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Rating: The first work of this substantially unusual group in terms of the composition of the members and orchestration of the tracks appeared rather innovative back in January 1967. After all these years, it faithfully maintains those foundations built in the United States 40 years ago, and in my opinion, I couldn't define it as either a deterrent or an element that enhances the complexity of the work.
The Doors, formed by Jim Morrison, an unquestionable artist for his lyrical qualities, deeply saturated and at times acidly poetic, sometimes tending to be necrophoric, Robbie Krieger, a Spanish-flavored performer of pleasant solos whose style is easily appreciated, John Densmore, a distinguished drummer more engaged in chasing Morrison's vocal tones than a precise rhythm, and Ray Manzarek, the true genius of the group.
Personally, I would see Morrison as a deliberately cursed man, too anchored to the infantile vision of the Indians massacred in the incident, too absorbed in the role of the exterminating angel, too convinced of the gross idiocy of many of his followers, too much a dispenser of advice for better burning one's own and others' lives without regretting having forgotten something.
Far better the good Ray, an excellent organist, an excellent substitute for a bass also played by him but potentially relegatable, too attentive to the destructive pranks of the founding genius, perhaps submissive or fearful of his poetic power but undeniably exacerbated by the mixtures of blood and flour of the dear yet mischievous leader. The solo in "Light my fire", a true masterpiece of the track's orchestral management, would suffice to make posterity understand that the funerary pyre, surrounded by overly erotic allusions, tends more to destroy the song itself than the chorus of listeners, perhaps more enchanted by the cursed beauty than by Morrison's charisma.
Even the homicidal invitation addressed to a perhaps lethal paternal figure and the sudden incestuous desire of the simple yet compelling chord of "The end", tends more to destroy the musical career of the group than Morrison's life, and we are just at the beginning.
Now the Doors would have been consecrated (and I don't know if it's the right term) more by the legends fluttering around the bathtub of that obscure Parisian hotel than by their, I repeat, anomalous composition. Already from the cover, one notes Morrison's inexplicable supremacy, where the other members of the group appear uncertain in the shadow of his hair. Manzarek, Krieger, and Densmore, three skilled musicians unwillingly covered by an all too overwhelming Morrison.
Undoubtedly talented, undoubtedly influential but not without Manzarek. (Perhaps).
Tracklist Lyrics and Videos
01 Break On Through (02:29)
You know the day destroys the night
Night divides the day
Tried to run
Tried to hide
Break on through to the other side
Break on through to the other side
Break on through to the other side
Chased our pleasure here
Dug our treasure there
Still recall
Time we cried
Break on through to the other side
Break on through to the other side
Break on through, yeah!
Wow!
Wow!
Everybody loves my baby
Everybody loves my baby
She get
She get
She get
She get high
She get high. She get high.
She get high. She get high.
The woman get high. The woman get high.
She get high. Baby, get high.
She get high. She get high.
The woman get high. She get high.
She get high. Baby, so high.
She get high. She get high.
The woman get high. She get high.
Wow!
She get high. She get high.
I found an island in your arms
Country in your eyes
Arms that chain us
Eyes that lie
Break on through to the other side
Break on through to the other side
Break on through, yeah!
All right!
Yeah, made the scene
Week to week
Day to day
Hour to hour
The gate is straight
Deep and wide
Break on through to the other side
Break on through to the other side
Break on through
Break on through
Break on through
Break on through
Yeah, yeah, yeah, yeah
Yeah, yeah, yeah, yeah
Yeah, yeah, yeah, yeah
Yeah, yeah, yeah, yeah, yeah
02 Soul Kitchen (03:34)
Well the clock says it's time to close now
I guess I'd better go now
I'd really like to stay here all night
The cars crawl past all stuffed with eyes
Street lights share their hollow glow
Your brain seems bruised with numb surprise
Still one place to go
Still one place to go
Let me sleep all night
In your soul kitchen
Warm my mind near your gentle stove
Turn me out and I'll wander baby
Stumblin' in the neon groves
Well your fingers weave quick minuets
Speak in secret alphabets
I light another cigarette
Learn to forget
Learn to forget
Learn to forget
Learn to forget
Let me sleep all night
In your soul kitchen
Warm my mind near your gentle stove
Turn me out and I'll wander baby
Stumblin' in the neon groves
Well the clock says it's time to close now
I know I'll have to go now
I really wanna stay here all night
All night
All night
03 The Crystal Ship (02:34)
Before you slip into unconsciousness
I'd like to have another kiss
Another flashing chance at bliss
Another kiss, another kiss
The days are bright and filled with pain
Enclose me in your gentle rain
The time you ran was too insane
We'll meet again, we'll meet again
Oh tell me where your freedom lies
The streets are fields that never die
Deliver me from reasons why
You'd rather cry, I'd rather fly
The crystal ship is being filled
A thousand girls, a thousand thrills
A million ways to spend your time
When we get back, I'll drop a line
04 Twentieth Century Fox (02:32)
Well she's fashionably lean
And she's fashionably late
She'll never wreck a scene
She'll never break a date
But she's no drag, just watch the way she walks
She's a twentieth century fox
She's a twentieth century fox
No tears, no fears
No ruined years, no clocks
She's a twentieth century fox, oh yeah
She's the queen of cool
And she's the lady who waits
Since her mind left school
It never hesitates
She won't waste time on elementary talk
'Cause she's a twentieth century fox
She's a twentieth century fox
Got the world locked up
Inside a plastic box
She's a twentieth century fox, oh yeah
Twentieth century fox, oh yeah
Twentieth century fox
She's a twentieth century fox
06 Light My Fire (07:07)
You know that it would be untrue
You know that I would be a liar
If I was to say to you
Girl, we couldn't get much higher
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire
The time to hesitate is through
No time to wallow in the mire
Try now we can only lose
And our love become a funeral pyre
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire, yeah
The time to hesitate is through
No time to wallow in the mire
Try now we can only lose
And our love become a funeral pyre
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire, yeah
You know that it would be untrue
You know that I would be a liar
If I was to say to you
Girl, we couldn't get much higher
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire
Try to set the night on fire
Try to set the night on fire
Try to set the night on fire
07 Back Door Man (03:33)
Oh yeah babe
Yeah I'm a back door man
I'm a back door man
The men don't know
But the little girls understand
Hey, all you people that tryin' to sleep
I'm out to make it with my midnight dream, yeah
'Cause I'm a back door man
The men don't know
But the little girls understand
All right, yeah
You men eat your dinner, eat your pork and beans
I eat more chicken any man ever seen, yeah yeah
I'm a back door man
The men don't know
But the little girls understand
Well, I'm a back door man
I'm a back door man
Whoa, baby
I'm a back door man
The men don't know
But the little girls understand
08 I Looked at You (02:21)
I looked at you
You looked at me
I smiled at you
You smiled at me
And we're on our way
No, we can't turn back
Yeah, we're on our way
And we can't turn back
'Cause it's too late, too late, too late, too late, too late
And we're on our way
No, we can't turn back
Yeah, we're on our way
And we can't turn back, yeah yeah
I walked with you
You walked with me
I talked to you
You talked to me
And we're on our way
No, we can't turn back
Yeah, we're on our way
And we can't turn back, yeah
'Cause it's too late, too late, too late, too late, too late
And we're on our way
No, we can't turn back
Yeah, we're on our way
And we can't turn back
'Cause it's too late, too late, too late, too late, too late
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Other reviews
By Grasshopper
"Jim Morrison’s voice, predominantly dark and cavernous, yet capable of shifting to hysterical, neurotic screams."
"‘The End’ closes the album with one of the most apocalyptic tones in the history of rock."
By joe strummer
The Doors is one of the cornerstones of Rock, if not the cornerstone of all rock-blues.
'The End' is not merely a song. It is theater, a monologue between Jim and his psyche, a slow catharsis of man against his inability to overcome death.
By francis
Morrison, a failed model, is nothing more than the prototype of the 'cursed' star like many throughout the history of music, mythologized beyond his actual artistic merits.
They haven’t influenced a damn thing, and certainly not because their style was inimitable.
By MojoRisin
With the first song, a lively rock piece... the Doors immediately give voice to a generation that must express itself freely, breaking down those stone walls.
'Light My Fire'... is probably their most famous piece.
By freigeist
"’Break on through to the other side!’ – those doors were the Doors, a limit reached beyond which no one would return."
"The eleven minutes of ‘The End’ express madness, loneliness, and resignation in a haunting, unforgettable final song."
