Lizard" which found the band eschewing the pop band characteristics and joining the ranks of Pink Floyd and other truly seekers of cosmic weirdness. The track was featured on the 1970 live album "Absolutely Live" and was popular in concert as well as having been attached as a bonus track on newer remastered versions of the album. The 17:09 studio version features lyrics by Morrison where he recites poetry, sings and screams accompanied by accompanying instrumental sounds that give life to the lyrics much like some of Frank Zappa's longest rock opera moments offered. The track consisted of different sections: "Lions in the Street," "Wake Up," "A Little Game," "The Hill Dwellers," "Not to Touch the Earth," "Names of the Kingdom" and "The Palace of Exile." While the entirety of the project was scrapped due to various problems, the section "Not To Touch The Earth" was reworked and included as a single track and one of the best on the album.

On WAITING FOR THE SUN it's quite clear that the band was beginning to lose a bit of the magic that made the first two albums so utterly transcendental. The quality of the compositions is slightly less compelling, the lyrical content is subpar and the emphasis on the material overall reeks of record company interference but given the fact that Morrison was spiraling out of control at a breakneck speed, it's no wonder that someone had to step in and babysit. In the end it's utterly amazing how good WAITING FOR THE SUN actually is despite a notch below the band's first two album and even more amazing that they cranked out three more before Morrison's untimely demise. In the end, this third album is quite essential even if it shows a more obsequious version of THE DOORS under the command of the commercial forces that had placed them in high places. Sold out they may have done but the other choice was to disband at their prime and after all is said and done i can totally live with the remaining DOORS albums that followed the perfected beauty of the first two. By all means, if you purchase this find a remastered version with "Celebration Of The Lizard" which totally adds an air of mystique to the era from which this album was recorded.

 Strange Days by DOORS, THE album cover Studio Album, 1967
4.26 | 505 ratings

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Strange Days
The Doors Proto-Prog

Review by VianaProghead
Prog Reviewer

5 stars Review Nº 245

"Strange Days" is the second studio album of The Doors and was released in 1967. It was released in the same year of their previous debut studio album "The Doors". "Strange Days" consists basically of songs that were written in 1965-1966, but didn't make it onto their debut studio album. For that reason, the band's second effort isn't as consistently stunning as their debut, though overall it's a very successful continuation of the themes of their debut classic album.

"Strange Days" has ten tracks. All songs were written by Jim Morrison, Robby Krieger, Ray Manzarek and John Densmore. The first track is the title track "Strange Days". It seems to be inspired on a visit to New York City by The Doors which made Jim Morrison write this song and other songs on this album. This is a dark song with a great musical atmosphere which includes the use of a synthesizer, one of the earliest examples of the use of a Moog synthesizer in rock. The second track "You're Lost Little Girl" is another very good song and it has also a very impressive musical atmosphere, which is especially provided by the guitar work of Robby Krieger. It's a very simple and nice rock ballad with beautiful lyrics that sounds fresh, even in our days. Jim Morrison sings so sad and so lost that his vocal work is fantastic. The third track "Love Me To Times" was released as the second single after "People Are Strange", the first single of the album. The song is about a sailor and his last day with his girlfriend before shipping out to the Vietnam War. It's the most normal and typical rock song on the album, with a slight touch of blues. This is, in my opinion, a less good song but, it still is a great song. The fourth track "Unhappy Girl" is a song very similar to "You're Lost Little Girl". Its lyrics are about a woman and have a bit of humour. Musically, it's a mellow psychedelic song and represents a naïve, innocent and beautiful musical moment. The fifth track "Horse Latitudes" is a song where the words are taken from one of the first poems that Jim Morrison wrote. It was inspired by a book cover he saw at a local bookstore when he was a child. The song is a spoken word by Jim Morrison with the band providing noises in the back. This is, without any doubt, a very strange track, the weirdest thing the band ever made. It's more an experimental track that a real song, but it blends perfectly well with the start of the next song. The sixth track "Moonlight Drive" was the B side of their second single "Love Me Two Times". The song is known by fans as being one of the first songs written by Jim Morrison and it's also the song that started it all. It's the song that Jim Morrison sung to Ray Manzarek in Venice Beach and thus, in many ways, this is the song that helped to form The Doors. This is another good song with a nice rhythm but, it isn't for sure one of my favourites. The seventh track "People Are Strange" was the first song chosen to be released as the first single of the album. The song is about the alienation and be an outsider and a very loner person. This is another good and enjoyable song, but it's also a sad song with a dark musical atmosphere. It's a song with simple lyrics, ironic and sarcastic. The eighth track "My Eyes Have Seen You" represents one of the most light and beautiful moments on the album. It's a short, simple and nice rock song with the same dark, evil and impetus vein of most of the songs of their early days. This is an incredible song which is, at the same time, a love song and a perverse song. I think only The Doors were able to do such thing. The ninth track "I Can't See Your Face In My Mind" is another psychedelic song with a blues touch, weird and with an exotic sound. This is an interesting and bizarre song with a creepy and atmospheric musical ambience. Despite it has some good musical moments, especially the use of marimba and backward cymbal effects, it doesn't represent one of the best musical moments on the album. The tenth track "When The Music's Over" is the third lengthist song recorded by the group with "The End" and "Celebration Of The Lizard", and represents the epic and the highlight musical moment on the album. This is a song in the same vein of "The End" and it's a song that grows in intensity, like "The End", finishing it with a great musical climax and probably it represents the only true progressive moment on the album. "When The Music's Over" appears at the end of the work print of the 1979 movie "Apocalypse Now", by Francis Ford Coppola, when Willard kills Kurtz. However, it was replaced by "The End" in the final version.

Conclusion: Although not as good as "The Doors", "Strange Days" still can be considered an excellent album. So, it still can be rated with 5 stars and be considered a masterpiece. In my humble opinion, the main reason to be not as good as their debut consists basically on the fact that many of these songs were skipped of their debut studio album. I don't want to say that we are in presence of a handful of less good songs. But, in a certain way, they didn't stop being a second choice. Concluding, "Strange Days" is a great album, very well balanced and with a great set of songs, especially "When The Music's Over", which perfectly followed the same musical formula of "The Doors". This is a fantastic album, if you enjoyed the first one, and it's also very special for people, like me, who love their earlier works.

Prog is my Ferrari. Jem Godfrey (Frost*)

 The Doors by DOORS, THE album cover Studio Album, 1967
4.33 | 667 ratings

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The Doors
The Doors Proto-Prog

Review by VianaProghead
Prog Reviewer

5 stars Review Nº 237

"The Doors" is the eponymous debut studio album of The Doors and was released in 1967. It was central to the progression of psychedelic rock, and has been critically acclaimed. This is in general considered their best musical effort and it appears in many music lists as one of best albums of all time. It's present on the "List Of 200 Albums In Rock And Roll Hall Fame" and it was ranked number 42 in "Rolling Stone Magazine's 500 Greatest Albums Of All Time".

"The Doors" has eleven tracks. The first track "Break On Through (To The Other Side)" was the first single released by the band and it was an unsuccessful song. However, it remains as one of the band's signatures and one of their most popular songs. The second track "Soul Kitchen" is a tribute to the soul food restaurant "Olivia's" in Venice Beach, Los Angeles, California, where Jim Morrison often stayed for a long time. It was also the place where he and Ray Manzarek met for the first time and represents the place where all began. It's a nice rock song played with energy. The third track "The Crystal Ship" was the song chosen to be the B side of their hit single of this album "Light My Fire". This is a wonderful love song inspired by Jim Morrison's first love, Mary Werbelow, a girlfriend with whom he was ended. Like many of the songs written by Jim Morrison, it has a mysterious and dark sound. The fourth track "Twentieth Century Fox" was a song written about a fashionable but unfeeling woman, and is a metaphor for the famous movie and TV Company. It represents one of the light and soft ballads on the album, a song with a bit of humour on it. The fifth track "Alabama Song (Whisky Bar)" is a song found for the first time in the play "Hauspostille", in 1927, by Bertolt Brecht, with music by Kurt Weill, and it was used again, in 1930, in the opera "Rise And Fall Of The City Of Mahagonny". In 1966, Ray Manzarek's wife had heard a recording of Bertolt Brecht's opera, and she quickly showed the song to Ray and Jim and immediately suggested that they should make a rock version of it. This is a great version, indeed. The sixth track "Light My Fire" was released as a single and became the first great success of the band. It has brought the world fame and recognition of the band in the summer of 1967, bringing The Doors to the top of the charts and a symbol of that generation of the late 60's. This is one of the songs that most contributed to immortalize the name of The Doors. "Light My Fire" is on Rolling Stone's list of the "500 Greatest Songs Of All Time" and it was also included in the "Songs Of The Century" in VH1's "100 Greatest Songs Of All Time". The seventh track "Back Door Man" is the second and last song on the album without the signature of the band. Originally, "Back Door Man" was a blues song written by Willie Dixon and was recorded by Howlin' Wolf, in 1961, and it became considered a classic of the Chicago blues. This version of The Doors is the bluesiest number on the album and represents a great cover of the original song. The eighth track "I Looked At You" is another rock ballad and represents also another light and soft song on the album. The musical structure of the song is very simple but the final result is a very nice and pleasant song to hear. The ninth track "End Of The Night" is another ballad. It's true that we are in presence of another ballad, but this time, we are in presence of a totally different type of ballad. This is a very interesting song, very obscure and with a very dark musical atmosphere that makes of it a hypnotic song. The tenth track "Take As It Comes" is an incredible and beautiful pop rock song, very well made, highly attractive and which still sounds fresh and young in our days. We can even say that this song is so well written that sounds much better than many of the songs on the pop scene today. The eleventh track "The End" was originally written as a song about breaking with his girlfriend Mary Werbelow. It was created over several months of performances at the Whisky a Go Go, in Los Angeles. It was first released in January, 1967 and the band would play this song on their last live performance. "The End" is in the list of "500 Greatest Songs Of All Time", in Rolling Stone Magazine and became to be immortalized by Francis Ford Coppola in his movie "Apocalypse Now", released in 1979, when the song was used in two sequences of the film, the opening sequence and during the sequence of the killing of Colonel Kurtz. "The End" is also considered by many the best and also the most progressive song made by the band.

Conclusion: As I wrote before, "The Doors" is in general considered the best album released by the band and I agree completely with that. It's also considered one of the best albums ever made and, personally, I love it, really. This is a perfect album with no weaknesses. Some of the songs included on this album, like "Light My Fire", "Alabama Song (Whisky Bar)", "Break On Through (To The Other Side)" and "The End" are successes that have been immortalized by the band and that helped to immortalize the band too. Concluding, and merely seeing by a single point of view strictly progressive, when we heard "Light My Fire" and "The End" we immediately see why The Doors are considered one of the most important bands to the foundation of progressive rock music and why they belong to our progressive world.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Waiting For The Sun by DOORS, THE album cover Studio Album, 1968
3.61 | 325 ratings

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Waiting For The Sun
The Doors Proto-Prog

Review by Matti
Prog Reviewer

4 stars On their third album The Doors took a lighter -- and in places even funny -- direction compared to the rather psychedelic debut or its follower Strange Days. Waiting for the Sun is pretty enjoyable set of averagely short songs (the total length is 33 minutes). I must point out immediately that I can't stand the ultimate ear-worm opening track 'Hello, I Love You', which is among the most irritating pop hits ever. Fortunately it's the only BAD song here; the rest (10 tracks) are either excellent or at least fairly nice, if a bit harmless.

On light-hearted 'Love Street' Morrison sings in a Sinatra-like laid-back style, and 'Wintertime Love' is a brief, joyous song with an old-fashioned dance rhythm. These are perhaps somewhat throwaway songs on a rock album, but good examples of the band's sovereign ability to toy with various musical styles and make it sound like The Doors and nothing else. On some later albums especially the vocals of Jim Morrison lost some of that flexibility. 'Not to Touch the Earth' is the album's longest song at 4 minutes, but it's so fascinatingly bizarre that perhaps it could have worked as an extended complex piece. 'Summer's Almost Gone' and 'Yes, the River Knows' are slightly sentimental ballads but their hazy mood is beautiful.

'The Unknown Soldier' is a powerful anti-war rock song. The ripped-down arrangement of 'My Wild Love' reaches for shamanistic levels (Finnish rock band Sielun Veljet had a similar approach on 'Kanoottilaulu' in the 80's). Between these tracks is one of the finest rock songs of the era, 'Spanish Caravan' that features flamenco nuances. This is where the guitarist Robby Krieger really shines. The music is based on -- and openly cites, for example in the electric guitar solo -- a Spanish art music piece, I think it was by Isaac Albeniz.

Waiting for the Sun is perhaps my second favourite from The Doors; the debut in its innovative stylistic variety and powerful atmospheres is clearly their best album. Also this one's very many-sided in the end, and yet it somehow feels very coherent as a whole. The production is very good. If you don't appreciate the lighter and less rocking side of The Doors, this probably feels very uneven to you. A classic rock album with a unique identity, thus deserving four stars even if it's not progressive rock.

 Strange Days by DOORS, THE album cover Studio Album, 1967
4.26 | 505 ratings

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Strange Days
The Doors Proto-Prog

Review by mariorockprog

4 stars the second album by Doors, being a commercially a successful as his predecessor, they continued with their psychedelic and acid rock style focused in the keyboards/organs in a part, but now the lyric taking more antagonism. The creation of the album was influenced a little by the sound of Sgt Pepper of the Beatles, they got a early copy and they got really impressed, at that time they had more room to experiment with the sound and the music. Lyrically, I think is where this album improved a lot, Morrison continues to use metaphors and his style to express his feeling about more relevant topics. Musically, it maintains the style of the previous album, however is not as good as it, it focused more in the lyrics of Morrison, you will not find any spectacular or elaborated in the music, only good songs and good lyrics, only the song when the music is over shows signs of progressive, it is the best song of the album. Finally, a very good addition to any prog collection, it has really good moments, especially with when the music is over, but musically diminished its quality in comparison with its predecessor.
 The Doors by DOORS, THE album cover Studio Album, 1967
4.33 | 667 ratings

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The Doors
The Doors Proto-Prog

Review by mariorockprog

5 stars 4.5: the first album by the doors, released in 1967 was one of the first psychedelic album to appear in the scene and the most acclaimed. The lyrics talks mainly about the use of drugs, acid trips, girls and romantic situations. The name of Doors came from a suggestion of Morrison about a book called Doors of Perception . Lyrically, it is the incomparable way of composing music by Morrison using metaphors, but what i found is that in this one they don't have a deep meaning or something to learn, it is only about drugs and girls, however vocally he accompanied very well the music. Musically, is where the album really shine, mainly the keyboard riff are the dominant and show the psychedelic music of the band, most of the song are classics of rock and very good arranged, also the guitar make a very good job. An excellent addition for any prog collector, and although not all songs are equally as goods, the final product is in general excellent.
 Live at the Isle Wight Festival 1970 by DOORS, THE album cover DVD/Video, 2018
3.05 | 2 ratings

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Live at the Isle Wight Festival 1970
The Doors Proto-Prog

Review by rdtprog
Special Collaborator Heavy / RPI / Symphonic Prog Team

3 stars Here's the last video concert filmed of the band recorded in the context of Jim Morrison's ongoing Miami obscenity trial where the charges were finally dropped many years after Jim's death. This could explain the unusual reserve behavior of Jim during this concert in front of 600,000 fans at 2 am. Maybe Jim decided to perform as professional as he could be, he barely moves during the whole set, but it delivers a strong vocal performance. I suspect that he was not on the effect of some substance. This new footage is a restoration sound and picture of the old footage. Unfortunately, the light show with a constant red light is not the best to upgrade the experience visually. The sound is quite good and I was especially pleased to hear how good Krieger's guitar sound throughout the short 66 minutes set. For the music, it's the Doors usual repertoire of short songs and longer songs showing the band jamming. I never enjoy the song "The End", seems to be an anti-climax for the last song of the show. It's too slow and too long, but I am sure that song was the best way for Jim to communicate his poetry. The 17 minutes documentary is worth watching one time too see new interviews with John, Robby and old interview of Ray talking about the Jim performance. This package of Blu-Ray/CD doesn't contain a lot of material for your money, but it is worth the price for his historical value.
 Other Voices by DOORS, THE album cover Studio Album, 1971
2.78 | 100 ratings

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Other Voices
The Doors Proto-Prog

Review by Progfan97402
Prog Reviewer

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
2.86 | 275 ratings

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The Soft Parade
The Doors Proto-Prog

Review by Progfan97402
Prog Reviewer

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

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