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(8 reviews sent in so far)


L.A. Woman
By Zack Taylor
May 13, 2007
Rating: 10.0

For the record, Jim Morrison did not show his cock on stage. He definitely led a shocked audience on that hot steamy Miami night to believe that he might whip it out, but more than 150 photos from the March, 1969 concert were introduced into evidence at his subsequent trial for felony lewd and lascivious behavior, and not one of them captured his willy in the spotlight. Morrison was nonetheless convicted of lewd and lascivious behavior and sentenced to six months of hard time; the case was on appeal when he died. Miami not only threatened Morrison’s liberty – it nearly ruined the Doors’ career. Tours were cancelled, and venues willing to book them insisted on a “fuck clause” of $5,000 to be forfeited if any obscene act took place on stage. When all seemed lost, the Doors restored their artistic credibility with Morrison Hotel, their strongest album in three years, but their charismatic leader was a shattered man. Habitual heavy drinking began to take its toll: Morrison's nerves were shot, relationships in tatters. With long, lank hair, huge beard, and ragged army jacket, he looked homeless – and if you don’t count a seedy motel – actually was. The young Dionysus of 1967 was gone forever.

Not surprisingly, the rest of the Doors were in a panic as they watched their franchise going down the drain. In desperation, they stoked the creative fire by suggesting they do a bluesy album – something Morrison often talked about doing – in a laid back setting at their rehearsal room, rather than a studio. Long time producer Paul Rothchild, however, was having none of it. Having sweat bullets to maintain musical standards amid Morrison's antics on five previous studio albums, he dismissed the new material as weak and walked away, leaving production to engineer Bruce Botnick and the band. Thus was born a new, short-lived, era for the Doors. The sound of Morrison’s voice on the new album, L.A. Woman, was little short of shocking: those golden pipes had transformed into a near-unrecognizable husky growl, yet possessed a new maturity and appeal. Behind it, the band played their hearts out in their funkiest style ever, and sustained musical excellence throughout the disc. “Love Her Madly” was a slice of irresistible radio pop from Robbie Krieger; original blues “Cars Hiss By My Window” featured Morrison's vocal imitation of a guitar solo following some of the old lyric menace. The tripartite, eight-minute title cut, among the Doors’ finest work, was a self-portrait that introduced Morrison’s mythologizing anagram Mr. Mojo Risin,’ which ironically portended a mysterious end for its author. In “Hyacinth House,” Morrison exposes his own interpersonal conundrum: “I need someone who doesn’t need me.” The rapped verses of the delightful “Texas Radio and the Big Beat” include two of Morrison’s greatest-ever one liners: “I’ll tell you this, no eternal reward will forgive us now for wasting the dawn” and “Out here on the perimeter there are no stars/Out here we is stoned, immaculate.”

The album’s finale, appropriately, is a second, and for the group, final epic. The song Rothchild hated most of all, “Riders on the Storm” nonetheless managed to package a sordid tale of murder on the highway into a hit single, thanks to catchy keyboard work from Ray Manzarek and an irresistible after-midnight ambience atmosphere. The Doors' last song ended with Morrison's vulnerable plea to his long-suffering girlfriend, Pamela: “Girl you got to love your man./Take him by the hand, make him understand.” Sadly, that never happened. Jim and Pam left for an extended holiday in Paris while the others were still mixing the album, arguably the Doors' best; just days after getting a call from drummer John Densmore informing him that L.A. Woman was a big hit, rising fast in the charts, the Lizard King lay dead in his hotel bathtub, more than likely of a heroin overdose. Perhaps Jim Morrison, 27, just couldn’t live with any more success.

To listen to some soundclips from L.A. Woman or to purchase it, click on: L.A. Woman [Bonus Tracks]

Waiting for the Sun
By Zack Taylor
November 5, 2004
Rating: 7.0

After a brilliant debut album and the worthy follow-up Strange Days, the Doors found themselves one of the biggest acts in pop music. At concerts, fans screamed for singer Jim Morrison with beatlesque fervor. An educated, thinking man, Morrison understood with withering clarity the superficiality of his stardom that had nothing to do with music. He rebelled hard against the adulation, manifesting contempt and feelings of unworthiness by constant, absurdly heavy drinking. That cheers for his new inebriated buffoonery on stage got even louder didn’t help--Morrison devolved into a cartoonist stock character egged on to further outrageousness at every gig.

When the time came for the third Doors album Waiting for the Sun, Morrison couldn’t pull it together, arriving at the studio hours late, once famously passing out and pissing himself at the microphone. “Jim was useless 99-and-a-half percent of the time,” producer Paul Rothchild said later. “What you hear on that record is half of one percent.” Still, Rothchild pulled a pretty decent LP out of the mess. He tapped into Jim’s anger to make “Five to One” an effective anti-hippie anthem, as a clearly drunk Morrison growls “You walk across the floor with a flower in your hand/trying to tell me no one understands” provocatively contradicts the earlier “Unknown Soldier.” In this, one of the most explicit anti-war songs of the sixties, Morrison is literally shot by firing squad, which implies the same end result as sending the boys off to Saigon.

“Hello, I Love You” is a commercial sugar-coated treatment of a demo from 1965, directly copping the Kinks’ “All Day and All of the Night.” It predictably went to #1, but sorely disappointed fans that saw the group as “artists” as newly defined by the Beatles. “Love Street” is kitschy jazz about Jim’s girl Pam; “Summer’s Almost Gone” is the final gem from Morrison’s initial burst of creativity in 1965. Robbie Krieger’s contributions are strong, though “Wintertime Love,” the again season-themed follow-up to the previous number seems a bit contrived. “Spanish Caravan” features some dandy guitar work; and “Yes, the River Knows” is a beautiful guitar-piano duet with Ray Manzarek, as Morrison does his best Sinatra.

Every previous Doors album closed with an epic, and this one was to be the most ambitious of all. “The Celebration of the Lizard” is a grisly 110-line surrealistic odyssey through the grim landscape of Morrison’s mind. But in his condition, Jim couldn’t pull it off. Only one section made the grade, assaulting teeny bop listeners with “the minister’s daughter’s in love with a snake” and “dead president’s corpse in the driver’s car” as Manzarek beat the Hammond with his fists—-a far cry from “Hello, I Love You”

The Doors haven’t aged well, but every note and line from this album like the others is no doubt indelibly etched in the mind of millions of former adolescent males like your humble reviewer. As far as this LP goes, it’s a metaphor for Morrison’s contrasts, soft-spoken intellectual one moment, raving asshole the next. It also marks the beginning of the end for one of rock’s greatest stars. He was 25 years old at the time.

To listen to some soundclips from Waiting for the Sun or to purchase it, click on: Waiting for the Sun [Bonus Tracks]

The Doors
by Darius Henry
December 15, 2007
Rating: 10.0

When it comes to The Doors’ self-titled album, you will get one of the greatest psychedelic albums of all time. Never have I heard a Psychedelic album like this. This album is just that damn good. I mean, who else had a organ as their lead instrument? All you need is a very deep Singer/Songwriter (Jim Morrison), and you have yourself a great band. Let me explain.

This album starts off with “Break on Through,” which is one of my favorite song on this album. It’s one of those songs that you like to play while skateboarding. On this song, you get to hear, “She gets high,” which was edited for the reason we already know. The next song, “Soul Kitchen,” is a pretty cool tribute to a Soul Food Restaurant and he used to stay late at that restaurant with his lady. Pretty cool vocal by Jim. “The Crystal Ship” is one of those songs that I truly love to listen. Cool goodbye song to his love ones. Or is it about drugs? I don’t care what it’s about. It rules. And listen to the Organ part. It will give you chills. “20th Century Fox” is a song that a lot of people love. I like it a little bit. But still a cool song about a woman who dresses good but she doesn’t have any feeling. Great music to listen to as well. “Alabama Song (Whisky Bar)” is a good cover of a German Opera song in the 1920s. Another great song about materialism. The next song, “Light My Fire,” proves to be their best song of all time. Great vocal, great lyrics, great organ, great guitar solo. What more can you ask for in this song? It’s like a perfect psychedelic song.

“Back Door Man” is a great Blues cover of Willie Dixon by the Doors. It’s a great song about a man who ran out of the back door so his lover’s husband won’t catch him. Listen to the organ and Jim’s vocals as well. It’s great. “I Looked at You” is one of those love song, I guess. Great organ and great drumming. It’s very underrated in my book. And so is “End of the Night.” This is a very dark, spooking poetry. The organ and the guitar just add some spooking ness in it. And that is why I love this song. Great song that is basically Jim Morrison’s confession of life. “Take It as It Comes” is another underrated song by the Doors. It’s a great song about meditating. You gotta listen to his lyrics. The last song on this album is the haunted “The End.” With almost 12 minutes, it’s a perfect way to end this great album. It’s basically about death. Listen to the guitar and the organ and the lyrics. Although the lyrics was controversial at the time, and still is, it’s still great.

This is a near perfect album from start to finish. I can’t believe that this album is over 40-years-old. It’s a great Psychedelic album. So please check out this album.

The Doors
by Chris
October 8, 2004
Rating: 9.5

One of the greatest debut albums in rock and roll history. The Door's first album is probably their best. The album starts with "Break on Through", with a nice Latin beat that plays throughout the song. The next song is "Soul Kitchen", with great lyrics and great music. The next song is "The Crystal Ship" that sets a mellow mood, and has a really good piano solo. The next song is "Twentieth Century Fox", a pretty good song, but not the best on the album. The one after that is probably the weirdest one on the album, "Alabama Song" with weird lyrics and weird music. The next song is one of their masterpieces, "Light My Fire", with killer vocals, and the organ solo is outstanding. The next song is "Back Door Man", a blues song with a cool organ and great vocals by Morrison. "I Looked at You", "End of the Night", and "Take its as it comes" are really just filler songs, they're not too good. The last song "The End" is a haunting song that runs over 11 minutes long.

The album remains one of the best in rock history. It's just sad that Morrison died in Paris in 1971. The band probably would have put out another string of albums in the 70's.

The Doors
by Brad Larkin
December 2, 2003
Rating: 10.0

An essential album for anyone who dares to call themselves a worshiper in the temple of rock and roll. No wasted line, no unnecessary track exists on this record of eternal value. This is not a record to listen to for mundane enjoyment or the like, it is written to shake you up, make you uncomfortable. Pop fanatics need not apply. Many casual listeners will purchase this record simply for two songs that are currently the victim of overplay by the radio station (Heil Clear Channel!), “Light My Fire” and “Break on Through (To the Other Side).” And while these are fantastic songs worthy of the praise they receive, there are numerous other songs worth noting. “The Crystal Ship” is a work of poetic beauty. “End of the Night” takes the unsettled listener to the edges of the known sphere and back. But the greatest track on this album, arguably the greatest in the Doors repertoire is “The End.” Easily one of the most unsettling songs to ever be promenaded before an audience this song travels from this world to the unconsciousness and back. In between the sounds of the sitar and the crashing drums, one can hear the punk revolution ignite as Morrison screams and whispers his way to the pantheon of heroes. Often analyzed, everyone has their own theories regarding this song, but that is what makes it great, so I will not waste your time explaining my own humble opinion. I could continue on and on about this album, but what would it accomplish? This is an album that is an experience, there is no substitute. In short, go out, buy it, and allow yourself to wonder what would have happened if rock and roll had continued down this path, instead of a one of corporate triteness.

To listen to some soundclips from The Doors or to purchase it, click on: The Doors [Bonus Tracks - CC Music] or Doors (Extra Tracks)

By Alex Short
January 15, 2001

Rating: 9.0

This album, released in 1970 was like a breath of fresh air for all Doors fans everywhere. After two average albums, the worst of the two being The Soft Parade released in 1969. With its tinny sound and over production, it was far from a classic. The band somewhat reformed themselves for this effort. The album gets off to a bluesy feel with "Road House Blues", bringing back memories of "Back Door Man" of their debut album. Though this is better. There is certainly some fine efforts on this album. The best been "Ship Of Fools" and "Queen Of The Highway". "Maggie Mgill" isn't too bad either. Another truly fine standout, and my personal favorite is "Peace Frog" It has truly funky guitar, and Morrisons vocals are at his best. There is a few other average songs such as "You Make Me Real". Morrisons vocals doing the damage there. You see that's just it. More then often, he had the most perfect voice, but then he would put on this kind of rough wisky voice. Sometimes it works. "Back Door Man" for instance". But on "You Make Me Real" it doesn't. Saying that though. This is the Doors second best effort. All I can say is, go and buy it.

To listen to some soundclips from MORRISON HOTELor to purchase it, click on: Morrison Hotel [Bonus Tracks]


By Nick Smith
December 29, 2004
Rating: 9.0

This amazing album is often misconceived as, The Doors, the band's first album's little brother.  However, it rivals The Doors debut album better than any other albums they put out.(yes, even L.A. Woman.)  Big hits such as,"Love Me Two Times", "People Are Strange", and "My Eyes Have Seen You" are instant classics.  Other popular songs include "Strange Days", "Moonlight Drive", which could be the best song writing of any Doors' song, and "When The Music's Over", which is also an amazing track.  Two songs though, that are always overlooked as just filler; "You're Lost Little Girl" and "I Can't See Your Face In My Mind" are truly under appreciated songs.

By Alex Short
January 11, 2001
Rating: 9.0

Along with Morrison Hotel, this is the Doors best studio effort. Released in mid 1967, this was the follow up to the Doors highly successful debut album, and it doesn't disappoint. The album kicks off with the song "Strange Days", a kind of weird experimental song with echoing Morrison vocals, with flourishes of rock frown in to great effect. The next three songs are also great, showing off this groups knack for conjuring up mini masterpieces. The best of these been "Love Me Two Times". Wow. Jim Morrison, Robby Kreiger, and especially Ray Manzerak do this song real justice. All I can say is listen to it. Then comes a dodgy song. Well is it a song? "Horse Latitudes" can be looked upon as a bad song, or a fine piece of poetic nonsense (or noise) performed by the screeching Jim Morrison. I wouldn't recommend listening to it. "MoonLight Drive" is a typical nice tuneful Doors song. Morrison's vocals are what does this song justice. Then comes "People Are Strange", which like "Unhappy Girl" (also found on this album) has a strange beat and overall feel to it. It kind of bobs a long and is fairly enjoyable. The next and last good song on this album is "My Eyes Have Seen You", which like "Love Me Two Times" is quite exciting an enjoyable. A worthy song for a worthy album. The closing track "When The Musics Over" is a kind of follow up to "This Is The End" off the previous album. Too long, and in my opinion boring. Many seem to like these Doors epic songs. I say these, but there is only two. They didn't do anymore after this. If you want to hear the Doors, buy this. It was my first Doors album which I bought last year, and for the next two months or whatever I couldn't put it down.

To listen to some soundclips from STRANGE DAYS or to purchase it click on: Strange Days (Bonus Songs -

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