1978
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- Riders On The Storm. The last track on the final Doors album recorded while their frontman was alive, Riders On The Storm could be viewed as a portent of impending doom.
- L.A. Woman. In which Mr Mojo Risin’ declares his love for all the little girls in their Hollywood bungalows and the City of Light in particular. The original handwritten lyric has some interesting doodling in blue biro, depicting a kite in a lightning flash and a stylised straw man, and credits the song, which he actually called L.A: Woman, to J.M./
- The End. The first of The Doors’ epic songs, this was worked into an 11-minute frenzy during their residency at the Whisky A Go Go, although some of the lyrics came from Morrison’s time working on a student production of Oedipus Rex at Florida State University.
- Light My Fire. Despite its familiarity, Light My Fire doesn’t smoulder. It’s a conflagration of über-cool acid rock. It’s Robby Krieger’s song in the main, but he credits Morrison for the second verse.
AKA: James D. Morrison and James Douglas Morrison. About Jim Morrison. Jim Morrison was an influential rockstar, best known as the lead vocalist and songwriter for the psychedelic...
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- Queen of The Highway
- My Eyes Have Seen You
- Tightrope Ride
- Love Street
- Waiting For The Sun
- Wild Child
- Hardwood Floor
- Tell All The People
- When The Music’s Over
- Summer’S Almost Gone
Jim Morrison frequently drew on his romantic dalliances for lyrical inspiration. Take Morrison Hotel’s raucous rocker Queen of the Highway, a song about his soon-to-be-wife, Pamela Courson, that frames their relationship as loving, if somewhat ill-fated: “He was a monster / Black dressed in leather / She was a princess / Queen of the Highway.”
Studio experimentation marked the Doors’ second album, Strange Days, as the band had access to eight-track recording for the first time. However, My Eyes Have Seen You succeeds because of its simplicity: a tango-like tempo driven by spaghetti-western rhythmic coils, a concise Robby Krieger guitar solo and Morrison sketching out the finer points of ...
The surviving members of the Doors – Krieger, Ray Manzarek and John Densmore – released three studio albums in the years after Morrison’s death. Although these efforts were hit or miss sonically, the first post-Morrison LP Other Voices produced the garage-rock barnburner Tightrope Ride, led by Manzarek’s cathartic howl.
The Doors frequently incorporated inspirations from classical and jazz, but the baroque-rock gem Love Streetwas a sonic curveball even for them. Manzarek’s delicate piano and keyboards resemble fine-spun glass or a pristine music-box theme, a fine complement to Krieger’s understated guitar and Morrison’s fanciful lyrics.
Waiting for the Sun had indeed been hanging around since the Doors’ titular third album, but wasn’t fully formed until the band’s fifth full-length, Morrison Hotel. The wait was worth it, as the buzzy, fuzzed-out musical distortion and ominous vibe suited the darker energy around the Doors as the 1970s dawned.
The Soft Parade era wasn’t exactly the happiest time for the Doors, with the recording sessions marred by discord and Morrison’s high-profile arrest in Miami for indecent exposure. However, the chaos produced the grimy, attitude-dripping Wild Child, a clear link between 60s psych-rock and the burgeoning proto-punk and heavy metal movements.
The Doors kept pushing themselves in new directions on 1972’s Full Circle, their second post-Morrison album. In fact, the sprawling, Latin-tinged jazz novelty The Mosquito, featuring session ace Leland Sklar on bass, became a surprise global hit. Sklar also adds verve on the LP’s highlight, the more straightforward, Stones-esque rocker Hardwood Flo...
Morrison reportedly didn’t like a Tell All the People lyric referring to guns, which contributed to the Soft Parade’s decision to note separate songwriting credits in the liner notes. The hint of violence contrasts with the song itself, which is a tranquil piece with full-blooming horns and plaintive piano. It’s clear Primal Scream and Spiritualize...
Strange Days’ closing song qualifies as a sonic odyssey, while demonstrating the logical cohesion underpinning the band’s wandering tendencies. An initial rush of roaring guitars and freckled organ gives way to distinct musical movements, with Manzarek’s nod to Herbie Hancock’s Watermelon Man especially adding oomph.
Few songs nail the bummer vibe of a summer fling with an uncertain future better than Summer’s Almost Gone. Morrison sounds uncharacteristically subdued as he muses about ephemeral good times, and his bandmates match this bereft mood by contributing swirling keyboards, morose piano and barely perceptible drums and guitar.
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- Annie Zaleski
Dec 8, 2023 · The 30 most essential Doors songs. Features. The Doors' 30 most essential songs, ranked. To mark Jim Morrison's 80th birthday, we're looking back at the tracks that continue to define...
- Stephen Thomas Erlewine
Jun 26, 2021 · 20) Moonlight Drive (Strange Days, 1967) The song Jim Morrison sang to Ray Manzarek on LA’s Venice beach one balmy evening in 1965 – prompting the keyboardist to suggest they form a band and...
Dec 8, 2023 · Best Jim Morrison Lyrics: 15 Doors Songs That Are Pure Poetry. Daring to explore the darker sides of the psyche, the best Jim Morrison lyrics made The Doors leading lights of the countercultural rebellion.
